Gioachino Rossini - Guglielmo Tell (Guillaume Tell) - Overture (Chailly) - No. 3 & 4. The call to the dairy cows & The Galop LindoroRossini 2026-09-27 | Gioachino Rossini - Guglielmo Tell (Guillaume Tell) - Overture (Chailly) - No. 3 & 4. The call to the dairy cows & The Galop
Verdi ≈ Nabucco ≈ Va, pensiero {Message of Hope from 70 international opera singers} LindoroRossini 2020-05-22 | A group of 70 opera singers from all around the world, representing different nationalities and different musical backgrounds, decided to join forces and send you this message of hope and support.The group members, including soloists of such venerable institutions as the Bayrische Staatsoper and the Met, as well as university students, performed this iconic chorus number as one united virtual opera choir.I was personally approached by the organizers of this wonderful project and asked to share their video with my subscribers, so that the performance could be enjoyed by as many people as possible.Stay safe, take care of yourselves and your loved ones in these difficult times. We will percevere, we will get through this together!Project manager and producer: Ksenia Antonova. Mixing, engineering and video editor: Ilia Skibinsky (facebook.com/ilia.skibinsky)
Hidden treasures ≈ Antonio Caldara ≈ Sedecia (1732) ≈ Ahi! come quella un tempo LindoroRossini 2019-08-15 | Painting: Jeremiah Lamenting the Destruction of Jerusalem by Rembrandt. Fragment.{Based on Grove Dictionary andBooklet Notes from the Presented Recording}History: Antonio Caldara (born c. 1671) was the son of a rank-and-file violinist from whom he may have received his earliest instruction in music. Caldara's membership of the guild of the Signori musici di S Cecilia in 1687 suggests an early resolve to embark on a professional career. In 1699 Caldara was made maestro di cappella to Ferdinando Carlo, the last Gonzaga Duke of Mantua. After leaving the duke’s service and a brief sojourn in Rome, Caldara moved to Barcelona in 1708, where on his allegorical Il più bel nome was included in the festivities celebrating the marriage of Charles III, the Habsburg claimant to the Spanish throne, and Elisabeth Christine of Brunswick-Lüneburg. By March 1709 he was again in Rome and followed in Handel's footsteps as maestro di cappella to Prince Ruspoli, perhaps the most lavish of many notable Roman patrons of the arts. In 1714, on the personal decision of Charles who by that time had already been coronated Holy Roman Emperor, Caldara was made vice-Kapellmeister at Vienna. He was responsible for at least one of the operas required each year for the four principal feast days, for the court's annual carnival opera (between 1727 and 1731) and for celebratory operas and serenatas for weddings of members of the Habsburg clan. Caldara's Viennese output eclipsed that of his contemporaries at court, including the longer-serving Fux. This workload may be reflected in Caldara's abnormally high salary (1600 florins, rising to 2500 within a year and to 3900 in 1729) but it also took its toll artistically and physically. Caldara died in 1736, suggesting physical, if not mental, exhaustion.Narrative & Music: Caldara's gradual rehabilitation during modern times has allowed for a greater assessment of his immense output. If not the equal of Bach or Handel in pure ingenuity, Caldara’s gifts are readily apparent in elegiac music. As a composer at the Viennese court, he had access to lavish instrumental and vocal resources and the abilities of famed performers, and his talent is apparent in the present aria for Jeremiah, finding the prophet lamenting the destruction of Jerusalem in the 1732 Sedecia. The piece is an extended Baroque lament with one particular feature that serves as the number’s chief highlight: the extended, varied, and highly effective obbligato writing for dulcimer – a percussion-stringed instrument with a delicate timbre that lends itself well to the elegiac atmosphere set by Caldara. More concretely, the original part was set for a pantaleon – a large variation of the dulcimer, invented by musician Hebenstreit and popular at that time. However, the instrument virtually died out after the passing of its creator, thus, in the presented recording it is substituted for a dulcimer. In any case, the instrumentalist enjoys great prominence, effectively overshadowing the singer and the continuo {relegated to basically keeping time during the number}. Indeed, the “aria” almost becomes a dulcimer concerto! The instrument is highlighted in full virtuoso preludes {0:08, 3:57} and a complete postlude {7:48}. Still, the extremely ornamental writing is elegant and gently melancholic, suggesting the sound of a lyre and reflecting Caldara’s care for setting the lament effectively. The dulcimer is, indeed, a partner to the vocalist, its varied lines finely contrasting with the much simpler, dignified utterances of Jeremiah {1:31, 2:59}. Thus, the piece is, indeed, a duet which demands equally inspired performances from both soloists. The vocal part is also attractive and perfectly suited for the dignified sorrow of the protagonist. A few trills and turns notwithstanding, only in the final line is the singer allowed to engage in any sort of melismas and even then the writing is primarily lyrical {3:35}. Considering the structural constancy in Baroque operas, notably there is no usual contrasting B section in the present piece. The aria is, indeed, a da capo but the initial statement of the A section is fully repeated immediately after the first A section is completed {3:57} {in view of the final postlude, the aria almost suggests a simplified rondo}. Even if the music repeated, Jeremiah wandering thoughts are echoed by a completely new text {5:10}. Thus, the all-consuming grief of the prophet is perfectly represented by the musical structure. All in all, the aria is a welcome introduction to Caldara’s art.Scores: The entire manuscript of the opera is available on IMSLP {The Aria is question appears on P. 141-147, Part I}: imslp.org/wiki/Sedecia_(Caldara%2C_Antonio)Recordings: The 2005 Ramee recording features several pieces by Caldara, all fully realized by La Gioia Armonica. The present aria features a sympathetic duet of Margit Ubellacker on the dulcimer and alto Jurgen Banholzer.Hope you enjoy =)!
Hidden treasures ≈ Francisco Asenjo Barbieri ≈ Zarzuela Highlights LindoroRossini 2019-08-08 | Painting: The Wedding by Francisco de Goya.{Based on Zarzuela.net & Grove Dictionary}History: Francisco Asenjo (1823-1894) adopted the name of Barbieri in honour of his grandfather, manager of the Teatro de la Cruz where the young boy first came into contact with theatre and music. In 1837 he entered the Madrid Conservatory, studying widely – clarinet, piano, vocal and composition. Between 1841 and 1844 Barbieri made a living as a singer, clarinetist, copyist, piano teacher and writer of popular songs and dances, as well as academic chorus master. He inaugurated his operatic career with Il Buontempone {presented in Italian}, but also founded La España Musical to promote native Spanish opera. Barbieri was central to the group of composers, including Oudrid, Gaztambide and Arrieta working from 1851 at the Teatro del Circo. He was the most influential Spanish composer of the nineteenth century, cultivating the growth of a national musical style though his series of zarzuelas – “Spanish operas” – that followed the ground-breaking Jugar con fuego of 1851. The series culminated in the magnificent national epic Pan y Toros (1864) and the comic masterpiece is El barberillo de Lavapiés (1874). 1856 saw the founding of the Teatro de la Zarzuela, and from the 1860's Barbieri broadened his activities even further, founding the Society for Orchestral Music (1866) and introducing much of the German symphonic repertoire to Madrid.Music: The influence Barbieri had over later composers may justly be compared to Glinka's in Russia {bit.ly/2M6innn}, revealing new possibilities and paths towards a genuinely Spanish style of composition in all musical fields. His works, just as Glinka’s, reveal an approachable Romantic musical language, built around familiar structures and forms, yet distinct from Italian and French operas through the infectious melodies, colorful orchestration and extensive use of characteristic Spanish flourishes and material, such as boleros and habaneras. The presented series of excerpts fully attest to the charm of Barbieri’s music. El barberillo de Lavapiés is, in particular, highlighted – a lovely comic work, roughly contemporary with the masterpieces of Strauss in Vienna and Sullivan in London, boasting a series of elegant numbers, from an energetic Jota for a party of students {0:22} to an infectious quartet for the principal players, detailing how the majos and majas of Madrid should prepare when they go to the countryside {15:11}. Little wonder that this work has taken its place as the classic work of the Golden Age of the zarzuela. The relatively early Jugar con fuego is the more openly Italianate work of the three highlighted zarzuelas, and anybody looking for hints of a Spanish style will be disappointed, the energetic if traditional finale to Act II reminding one of early Verdi {16:06}, yet Barbieri’s personal touch is on full display in the heroine’s romanza which, despite being textually a melancholic piece, is scored warmly with gentle flourishes for winds {2:16}. In some ways, Pan y Toros, a work notable for panoramic social sweep and nationalist fervour as much as for musical originality, is the most tantalizing of the presented zarzuelas, as it is yet to be recorded in complete form, yet even the stunning choral writing for the grandiose finales {5:07, 8:22 & 10:31} and the finely shaped aria for soprano over a rich harp accompaniment {13:35} reveal Barbieri’s perfect judgements in handling large-scale scenes.Suggested reading: For more information on the presented zarzuelas, I would advise you to visit the essential Zarzuela.net site: bit.ly/2TbVgstRecordings: Three recordings, representing different eras of recording practice, all three boasts enthusiastic, idiomatic and involved casts and orchestras.Jugar con fuego, 1954, NovosonPilar Lorengar, Manuel Ausensi, Carlos Munguia, Antonio Campo. Orquesta Sinfónica under Ataulfo Argenta.Pan y toros, 1989, BMG AlhambraAna María Iriarte, Manuel Ausensi, Carlos Munguía, Conchita Domínguez, Rafael Campos, Joaquín Portillo. Orquesta Sinfónica under Indalecio Cisneros.El barberillo de Lavapiés, 1995, Auvidis ValousMaría Bayo, Lola Casariego, Manuel Lanza, José A. Sempere. Orquesta Sinfónica de Tenerife under Víctor Pablo Pérez.Hope you enjoy =)!
Hidden treasures ≈ Tommaso Traetta ≈ Armida ≈ Di quest’aura LindoroRossini 2019-08-04 | Painting: Armida encounters the sleeping Rinaldo by Giovanni Battista Tiepolo {fragment}.{Based on the Grove Dictionary}History & Narrative: Tommaso Traetta (1727-1779) was trained between in Naples by such teachers as Porpora and Durante. The crucial phase of Traetta's career began with his appointment in 1758 to the court at Parma. Pleased with the fame of his maestro di cappella, the duke allowed him to fulfil commissions for other courts and between 1760 and 1763 Traetta composed operas for Turin, Vienna and Mannheim. The work in question – Armida – premiered in 1761 in Vienna. The performance celebrated the weeding of Emperor Joseph II to Isabella of Bourbon-Parma and the alliance between the Habsburg and Bourbon dynasties. The libretto for the opera is derived from Lully’s Armide (1686) and follows a simplified account of the love and ultimate heartbreak between the hero Rinaldo and the sorceress Armida.Music: Some endeavors by modern musicians notwithstanding {Rousset’s recording of Antigona being a key example}, Traetta remains an obscure composer, seemingly forced into the shadows both by his predecessors and successors, most critically – “the reformer” Gluck with whose style of opera serie, uniting baroque gestures with classical grace, Traetta has much in common. Indeed, Armida is yet to be recorded, save for just the overture and two arias, including the present piece, sung by a mesmerized Rinaldo in Armida’s garden. However, it is this hidden treasure that proves a tantalizing introduction to Traetta and makes one consider rediscovering other works by the composer. The vocal line, as Rinaldo marvels at the beauty of his surroundings, is highly lyrical {reminding one of Orfeo's Che puro ciel from Gluck's opera} with just two well-judged florid elaborations, as the hero allows himself “a moment to breathe a sigh of relief” on the word “respirar” {1:12 and 2:33}. The constantly evolving accompaniment, highlighting flowing, ever-changing lines for the violins {listen to the different effects attained by Traetta at 0:20 and 1:36} and extended sighs for the horns {the flutes get a characteristic bird call at the beginning of the aria but are, perhaps somewhat unsatisfactorily, relegated to the background}, perfectly sets the dreamy mood. The piece is clearly laid out in contrasting sections yet their similar thematic material and the simplicity of the text (just four lines) force the listener to see the whole piece as a unified whole. Thus, thought an AA’AA’ structure is suggested, the “repeat” of AA’ is elegantly differentiated. The aria does not have a “strong” ending but literally ends {3:24}, as Rinaldo loses himself in the splendor of the garden.Score: The entire manuscript of Traetta’s Armida is available on IMSLP {for the present aria – Act II, starting P. 57}: bit.ly/2MMmAfNRecordings: The excerpts are takes from the 2003 Amadeus recording by Cosarara led by Giuseppe Camerlingo. A young Anna Bonitatibus perfectly paints the picture of the lovesick hero.Hope you enjoy =)!
Hidden treasures ≈ Ferdinand Herold ≈ Le muletier ≈ Sur le pas de jeunes fillettes LindoroRossini 2019-08-03 | Painting: The Flower Seller by William Adolphe Bouguereau {fragment}.{Based on MusicWeb}History: After the dismal failure of his opera comique L’Auteur mort et vivant in 1820, Hérold experienced a physical and mental breakdown so severe that he produced no works for the stage for three years. During this time, the Théâtre-Italien sent him to Italy to recruit singers. It was in Italy that he first heard the works of Rossini, which greatly impressed him. When Herold returned to Paris, he was poor and ill. However, this period of trials and tribulations culminated in the premiere of Le muletier – a one-act opera-comique – in 1823 to a warm reception. The risqué plot raised a few eyebrows but the charming score overcame any doubts. Critics of the time praised the work’s grace, verve, variety and local color. Herold would follow this success with some of his more famous operas, including Zampa and Le Pre aux Clercs.Story: The original story, adapted from Boccaccio, dealt with a rather peculiar story about a muleteer who falls in love with a queen. He disguises himself as the king, and woos the queen in secret. Naturally, this plot was simplified to a more publicly acceptable version with the title hero Henriquez (tenor), wanting to marry Zerbine despite the protests of her guardian. The lovers arrange a meeting in a garden by night but Henriques confuses another woman for his beloved in the dark. This leads to the usual confusion which is ultimately resolved by a happy ending.Music: Le muletier is a traditional but highly charming work brimming with both Gallic charm and a bit of Italianate bravura, boasting highly characteristic music for all characters. A personal highlight is the Bolero for the title hero, as he boasts about his ability to mesmerize women. The aria – a classic ABA piece – is a particularly attractive essay in the Spanish style that is included early in the opera. After a brief prelude, establishing the lovely wind writing and vivacious tempo, Henriquez proceeds to detail his ease in attracting the opposite sex in an easygoing melody that forms the A section {0:25}. What the aria lacks in true depth is more than vindicated by both the sheer infectiousness of the melody and Herold’s judicious use of a light but involved accompaniment with a lovely rising staccato line passing through various instrument groups as a running motive. A contrasting moment occurs as Henriquez notes that one should take the most from life in a long-breathed rallentando over sustained horn lines {0:52} which quickly gives way to a reappearance of the main melody {1:07}. The multi-part B section is an appeal by the hero to womankind, as he plainly asks ladies to be more accepting of men’s attention {1:33}. After the initial faux-dramatic minor episode, the hero engages in a teasing monologue over a running pizzicato accompaniment, as he stresses that he knows full well how to conquer the all too serious guardians and nannies of young women {2:03}, before restating on a full forte that he will break down all obstacles to Zerbine’s love {2:14}. The B section is rounded out with a serene acknowledgement by Henriquez that “the crafty muleteer will always win in the affairs of love” {2:37}. A short cadenza {3:00} leads to a full restatement of the A section {3:08} with a triumphant coda as a suitably exuberant ending to the whole Bolero {4:10}. All in all, a most charming aria with opportunities for both vocal and dramatic display.Scores: The entire vocal score for Le muletier is available in IMSLP (starting at P. 31 for the present aria): bit.ly/2LZrxSKRecordings: An expert recording of the primary numbers from Le muletier is available on the 1968 Gaieté Lyrique double set (coupled with Le Pre aux Clercs). André Mallabrera fully realizes the charm of the Bolero.Hope you enjoy =)!
Musical pilgrimage ≈ Haydn ≈ Complete Symphonies {Selections} LindoroRossini 2019-07-26 | Painting: Early Autumn. Thomas Cole.{Based on Grove Music Dictionary}History: Although Haydn’s sobriquet “father of the symphony” is not literally true, in a deeper sense it is apt: there is no other genre in Western music for which the output of a single composer is at once so vast in extent (106 works), so historically important and of such high artistic quality. Haydn’s years as Esterházy vice-Kapellmeister (1761–5) were his most productive as a symphony composer, with about 25 works. Their stylistic élan and virtuoso brilliance are attributable to the splendor of the court and the professional players now at Haydn’s disposal. However, the composer would continue to write symphonies during his entire lifetime, with several distinct periods: for example, symphonic works around 1770 are widely described as exemplifying the Sturm und Drang style; Haydn’s stays in Paris and London lead to some of his most grand works.Music: I have previously completed a traversal of Mozart's {bit.ly/2ZfjNyT} and Boccherini’s Symphonies {bit.ly/2Mh4ylq}, however, Haydn proved to be an even more rewarding composer in this genre. While Mozart’s symphonic works exhibit his characteristic ease in composing, and Boccherini beguiles the listener with imminently likeable melodies, Haydn is the composer who relates to symphonies in a similar way Bach relates to cantatas. One can trace the gradual development of the Haydn’s style over several decades – from simple three-part sinfonias to grand works that make one think of Beethoven. Yet in any period, the level of care and attention to detail is always in evidence, even if some motives are natural stronger than others. My personal tastes are very much in evidence in this selection, and I’ve chosen to focus on my personal favorite movements from the symphonies, most of them from Haydn’s middle period. Haydn’s faster sections frequently boast infectious themes and bravura writing: the boastful and bold Allegro from No. 31 with triumphant parts for the horns {5:42}, the “witchy” bubbling of the double bass and bassoon in the Trio from No. 6 {22:00}, the rustic “bear” dance from No. 82 {23:42}, or the hunting call in No. 73, originally composed as the overture to La fedeltà premiata {32:00}. But the greatest treasures are to be found in the slow movements: the elegiac, vaguely melancholic Adagio from No. 26, adapted from an old plainsong chant of the Passion of Christ {1:07}, the warm Adagio from No. 54 {4:30 & 18:41}, or the exposed violin writing in No. 6 {9:43}. However, I would rank the meltingly beautiful Adagio cantabile for solo cello from No. 13 {27:53}, very much in the style of Boccherini’s cello concertos, as a personal highlight. In all honesty, a traversal of Haydn’s symphonies is as full of discoveries, as a pilgrimage through Schubert’s Lieder { bit.ly/2LHBS5J }.Scores: All the scores for Haydn’s symphonies can be found on IMSLP: bit.ly/2SJOmubRecordings: For the present upload I’ve chosen the Brilliant Classics Complete Symphonies recorded by Adam Fischer and the Austro-Hungarian Haydn Orchestra over a period of 14 years. The hand-picked ensemble of musicians from Vienna and Budapest recorded in no less a venue than the Esterházy Palace itself.Hope you enjoy =)!
Hidden treasures ≈ Vivaldi ≈ Tito Manlio (1719) ≈ Non ti lusinghi LindoroRossini 2019-07-22 | {Based on materials from Gramophone and Naïve}History: In 1718, after a busy 4-year stay in Venice, Vivaldi entered the employment of Prince Philip of Hesse-Darmstadt who had been appointed governor of Mantua, then part of the Austrian Empire. His responsibilities were varied but probably the most important of them was to provide operas for his employer’s court. One of these was Tito Manlio, which was initially commissioned to celebrate the upcoming marriage of Prince Philip to Princess Eleonora di Guastalla {which was never actually completeed} and ultimately produced during the Carnival season in 1719. As noted by Vivaldi himself at the head of the score, the opera was written in 5 days.Narrative: The libretto centers on a dispute between the Romans and the Latins which has arisen because the Roman Senate, headed by Tito, has denied the Latins a consul of Latin birth. This political crisis is elaborated by drama provided by lovers separated by war. However, all is ultimately reconciled and a happy ending is achieved.Music: Tito Manlio is typical both of its time and Vivaldi’s operatic output but seems workmanlike and not especially memorable, when compared to other similar pieces (Handel’s Giulio Cesare or Vivaldi’s own Orlando Furioso come to mind). However, the opera does include a few gems which are revelatory of Vivaldi’s particular lyrical genius, including a fine tortured aria for mezzo-soprano in Act III with a viola d’amore solo {bit.ly/2ydsga9}. In the present case we encounter another slow piece from the opening of Act II. The Latin knight Lucio begs Tito to show the latter’s daughter Vitellia pity. Lucio loves her, yet she is in love with another Latin man. Tito maintains that she must die. Unusually, Vivaldi’s autograph score shows an earlier version of this scene borrowed from L’incoronazione di Dario with new text. The final aria features a plaintive Vivaldian obbligato, in the present case for a plaintive solo oboe. The A section opens and closes with elaborate episodes for the wind instrument, prefiguring and echoing the central vocal material. The first part of the A section includes only the vocalist, suggesting in a rising ornamental line on the word “amar” {“to love”} that Tito should find in his heart love not cruelty for his child {0:51}. After a brief interlude, the second part initially starts in similar fashion, however, this time the ornamented lines are doubled (first with a charming delay for singer at the end of each line) and then echoed by the oboe, resulting in a faintly familiar yet welcome series of suspensions {1:34}. The soprano and oboe then move into an unexpected, gently melancholic a capella duet, de facto an unaccompanied cadenza {2:04} – a continuation of the preceding lines before the final line of the A section. Vivaldi skillfully combines the voice and oboe into a single movement where each instrument is fully dependent on the other for the complete effect. The B section {2:49} is, as usual, more modest but features a breathtaking double rise of the soprano and oboe through a series of quartaplets {3:10}. The A section is then repeated with obvious possibilities for further ornamentation {in the present case subtle and understated yet endearing}. Though one might suggest that the aria in question is in no way innovative or overtly dramatic, it is a poignant Baroque moment that provides the soprano and oboe with great musical opportunities.Score: The complete manuscript of Tito Manlio is available of IMSLP (Act II, P. 5-9 for the present aria): bit.ly/2JSIb2SRecording: Though Tito Manlio has received a highly dramatic recording from Naïve in 2005, for the aria in question I returned to the premiere 1977 recording of the opera under Vittorio Negri with the Berlin Chamber Orchestra. Released before the full advent of the HIP movement, the recording boasts a perfectly judged Lucio from Margaret Marshall.Hope you enjoy =)!
Robert Burns ≈ Red, Red Rose {ed. 1821} (Kings Singers) LindoroRossini 2016-01-29 | ≈History & Music≈Based on materials from the Grove DictionaryThe origins of the present piece, in spite of its innate simplicity, are quite complex. The Scottish poet Robert Burns worked for the final ten years of his life on projects to preserve traditional Scottish songs. In all, he a hand in over 300 songs, the most famous being Auld Lang Syne. He worked on this project for James Johnson's the Scots Musical Museum (1787-1803) and for George Thomson's five-volume A Select Collection of Original Scottish Airs. The selected poem was also to be published as part of Thomson's selection. However, after a disagreement on its merits, the poet gave the selection to singer Pietro Urbani who published it in his Scots Songs with a tune in a stylized Lieder-setting with accompanying parts for piano, violin and viola. Burns originally set the lyrics to Major Graham by Gow, a "Scottish dance, a reel of slower tempo". The poem later did appear in Thomson's Original Scottish Airs (1799) where the editor again reset it to the tune Wishaw's Favourite. However, the most familiar setting of Red, Red Rose was produced in 1821, when composer Robert Archibald Smith matched it to the tune "Low down in the Broom" in his "Scottish Minstrel". It is the latter version that we encounter here. Burns' poem itself is a miniature wonder {the poet referred to it as a "simple old Scots song which I had picked up in the country"}, and its 1821 setting helps to underline the elegant poetry. The melody is ideally balanced to the lyrics, flowing, lightly ornamented and naturalistic {Burns actually knew it but did not designate a separate verse for it}. Indeed, it seems that the music and poem accompany each other in a most luminous manner.≈Text≈The lyrics can be found here:http://www.robertburns.org/works/444.shtml≈Recording≈Some rather too overt vocal flourishes in the second stanza notwithstanding, the King's Singers have produced a dignified, fine reading of the song in question for their 2003 EMI album of folk songs.Hope you'll enjoy!
Art or Not? ≈ Arvo Pärt ≈ Spiegel im Spiegel {1978} ≈ Arrangement for Cello & Piano LindoroRossini 2016-01-09 | ≈History≈Based on materials from the Grove DictionaryEstonian composer Arvo Part studied at the Tallinn Conservatory, graduating in 1963. His earliest works, mostly for piano, are neo-classical in style. At this time, he was studying serial composition from the few scores and textbooks that had found their way into the Soviet Union. The style earned him official rebuke, though Part continued to apply serial procedures throughout the 1960s. He reached a peak in the 1968 Credo that provoked an official scandal, not for its musical language but for its avowal of Christianity. It was only in 1976 that Part began to compose fluidly again, this time using a tonal technique of his own creation which he calls "tintinnabuli" (after the bell-like resemblance of notes in a triad). The first piece in this new style was the short piano solo Für Alina. This direction proved to have more potential for the composer's international reputation. In 1980 he and his family emigrated, first to Vienna and then to Berlin. Just before his departure, Part composed Spiegel im Spiegel {Mirror in the Mirror}, the present piece – a frequent addition to film and stage scores.≈Music≈This post is more a question to the listener that an analysis, hence the title of the posting. Is it possible for a piece of music to be rather plain yet moving? Analytically speaking, Spiegel im Spiegel is one the most straightforward compositions to deconstruct, if there is, in fact, anything to deconstruct. The whole work is built around just two recurring motifs: rising crotchet second-inversion broken chords in the right hand of the piano and sustained notes in the violin/cello which slowly ascend and descend, always ending on A – a perfect representation of the tintinnabular style. Both undeniably attractive ideas are varied with each reiteration, as additional notes are inserted. And that's all, a continuous reiteration of basic material which, if Part would have wanted so, could be prolonged as long one would want to hear it {in fact, the excerpted recording repeats it three times (!)}. As violinist Tasmin Little notes the main task is to set the mood of reflection and to play the notes "as beautifully as possible". The piece is the epitome of simplicity, and I fully understand why some would see this as a vice. A lack of musical activity or elaboration does suggest routine. Yet I still find the piece to be effective on its own terms. Strictly speaking, it is not anything innovative: the twilight first movement of Beethoven's Piano Sonata Op. 27 no. 2 is similar in effect. Spiegel im Spiegel is, in fact, a mirror of the listener's mind, as its calm atmosphere and abandonment of histronics create a meditative mood that allows one's thoughts to wander and reflect on his or her own person. It greatly reminds me of a lullaby, provoking me to remember my youthful days and lack of worry. On the page, this is not music that is played for drama or emotions, it does not distract or actively engage the listener but it does create an atmosphere of serenity that is fully effective. Perhaps, in the end, the profundity lies in Part's willingness to simply allow the listener to abandon himself or herself to the simplicity of his creation and make of it what they will. And I find that this negates my personal initial ambivalence to the music. Once more, I would love to hear your thoughts on the question in the title.≈Score≈The sheet music is out of the public domain.≈Recording≈I initially played around with doing a fantasy on the different versions of Spiegel im Spiegel but ultimately found it impossible and limited myself to the just one arrangement: a fine account by Dietmar Schwalke and Alexander Malter on the 1999 ECM recording, made with the participation of Part himself.Hope you'll enjoy!
Johann Sebastian Bach ≈ Complete Cantatas ≈ Selections {Ton Koopman Set} LindoroRossini 2015-12-30 | ≈History≈Based on materials from the Grove Dictionary & Bach-Cantatas.comCantatas apply to Bach the same way Lieder apply to Schubert: there was scarcely a period in the maestro's professional life that was not connected with the form, and cantatas reflect well the circumstances of his life. The earliest surviving cantatas date from the Mühlhausen and even the Arnstadt period. With his nomination as Konzertmeister in Weimar in 1714, Bach started to produce cantatas regularly, in accordance with an agreement "to perform a piece… on every fourth Sunday at all seasons". In Kothen, corresponding to Bach’s official responsibilities, only secular cantatas were composed, mostly for New Year celebrations. At Leipzig, the performance of sacred cantatas on Sundays and feast days (some 60 a year) was one of Bach’s chief tasks. It is here that the massive annual cycles of cantatas were formed. Besides the cantatas for the church year, Bach also wrote sacred cantatas for other occasions, like changes of town council, weddings and funerals. What is most striking, the considerable range of cantatas available (about 200) is a fraction of what Bach actually wrote: due to the fact that these were occasional works, about two-fifths of Bach’s sacred cantatas are considered lost; of the secular cantatas, more are lost than survive!≈Music≈Though still eyeing the prospect of approaching Wagner's Ring Cycle, I doubt that there is any greater yet more rewarding challenge for a music lover than to go through the entire corpus of the cantatas. On the surface, we are presented with standard Baroque musical vocabulary and clear, straightforward structures of recitatives/arias/choruses, not at all alien to Handel or Vivaldi. It is how Bach uses and elaborates this seeming simplicity that truly defies expectations. While both of his noted contemporaries produced wonderful music (I've spent a great part of the past year going through all of their operas and sacred music), Bach seems to be operating on a different, three-dimensional plain, not often encountered even in "more complex" Romantic works. The extraordinarily instrumentation is especially characteristic, the individual instruments not simply reinforcing the vocal parts but acting with stunning independence and constantly forming elaborate tapestries of sound. The vocal parts are extremely taxing and are treated instrumentally by Bach, calling for extreme precision and clarity from the performers. Yet the writing is never simple display, constantly serving the needs of the text. I have included my own personal favorites here but they are by no means exclusive. The body of cantatas, for all its variety, has an unusually self-contained character, maintained by its consistently high musical quality and its unfailing expressive profundity. The virtues of the opening air from BWV.82 notwithstanding {16:15, still one of the highpoints of the cantatas for me}, some of the gems from the other cantatas include a colorful alto call to all to awaken to the Savoir {3:32}, a serene yet troubled preparation by the soprano for Death {7:43}, a hushed exchange between the tenor and the chorus on the time of the Lord's coming {19:03}, a soprano/oboe lament of the utmost clarity {43:34}, a dignified reflection from the bass on Christ's work {46:09} and a literally fiery, explosive opening chorale {48:25}. A full list of excerpts with timings is included in the comment section.≈Scores & Reading materials≈All sheet music for the cantatas is available on IMSLP:goo.gl/N4X09DExcellent notes on individual movements by Julian Mincham can be found here:http://www.jsbachcantatas.com/index.htmEnglish texts for the cantatas can be found here:goo.gl/ZkOPks≈Recordings≈Ton Koopman and the Amsterdam Baroque Orchestra & Choir recorded a complete set of the cantatas that boasts fine orchestral playing, a handsome choral sound and a diverse but uniformly engaged lineup of soloists. I am well aware of the at times fierce discussion on the merits of the different cantata sets but for me the highlighted collection remains a towering achievement and a wonderful introduction to Bach.Sopranos: Sibylla Rubens – Barbara Schlick – Johannette Zomer – Lisa Larsson – Sandrine PiauAltos: Bogna Bartosz – Annette Markert – Kai WesselTenors: Christoph Prégardien – Guy de Mey – James Gilchrist – Paul AgnewBass: Klaus MertensHope you'll enjoy!
Nicolai Rimsky-Korsakov ≈ The Tsars Bride (1899) ≈ Cavatina for Lyubasha ≈ «Снаряжай скорей» LindoroRossini 2015-01-01 | ≈ History ≈{based on materialsfrom Bolshoi.ru & Belcanto.ru}The creation of "The Tsar's Bride" yields little intrigue. In 1898 Russian composer Rimsky-Korsakov turned to the 1849 historical drama by Lev Mei "The Tsar's Bride" for a new opera. The subject, vaguely based on the historic fact of Ivan IV choosing his third wife among 2,000 eligible girls and her sudden death, was in fact proposed to the composer as early as 1868. Rimsky-Korsakov began writing in February 1898 and completed the opera in 10 months with work proceeding "quickly and easily". It has been suggested that the composer saw the new opera as a reaction against the ideas of Wagner. The work received its successful premiere at the Moscow Private Russian Opera on October 22, 1899, and was revived by the Bolshoi as early as 1916.≈ Narrative ≈In spite of the extensive historic subtext, the plot of the opera is straightforward. Gryaznoy (baritone) falls in love with Marfa (soprano) who is already betrothed to the young boyar Lykov (tenor). The former's mistress Lyubasha (mezzo-soprano) in a fit of jealousy exchanges poison for a love potion with which Gryaznoy wishes to win over Marfa. During the engagement celebrations for Marfa and Lykov it is announced that the young girl has been chosen to be the Tsar's bride. In the final scene Gryaznoy relates that he has executed the boyar on the Tsar's orders, Marfa loses her reason, Gryaznoy admits that he had slandered his rival, Lyubasha proclaims to having poisoned Marfa and is murdered by Gryaznoy who is taken away to prison. Granting that the drama is fully comparable to the melodramatic histrionics of "I puritani", it is curious to note the almost complete lack of confrontation: Marfa, Gryaznoy and Lyubasha - the main love triangle - do not meet face to face until the final 3 minutes of the opera!≈ Music ≈Though I have read extensive praise for the work, I personally find "The Tsar's Bride" to be underwhelming: fine orchestration, easy melodies and a couple notable scenes, such as the heroine's childlike Mad Scene, cannot hide the basic lack of dramatic involvement which makes the sentimental language of the composer who de facto replicates the style of a 1840s bel canto opera at the turn of the century somewhat grating. In particular, the anti-heroine Lyubasha - a tragic figure of a woman who has been reduced to a mistress' role after being kidnapped by force from her homeland - is granted with a woefully underwritten part limited to an extended scene with her unfaithful lover in Act I, a rather square duet in Act II with the Tsar's physician and a brief appearance in the final scene. Her cavatina is a most revealing moment, as its rich melody and chilling setting promise more than the opera provides. Prompted by the request of her "dear godfather" - a murderer who is personally to blame for her sorry state - Lyubasha sings a haunting folk song about a girl who is being prepared by her mother for a wedding night with an older man. The cavatina is comparable to an art song in its modest dimensions, frequent textual painting and deceptive simplicity. The unnerving subject is made even more striking by the fact that it directly references Lyubasha's life. What is immediately apparent is the complete lack of orchestral support, save for the light wind figures, three string chords and a sigh from the brass {0:22 & 2:45} that form a brief introduction to each couplet. This forces the listener to focus solely on the singer who is left completely vulnerable in a subtle reflection of the character. The first verse details the preparations of the girl, focusing on the ritual of unbraiding of the maiden's hair - a Russian tradition signifying the end of youth and the beginning of womanhood {1:50}, elegantly reflected in the shifting ornaments. Though the music possesses several characteristics of a lullaby, its frequent "crying" suspensions {1:56 & 2:19} serve to underline the fact that the singer is heartbroken but completely resigned to her faith. The constantly shifting ornamentation of the second section is written out in the manuscript, as the song becomes even more explicit: the girl, lying on her wedding bed, asks her mother to "cross my deadly cold hands" {3:24} and "call the old bridegroom", so that the latter can marvel at "my maidenly beauty" {4:30}. In just a page of music, with almost no means other than the human voice, Rimsky-Korsakov fully encapsulates the character of Lyubasha in a haunting musical moment.≈ Score ≈The sheet of the scene is readily available on IMSLP {P. 87-8}:http://javanese.imslp.info/files/imglnks/usimg/3/3c/IMSLP89973-PMLP46569-Rimsky-Korsakov_-_The_Tsar_s_Bride_-_Act_I__orch._score_.pdf≈ Recording ≈The 1998 Philips recording of the opera by the Orchestra of the Mariinsky Theatre under Valery Gergiev is a wonderful modern interpretation of the work and boasts a fine Lyubasha in Olga Borodina.Hope you'll enjoy!
Pyotr Tchaikovsky ≈ Symphony No. 1 in G minor (1867) ≈ ii. Adagio LindoroRossini 2014-12-31 | ≈ History ≈{based on materials fromTchaikovsky-Research.net}Tchaikovsky wrote his Symphony No. 1 - "Winter Daydreams" - just after he accepted a professorship at the Moscow Conservatory. His brother Modest claimed the piece cost Tchaikovsky more labor and suffering than any other. Tchaikovsky started writing in March 1866. Work proved sluggish, and he suffered from insomnia and pains in his head. Tchaikovsky sought the opinion of his former teachers Rubinstein and Zaremba. Both men were negative. Tchaikovsky persevered and completed the symphony before the conservatory's Christmas break. Even with the insisted changes, the older maestros still disapproved of the symphony on the whole; however, they passed the adagio and scherzo as "fit for performance". The two movements were played at an RMS concert in St. Petersburg on February 23, 1867, with no success. Tchaikovsky was thoroughly disillusioned. He discarded almost all the revisions. The final premiere of the first version finally took place in Moscow on February 15, 1868, but achieved a cold reception. The symphony would have to wait 15 years for its next performance and underwent some revisions. The premiere of the second version took place in Moscow on December 1, 1883, and was a success. In spite of the difficulties which beset No. 1, it always remained one of Tchaikovsky's favourite works. Tchaikovsky wrote later to Nadezhda von Meck: "In many respects it is very immature, although fundamentally it is richer in content than many of my more mature works".≈ Music ≈No. 1 proved to be a personal favorite among Tchaikovsky's symphonies, as the piece with its finely wrought introduction and elegant Scherzo enables us to see the composer before his eventual rise to fame. Tchaikovsky freely confessed that he could not write within the rules of Western sonata form, and "Winter Dreams" forced him to realize he would have to work "around the rules". Tchaikovsky titled the slow movement "Land of gloom, land of mists", and the Adagio becomes an isolated moment of prolonged reflection among its lively surroundings. The piece opens with a melancholic prelude for the strings, a subdued soundscape possibly suggesting a northern landscape completely devoid of movement. There is no formal resolution of this introduction, as the entrance of the flute {1:32} suddenly breaks the tranquility. Tchaikovsky in his primary theme, first presented by the oboe with charming support from flute|bassoon {1:41}, attains perfection: the melody - gently balancing between a pastoral lament and a birdsong - is serene and calming yet vaguely gloomy in its heartfelt progression. Thereinafter, the Adagio becomes a freely constructed sequence of variations, quite similar to Ruhevoll from Mahler's No. 4. The second theme de facto continues the previous material and acts as a tempo di mezzo between the statement of the main melody, as the primary material is transferred from violas|flute to the violins|bassoon over a series of charming turns from the oboe|clarinet {3:10}. The winds provoke another melodic break {3:52} that ultimately gives way to the second statement of the theme {4:11}, as the cellos engage in a warm-toned rendition of the melody below the constant figurations of the violins and the long tones of the winds. As a welcome surprise, the final measures are extended in a luminous cadenza-like coda that touches upon both themes {5:20} before the tempo di mezzo is fully restated {6:25}. The music once again begins to gradually stall before a tremolo in the strings {7:30} introduces the final iteration of the theme {7:38}. The final version underlines the darkness that has been contained in the music from the onset, as the horn, initially accompanied by the flutes, moves through a distinctly morose rendition of the theme over a gradual crescendo in the remaining forces, ultimately culminating in a grandiose statement of the final measures of the melody {8:31}. The melody, however, is not allowed to be completed, as an urgent series of ascents from the the violins|violas {8:56} provokes a sudden silence {9:16}. There is no formal resolution, as we revert with little modulation to the prelude {9:39}, the piece moving to its somewhat traditional but suitably restrained conclusion {10:16}. While obviously a youthful work, the Adagio, above all, reveals the strengths of Tchaikovsky's particular art and the true depth of his melodic invention.≈ Score ≈The sheet of the symphony is readily available on IMSLP:http://petrucci.mus.auth.gr/imglnks/usimg/f/fc/IMSLP00677-Tchaikovsky_symphony_no_1-2.pdf≈ Recording ≈After agonizing over several versions, I ultimately returned to the version that introduced me to the symphony: the 1991 rendition of the Academy of St. Martin-in-the-Field under Neville Marriner that was recorded by Capriccio for a complete set of Tchaikovsky's symphonic works.Hope you'll enjoy and a Happy New Year to all of you!
Hidden treasures ~ Reynaldo Hahn ~ À Chloris {1913} ≈ Arrangement for Cor anglais LindoroRossini 2014-08-19 | ≈ History ≈{Based on materials fromAllMusic & Hyperion.com}The fact that he was born in Venezuela notwithstanding, Reynaldo Hahn (1874-1947) is often considered an archetypal French composer, and in fact he was only 3 years old when his family settled in Paris. The boy made his singing debut aged 6 at the salon of the Princesse Mathilde de Metternich accompanying himself on the piano. At the age of 10, Hahn already entered the Paris Conservatoire, studying under the venerable Gounod and Massenet {Cortot and Ravel were among his fellow students }. At 13 the young composer wrote the Hugo setting "Si mes vers avaient des ailes" which was published later by "Le Figaro" and became an instant "hit". Hahn's first stage composition was incidental music for Daudet's "L'obstacle" (1890); his first opera to reach the stage was the three-act "L'île du rêve", performed in Paris at the Opéra-Comique in 1898. In the 20th century, Hahn continued to enjoy a career as noteworthy conductor, while in theater he scored a triumph with the operetta "Ciboulette" (1923). Moreover, for many years he was the influential music critic of "Le Figaro". After World War II Hahn made a brief return to the public eye in 1945 when he was appointed the director of the Paris Opera.≈ Music ≈Hahn can be best described as a steadfast conservative in the vein of Saint-Saens: for him, Fauré was the last of the great composers. At its best, Hahn's music possesses restrained lyricism and well-judged contrasts between the melody and the accompaniment. Though by no means a one-hit-wonder, Hahn is principally, if not exclusively, known by the virtues of "Si mes vers". However, I personally find the charming romance "A Chloris" to be a piece that attains a greater level of perfection. Often considered a pastiche because of the dynamic bass line that is modeled directly on the familiar arrangement of Bach's Orchestral Suite No. 3 in D major - Air on the G string - the song is a reflection on the pastoral song in both musical character and text {Chloris is a common generic name for Arcadian shepherdesses and nymphs}. In the present case, we are dealing with a modern arrangement of the mélodie {a cor anglais replaces the voice}. The quite charming orchestration is noted below. Though seemingly straightforward, the piece is de facto in four distinct sections. The brief prelude immediately establishes an atmosphere of unfeigned innocence and rapture in the elegant figurations of the flute {the lovely trio of "falls" at the beginning becomes a unifying motive throughout the piece} over the hushed tones of the strings and the steady pulse in the bassoon. After a pause the cor anglais begins a disarming romanza, while the remaining forces restate the opening of the prelude as an accompaniment to the first phrases of the soloist who, in the original vocal version, at last realizes the depth of Chloris' affection {0:39}. The following material finds the cor anglais moving through a luminous ascent {originally setting the words "not even kings could know happiness such as mine"} that is closely followed by the strings, the flute returning for another repeat of its melody {1:06}. Strikingly, the themes stated, respectively, by the cor anglais and the flute actually overlap only at select places {1:17 & 2:06} and are virtually independent from one another, though both are bound by constancy of the bass line and, indeed, help define one another: the former - a sensual late Romantic aria, the latter - a tender recollection of a lost past. The third section of the mélodie shifts to a more contemplative mood, as the protagonist considers how easily death could ruin his bliss in a sustained lament over a shifting string accompaniment {1:46}. Both the flute and the bassoon are notably absent. The final bipartite section of the piece sees the return of the steadfast bass line and finds the flute providing a muted echo of its principal descending figure, as the cor anglais engages in an expressive monologue, in the original – an acceptance of the soloist of such a grim possibility in light of the loving glance from his beloved Chloris {2:14}. The episode is repeated in an elegant variation {2:52}. Wonderfully, the prelude is restated to bring the whole mélodie to a serene end {3:29}. All in all, a benchmark of the French art song.≈ Score ≈The sheet for the melodie is readily available on IMSLP:http://conquest.imslp.info/files/imglnks/usimg/8/8f/IMSLP84958-PMLP173430-a_chloris_annotated.pdf≈ Recording ≈ The song has been recorded in an ideal vocal rendition by Susan Graham/Roger Vignoles for Sony. In view of the version's presence on YouTube I ultimately chose the wonderfully fresh rendition by the oboist Albrecht Mayer and the Academy of Saint Martin in the Fields from the 2010 Decca Bonjour Paris album.Hope you’ll enjoy =)!
Gustav Mahler ~ Symphony No. 4 in G major (1901) ~ iii. Ruhevoll {Poco adagio} ≈ Principal theme LindoroRossini 2014-08-03 | ≈ History ≈{based on materials from BBC.co.uk}The late-Romantic Fourth Symphony by Gustav Mahler {1860-1911} was the last of his symphonic works closely linked to "Des Knaben Wunderhorn" {"The Boy's Magic Horn"), an anthology of folk verses from the early 19th century that attracted the composer with its blend of worldliness and spirituality. Poems from the collection feature prominently in Symphonies No. 2 {1894} and No. 3 {1896}. In fact, Mahler originally planned to end the latter work with an elaboration of the song "Das himmlische Leben" {"Heavenly Life"} which he had written in 1892. But as the extensive No. 3 took shape, he realized that the song wouldn't fit with the rest of the work and ultimately decided on a separate setting for the piece. Mahler began writing the rest of this composition in the summer of 1899. He finished No. 4 in most essentials the following year and completed its orchestration in the spring of 1901. It is hard to believe nowadays that such a lovely work encountered hostility by both audiences and critics but the November 25, 1901 Munich premiere was booed and condemned as baffling and tasteless. As one reviewer wrote, "a medley of symphonic cabaret acts". Berlin and Vienna were equally caustic.≈ Music ≈No. 4 is the shortest of Mahler's symphonies, with a reduced orchestra and a style consciously archaic. Thus, it is an ideal introduction to Mahler's particular art. The final Lied presents a simple, child-like view of Heaven, and this gentle naivety pervades the whole work. Mahler carefully develops the music throughout the entire symphony most notably attaining one of his finest slow movements in the central Ruhevoll - an extended series of variations {with a slightly varied brief repeat of the theme and a full, "proper" variation separated by two languished tempo di mezzos}. In the present case I ultimately decided to focus only on the principal theme of the Ruhevoll, as I find that the perfection achieved by Mahler in the initial statement of the main theme is so complete that it somewhat undermines all the fine detail that follows. I have to admit that I have developed a rather fragmentary perception of any musical work, focusing on what I consider to be the strongest material. Mahler's fairly gargantuan symphonies certainly fall "victim" to this personal trait. For me, the ethereal quality of Mahler's great adagio is fully comparable to the purity of Bach's principal melody for the Goldberg Variations, as both pieces are well-developed, self-contained musical moments that set a high standard for everything that comes next. We open with a subdued presentation of the theme by the principle cello over the suspended lines of the remaining cellos at times reinforced by violas. A constant yet stunningly dynamic bass line runs through the entire section, closely following the breadth of the music {0:08}. Mahler did not provide a detailed program for Symphony No. 4, though a wide range of interpretations - "a mother's sad face, constantly loving" or "a child asleep in death carved in stone atop a tomb" - are available. I tend to view the main theme as a symbolic recollection of a past peace that has been lost, thus, I frequently find myself tearing up when I listen to the theme. In an unusual but welcome gesture the material following the presentation of the theme serves both as a continuation {cello} and an abbreviated variation {second violins} on the initial series of phrases {1:18}. The resulting luminous duettino is cut short by a reprise of the second violins' statement from the oboe over the gradually heightening lines of the entire string section {1:52} culminating in a magnificent suspended sigh for the violins and a descending series of notes from the bassoons|horns|cellos {2:19}. What follows is a stunning ascent of the higher strings the instruments gradually passing from their enraptured whisper to a gradual, somehow melancholic descent to earth {2:46}. The bassoons delicately follow the violins|violas in a gentle crescendo, effectively completing the section {3:23}. The whole theme is completed with a simple exchange of the subdued chords from flutes|clarinets and the cello {4:11}. The theme originally has no conventional resolution, each time passing directly to the next section, simply ending with the transitional horn call {4:36}. All in all, one certainly can sympathize with Mahler when he wrote that the movement "laughs and cries at the same time".≈ Score ≈The complete score of No. 4 can be easily found on IMSLP:http://javanese.imslp.info/files/imglnks/usimg/4/40/IMSLP70999-PMLP58739-Mahler_-_Symphony_No._4__orch._score_.pdf≈ Recording ≈The 1984-91 EMI set of the 10 Mahler symphonies as performed by the WDR Symphony Orchestra Cologne under Gary Bertini features a wonderfully warm performance of No. 4 that serves as a highlight of a dedicated presentation of the composer's works.Hope you'll enjoy =)!
Franz Schubert ~ Complete Lieder {c. 1810-28} ~ Selections from the Hyperion Schubert Edition LindoroRossini 2014-05-18 | ≈ History ≈{based on materials from the Grove Dictionaryand Graham Johnson′s notes for the presented Edition}The life story of Franz Schubert {1797-1828} can be described as one of a continuous desire to establish a career as a composer in spite of a somewhat cold contemporary reaction to his works. True, Schubert was by no means an unknown composer: between 1821 and Schubert's death in 1828 more than 100 opuses of his music had been published, mostly by Viennese firms, the numbers almost doubles the total for Beethoven over the same period. The differences lay in the emphasis. In this period Beethoven saw seven symphonies and half a dozen overtures published, while Schubert saw not one note of his orchestral music published and could get only a handful of youthful sacred works into print. Less than a quarter of Schubert's music had appeared in print when he died, and publication was heavily skewed towards the least prestigious genres. Only time would gradually restore this historical injustice. In terms of separate works, almost two-thirds of Schubert's are lieder, and during his lifetime they were the principal vehicle of his fame. Schubert's first surviving song dates from his 15th year, and he probably wrote the last of his more than 600 completed songs only a few weeks before his premature death.≈ Music ≈The traversal of Schubert′s complete Lieder is a daunting project for any music lover, comparable to progressively working through all Wagnerian dramas. There is a staggering range of musical details, forms, lyrics and themes to consider. The infinite variety of styles is essentially the result of the composer′s responsiveness to poetry, as each time Schubert was actively seeking to re-create a poem through music. He set the greatest poets of his own and the preceding generations (Schiller, Goethe, and Heine) but also gave extraordinary voice to his friends (Mayrhofer, Schober and Spaun). Against the backdrop of Beethoven's predominantly instrumental style there is no doubt that Schubert's melodies stood out for his successors as well as for the generations that have followed. Yet the irony is that no Viennese composer's melodies depend as heavily on their accompaniments for their effect as Schubert's. It must be noted that not every piece of poetry or musical creation is a masterwork: the longer monodramas tend to be excruciating, the earlier material - lightweight, some of the more philosophical works - overburdened. However, in the course of the complete Lieder one can never doubt that each piece fully reflects the composer′s sincerity and growing talent. It is a fascinating experience to see the development of Schubert′s style over a period of 18 years, and tantalizing contrasts present themselves at each turn of the page. In the present case, we approach a small collection of 40 Lieder freely grouped to provide gradual emotional contrasts. I naturally highlight my personal selections that are by no means definitive: for example, I consciously omit the familiar Der Erlkonig, Der Konig in Thule and Der Wanderer. But then the point of the posting is to suggest that the listener embark on a journey through the pages of the Schubert Lieder - a truly enlightening pilgrimage. In general, the present posting focuses on the more lyrical Lieder, such as the pensive meditation of Nacht und Traume {4:27}, the elegant soliloquy to a river in Am Bach in Fruhling {30:56}, the understated love song of a lone fisherman from Der Fischers Liebesgluck {41:30}, the tender cavatina Auf dem Storm {49:23} and the haunting sincerity of Du bist Die Ruh {52:59}. Several sections from the two large-scale cycles - Die schone Mullerin and Winterreise - are presented as a running commentary against the independent Lieder. As per usual, most of the selections are abridged in some way, and only Der Lieirmann from Winterreise {1:11:58} - perhaps, Schubert′s most perfect Lied - is complete.≈ Recordings & Notes ≈The Hyperion Schubert Edition is an exemplary set in terms of completeness and scholarship, as well as a true artistic achievement with each song performed in a thoroughly dedicated manner. Better versions of individual lieder can be encountered elsewhere but the Hyperion Schubert Edition presents with a complete experience and allots us an opportunity to consider each Lied as a separate entity. Copious, greatly informative notes on each song by Graham Johnson - the pianist and mastermind of the entire project - can be accessed on the label′s official site:http://www.hyperion-records.co.uk/al.asp?al=CDS44201/40A cello arrangement of Du bist die Ruh from Deutsche Grammophon's Songs without Words recording with Misha Maisky serves as a prelude for the posting as a whole.Hope you′ll enjoy =).
Hidden treasures ~ Aymé Kunc ~ Nocturne for Horn & Orchestra {?} LindoroRossini 2013-08-02 | ≈ History ≈{adapted from Aymekunc.fr}In retrospect, it may seem that the nowadays practically obscure French composer Aymé Kunc {1877-1958} was precluded from international renown {though, as one gathers, to no real personal detriment} primarily by his great devotion to his hometown of Toulouse where he spent most of his formative and professional years. He was not an unrecognized talent during his lifetime: born into a musical family {both his father Aloys and older brother Pierre were organists}, Kunc obtained the first piano prize at the Toulouse Conservatory by 1894, achieved top honors in piano, solfège and harmony at the Paris Conservatory and, in 1902, received the Grand Prix de Rome with the cantata ″Alcyone″, beating Ravel to first place. After his Roman sojourn the composer took up the directorship of the Apollo Theater in Paris in 1907 and, on the recommendation of Saint-Saens, wrote an opera in 1911, yet ultimately he returned to Toulouse by 1914 and for next 40 fruitful years worked as head of the Toulouse Conservatory, actively participating in shaping the musical environment of his city.≈ Music ≈It is often difficult to consider the cases of lesser-known composers, as we are inevitably bound by both our impressions of their better-regarded contemporaries and the notion that their obscurity might be the product of, to put it bluntly, ″the natural selection″ of the art world. Few works by Kunc have been recorded, and, indeed, the present excerpt is the sole among his pieces to be produced by a label outside of Toulouse. Yet one cannot deny the obvious talent behind the nocturne in question, as the piece offers both enchanting melody in a neoromantic style similar to Saint-Saens and wonderful orchestration in the manner of Indy or Lalo, naturally leading the listener to a desire to hear more of Kunc′s oeuvres. Sadly, I have not been able to find any notes on when or where the work was actually written {hence the question mark in the title}, thus, I can only remark on its musical features. The nocturne is traditional in execution and structure, yet the composer subtly manipulates the basic Romantic clichés, presenting a strikingly ambiguous work in terms of overall mood. After a brief wind sigh, the horn immediately begins the impassioned main theme, an ardent yet vaguely ominous romanza in two stanzas, the first set to a clear combination of string tremolos, graceful flute|clarinet figures and a basic harp line {0:12}, the second - initially relegating the melody to the flute and the additional material to the strings {1:01}, before the horn once again recaptures the spotlight {1:17}. The gently melancholic stanzas are separated by a slightly unsettling episode, where the horn moves through an urgently shifting line supported by sustained high tones from the violins {0:45}. Moreover, in the second stanza the melody is left unresolved, as we move without pause to the B section, focusing on a well-handled series of crescendos, prompted by the strings, the horn|violins|brass section alternatively attempting in skyward-bound lines to provoke a return to the theme over the oppressive descending figures in the remaining orchestral forces {1:29}. At the height of the third crescendo, the horn|trumpet briefly restate the key figure of the main theme against the brooding chords of the lower instruments {2:32} which, however, ceed to a second statement of the A section, initially involving an elaborate echo dialogue between the solo violin|winds {2:57}, the secondary episode this time around gaining an even more oppressive atmosphere, forcing the soloists to abandon the principal melody {3:13}. The second stanza suddenly returns us to the subdued soundscape of the nocturne′s opening, as the horn briefly returns to the theme {3:26} before ultimately trailing of into a short cadenza {4:04}. A simple suspended coda brings the piece to a peaceful closing.≈ Score ≈Regrettably, no sheet music for the presented piece is presently available online.≈ Recording ≈The 2008 ARS Produktion issue incorporates pieces by a dozen French composers, covering about a century of rarely heard concertos for the horn, all performed in elegant fashion by Ulrich Hubner {horn} and the Kolner Akademie under the direction of Michael Alexander Willens.Hope you'll enjoy =).
Familiar classics ~ Ludwig van Beethoven & Co. ~ Variations on a waltz by Diabelli (1819-24) LindoroRossini 2013-07-21 | ≈ History ≈{adapted from the Grove Dictionary}In 1819, Austrian composer Anton Diabelli {1781-1858}, an aspiring music publisher, developed a plan to circulate a waltz of his own invention to the notable composers working in Austria at the time {Czerny, Hummel, Kalkbrenner and Schubert being, perhaps, the most recognizable names} and requested each of them to contribute a variation for the Vaterländische Künstlerverein {roughly translated as the National Artists' Association} - a grandiose plan for promoting his newly-formed business. Beethoven was among the selected and, as legend would have it, expressed an initial distaste for the project. Yet the composer, perhaps in view of the financial rewards behind the endeavor, began work on a set of grand variations on Diabelli′s theme that very year by writing 23 variations, then laying the piece aside for several years and finally expanding the piece in early 1823. Beethoven′s oeuvre was promptly published in June 1823. Diabelli′s persistence enabled the second half of the project, ultimately consisting of more than 50 variations from 51 contemporary composers, to be printed in 1824. By that time, however, Beethoven′s set came to overshadow the raison-d′etre of the tome.≈ Music ≈As per usual, the posting presents an arrangement of selections from both volumes, as identified below.a. Diabelli.Whether or not Beethoven himself actually dismissed the original waltz as a "cobbler's patch", its symmetrical phrases and unaffected simplicity certainly fit the description. Though lively, the theme in itself seems prosaic, and, as Bülow notes, the waltz "is protected from obsolescence by... its melodic neutrality".b. Beethoven.Nothing of the sort can be said of Beethoven′s Op. 120. A monumental oeuvre, it represents a veritable triumph of the composer over his somewhat poor starting material. Indeed, in the variations, the waltz is completely deconstructed, and Beethoven approaches the theme pragmatically, working with its smallest elements - the opening turn, the descending fourth and fifth, the repeated notes - and builds upon them pieces of great imagination. As Brendel writes, "the theme has ceased to reign over its unruly offspring; rather, the variations decide what the theme may have to offer them".3: Poco allegro {3:22}.6: Allegro ma non troppo e serioso {1:51}.7: Un poco piu allegro {20:26}.14: Grave e maestoso {23:07}.16: Allegro {17:47}.18: Poco moderato {11:42}.23: Allegro assai {9:48}.24: Andante (Fughetta) {26:37}30: Andante, sempre cantabile {7:40}.31: Largo, molto espressivo {13:32}.c. Other composers.{Selections denoted in the video by asterisks}On the other hand, Volume II is a problematic collection. Diabelli′s scheme was certainly shrewd from a commercial perspective, but the length and breadth of the volume are not matched by its artistic value. There is no structure {alphabetical ordering of the composers′ surname notwithstanding}, and, as the musicians were working in relative independence, a clear musical progression is absent with many pieces written in similar vein. Out of the 50+ piece, preciously few efforts rise above the level of workmanlike. But the tome does hide several charming variations, some of which are included in the posting:3: Vivace {0:56} by Carl Czerny.20: Moderato con espressione {4:52} by Joseph Kerzkowsky.24: Allegro {10:45} by Franz Liszt.38: Andante {21:25} by Franz Schubert.43: Tempo giusto {18:43} by Václav Tomášek.d. Suggested titles.I have used Brendel′s effective titles for the variations by Beethoven and provided my own suggested descriptions for the variations of the other composers.≈ Scores ≈Sheet music for both sets of variations is available on IMSLP:http://imslp.org/wiki/50_Variations_on_a_Waltz_by_Diabelli_%28Diabelli,_Anton%29 {Volume I}http://imslp.org/wiki/Ver%C3%A4nderungen_%C3%BCber_einen_Walzer,_Op.120_%28Beethoven,_Ludwig_van%29 {Volume II}≈ Recordings ≈ The 1997 Teldec recording by pianist Rudolp Buchbinder is a well-balanced account of both volumes of the Vaterländischer Künstlerverein and, to my knowledge, the only complete rendition of the entire opus.Hope you'll enjoy =).
George & Ira Gershwin ~ From ″Lady, Be Good″ to ″Let ′Em Eat Cake″ (1924-33) ~ Selected highlights LindoroRossini 2013-06-21 | ≈ History ≈{adapted from the Grove Dictionary &″George Gershwin″ by Howard Pollack}George Gershwin {1898-1937} began his extraordinary career by working as a song plugger in New York′s Tin Pan Alley. In early 1918 Max Dreyfus, the head of Harms Publishing Company, offered him $35 per week for any songs he might compose in the future. Gershwin's first Broadway show ″La, La, Lucille″ ran for 100 performances in 1919. In just the early 1920s Gershwin composed the music for five annual Broadway reviews, three Broadway shows and two London ones, before ultimately establishing a long-running partnership with his brother Ira {1896-1983} by producing the successful 1924 ″Lady, Be Good″. Their collaboration resulted in a succession of musical comedies and film scores - the 1926 ″Oh, Kay!″, 1930 ″Girl Crazy″ and 1937 ″Shall We Dance?″ - culminating in the 1931 ″Of Thee I Sing″ which obtained a Pulitzer Prize for Drama.≈ Narratives & Music ≈The Gershwin brothers did not make grand statements about their musicals, George confessing to a popular style of composition, as "true music... must reflect the aspirations of the time", while Ira insisted that ″the resemblance [of his lyrics] to actual poetry... is highly improbable″. I would suggest that at their best the shows are good-natured entertainments combining a humorous representation of contemporary morals with an accessible musical language driven by melody.a. Screwball comedies.″Lady, Be Good″ {down-on-their-luck brother/sister team find themselves unwittingly entangled in a plot to rob the heir of a large fortune (1)} and ″Oh, Kay″ {English bootleggers store illegal booze in the house of a handsome fop who is loved by the sister of the criminals′ leader (2)} are the most consistent scores, presenting series of perfectly charming vignettes, ranging from the elegant ″Someone to watch over me″ {7:57} to the energetic ″Fascinating Rhythm″ {10:41}.(1: 1992 Nonesuch Records)Dick ~ Lara TeeterSusie ~ Ann MorrisonJack ~ Michael MaguireJeff ~ John Pizzarelli(2: 1994 Nonesuch Records)Jimmy ~ Kurt OllmannKay ~ Dawn UpshawDuke ~ Robert WestenbergLarry ~ Patrick CassidyShorty ~ Adam Arkin″Girl Crazy″ {a young man turns his family′s estate into a dude ranch, falls in love with postmistress who without motivation escapes with his rival before returning to her true love} reverts to the basic tone of the earlier pieces, yet its abundance of local color and a strong trio of numbers for the Ethel Merman role of Kate, including the infectious ″I got rhythm″ {26:09}, cannot sustain the libretto.(1990 Nonesuch Records)Molly ~ Judy BlazerKate ~ Lorna LuftVocal Quartet ~Stan Chandler, Guy Stroman,Larry Raben & David Engelb. Operetta.The 1927 ″Strike Up the Band″ {an American manufacturer of cheese finances a war against Switzerland over a tariff dispute with the help of a government executive who later is discovered to be a Swiss spy by a journalist who loves the manufacturer′s daughter} is an ambitious but problematic work. Extended parodies are given prominence, leading to a certain underlying heartlessness of the entire affair. The greatest impact of the work actually comes in a completely out-of-place scene, as a nameless soldier sings a hushed rendition of the standard ″The Man/Girl I Love″ {23:33}.(1990 Nonesuch Records)Jim ~ Brent BarrettJoan ~ Rebecca LukerTimothy ~ Jason GraaeFletcher ~ Don ChastainSoldier ~ Dale Sandishc. The Black Sheep.The 1933 ″Pardon My English″ is the weakest of the present works both as a drama {German bootlegger tries to take vengeance on the local police chief, is struck by a car, awakens believing himself to be a British gentleman and falls in love with the latter′s daughter marrying her after a series of identity crises}, its only inspiration lying in a bubbling love duet for the romantic leads {9:31}.(1994 Nonesuch Records)Michael ~ William Kattd. Political satire.″Of Thee I Sing″/the 1933 ″Let ′Em Eat Cake″ feature the same universe {the first tells of a politician successfully running of a ″Love″ platform for the president′s office; the sequel finds the same politician seizing power from his successor and building a totalitarian state before going into business with his former rivals}. The music of both the pieces, somewhat foreshadowing ″Porgy & Bess″, is clearly operatic in design, as each of them is thorough-composed, thus, one must hear the music in its proper context to appreciate it. A highlight is the sophisticated elegance of "Mine" {25:06}.(1987 CBS Records)John ~ Larry KertMary ~ Maureen McGovernDiane ~ Paige O'HaraFrench Ambassador ~ Jack Gilford≈ Recordings ≈ The present series of releases from the Nonesuch Records and the congenial CBS rendition of the double satire are exemplary examples of inspired scholarship and masterful performance.Hope you'll enjoy =).
Modern marvels ~ Takashi Yoshimatsu ~ Kamui-Chikap Symphony {1990} ~ iv. Adagio {Air} LindoroRossini 2013-05-08 | ≈ History ≈{adapted from All Music Guide & Classical.net}Modern Japanese composer Takashi Yoshimatsu {吉松隆} was born in 1953 in Tokyo. He entered Keio University as an engineering student but turned to music in 1972, teaching himself composition and studying with Teizo Matsumara. Yoshimatsu initially performed with jazz and rock bands in his 20s before turning to concert music. By 1980, Yoshimatsu won the Japan Symphony Foundation Prize and in 1981 composed one of his first well-known works - the serialist ″Threnody for Toki″ in 1981, inspired by the death on Japan's main island of the last Toki {Crested Ibis, a rare species of bird}. The piece in question - Symphony No. 1 ″Kamui-Chikap″ - was commissioned for the MIN-ON Contemporary Music Festival and was steadily written out over a span of two years {1988-90}. The Osaka Philharmonic Orchestra first performed the Symphony on May 26, 1990.≈ Music ≈In the best cases, Yoshimatsu offers an easily accessible tonal language with only the slightest suggestion of atonality or dissonance. This effectively enables the composer to guide the listener through a musical landscape characterized primarily by simple, repeated progressions and an overreaching lyrical language which, however, do not delve into the sentimental excesses of Neo-Romanticism. Yoshimatsu′s First Symphony is certainly a case in point. The title of the piece refers to the name of the Owl Spirit from ancient Japanese mythology who is responsible for overseeing the behavior of humans and other spirits. However, this figure does not directly appear in the Symphony. On the contrary, the main body of the work is constructed from a series of tone poems on the four main elements - Earth, Water, Fire and Air - with a postlude somewhat vaguely entitled ″Rainbow″. Yoshimatsu seemed to envision the piece as something of a milestone of his own life, thus, early material served as the basic for a great part of the work. For example, a rock piece formed the starting point of the Fire movement. I ultimately found myself completely won over by the fourth movement representing ″Air″ or, as Yoshimatsu himself states, ″that which is still and thinks of mortal beings″ {perhaps, a hint of the seemingly missing Owl God?}. I tend to favor music of a certain artlessness where the line between art and life becomes somewhat blurred, and an impression of simplicity, spontaneity is maintained throughout, and ″Air″ perfectly captures this life-through-art notion. The movement is obviously conventional in conception and shares some of the virtues that have made Barber′s Adagio for Strings so well-known {indeed, it is similarly marked ″Adagio″}. A formal structure - ABABC - is clearly established, while unity is maintained by the use of a constant percussion line for the bells, suggesting, perhaps, a wind chime. The initial A section seems almost barren of any musical gestures with a gradually intensifying line for the strings forming the only source of motion. This only intensifies the contrast, when the first B section presents a striking development of this initial moment of silence, as a series of overlapping subdued lines for different sections of the strings are presented in a well-handled crescendo {1:18}, the winds - in particular, the horns and the flute - completing the tableau. This meditation is, indeed, a fine representation of the suggested element in all of its forms, be it a light breeze or a strong wind. An enchanting touch is the subtle suggesting of an outline of a melody which only gradually becomes a fully developed theme. As the first climax is reached, the line breaks, and we are suddenly returned to the mysterious silence of the A section {3:00}, this time introducing elaborated bell figures which are disturbed only by a tender, vague melody for the flute {3:18}. The second B section begins as a simplified version of the previous statement, as two solo violins engage in an enchanting echo duet {4:15}, before the remaining forces begin slowly joining in {4:39}. Once again, the textures of the piece steadily grow more complex before the second rhapsodic climax is ultimately reached {5:45}. This impassioned episode, however, soon dies away, as the flutes supported by the bells echoes the earlier violin duet in a glowing cadential passage bringing some closure to the theme {6:10}. The C section reflects on both the static A passage {6:50} and the animated B episode {7:01}, as as we slowly move to the serene closing of the movement {7:40}.≈ Score ≈No sheet music for the presented movement is currently available online.≈ Recording ≈The 2000 Chandos recording with the BBC Philharmonic under Sachio Fujioka presents perfectly well-placed, elegant renditions of Yoshimatsu′s works {indeed, he is the label′s ″house composer″}.I do hope that you will enjoy the selection =).
Familiar classics ~ Henry Purcell ~ The Fairy Queen {1692} ~ O, let me weep {Lorraine Hunt} LindoroRossini 2013-05-05 | ≈ History ≈{adapted from The Grove Dictionary,All Music Guide & The Rough Guide to Opera}The successful 1674 premiere on the London stage of Shakespeare's "The Tempest" in an elaborate production by actor-manager Thomas Betterton and playwright Thomas Shadwell replete with numerous songs and dances gave birth to the congenially English genre of "semi-opera". The term suggests a synthesis between the spoken word and music in the manner of the German Singspiel, but in practice we usually encounter a set of musical episodes which are inserted directly into an existing spoken play. These self-contained scenes usually do not involve the main characters. In essence, they act as complementary divertissements for the main action. While Henry Purcell (1659-95) was not the only English composer to write semi-opera, his ″cycle″ of five extended pieces, starting with "Dioclesian" (1690) and "King Arthur" (1691), is usually seen as the highpoint of the genre. The work in question - ″The Fairy-Queen″ {based on "A midsummer night's dream"} - was first performed at the Queen's Theatre, Dorset Garden in London by the United Company in 1692. While semi-opera was not extinguished by the composer′s death, the introduction of Italian opera in 1705-6 and the ultimate decision of the Lord Chamberlain to divide traditional plays and operas between, respectively, Drury Lane and the Haymarket effectively sunk the genre.≈ Narrative & Music ≈″The Fairy Queen″ does not include any of Shakespeare's text, instead short masques are presented in each act. These episodes - ranging from a comic sketch for a drunken poet and the fairies in Act I and a perfectly serene nocturnal scene in Act II to an extravagant pageant in a Chinese garden in Act V - are related to the play only on a symbolic level, but the music is enchantingly lovely, though without its parent work to provide the necessary context it dissolves into a series of disconnected scenes. The aria in question - the well-known Plaint - ideally reflects the peculiarities of its surroundings. One might assume from its gravely tragic tone that it is sung by a key character of the play but the piece is actually relegated to Laura, a generic nymph, who tearfully recalls a lost love just after the goddess Juno "appears in a heavenly chariot drawn by peacocks" and blesses the principal quartet of lovers in a jubilant Epithalamium {some versions of the libretto have Juno herself sing the aria}. Thus, the Plaint effectively has no true dramatic motivation {it was, in fact, added in 1693 to cover the change of scene between Juno's entrance and the Chinese episode} and presents a somewhat problematic dissonance of tone... And yet its musical perfection is undeniable. In the Plaint we encounter an unusually fluid structure which seemingly incorporates the traditional da capo design and a long recitative-like coda, though, perhaps, ″tripartite number″ is a better description. The A section develops over two tearful statements of the main haunting theme, the first - strikingly left unfinished {0:23}, the second - concluded with heart-wrenching sighing figures on the word ″forever″ {0:54}, as the nymph refuses to renounce her melancholic state. The orchestration - a simple continuo line and a long, seven-bar ground bass - initially seems transparent but immediately after the singer completes the first stanza, a solo oboe {in the original version - a solo violin} tearfully continues the line {0:36}. The aria, in fact, becomes an involved duet between the soprano and the oboe, where the obbligato continues {1:32, 5:02} or replicates {1:17, 2:47, 5:27} the vocal line, bringing unity to the fragmented statements of the nymph. The two phrases of the B section depict in effective word painting sequences the restlessness {1:47} and utter sorrow of Laura {2:26}. A warm major interlude for the oboe {2:03}, suggesting the happier memories the nymph still holds, only underlines the poignancy of the Plaint. The A section is repeated with the exclusion of the opening continuo measures {3:09}. The C section disrupts the flow of the ground bass, as the woman reflects that she will possibly never see her lover {4:36}, the word ″never″ becoming an idée fixe, as the final measures of the final measures of the aria overflow into a desolate recollection of the main theme {5:12}. ≈ Score ≈The complete score of the air can be easily found on IMSLP {P. 128-32}:http://javanese.imslp.info/files/imglnks/usimg/4/44/IMSLP154934-PMLP237007-Purcell_-_The_Fairy_Queen_VS_Sibley.1802.17365.pdf≈ Recording ≈The 1993 Virgin Classics recording with the London Classical Players under Roger Norrington is a full-bloodied, richly dramatic rendition of the score with a veritable highpoint being reached in the veristic account by Lorraine Hunt of the Plaint.Hope you'll enjoy =).
Hidden treasures ~ Ferdinand Hérold ~ Piano Concerto No. 3 in A major (1813) ~ ii. Andante LindoroRossini 2013-03-11 | ≈ History ≈{adapted from the Grove Dictionary & Booklet from the Presented Recording}Though the name of French composer Ferdinand Herold (1791-1833) would become particularly associated with opera comique {Marie (1826), Zampa (1831) and Le pré aux clercs (1832)} and early Romantic ballet {La somnambule (1827) and La fille mal gardée (1828)}, he actually began, as many before and after his time, as a pianist. His father, a much sought after instructor, taught his son to play the piano at a very young age, and by 1806 Herold entered the Paris Conservatoire where he studied piano with Louis Adam, winning the premier prix de piano in 1810 and publically performing one of his four piano concertos on April 6, 1812, at the Théâtre Italien. Herold won the Prix de Rome in the same year and began his stay in Italy where he composed his final works for piano, including the Concerto No. 3 in A minor, before finally forgoing his other pursuits for opera with the 1814-15 commission of La gioventù di Enrico quinto for the Teatro del Fondo.≈ Music ≈The first notion that Herold's piano concertos are in essence juvenile works from a composer of basically light-weight works is somewhat countered by their unassuming charm and enchanting freshness. One would have to go to great lengths to present these works as innovative masterpieces but they prefigure both Chopin and Mendelssohn in their appealing lyricism and recall a number of contemporary composers. Indeed, the presented excerpt - a gentle Andante romanza from Concerto No. 3 - is uncannily similar in its basic character and execution to a number of works, in particularly, the previously posted excerpt from Onslow's 1819 Violin Sonata {http://www.youtube.com/watch?v=AksJ1a64UfI}. Still, it is an enchanting essay in Italianate lyricism, hence my ultimate decision to upload it. The Romanza develops from a slightly elaborated ABA form and is preceded by a brief prelude for solo piano. From there on, one is immediately struck by the fact that the piece - a section of a full piano concerto with orchestra - is set in the manner of a chamber sonata for the piano and solo violin {I am yet to encounter a similarly conceived section in any Romantic piano concerto}. What's more, the piano states all the secondary material in the movement, while the violin actually enjoys a comparably prominent role. Most notably, the delicate main theme foreshadowing in its suspended cantabile the basic features of a Bellinian cavatina or a Chopinesque nocturne is exclusively presented by the violin supported by simple ostinato figures in the piano {0:35}. The melody is immediately repeated by the violin in a higher variant, while the bass line is given greater weight in a freely flowing elaboration {1:04}. The B section of the Romanza inverts this unusual juxtaposition, as the piano presents a graceful extended cavatina with all the traditional ornamental flourishes {1:44} over the drone of the violin {1:56}, as we find ourselves on more familiar ground. A modulation to minor is achieved on the concluding trill and a somewhat dissonant final cadence {3:01}, as the theme is once again stated, while the piano reverts to its supporting role {3:12}. An extended impassioned cadenza for the violin on the closing fermata brings the piece to a suitably melodramatic close {3:45}. It is only in the coda that the piano finally states, albeit briefly, the main theme {4:29}. All in all, a perfectly enchanting piece of melting lyricism.≈ Score ≈No sheet music for the presented movement is currently available online.≈ Recordings ≈ The 2011 Mirare recording from Jean-Frédéric Neuburger {piano} and the Sinfonia Varsovia under Hervé Niquet includes three out of Herold's four concertos, all played in handsome fashion. In the presented excerpt Maria Machowska {violin} is heard to great advantage.Hope you'll enjoy =).
Da capo ornaments ~ Georg Friedrich Handel ~ Giulio Cesare in Egitto (1724) ~ Cara speme LindoroRossini 2013-03-04 | ≈ History ≈{adapted from the Grove Dictionary}During the Baroque period reputations were made or lost on the ability of individuals to introduce decorations in their performances. One must note that markedly different idioms of decoration have developed by the 18th century in Italy, England and, most importantly, France/Germany where a select number of composers {e.g. Couperin and J.S. Bach} actually began writing their desired ornaments directly into the music. However, the prevailing fashion at the time seemed to be influenced by Italy, where it was generally felt that the music served as something of a blueprint, and could be constantly refreshed by improvised graces. Not only are ornament signs rare in Italian scores, but there is little comment on the subject in Italian treatises. Flautist Johann Quantz writes that "everything was left to the caprice of the performer", while writer Pier Francesco Tosi dismissed the tendency to indicate ornamentation as a "foreign infantile practice". "About 1620, a silence... settled on Italian ornamentation theory", - notes modern scholar Frederick Neumann.≈ Music ≈At this time the paragon of the noted paradigm in vocal terms - the da capo aria - gradually achieved supremacy. The basic gist of the form - a piece in ABA form to be elaborated on the repeat - seems clear, but the extent to which the ornamentation could be taken is debatable. The few rules that appear in contemporary literature are somewhat generic. "In the [repeat]... artful graces [must] be added by which the judicious may hear that the ability of the singer is greater", - notes Tosi, while also suggesting that there are possibilities for modest ornamentation in the initial statement of the A section and in the B section. German composer J.A. Hiller stresses that the same graces should not be used too close to one another or too often in succession. Quantz makes us consider each aria's character: "the plain air must be made more agreeable by... little essential graces, as the passion of the moment demands". It should be noted, however, that contemporary writers often take a wide view of ornamentation, embracing dynamic effects and types of articulation {e.g. staccato}. Some arias also provide opportunities for cadenzas just before the final cadence of the A section which could in practice be of inordinate length: "the throat is set a going, like a weather-cock in a whirlwind", - bemoans Tosi. The problem is that little practical advice as to what could be considered acceptable ornamentation is given by any other contemporary musical figure of Italianate opera, including the composer in question - Handel - who left just a few examples of decorated repeats, though Neumann concurs that "Handel in true Italian manner showed indifference to matters of detail by delegating most of the authority to the performer". It is with these basic notions that we approach Sesto's enchanting "Cara speme" from Handel's "Giulio Cesare" written for soprano Margherita Durastante, the composer's first important prima donna in Italy {title role in "Agrippina"} who followed him to London in the 1720s. Sesto's gentle hymn to hope attains perfectly understated simplicity, and its limited ornamentation is presented in three series of expressive figurations on the word "lusingar" to be sustained as unified lines. The aria is particularly difficult to ornament effectively, as the da capo demands a tender approach, and careless ornamentation could undermine its underlying sincerity. My main aim with this posting is to contrast the ornamentation used by modern performers over a period of almost 25 years to decorate this "plain air" and offer the listener an opportunity to independently consider what he or she would consider the most ideal solution. To this end I also offer my own general comments on the individual performances in the video annotations.≈ Score ≈The sheet music for the aria in question is readily available on IMSLP (P. 44-45):http://erato.uvt.nl/files/imglnks/usimg/2/24/IMSLP18997-PMLP35138-HG_Band_68.pdf≈ Recordings ≈ 0:08 ~ 1985 Warner Apex, Ann Murray (mezzo-soprano)Concentus Musicus Wien/Nikolaus Harnoncourt.2:24 ~ 1991 Harmonia Mundi, Marianne Rørholm (soprano)Concerto Köln/René Jacobs.4:16 ~ 1992 Harmonia Mundi, Lorraine Hunt (m-s)Philharmonia Baroque Orchestra/Nicholas McGegan.6:01 ~ 1995 Astrée, Eirian James (s)La Grande Ecurie/Jean-Claude Malgoire.7:32 ~ 1998 Virgin, David Daniels (countertenor)Orchestra of the Age of Enlightenment/Roger Norrington.9:14 ~ 2003 Archiv Production, Anne Sofie von Otter (m-s)Les Musiciens du Louvre/Mark Minkowski.11:08 ~ 2007 Archiv Production, Magdalena KoženáVenice Baroque Orchestra/Andrea Marcon.13:24 ~ 2010 MDG, Mary-Ellen Nesi (m-s)Orchestra of Patras/George Petrou.15:59 ~ 2012 Naïve, Emöke Baráth (s)Il Complesso Barocco/Alan Curtis.Hope you'll enjoy =).
Hidden treasures ~ Giacomo Puccini ~ Suor Angelica (1918) ~ Senza mamma, o bimbo LindoroRossini 2013-02-20 | ≈ History ≈{adapted from the Grove Dictionary & Naxos.com}Giacomo Puccini (1858-1924) prompted by the successes of Leoncavallo and Mascagni's highly realistic one-act operas had considered as early as 1904 producing a collection of similar works to be performed in a single evening. The composer did ultimately complete the project, but the resulting "Il trittico", first performed at the Metropolitan Opera on December 14, 1918, is only occasionally performed complete with the central "Suor Angelica" usually omitted. Journalist Forzano offered Puccini an outline of the opera in 1917, an original story which proved appealing to the composer {his older sister Igenia was Mother Superior of the convent at Vicepelago}.≈ Narrative ≈The opera, set in a convent in Siena, provides a tightly constructed retelling of the last hours of Sister Angelica (soprano), a woman who has taken the veil for bearing a child out of wedlock. After 7 years with no news from her family, Angelica is visited by the Princess (mezzo-soprano), her aunt, who wishes to secure Angelica's signature on some legal documents. Their tortured encounter concludes with the revelation that the young woman's child has died which shatters Angelica's fragile mind, and she poisons herself, hallucinating in her last moments that Virgin Mary appears before her.≈ Music ≈The primary interest in "Suor Angelica" lies in the ability of Puccini to sustain an atmosphere of an enclosed space. Still, the first four scenes are picturesque but unremarkable, while the effect of the climatic meeting between Angelica and her aunt rests on the poignancy of the text. However, the long finale, recalling gestures of a Romantic mad scene, is truly heartbreaking, the heroine's growing delirium captured with great vividness. A brief prelude depicts Angelica's wandering mind. The initial suspended sigh in the higher strings gives way to a haunting seven-note motive in the violas heard over the disparate sustained tones of the brass {0:27}. The theme progresses through the cor anglais, flute|viola, first violins|violas before finally resolving in a somber march {1:15}. The first section of the aria proper is a delicate yet desolate lullaby, as Angelica laments her loss over a rocking motive in the strings {1:57}. The second verse initially progresses in similar fashion. However, as the idea that her son died without his mother comes to Angelica, her shock is depicted in a crescendo-decrescendo sequence of blank phrases closely mirrored by the orchestra {3:03}. The aria then moves into a subdued hymn, as the young woman imagines her child as an angel over the light murmur of the horns|harp|violas|cellos and a freely flowing line for the first violins {3:26}. The more frantic Angelica's ravings become, the more vivid is this invocation of heaven, as the solo violin|clarinets|celesta are added {4:16}. A rhapsodic rise in the orchestra forces an uncertain falling line in the flute|bassoon|first violins|viola, as the notion of suicide first occurs to Angelica {4:36} who readily accepts it in an immediate appeal for death to come over a symphonic surge of the orchestra {4:48}. The final section of the aria recalls the funeral march of the prelude in the brass|percussion|harp|strings, as Angelica directly asks from her son for some sign {5:20}. The beauty of the aria only underlines just how deeply painful is the woman's delirium. The following recitative sees the nuns entering in hopes of providing comfort to Angelica who simply tells her companions that she is well, as she has received her "blessing". This is presented in a richly melodic, steadily growing in power hymn to Virgin Mary over full orchestra {6:44}. The underlying subtle moroseness of the episode is further underlined by the following frantic flight of the oboe|violins, as the night call is heard, and the sisters form a line to return to their cells {7:45}. The hymn is repeated with a simplified accompaniment, recalling the vision of heaven Angelica had earlier in the whole tones of the strings and gentle swaying of the harp with delicate details for solo instruments{8:01}. The solo violin supports the soprano's final accent to high C, bringing this sincere invocation of a grief-stricken heart to a serene close.≈ Score ≈The complete score of the work is readily available on IMSLP {P. 68/Bar 7-P. 81}:http://imslp.us/scores/Forzano_Giovacchino_1970/Puccini_-_Suor_Angelica_%28orch._score%29.pdf≈ Recordings ≈The 1999 EMI issue under the direction of Antonio Pappano is a fine modern account of "Il trittico" with the added blessing of a varied cast for all three works. In "Suor Angelica" the poignant performance of Cristina Gallardo-Domas is ideally understated, the London Voices and the Philharmonia Orchestra providing expert support.Hope you'll enjoy =).
Hidden treasures ~ André Grétry ~ Le caravane du Caire (1783) ~ Frà lorror della tempesta LindoroRossini 2013-02-10 | ≈ History ≈{adapted from the Grove Dictionary}The apex of French composer André-Ernest-Modeste Grétry's {1741-1813} long and successful career saw the Parisian production of "Richard, Coeur-de-lion" (1784) together with the success at the Opéra of "La caravane du Caire" (1783) - works which are often noted as the epitome of musician's innovations to the genre of opéra comique. The various temptations to create further large-scale entertainments for the Opéra led to further engagements which, however, proved the beginning of a gradual twilight for Grétry. Still, the composer's works remained in vogue well into the 19th century, while his role in establishing Italianate operatic elements in the musical landscape of 18th century France could not be denied. But then Grétry was one of the first French composers to have been blessed with a long formative period in Italy {1760-66}, and, indeed, seemed aware of the possibilities this formation allowed him. "Many [in France] have tried to write music in the Italian taste but have had no success, since the prosody of the language was incorrect... I believe I have overcome this problem", - wrote the composer as early as 1767. In this case, we will approach an excerpt from "La caravane" which certainly speaks in favor of Grétry's self-assessment.≈ Narrative ≈"Le caravane" basically operates as a traditional Orientalist rescue opera: the brave Saint-Phar (tenor) and his wife Zelime (soprano) have been captured by the slave-merchant Husca (bass). The young man manages to secure his freedom by protecting the caravan against a group of Arabs but Zelime is ultimately bought in Cairo by the Pasha (bass). Saint-Phar does, of course, attempt to steal his wife away during a grand feast, is captured and saved by the French commander Florestan (baritone) who turns out to be the fellow's father, precluding the possibility of any bad blood with the Pasha.≈ Music ≈While "Le caravane" is on the whole a work of rather characterful music for all parties involved, the coup de theater is achieved in the long virtuoso aria which is presented by the Italian slave girl. It is, in fact, a section of a grand divertissement which occurs in Act II, as the Pacha selects a new woman to add to his seraglio. The text derived from Metastasio is familiar enough territory - an invocation of a treacherous tempest which finally gives way to "a ray of hope" - but it forms the base of a brilliant showpiece recalling in some gestures {if not in dramatics} Mozart's "Martern aller Arten" written just a year before and wonderfully capitalizing on the past century's history of "storm arias". The aria is preceded by an extended prelude: after a dramatic ornamental sweep from the violins against the long tones of the oboe|brass {0:12} the solo flute proceeds through a richly decorated version of main thematic material {0:33} which is then taken up by the soprano in the aria proper {1:30}, the singer gradually moving from an initially imperious manner to the expected but delightful series of quadruplets and triplets {2:16} The orchestra actively supports the voice, frequently replicating, echoing and even prompting the lines of the soloist. Moreover, Grétry provides light touches of textual painting, such as the descending duplets {1:38} or the brisk surges {2:04} in the violins on the word "storm" or the enchanting exchanges between flute|violins above the soprano's musings on the "ray of hope" {1:48}. The brief B section moves into minor, as the soprano, against the descending lines of the oboe|alt|bass and the descending figures in the violins, once again recalls "the terrors of the tempest" {3:14}. A cadenza for the flute {3:37} returns us to a recapitulation of the A section. Initially, the da capo replicates the earlier material but a different transition is used {4:16} to set up the second, even longer and more extravagant series of coloratura passages ending with an impressive flourish covering practically the soprano's entire range {4:48}. A final daring ornamental flight {5:52} is followed by a traditional coda setting up the possibility of an unaccompanied cadenza for the soloist fully realized in the present case {6:24}. All these light touches turn what could have been basic coloratura fair into a wonderfully animated concentrato for solo voice.≈ Score ≈The complete score of the work is readily available on IMSLP {P. 128-145}:http://petrucci.mus.auth.gr/imglnks/usimg/c/ca/IMSLP234040-PMLP107802-lacaravaneducair00grtr.pdf≈ Recordings ≈The 1991 RICERCAR recording under Minkowski is an effective rendition of the entire work, however, the selected aria receives a markedly brighter performance in label's 2003 survey of Grétry's four works featuring Les Agrémens under Guy van Waas. Most importantly, the soloist - soprano Sophie Karthauser - offers a perfectly warm, fresh-voiced account of the aria.Hope you'll enjoy =).
Adolphe Adam ~ Giselle, La jolie fille de Gand & La filleule des fées (1841-49) ~ Highlights LindoroRossini 2013-01-23 | ≈ History ≈{adapted from the Grove Dictionary & Balletmet.org}In 1841 a young Italian ballerina fresh from a successful European tour - Carlotta Grisi - was to make her belated debut at the Paris Opera in a full length ballet in pair with the celebrated Lucien Petipa -"La jolie fille de Gand" {libretto by Jules-Henri Vernoy, choreography by Coralli and music by Adam}. In the midst of the preparations for this production writer Théophile Gautier proposed to Vernoy another scenario - "Giselle" derived from Heinrich Heine's "De l'Allemagne" - which impressed the Opera so much that all work on "La fille" was halted. The libretto was set by Adam in just three weeks, while 2 months were allotted to rehearsals. Dancer Jules Perrot {Grisi's husband} unofficially choreographed his wife's entire part. The premiere on June 28, 1841, was a success on all levels. The neglected "La fille" would be revived just a year later, on June 22, 1842, with much of the same creative team {exception: the choreographer Ferdinand-Albert Decombé} to a similarly enthusiastic reception. Finally, "La filleule des fees" marked Grisi's last appearances in Paris with Perrot actively participating in the creation of the spectacle as librettist and full choreographer. The premiere on October 8, 1849, was yet another success for all, notably the five people who worked on all three ballets: Grisi, Petipa, Perrot, Vernoy and, naturally, Adam.≈ Narratives ≈The story of "Giselle" possesses obvious strengths, as it immediately establishes a believable relationship between the lovers, while their conflict develops effectively in two extended tableaux. On the other hand, "La jolie fille" is a forced moral tale which calls for rapid changes of scenery: Beatrix is betrothed to Benedict but during a fair finds herself drawn to a Marquise with whom she arranges to elope on the morning of her wedding; this is prevented by an elaborate two-act dream where Beatrix imagines herself as the Marquise's mistress with disguises, a murder and an apparent suicide of the heroine rapidly ensuing. "La filleuele" is built around a scenario similar to "Giselle" but utterly lacking in its poignancy: Ysaure is endowed with great beauty from birth by her fairy godmothers which is turned against her on her 15th birthday (just as she has fallen in love with a Prince) after the villainous Black Fairy makes it so that any man who looks at the girl will go out of his mind; however, after a series of torments everything is resolved peacefully.≈ Music ≈Ballet remains an art where the choreography is just as or even more pivotal than the music. "[Only] once the plan of the piece and the dances were arranged, the musician was called in", - remarked critic Duvernoy in 1903 on the practices of 19th century. Still, this trend does not preclude ballet music to take flight on its own merits, and Adam quite possibly has the distinction of having composed the first ballet where the material was both beautifully crafted and completely linked to the drama. The music for all three works is obviously written with affection and infused with gentle charm. However, the popular appeal of "Giselle" becomes all the more apparent in light of Adam's other works. One does notice a variance in inspiration between the scenic music and the large-scale showpieces but the strengths of the latter - in particular, an evergreen pastoral duet with a naïve but deeply heartfelt "daisy" leitmotiv {11:10}, a perfectly serene entrance for Myrtha who almost upstages the heroine {23:03}, a richly melancholic moment for Albrecht {6:20} and an excellent extended for the Willis {17:08} - lend the whole work a drive unequaled in the other pieces. By contrast, "La filleule" is shockingly devoid of comparable suspended moments with the villagers' music attaining greater energy than any of the heroine's numbers, and I would not hesitate in incorporating some of the rustic numbers, such as the energetic opening dance {9:17}, into the former work. "La jolie fille" is, perhaps, best described as a dancer's ballet. A wonderfully elegant work, it boasts two fine extended scenes for the entire company in a perfectly charming rustic fair and a lovely Venetian ball with the former being of both greater variety and musical interest. Here we find both a charming promenade pas de deux for the lovers {4:40} and a swaggering entrance march {0:22}.≈ Scores ≈Only the sheet music for "Giselle" is readily available on IMSLP. Thus, all the tempo and cast markings for the accompanying works were added ad libitum:≈ Recordings ≈The 1987 Decca set of "Giselle" with the ROH orchestra under Richard Bonynge is self-recommending, while the remaining two works have been given premiere recording in 2000 and 2002 by the Marco Polo label with Andrew Mogrelia and the Queensland Symphony Orchestra producing issues just as an enjoyable as their esteemed colleagues.Hope you'll enjoy =).
Simple pleasures ~ Pyotr Tchaikovsky ~ Festival Overture 1812 (1880) ~ Finale (Vladimir Ashkenazy) LindoroRossini 2013-01-06 | ≈ History ≈{adapted from Allmusic.com& Tchaikovsky-Research.net}The commission for Tchaikovsky to write a Festival Overture for one of the main events of 1881 - the 25th anniversary of the coronation of Alexander II, the 1881 Moscow Arts and Industry Exhibition or the completion of the Cathedral of Christ the Savior in commemoration of the Patriotic War of 1812 - was laid out in several letter exchanges dating from 1880 between the composer, his music publisher Jurgenson and their friend Nikolai Rubinstein who had been named the Head of the Musical Department for the Exhibition that May. Neither of Tchaikovsky's correspondents was exigent about the character, form {indeed, Rubenstein mentions only the duration - 15-25 minutes} or, indeed, the occasion of the piece's premiere. The composer began work on the project on October 12, 1880, finishing it six weeks later. It is obvious from the correspondence that he was not enthusiastic about the piece {"There is nothing more antipathetic to me than composing for the sake of festivities"} and treated the composition as a friendly favor. In his manuscript Tchaikovsky singled out the opening of the Cathedral as his choice venue. However, with the assassination of Alexander II precluding any celebratory events in 1881, the Overture ultimately premiered on August 8, 1882, at the belated Exhibition with conventional orchestration {it seems Tchaikovsky never heard it performed in his original arrangement}. Still, the piece proved so popular that the composer would frequently include the Overture as an encore in concerts.≈ Music ≈The 1812 Overture is a populist piece with all the resulting graces and vices {i.e. absolute pomp taking precedence over artistic sensibilities in the Overture}. On the whole, I find it to be a work of rather wavering inspiration {neither can it be taken, in my opinion, as a viable depiction of the 1812 war}: a promising prelude - a subdued intonation of "God, protect thy people" - leads into a rather four-square depiction of the battles, neither terrifying nor truly exhilarating, despite the frequent quotations of the Marseillaise to represent Napoleon's forces {the realization that the hymn was not the national anthem of France at the time of the Patriotic War further depreciates the section's value}. A tame andante passage for the strings derived from the opera "Voyevoda" is, in turn, followed with a lovely rendition by the flute|cor d'anglais of the forlorn folksong "By the gates". These three main sections are then repeated in abridged form without any true dramatic motivation. I ultimately chose to focus on the brilliant coda to the Overture, as the finale is truly the moment where Tchaikovsky attains tangible energetic drive. We actually begin with the preceding tempo di mezzo: snippets of the folksong, appearing in the string section (0:11), and the French hymn, first intoned by the horns (0:08), are continuously alternated in a well-handled crescendo reaching its peak in a grand rendition of La Marseillaise by the cornets|trumpets which, however, breaks away with the first sounds of cannon fire (0:42). A prolonged series of rather mechanical descending quadruplets follows, seemingly a representation of the French retreat (0:55), leading directly into a grand, long-breathed intonation of "God, protect thy people" by the entire orchestra reinforced by a brass band and, ideally, church bells (1:38) {in practice carillons frequently act as a substitute to the bells}, the hymn's phrases alternating with parabolic figures in the winds/strings (1:49), as a veritable coup of extreme grandeur is achieved! A wonderful contrast comes in the following delightful march, echoing the horn call that opened the main section of the overture (2:59) and sensationally incorporating "God, save the Tsar" in the brass (3:09) {historical accuracy - the hymn became Russia's anthem in 1833 - has gone completely out of the window but, honestly, does one care with so much excitement?}, and the final explosive coda (3:31). While Tchaikovsky's score does not call for a chorus, its inclusion to intone the Russian melodies seems to me a perfectly sound artistic touch {indeed, by now I cannot imagine it being successfully performed any other way}. In the end, the 1812 Overture is akin, as it were, to a good blockbuster to be enjoyed for what it is, though not a deeply affecting work.≈ Score ≈The sheet music for the Overture is readily available on IMSLP(we start at P. 44|Bar 307 in the Brett Langston edition):http://imslp.org/wiki/1812_Overture,_Op.49_%28Tchaikovsky,_Pyotr%29≈ Recording ≈I ultimately went for the 1998 Decca recording by the St. Petersburg Philharmonic Orchestra, Leningrad Military Orchestra and the St. Petersburg Chamber Choir all led by Vladimir Ashkenazy in a thrilling and, perhaps, the most historically accurate account of the 1812 Overture.Hope you'll enjoy =).
Hidden treasures ~ Zygmunt Noskowski ~ Variations in E minor for Orchestra (before 1883) LindoroRossini 2012-12-20 | ≈ History ≈{adapted from Grove Dictionary &the Booklet Essay from the 2009 recording}We've already encountered the 19th century musical landscape of Poland in the figure of Stanisław Moniuszko who was, in fact, one of the teachers of the composer currently in question - Zygmunt Noskowski (1846-1909), nowadays seemingly renowned more for having taught a whole generation of Polish composers {i.e. Szymanowski} than for his personal achievements in the field. Noskowski's story is, indeed, briefly told. Trained at the Warsaw Music Institute (1864-67) and in Berlin (1872-75), he progressively moved through a number of key posts: director of the Bodan Singing Society & Music School (1875-80), director of the Warsaw Music Society (1881-1902), professor of composition at the Music Institute (from 1888 onwards), director and conductor of the Warsaw PO (1905-08) and a musical critic throughout his life. Thus, a man of national importance and great social standing, if not universal renown, is revealed..≈ Music ≈There is a very fine line between what one could consider inspired and simply pleasant music. Where one actually draws it is a matter of experience and preference. I would suggest, with some reservations, that Noskowski's writing chiefly falls into the latter category. We are enchanted in the best cases - certainly the well-wrought Symphony No. 2 in C minor is a finely shaped piece - but rarely amazed. Yet the composer's masterly handling of the material and orchestration is never in question, and the piece in question encapsulates Noskowski's idiom perfectly. The present set of variations would be a perfect encore in a formal concert, as it gives prominence in turn to the strings|winds|brass. The memorable main theme - an original tune in the manner of a polonaise by Noskowski - possesses an attractive naturalness of a proper folk song and serves as a fine foundation for the succeeding movements. The first two variations alternatively present a delicate series of ornamental lines for the wind section with gentle fugal suggestions (0:56, 1:27) and a veritable snow breeze in the lower strings which counterpoints a simplified exchange of the theme's sections between the oboe|flute (1:42). A break from the prevailing languid atmosphere is made in the marital third variation which introduces the brass section in a brief but winning march (2:31) which is followed by a typically sprightly scherzo liberally decorated by trills from the winds (3:07). An animated pastoral andante recalling Dvorak is subsequently established with graceful sustained lines in the violins and light clarinet|flute phrases in the development section (3:45). All this is undoubtedly charming but somewhat familiar from similar pieces by contemporary composers. The welcome novelty is achieved in the finale which effectively works as an extended double variation: the movement opens with a sustained adagio in the lower strings with a piano beat in the drums (4:57) which is then intensified as a brisk crescendo moves us into Sturm und Drang territory, as a veritable storm breaks in the entire orchestra with elaborate descending lines for the strings, while the main theme blazes in the brass (5:30). A similarly conceived fugal coda brings the piece to a brilliant closing.≈ Score ≈Sadly, no score of the present piece can be accessed at the moment online.≈ Recording ≈The 2009 Sterling recording of selected orchestral works by Noskowski {Volume 2, to be exact} features the Polish Radio Symphony Orchestra under the direction of Lukasz Borowicz in an idiomatic rendition of the presented material.Hope you'll enjoy =).
Simple pleasures ~ Georges Bizet ~ Jeux denfants (1871) ~ ii. Berceuse LindoroRossini 2012-11-10 | ≈ History ≈{adapted from Grove Dictionary, All Music Guide& Julia Severus' Booklet Essay from the Naxos setof Complete Music for Solo Piano by Bizet}Considering the inevitable connection our mind forms between Bizet and opera (a genre in which, ironically, he did not receive much popular acclaim during his lifetime), it is curious to learn that he initially developed as a respected pianist. Enrolled at the Conservatoire at the age of 9, Bizet rapidly established himself: starting in Marmontel's piano class in 1848, he won Premier Prix for solfège within six months of his arrival, Second Prix for piano in 1851 and Premier Prix in 1852. It is said that Liszt later declared Bizet to be the equal as a pianist of himself. And yet the young composer did not wish to pursue the career of a pianist: "I play the piano very well and live on it very poorly... I find the profession of a pianist odious". Bizet's small corpus of works for piano {1} is reflective of both his talent and his lack of desire to live of it, and only a single piece - the evergreen suite for four hands "Jeux d'enfants" - has garnered a place in somewhat regular repertoire. The original set of 12 pieces was composed in 1871, and 5 of the movements were orchestrated by Bizet the same year for orchestra (under the title "Petite Suite").{1: In fact, the number of his transcriptions of musicby other composers (about 200 pieces) is about 10 times larger.}.≈ Music ≈The Suite in either of its versions is governed by irresistible charm which is so compelling that it is difficult not to be won over by its appeal. The miniatures are, for the most part, extremely accessible both from an artistic and technical point of view, making them an ideal piece to begin for amateur musicians. The orchestral version of the several excerpts reveals, once again, the skills of Bizet as an orchestrator. In this case we approach the second movement of the "Petit Suite" - "The Doll" or "Berceuse", a particularly enchanting lullaby suggesting the image of a little girl rocking her toys to sleep. The seeming brevity of the piece and its simple construction (AAA') belies its exquisite nature. Throughout the Berceuse the cellos state a perpetual sequence of varied triplet figurations which forms a delicate rocking accompaniment to a most tender melody initially introduced by the first strings (0:11), soon joined by the second violins, while three horns separately state sustained lines (0:30). After a collective chord from the orchestra, the main theme is completely repeated in a different arrangement, the melody gradually developed by the clarinet, flute|violas, oboe|bassoon, violins|violas which pass lines between one another (0:50-1:27). Another chord leads to the final section, an abbreviated repeat of the main theme, with the principal melody (echoed by the viola/oboe and violas|cellos) appearing to fade away amongst audible yawning figures in the clarinet and violins (1:29). A rise from the flute brings the piece to a serene close (1:54). A perfect lullaby.≈ Score ≈The set of sheet music for the piece can be found on IMSLP (P. 23-29):http://erato.uvt.nl/files/imglnks/usimg/7/72/IMSLP64284-PMLP06475-Bizet_Jeux_d_Enfants_Suite_ReprMH.pdf≈ Recording ≈The excerpt in question comes from the Brilliant Classics Complete Set of Orchestral Works by Bizet and is expertly played by the Orquestra Filarmonica de Mexico under the direction of Enrique Batiz.Hope you'll enjoy =).
Simple pleasures ~ Ermanno Wolf-Ferrari ~ Concertino in F major for Bassoon (1932) ~ ii. Presto LindoroRossini 2012-11-07 | ≈ History ≈{based on materials fromthe Grove Dictionary & Rovi}In a twist of irony, Italian operatic composer Ermanno Wolf-Ferrari (1876-1948) achieved great renown in Germany and spent most of his life traveling between his two homelands {1}. Showing talent in both music and art at a young age, he originally studied at the Roman Accademia di Belle Arti. However, after moving to Munich in 1892 he entered the Tonkunst Academy to pursue a musical education. Despite attempts to establish himself in his country, Wolf-Ferrari experienced his first success in Bremen in 1900-03 with a revised version of his "Cenerentola" (a failure in Venice in its original form). Several successful comedies written for Germany - "Le donne curiose" (1903), "I quattro rusteghi" (1906), "Il segreto di Susanna" (1909) and "L'amore medico" (1913) - followed, the 1911 drama "I gioielli della Madonna" reflecting his to approach to veristic opera. Parallel to his theatric endeavors, Wolf-Ferrari served in 1903-09 as Director of the Liceo Musicale in Venice and by 1939 taught composition at the Salzburg Mozarteum. While he composed during and in between the World Wars, few of his works were as popular as the noted comedies, and today he has fallen into obscurity.{1}: He was, in fact, born Hermann Friedrich Wolf.His father was German, his mother - Italian}.≈ Music ≈It is, perhaps, inevitable that one would find some joy from Wolf-Ferrari's elegant style which, as is the case of Dyson, is overtly neoromantic in character. However, if in the case of the latter we are reminded of Elgar and Saint-Saens, in the case of the former we are thrust back a bit further - to Mendelssohn and Weber. In the best examples - the finely ardent Intermezzo of the Suite derived from "I gioielli della Madonna" or the exquisite Overture for "Il segreto di Susanna" - Wolf-Ferrari boasts a wonderfully appealing Italianate musical language aided by clear, endearing orchestration without any great surprises. There is, in fact, an overarching notion of familiarity, as though one had encountered the composer's motives in some other guise. Thus, if one wishes to find novelty or dramatics, Wolf-Ferrari is, perhaps, not the ideal starting place. What he does offer is a warm retrospective of the early Romantic era. The piece in question - an excerpt from the Suite-Concertino - is a case in point. While the work includes an involving opening Fantasia, I ultimately decided to go for the highly enjoyable Scherzo which constitutes the second movement of the work. Considering my propensity to analyze, I find little to note, other than the fact that this is, to put it simply, a piece of "simple pleasure". It is fairly traditional in construction and execution, developing in the expected way as a display piece, albeit a particularly effective one, the bassoon - mainly engaging in a series of good-natured showy runs over a simple string bass line (0:16), the orchestra at times stating the infectious main theme (0:30) or providing sustained lines for a brief melancholic moment from the soloist (1:08). All in all, the scherzo attains the same madcap brilliance that one encounters in Paganini's "La campanella". Simply put, this is the perfect music to brighten one's occasional darker mood, if not enlightenment. Once again - simple pleasures.≈ Score ≈No set of sheet music for the presented piece can be found online at this time.≈ Recording ≈The Suite is the centerpiece 2009 Chandos catalogue of Wolf-Ferrari's selected orchestral works (mostly derived from his operatic pieces) which boasts expert playing from Karen Geoghegan (Bassoon) and the BBC Philharmonic under Gianandrea Noseda.Hope you'll enjoy =).
Hidden treasures ~ Sir George Dyson ~ Violin Concerto (1941) ~ i. Molto moderato {Excerpt} LindoroRossini 2012-10-30 | ≈ History ≈{adapted from articles available fromthe Grove Dictionary & All Music Guide}The story of George Dyson (1883-1964) shows us a person whose life seems to have been mainly spent in studying and teaching music rather than actually writing it. A swift and sure progress through academic ranks, made even more remarkable considering Dyson's working class beginnings, is immediately evident: open scholar at the RCM in 1900 - Mendelssohn Scholarship in 1904 (1) - Oxford MusDoc in 1918 - Professor at the RCM in 1921 - Professor at Wellington College in 1921 - Director of the RCM by 1938 - Knight by 1942. His influential "The New Music" was published in 1924. However, his actual musical output is rather small, seemingly the product of limited spare time. Ostensibly, Dyson's choral pieces are his most important works, among them the once popular "Canterbury Pilgrims" (1931), "St Paul's Voyage to Melita" (1933) and "Nebuchadnezzar" (1935). However, in this case we approach an orchestral work - his 1941 Violin Concerto, originally championed by the violinist Albert Sammons and premiered by the latter on February 16, 1942.{(1): A stint in the army and work at theAir Ministry occupied his World War I years}.{ - | - | - }≈ Music ≈Even in light of Samuel Barber's relatively traditionalist musical values, Dyson's orchestral works are almost alarmingly Late Romantic in style, at times creating the impression that we are hearing a contemporary of Elgar. A quote from "The New Music" reveals this conservatism to be a natural part of Dyson's character: "I cannot find a logical definition of atonality" (2). The piece in question can, then, be seen as an heir to the great Romantic Violin Concerto with all the corresponding delights and faults. Dyson's problematic opening Molto moderato, highlighted in this upload, is a case in point. At 20 minutes - almost half of the Concerto - it is a sprawling prelude the central 12 minutes of which are occupied with the usual virtuoso rhapsodic flights of fancy without any clear motivation (3). This unexceptional main tableau is, however, framed by a prelude and a postlude - an elaborated reprise of the prelude - which, in spite of their slightly too direct musical language, are moments of disarming beauty. In this case, the postlude is presented. The first section features a traditional but strikingly evocative image suggesting a passing sea storm with literal wave-likes lines in the winds, the clarinets (0:10) and horns (0:18) forming a hushed dialogue over a faint murmur in the lower strings. The principal elaboration from the prelude is the inclusion of a series of glowing suspensions for the solo violin which originally made its appearance only in the second section. Its sustained high lines provide a gentle clarity amongst the overall gloom (0:18). Gradually, the orchestration is simplified and fades away (1:08-1:38). Ultimately, the violin recalls the first few notes of its entrance solo (1:43) and suddenly brings a full stop to the tempest (1:51), as we are left with a hushed, generously warm yet faintly impassioned violin theme over a simple bass line (1:52) - a seeming antithesis of the preceding symphonic moment. Both sections are bound to be compared to similarly conceived passages by other composers, yet this notion does not detract from the power of Dyson's musical achievement.{(2): His choral works, including the celebrated but,in my opinion, rather long-winded "Pilgrims",adopt a less overtly rigid harmonic language}.{(3): Seemingly, the kind of "failures in inspiration"which Dyson deplores in "The New Music"}.≈ Recording ≈The 1995 Chandos recording with Lydia Mordkovitch (Solo Violin) and the City of London Sinfonia under Richard Hickox couples the Concerto with a delightful Children's Suite and is self-recommending by virtue of its high quality.Hope you'll enjoy =).
Wolfgang Amadeus Mozart ~ The complete symphonies (1764-1788) ~ Selected highlights LindoroRossini 2012-10-15 | ≈ History ≈~ adapted from articles available inthe Grove Dictionary, All Music Guide & Rovi ~Mozart's large corpus of symphonic works is revealing from a biographical point of view. Firstly, the greater part of his opuses in the form - from 30 to 60 pieces in different catalogues - are youthful works, written at a period dominated by the several European tours that occupied the composer's formative years (roughly 1761-1780). Secondly, a childhood which had brought great success to Mozart as an infant prodigy was followed by a somewhat tumultuous adulthood, spent in constant search for economic stability. Thus, the few symphonies he actually wrote during the 1780s - only 6 works - seem to have been of lesser importance to Mozart than his efforts in chamber and operatic music - the surest opportunities to broad international recognition and critical success in a time when the symphony was still a relatively new form, more academic than popular. Mozart's approach to the form was seemingly of more practical interest: the final three Great Symphonies were written in Vienna during the summer of 1788 when he found himself in financial difficulty and correspondence from the period reveals his preoccupation with obtaining concrete rewards from the project.≈ Authenticity ≈The number of symphonies Mozart actually wrote is quite difficult to properly evaluate, primarily due to the lax practices of the 18th century. Even in the sequence of 41 formally numbered works we find pieces by others composers (No. 2, 3 & 37**). Moreover, there are about 20 unnumbered symphonies which have been identified as Mozart's. Finally, the origins of a large selection of works (about 39 pieces) remain dubious. This leaves us with a number of unresolved issues even without considering the music's quality...** Actually Michael Haydn's No. 25.≈ Music ≈Mozart's earliest symphonic works - mostly built around a tripartite structure - are of interest simply by virtue of the fact that they were written by someone able to compose at the age of 9 such small delights as a charming, if comparatively unremarkable Andante (9:46). This roughly translates to the notion that when approaching Mozart's symphonies chronologically one should not immediately expect to hear something more than lovely ideas in unassuming orchestration. These pieces of comparative juvenilia allow us to appreciate so much more the gradual growth of the composer, yet the operative word is still "gradual" as the suggestion that there is a certain line which divides the "early" and "late" symphonies (this honor is usually bestowed on the No. 25, the "Little G minor") is idealistic. Structurally speaking, from 1768 Mozart begins to work with the common four-movement pattern, though reverting at times to the tripartite structure, as late as the "Prague" (1786). In all honesty, not all the music is of the same standard, and workmanship, rather than inspiration, is often discernible. And yet numerous treasures of great value can be found ever so frequently among the pieces: the energetic opening Allegro of No. 9 which features irresistible violin triplet figurations before the coda (0:52); the gratifying doubling of oboe/first violins in the "Old Lambach" (3:59); the elegant string figurations in the Andante of No. 16 (4:16); the dizzying parabolic figures in the violins, excellent dynamic lighting and bright colorful wind phrases of the finale in No. 34 (5:01); the gentle rustic dance with brief modulations in No. 27 (12:26); the supposed traditional bird call suddenly transforming into an impassioned violin cantabile in the "Haffner" (15:03). Finally, there are the so called Late Symphonies - No. 38-41 - which are notable for their expansiveness, well-judged balance of orchestral forces and heightened grandeur. These feature exceptional movements: the continuous brilliance of the interplay between the winds/strings achieved in the opening Allegro of the "Prague" (8:03) and the perfectly balanced Andante which succeeds it - the greatest slow movement in Mozart's symphonic works (17:31); the spirited Allegro of No. 39 which bombards the listener with crescendo effects, instrumental echoes and a great sense of general merriment (16:00); the instantly memorable main theme of the familiar No. 40 (10:39); and, finally, the great contractual passages of "Jupiter" with its ingenious fugato rendition of the main motives from the symphony before the final coda (18:55). ≈ Additional material ≈All information about the symphonies,as well as links to the scores at theNeue Mozart-Ausgabe and IMSLP,can be found on Wikipedia ~http://en.wikipedia.org/wiki/List_of_symphonies_by_Wolfgang_Amadeus_Mozart≈ Recording ≈The 1993-1995 Archiv Produktion Box Set of 48 symphonies is a most elegant account by the English Concert under Trevor Pinnock.Hope you'll enjoy =).
Maurice Ravel ~ Pavane pour une infante défunte (1899 & 1910) ~ Arrangement of the Two Versions LindoroRossini 2012-09-29 | ≈ History ≈~ Based on materials derived fromGrove Dictionary, Rovi & BBC ~The Pavane was originally written by Ravel with a dedication to his patron, the Princesse de Polignac, in 1899 when he was studying at the Conservatoire de Paris under Fauré. It was published in 1900 but attracted little attention until the Spanish pianist Ricardo Viñes (1) performed the piece on April 5, 1902. The work soon became well-known and popular enough for Ravel to produce an orchestral arrangement in 1910 which premiered on February 27, 1911, in Manchester. A common quote circulates in which the composer coyly remarks that the rather macabre title - "To a deceased princess" - "has nothing to do with the composition. I simply liked the sound of those words", along with his consent that the Pavane should be interpreted as "an evocation of a dance that a little princess might, in former times, have danced at the Spanish court".(1): Viñes also premiered "Menuet antique", "Jeux d'eau","Miroirs" and "Gaspard de la nuit", all by Ravel.≈ Music ≈Ravel later developed a rather poor opinion of the piece, even writing in 1912: "I perceive its faults very clearly -- the glaring influence of Chabrier and the rather poor form". The latter comment is directed at the fairly conservative ABACA rondo form of the Pavane which is followed to a hilt and without any structural variations. However, apart from the somewhat muddled, in my opinion, final measures of the 1899 version, the Pavane does not deserve any criticism in either of its forms. In the present case, I attempted a synthesis of the 1899 and 1910 versions my task happily being aided by the close tempos followed by the highlighted renditions. Thus, there are several transitions between the original and the arrangement, hopefully, done as seamlessly as possible. I must also admit to having a preference for the orchestral version which, is very much the key player here, for I find it to be of richer dimensions by virtue of its evocative orchestration, though I do include several markings which appear solely in the 1899 version. In both cases, the Pavane's principal melody (A section), an enchanting and, at the same time, faintly tearful lament consisting of two extended ornamental phrases which, in the 1910 version, are initially relegated to two horns supported by a steady eight note pulse in the lower strings with a brief echo of the second part of the theme in the first violins (0:50), immediately imprints itself in one's mind (0:12-1:16). A sustained melancholy is present throughout which only adds to the striking beauty of the work. The contrasting B section, a graceful sequence of mirroring turns over a pizzicato accompaniment, in the arrangement is enriched by the complementary use of contrasting renditions of the same passage first by the winds (oboes/bassoons over clarinets (1:20)) and then by the strings (first violins/cellos over second violins/altos (absent here)), the final measures intoned by the entire orchestra (2:30). The repeat of the A section is naturally embellished, in the 1910 arrangement -- completely transformed by the relegation of the theme to the flutes/oboes (the second phrase -- flutes/clarinets (3:21)), the accompaniment -- to the lower strings (simplified for the second part), while the bassoons/first violins initially engage in a caressing bass line (2:41). The C section (3:55) features a stunning suspension of time, as it where, elegantly juxtaposing exposed lines for flutes/harp (4:42), horn (4:50), clarinets (5:02) over a wave-like motion in the strings, ultimately taken up by the entire orchestra (5:10). The final repeat of the A section, in a slightly predictable gesture, initially relegates the theme to the flutes (strikingly replaced by the clarinets for the second part of the first phrase)/violins, the eight note motive -- to the harps (5:38), though for the second section a wonderful combination of horns/first violins/altos and flutes/clarinets, respectively, is adopted (absent here). As previously stated, the original finish, incorporating a gradual piano crescendo, is not wholly satisfactory after the lyrical beauty that precedes it. Thankfully, the orchestral revision allows for a softer, though more conventional closing (6:50). Even though the name of the piece does seem to have been more a play on words, the ethereal character of the Pavane is a perfect reflection of its suggested title.≈ Score ≈The sets of sheet music for both the originaland the orchestrated versions of the Pavanecan be found on IMSLP ~http://imslp.org/wiki/Pavane_pour_une_infante_d%C3%A9funte_%28Ravel,_Maurice%29≈ Recording ≈The 2001 Hyperion recording of the original version and the 1985 Deutsche Grammophon are highlighted with wonderfully pensive renditions of the Pavane by Angela Hewitt and Berliner Philharmoniker under Herbert von Karajan.Hope you'll enjoy =).
Musical pilgrimage ~ Giuseppe Verdi ~ From Oberto to Stiffelio (1839-1850) ~ Highlights (2/3) LindoroRossini 2012-09-16 | ≈ History ≈Information adapted from Grove Dictionary, Verdi Conspectus by Robert Farr (available on MusicWeb) & Booklet NotesBy the 1850s Giuseppe Verdi had arguably become the most famous and frequently performed Italian opera composer in Europe having wrested the former title from Rossini, the latter - from Donizetti. The path to this great renown was, however, thorny, to put it lightly. Verdi's initially uneventful provincial existence was quickly replaced with one of intense creative activity after the warmer-than-expected reception of "Oberto" in 1839 which led to 3 further commissions for La Scala. After the great triumph of the 1842 "Nabucco", Verdi's schedule became virtually unremitting. In the 11 years up to March 1853 which marked the first performance of "La traviata" 16 operas were written - 1 work every nine months (1). Although this rate of composition seems minimal by the standards of Donizetti (2), the younger composer's constant participation in the actual process of producing his works (including extensive tampering with libretti) ensured additional need for negotiations with theatres and librettists. The years 1844-7 were particularly arduous with the composer's health breaking down frequently (3).(1): In his remaining lifetime - more than 40 years- just 11 new operatic works were produced.(2): 70 operas in 25 years or about twice the workload of Verdi.(3): Verdi would later entitle this period his "galley years".≈ Narratives ≈Verdi remarkably worked almost exclusively with just three librettists during the galley years: Solera who supplied the first libretti, Cammarano (who would go on to create "Il trovatore") and Piave (the most important collaborator who continuously worked with the composer from "Ernani" to "La forza del destino"). It is often noted that Verdi's detailed instructions on how to set the librettos were an important factor in the actual shaping of the narratives. Still, the texts are of extremely variable quality, ranging from the strikingly veristic tale of "Stiffelio" through to the melodramatic but effective "Ernani" finally arriving to the crudely sketched "I masnadieri".≈ Music ≈The presented "youthful" opuses can be seen as fairly conservative belcanto operas which follow and gradually elaborate on the general style of Donizetti and Bellini with varying degrees of success. In particular, "Nabucco" and "Ernani" -- all guided through the same predetermined structure of double arias and sustained ensembles -- are powerful cases of just how well the Romantic idioms can work and constitute, for me personally, the highpoints of the period. Mercadante's possible influence is most notable in the gradual elaboration of established forms, as in the strikingly unconventional and innovative "Macbeth" which is strictly tailored to the needs of the drama from which it is derived, while in the final act of "Stiffelio" - the penultimate duet for the husband and wife, in particular - one senses the advent of an earnest musical dramatist. While Verdi's own personal touches are not as apparent as they would later become, the basic merits of the music seem clear: melodic broadness and robustness (as opposed to the decorative writing of Rossini) allied to a constant energetic pulse that is sustained throughout closed pieces; frequently lean accompaniments (a rare exception -- the handsome wind writing in Giselda's first prayer from "I Lombardi"); primary attention given to dramatic effectiveness over sheer musical beauty. Considering all this and our knowledge of the Verdi's future great works, evaluating the remaining 12 works becomes problematic, as they seem lacking as compared to the composer's better pieces. In particular, "Alzira", "Il corsaro" and "I masnadieri" seem unexceptional. However, even amongst the lesser music one can find little treasures, such as the lovely cello prelude for "I Masnadieri".≈ Recordings ≈I due Foscari ≈ 1977 Philips: Francesco Foscari ~ Piero Cappuccilli, Jacopo Foscari ~ José Carreras, Lucrezia ~ Katia Ricciarelli, Loredano ~ Samuel Ramey, ORF-Symphonie-Orchester & Chor des Österreichischen Rundfunks under Lamberto Gardelli.~Giovanna d'Arco ≈ 1972 EMI: Giovanna ~ Montserrat Caballé, Carlo ~ Plácido Domingo, Giacomo ~ Sherrill Milnes, London Symphony Orchestra & Ambrosian Opera Chorus under James Levine.~Alzira ≈ 1981 Orfeo: Alzira ~ Ileana Cotrubas, Zamoro ~ Francisco Araiza, Gusmano ~ Renato Bruson, Münchner Rundfunkorchester & Chor des Bayerischen Rundfunks under Lamberto.~Attila ≈ 1971 Philips: Attila ~ Ruggero Raimondi, Ezio ~ Sherrill Milnes, Odabella ~ Cristina Deutekom, Foresto ~ Carlo Bergonzi, Royal Philharmonic Orchestra & Ambrosian Singers under Lamberto Gardelli.~Macbeth ≈ 1964 Decca: Macbeth ~ Giuseppe Taddei, Lady Macbeth ~ Birgit Nilsson, Banco ~ Giovanni Foiani, Macduff ~ Bruno Prevedi, Santa Cecilia Orchestra & Chorus under Thomas Schippers.Hope you'll enjoy =).
Baroque mementos ~ Cristofaro Caresana ~ La Veglia (1674) ~ Dormi, o ninno (Giuseppe Naviglio) LindoroRossini 2012-09-12 | ≈ History ≈Grove Dictionary, All Music GuideA new name turned up during my latest listening sessions -- Cristoforo Caresana (1640-1709), a composer who, after studying in Venice, settled in Naples from 1658 till his death. The few details on his life available to us reveal a figure of some stature: member of the Congregazione dell'Oratorio from 1659 to 1706; tenor/organist for the Royal Chapel; maestro di cappella of the Conservatorio di S. Onofrio -- one of the famed orphanage-music schools of Naples -- from 1688 to 1690, and, from 1699, Maestro to the Treasury of S. Gennaro. His vocal exercises were widely used, and some of them were reprinted for the Paris Conservatoire in 1819 but, as it is the case with many Baroque composers, his heritage is only gradually being revealed, as the interest in early music practices continues to persist. In this case we approach one of his sacred works written to commemorate the Birth of the Savior -- the cantata "La Veglia" for 6 voices and strings -- which curiously compares Christ to a gambler who wins by staking his own life.≈ Music ≈I strongly believe that a piece of music should possess a melodic clarity that immediately pierces the heart. The present lullaby -- a striking contrast to its surrounding merry dances and choruses -- is, perhaps, the epitome of my expectations. Its extreme brevity (just under 1,5 minutes) and straightforward construction (just five phrases structured as ABABC) belie an exquisitely designed little gem. The orchestration -- a simple ground bass line and repeated quadruplets in the strings -- is the model of simplicity. The vocal line, as the singer gently rocks the babe to sleep noting that "God will keep watch", is effectively derived from the accompaniment, the A phrase being an elaborated version of the bass line, while in the B section the singer takes over the quadruplet figures from the lower strings which, in turn, replicate the ground bass. Caresana keeps the lullaby bound to the orchestra, save for a lone decorative figure (0:51) and the C section -- a coda which takes the singer to the bottom of the range. Thus, the piece attains a simple unity which only heightens its striking effect. As per usual, the greatest beauty can and should be attained through the most modest of means.≈ Score ≈The sheet music for the piece can be found on IMSLP (P. 12-13) ~http://imslp.org/wiki/La_Veglia_%28Caresana,_Cristofaro%29≈ Recording ≈The 2010 Glossa recording combines several sacred works by Caresana played with vigor by I Turchini under Antonio Florio and boasts a fine cast with a suitably resonant bass in Giuseppe Naviglio who sings the present piece.Hope you'll enjoy =).
Musical pilgrimage ~ Giuseppe Verdi ~ From Oberto to Stiffelio (1839-1850) ~ Highlights (1/3) LindoroRossini 2012-09-11 | ≈ History ≈~ Information adapted from Grove Dictionary, Verdi Conspectus by Robert Farr (available on MusicWeb) & Booklet NotesBy the 1850s Giuseppe Verdi had arguably become the most famous and frequently performed Italian opera composer in Europe having wrested the former title from Rossini, the latter - from Donizetti. The path to this great renown was, however, thorny, to put it lightly. Verdi's initially uneventful provincial existence was quickly replaced with one of intense creative activity after the warmer-than-expected reception of "Oberto" in 1839 which led to 3 further commissions for La Scala. After the great triumph of the 1842 "Nabucco", Verdi's schedule became virtually unremitting. In the 11 years up to March 1853 which marked the first performance of "La traviata" 16 operas were written - 1 work every nine months (1). Although this rate of composition seems minimal by the standards of Donizetti (2), the younger composer's constant participation in the actual process of producing his works (including extensive tampering with libretti) ensured additional need for negotiations with theatres and librettists. The years 1844-7 were particularly arduous with the composer's health breaking down frequently (3).(1): In his remaining lifetime - more than 40 years- just 11 new operatic works were produced.(2): 70 operas in 25 years or about twice the workload of Verdi.(3): Verdi would later entitle this period his "galley years".≈ Narratives ≈Verdi remarkably worked almost exclusively with just three librettists during the galley years: Solera who supplied the first libretti, Cammarano (who would go on to create "Il trovatore") and Piave (the most important collaborator who continuously worked with the composer from "Ernani" to "La forza del destino"). It is often noted that Verdi's detailed instructions on how to set the librettos were an important factor in the actual shaping of the narratives. Still, the texts are of extremely variable quality, ranging from the strikingly veristic tale of "Stiffelio" through to the melodramatic but effective "Ernani" finally arriving to the crudely sketched "I masnadieri".≈ Music ≈The presented "youthful" opuses can be seen as fairly conservative belcanto operas which follow and gradually elaborate on the general style of Donizetti and Bellini with varying degrees of success. In particular, "Nabucco" and "Ernani" -- all guided through the same predetermined structure of double arias and sustained ensembles -- are powerful cases of just how well the Romantic idioms can work and constitute, for me personally, the highpoints of the period. Mercadante's possible influence is most notable in the gradual elaboration of established forms, as in the strikingly unconventional and innovative "Macbeth" which is strictly tailored to the needs of the drama from which it is derived, while in the final act of "Stiffelio" - the penultimate duet for the husband and wife, in particular - one senses the advent of an earnest musical dramatist. While Verdi's own personal touches are not as apparent as they would later become, the basic merits of the music seem clear: melodic broadness and robustness (as opposed to the decorative writing of Rossini) allied to a constant energetic pulse that is sustained throughout closed pieces; frequently lean accompaniments (a rare exception -- the handsome wind writing in Giselda's first prayer from "I Lombardi"); primary attention given to dramatic effectiveness over sheer musical beauty. Considering all this and our knowledge of the Verdi's future great works, evaluating the remaining 12 works becomes problematic, as they seem lacking as compared to the composer's better pieces. In particular, "Alzira", "Il corsaro" and "I masnadieri" seem unexceptional. However, even amongst the lesser music one can find little treasures, such as the lovely cello prelude for "I Masnadieri".≈ Recordings ≈Oberto ≈ 1997 Philips: Samuel Ramey ~ Oberto, Maria Guleghina ~ Leonora, Stuart Neill ~ Riccardo, Violetta Urmana ~ Cuniza, London Voices & the Academy of St. Martin in the Fields under Neville Marriner.~Un giorno di regno ≈ 1973 Philips: Marquise ~ Fiorenza Cossotto, Giulietta ~ Jessye Norman, Edoardo ~ José Carreras, Belfiore ~ Ingvar Wixell, Royal Philharmonic & Ambrosian Singers under Lamberto Gardelli.~Nabucco ≈ 1965 Decca: Nabucco ~ Tito Gobbi, Ismaele ~ Bruno Prevedi, Zaccaria ~ Carlo Cava, Abigaille ~ Elena Souliotis, Fenena ~ Dora Carral, Wiener Staatsoper Orchestra & Chorus under Lamberto Gardelli.~I Lombardi ≈ 1971 Philips: Giselda ~ Cristina Deutekom, Oronte ~ Plácido Domingo, Pagano ~ Ruggero Raimondi. Arvino ~ Jerome Lo Monaco, Royal Philharmonic & Ambrosian Singers under Lamberto Gardelli.~Ernani ≈ 1967 RCA: Ernani ~ Carlo Bergonzi, Elvira ~ Leontyne Price, Carlo ~ Mario Sereni, Silva ~ Ezio Flagello, RCA Italiana Orchestra & Chorus under Thomas Schippers.Hope you'll enjoy =).
Symphonic hallmarks ~ Vincent DIndy ~ Tableaux de voyage, Op. 33 (1892) ~ iii. Lent (The Bell) LindoroRossini 2012-07-14 | ≈ Painting ≈"Abbey in the Oakwood" by Caspar David Friedrich.≈ History ≈Grove Dictionary & All Music GuideFrench composer Vincent d'Indy (1851-1931) joined Franck's organ class at the Conservatoire after serving in the National Guard during the Prussian siege of Paris in 1870-71 and later won the 1885 Grand Prix de Paris in recognition of his talents. The composer was an active public figure in his time, mentoring Chabrier and Faure, working as musical adviser to the Circle XX and serving during WWI on cultural missions. While D'Indy had not reached a status of a well-established composer, the foundation of the still working Schola Cantorum in 1894 remains his greatest legacy (d'Indy would go on to become its full director in 1904). The policies of the Schola included the abolition of prizes, a wide social mix of students and full admission of women. We approach D'Indy with a piece which, in consideration of the obscurity of d'Indy himself, could be called "lost". An 1889 pilgrimage to hear "Die Meistersinger" and "Parsifal" in Bayreuth prompted from the composer the musical travelogue "Tableaux de voyage" (Op. 33) -- a collection of thirteen brief piano pieces from which d'Indy orchestrated six numbers to make the eponymous suite (Op. 36) premiered at Havre on January 17, 1892. ≈ Music ≈D'Indy is not a readily accessible composer, as his music is primarily notable for its wealth of orchestral coloring which frequently accompanies material of impressionistic value but quite little immediate melodic interest, such as the quite handsomely set but distinctively monochrome Diptyque mediterraneen. The presented excerpt of the Tableaux - "Le Glas" or "Bell" - displays amply the strikingly elegant orchestral painting which D'Indy employs to enrich a structurally (ABAB) and melodically (two linked phrases) straightforward piece into a moving lament. The opening part of the main theme, a gentle musical idea of great simplicity and striking pensiveness, is stated by the altos/clarinets over a subdued string line, while the second section is transferred to the violins/oboe (0:20). Both sections are repeated with a distinctively different orchestral sound. The first phrase is relegated to a foreboding combination of bassoon/clarinet which is set against both a suspended counter-melody in the violins and a gradual crescendo in the timbales (0:40), while the second is initially played by the whole orchestra forte with an accent on the horns and then completed by a piano violin line over the diminishing signs of the orchestra (0:55). It is in the B section where we encounter the titular bell toll which is represented by three (!) groupings of instruments: flute/first violins against second violins/altos/cellos (1:14), horns/trumpets against bassoons (1:18), both repeated twice, and, finally, a unified crescendo rise in the higher winds/harp against an ornamental descent in the lower strings (1:31). Both the A and B sections are then repeated in full but how different are they from what we heard before! The first statement of the main theme is given to the first violins over the caressing figures of the remaining strings (1:47), the oppressive bell heard once more in the bassoon/oboe (2:04). Its appearance provokes another crescendo in the final two bars (2:11) which overflow into an oppressive rendition of the first phrase by the bassoons/altos/cellos/bass over the familiar counter-melody in the higher winds/violins (2:20) and, finally, a brief joint rendition by the entire wind section of first two bars of the second phrase (2:35). Once more, there is no symphonic development, denied to us by a diminuendo with the first violin seemingly unable to complete the phrase as it had before (2:45). The B section is repeated with different effects symbolizing the bells: flute against altos/cellos (2:52) and clarinets/horns/violins against bassoons/trombones/harp (2:56), the muted repeat of former serves as a gentle closing of the piece. As if this display of compositional excellence was not enough, the wealth of additional detail in such a seemingly slight piece is awe-inspiring: just consider a brief echo of a rising motive of the violins in the altos (0:35), the crescendo in the timbales which actually passes onto the remaining forces in the final two bars of the phrase (0:48) or the rise of the flute into its highest reaches (2:28).≈ Score ≈A complete set of sheet music for the presented movement can be found on IMSLP (P. 19-27) ~http://imslp.org/wiki/Tableaux_de_Voyage,_Op.36_%28Indy,_Vincent_d%27%29≈ Recording ≈The 2009 Chandos issue, a part of a full-fledged review of D'Indy's orchestral pieces, features affecting playing from the Iceland Symphony Orchestra under Rumon Gamba.Hope you'll enjoy =).
Symphonic hallmarks ~ Edvard Grieg ~ Two Nordic Melodies (1895) ~ i. Andante (In folk style) LindoroRossini 2012-05-04 | ≈ Painting ≈"The Iceberg" by Frederic Edwin Church.≈ History ≈Grove Dictionary, AllMusic & Booklet Essay by Sigbald TveitBy all accounts, Grieg was a fine pianist, appearing during concerts both as soloist and as accompanist to his singers on a regular basis. Naturally, the list of his oeuvres incorporates a large body of piano works the prominence and importance of which are comparable to that of his songs. The Piano Concerto Op. 16, the Ballade in G minor Op. 24 and the Holberg Suite Op. 40 have all found a permanent place in the concert repertoire; slightly lesser known are the sets of folksong treatments (Op. 17, 66 & 72) which span the whole duration of Grieg's progress as a composer. The composer's interest in his piano works is reflected in the fact that in later years selected pieces would appear in arrangements for a string ensemble - most notably, the Holberg Suite. The "Two Nordic Melodies" Op. 63 (1895) or, more precisely, its second half - The Cow Keeper's Tune - reflects this trend clearly, as its thematic material was originally set for piano in 1870 as No. 18 & 22 of Op. 17. On the other hand, the preceding movement which we will approach in this case - the tearful lament "In folk style" - is not a transcription but a rather a straightforward essay in writing a piece of music intended for the strings. The theme of the Andante is credited to the dedicatee - Fredrik Due, the ambassador of Norway-Sweden in Paris at the time.(1): On a side note, the thematic material from the second half was incorporated by Stravinsky into the Suite "Four Norwegian Moods".≈ Music ≈Though ostensibly a minor work among Grieg's oeuvres, the Andante is a perfect demonstration of the composer's attention to detail and ability to create an enchanting piece out of the most compact themes. After a brief sigh from the entire orchestra, the violas state the two main musical phrases which form the suggested folk song (0:24 & 0:59), establishing an atmosphere of the utmost melancholy, only heightened by the cellos/bass echoing each line in its entirety (0:41 & 1:16). The resulting theme is the epitome of lyricism with a single turn serving as the sole ornamental touch (1:08). This simple succession of two phrases (AABB) constitutes the basis of the whole piece with Grieg refusing to offer true melodic development. This creates a feeling of forlorn resignation which remains with us during the whole piece (2). Each subsequent setting of the motives, however, features a markedly different texture, as the composer, dealing solely with orchestration and dynamics, engages in what could formally be termed a Theme and Variations. Thus, the first "variation" transfers the phrases to the violins (1:36) which are gradually joined by the violas/cellos in an ardent romanza. The B section strikingly finds the individual instrumental groups divided (2:07), as the first violins state the theme over the delicate figures of the remaining forces. An echo of the key ornamental line by the second violin (2:46) leads us to a more animated cantabile rendition of the theme by the cellos over the pizzicatos of the remaining strings (2:56). This seemingly common-place accompaniment is enriched by the subtle use of crescendo techniques (3:03, 3:13, 3:46). The section is resolved by an exchange of sighing lines between the cellos and the first violins (3:52) over a gradually deconstructed, dimming accompaniment (4:17). The third "variation" uses solely the violins which engage in high-lying sequences of triplet figures that serve as a new accompaniment for the phrases, transferred to the first/second violins (4:27). This fragile display is suddenly interrupted by the strings provoking a sequence of cutting quadruplets which is progressively stated, in a crude drop, by the entire string section (5:16). This dark tempo di mezzo leads into a symphonic rendition of the theme by the entire orchestra (5:30) with exquisite use of decrescendos (5:49 & 6:01). Another repeat of the key ornamental line by the cello (6:48) leads into a faux dénouement, as the higher strings briefly disappear (6:56), while the cellos state a rising line which is gradually taken up by the remaining forces (7:00) and explodes in a final series of extended chords, slowly diminished into a whisper (7:08), offering a perfect closing to a perfectly sustained orchestral lament.(2): Ravel's similarly designed, though less elaborate in melodic development Bolero is an extreme example of this aesthetic.≈ Score ≈A complete set of sheet music for the presented movement can be found on IMSLP ~http://imslp.org/wiki/2_Nordic_Melodies,_Op.63_%28Grieg,_Edvard%29≈ Recording ≈The 1993 Gramophone recording of the presented Nordic melody is included in the complete box set of orchestral music by Grieg which features perfectly understated performances from the Gothenburg Symphony Orchestra under Neeme Jarvi.Hope you'll enjoy =).
Forgotten composers ~ Joseph Boulogne ~ Violin Concerto No. 11 in G major (1777) ~ ii. Largo LindoroRossini 2012-05-04 | ≈ Painting ≈"Progress of Love: the Meeting" (detail) by Jean-Honore Fragonard.≈ History ≈AfriClassical.com & Grove DictionaryJoseph Boulogne (1745-1799) is a classic example of a musician whose status of a well-established society figure in his time has all but evaporated with the passage of time. Chevalier de Saint-George, as he is better known, was an illegitimate child of a French plantation owner and a slave from Guadeloupe. Fortunately, he enjoyed a privileged upbringing, graduating from the prestigious Academie de La Boessiere and promptly being named a royal guard. His growing reputation as a man of all talents, especially an expert swordsman, resulted in the attribution to him of the noted affectionate "Chevalier" title, along with several formal honors. As if a successful military career was not enough, Saint-George studied music with Gossec, Leclair and Stamitz and would go on to join in 1769 Gossec's Concert des Amateurs, receiving the post of first violin by 1771 and the post of conductor by 1773. The ensemble rapidly became one of the best orchestras in Europe. Saint-George' stature as a musician is evident in a 1776 proposal of making him the music director of the Paris Opéra which, however, was blocked by its leading ladies out of racial motives. In 1781 he was appointed director of the Masons' Concert de la Loge Olympique which commissioned Haydn the well-known Paris Symphonies (1). Saint-George took several marital posts in the course of the French Revolution, including colonel of the Légion des Américains et du Midi (2). However, by September, 1793, he was dismissed from the army, accused of using public funds for personal gain. Though he would go on to serve as conductor for the masonic Cercle de l'Harmonie, Saint-George's final years were less felicitous than his prime.(1): In fact, Saint-George conducted their premiere performances.(2): He played a crucial role in halting the Treason of Dumouriez in April, 1793.≈ Music ≈Considering that selected sources name Saint-George "the black Mozart", our expectations for the former's music are naturally bound to be inordinately high. In all honesty, the oeuvres of Saint-George do not exceed those of his prodigious contemporary in either number or variety. However, they all feature an appealing melodic lightness and exquisite use of ornamentation, revealing the composer's ease with the musical idioms of the period. Boccherini with his analogous preference for strings as the leading orchestral force and an over-arching sentimentality would, perhaps, be a better parallel to Saint-George. In particular, the presented central movement of the latter's Concerto No. 11 (3), a rather enchanting essay in tender lyricism for the violin, features similar exposed high lines and charming details that are so prominent in the classic Boccherinian adagio. The piece in question (4) begins with an extended string prelude in the form of a slow gallant march, prefiguring some of the orchestral touches which are used in the succeeding sections (0:23, 1:01). What follows is an extended da capo serenade for the violin which is graced with elegant rococo writing (1:33), extended trills (2:08) and melodramatic sighing figures (2:21) and, in particular, broad, "long-breathed" cantabile lines which demand the soloist to play practically without pause for long periods of time. The remaining orchestral forces simply offer support for the high-lying lines of the violin, mostly stating the traditional dotted accompaniment and returning at times to the motives from the prelude (2:09, 2:33, 3:32, 4:25). The structure of the piece is strikingly fluid (thus, the term "da capo" is used very loosely) with individual sections subtly melting into each other. Thus, the B section initially develops as a straight repeat of the preceding pages (2:51), before moving into a brief modulation into minor (3:13) which is ultimately resolved by a return to the A section in a higher variant (3:41) where, however, the basic motives are rearranged into a delicate romanza. The introduction of the second part of the principal section in place of another full repeat (4:53), leading directly into the closing cadenza (5:26), is a lovely touch. The whole movement is resolved by a simple ritornello (5:49). The presented Largo offers neither novelty nor drama but its sublime elegance is remarkable.(3): Marked according to the booklet notes of the presented excerpt.The 2004 Naxos issue notes the Concerto as No. 10.(4): It shares its slow movement with the Concerto in A major, Op. 5 No. 2.≈ Score ≈No set of sheet music for the presented movement can be found in open access at the moment.≈ Recording ≈The 2009 Arion recording combines the presented concerto with two symphonies by Saint-George, all performed with the utmost gentility by Anne-Claude Villars (first violin) and the Orchestre de Chambre de Versailles under Bernard Wahl.Hope you'll enjoy =).
Symphonic hallmarks ~ Ernest Farrar ~ English Pastoral Impressions (1915) ~ II. Andante LindoroRossini 2012-04-08 | ≈ Painting ≈"Summer twilight" by Thomas Cole.≈ History ≈References: Gramophone Reviews & Bernard Benoliel's booklet essay.The case of Ernest Farrar (1885-1918) naturally suggests itself for numerous "what if?" scenarios, considering how promising his early musical career and how senseless his untimely death seem. By 1905 the young musician, already an alumni of the Durham University, was awarded an open scholarship to the Royal College of Music. More honors followed: the 1906 Sullivan Prize, a 1907-1909 Grove Scholarship and in the years before the outbreak of WWI several posts as organist in Dresden, South Shields and High Harrogate. In December 1915 Farrar enlisted voluntarily in the Grenadier Guards, receiving a commission to the Third Battalion Devonshire Regiment in 1918 and leaving for France on 6 September of the same year. After just two days at the front he was killed on 18 September in the Battle of Epéhy Ronssoy, provoking shock among his colleagues (1). Farrar left behind about 40 works one of which - the enchanting English Pastoral Impressions Op. 26 - we will approach in the present posting. Written as a dedication to Ralph Vaughan Williams the piece was first performed by the Harrogate Orchestra in May 1915.(1): Most notably the young Gerald Finzi who received lessons in composition from Farrar and went on to write the moving 1924 Requiem da camera in memory of his teacher.≈ Music ≈It is difficult to assess whether or not Farrar would have grown into a composer of real importance in the modern musical landscape. As it is, his large-scale orchestral works display an unaffected sentimental style of composition somewhat reminiscent of Elgar (on a side note, both musicians possess a predisposition for tinkering with orchestral coloring) and an appealing, almost Griegian melodic language stemming from the folksong traditions of the British Isles. If we do not encounter among his oeuvres a piece which immediately lodges itself in our mind, this speaks of our familiarity with other composers of the period but not of the forgotten musician's own achievements. The presented Andante, the central movement of the Pastoral Impressions, is, perhaps, the best testament to Farrar's personal abilities. While undoubtedly old-fashioned in structure (a slightly shortened variation on the ABA form) and in effects (the evocative use of percussion notwithstanding), it is a perfectly balanced piece, recalling in its lyrical beauty the Enigma Variations. The movement begins elegiacally with a lone viola stating the main theme - a series of gently melancholic suspended sighs, almost suggesting a folksong. Soon the soloist is joined by the remaining string section, the music growing into an impassioned Romanza over the long lines of the clarinets (0:36). However, the soaring melody is cut short by the clarinets' move to several unaccompanied light cadential figures that effectively break the musical flow (0:52). The Romanza continues with the viola being replaced by the oboe (1:05), while the horn provides the secondary material and subsequently states another hushed ornamental descending line (1:26). The initial Romanza returns in a slightly higher variant (1:33). A short flute solo serves as an echo of the work's first movement (2:03), while the closing of the A section finds the main theme once again heard in the lower strings (2:15). There is no traditional melodic resolution to the Romanza which serves to underline the pensiveness of the movement (Benoliel suggests we view the piece as a miniature tone poem). The subsequent Piu mosso, slowly progressing through a horn-laden crescendo (2:49), subsequently explodes into a violent march (3:23) which, however, is kept brief and soon dissolves into suspended string lines over which a charming exchange of the principal theme between first violin/second violin/viola is heard (3:40), returning us to a lightly varied version of the Romanza which omits the repeat of the first stanza (4:10). The Andante elegantly concludes with another soft viola solo (5:47).≈ Score ≈Presently no complete set of sheet music for the presented piece can be found in open access.≈ Recording ≈The 1997 Chandos issue which is entirely dedicated to the premieres of several orchestral pieces by Farrar features ideally intimate playing by the Philharmonic Orchestra under the leadership of Alasdair Mitchell.Hope you'll enjoy =).
Symphonic hallmarks ~ Joseph Joachim Raff ~ Italian Suite in E minor (1871) ~ II. Barcarole LindoroRossini 2012-03-30 | ≈ Painting ≈"Gondolier at Esclavons Quay" by Felix Ziem.≈ History ≈based on materials from Raff.orgA compelling life story, brushes with famous contemporaries and a large catalogue of once popular works - it is a wonder that the figure of Joseph Joachim Raff (1822-82) is so obscure today. Born into poverty, the composer was not allotted a full formal musical formation, though even his first efforts, arising from self-education, were judged as worthy of publication by Mendelssohn. More important for Raff was, however, the connection to Franz Liszt whom the young musician met on 19 June 1845 during the former's concert in Basle. This chance meeting led to an extended period of cooperation which proved to be beneficial for both parties: along with the membership in the New German School, the maestro provided Raff with a slew of work opportunities, culminating in a 1849-56 position as his Weimar assistant, while the protégée, among numerous administrative duties, notably helped Liszt with the early drafts of some of the master's symphonic poems. Raff's breakthrough as an independent composer was his Symphony No. 1 "An das Vaterland" which won first prize in the 1863 Gesellschaft der Musikfreunde competition. Raff subsequently went on to become one of the most renowned musicians of the period. What speaks clearly of Raff's standing is his appointment in 1877 for a prestigious ten year term as Director of the Hoch Conservatory (Brahms being one of the candidates). All the more incredible is his near complete oblivion after his death (1).(1): The frequently performed Cavatina Op. 85 No. 3 is an exception.≈ Music ≈A fierce debate persists on whether or not Raff's music has true merit (2). Personally, I have come to consider Raff an excellent composer from a technical point of view. His utmost professionalism in handling thematic material, expertly utilizing compositional devices (a prominent interest in counterpoint is evident) and, most importantly, sensitively orchestrating the resulting pieces is never in question. The tearful Elegy from Symphony No. 10 and the generously Romantic arrangement of a Chaconne by Bach attest fully to Raff's abilities. But, as Liszt notes in a 1879 letter to Clara Schumann, "Raff produces ideas... that appear as if they should tear the soul from the body, but one is left with the conviction that their inventor felt nothing for them". Generally, we are treated with undoubtedly well-written music which, however, does not feature memorable melodic material. Still, as with any other composer, persistent searching among Raff's oeuvres is rewarded with rare gems. The second movement of the Italian Suite (1871), effectively set as an undeveloped sonata, is one such piece (3). The languorous main theme, one of Raff's most elegant, is presented by the violins over a prominent wave-like succession of triplet figures in the cellos which forms the basis of practically the entire piece. Even here, our ear is treated with a number of delightful effects: a light countermelody for the bassoons/viola, an echo of the strings' in the horns (0:33, 1:01), parabolic figures in the flutes (0:57, 1:06). A contrasting tempo di mezzo follows, consisting of an ornamental flight for the flutes (1:23) which is set against an ardent romanza for the violins/violas (1:39). An elegant exchange of lines between the flutes/clarinets and the violins (2:17) leads us to a shortened reprise of the main theme (2:46), now gently enriched by a brief continuation of the flutes' preceding display. A second tempo di mezzo follows, setting the winds' forceful chords against an enchanting descending phrase for the violins/flutes (3:38). The latter is soon developed into a slightly darker version of the earlier romanza (4:34). A reprise of the flutes' fanciful flights (5:23) leads into a partially accompanied cadenza for the first violins (5:38) which incorporates an echo of the main theme by the flutes/clarinets (6:03). However, the final measures see the lower strings force a subdued resolution of the movement, rather than a return to the serene opening (6:17).(2): "Raff... combined diverse styles and yet preserved their purity" (von Bulow) ~ "Raff, by perfecting his limited gifts, has obtained brilliant results" (Tchaikovsky) ~ "Raff seems to take the first series of notes that comes into his head and shows what can be done with them" (Prout) ~ "We have endured, in Raff, one cuckoo composer" (Shaw).(3): Unperformed during Raff's lifetime, the Suite premiered in Berlin on 26 November 1883.≈ Score ≈The sheet music for the presented movement can be found on the indispensable Raff.org (P. 31-40) ~http://www.raff.org/support/scores/Italian%20Suite%20WoO.35.pdf≈ Recording ≈The 2009 Tudor anthology unites on 9 CDs a complete survey of Raff's orchestral music by the enchanting Bamberger Symphoniker under the sure leadership of Hans Stadlmair.Hope you'll enjoy =).
Baroque mementos ~ Giovanni Bononcini ~ La nemica dAmore fatta amante (1693) ~ Pur ti riveggio LindoroRossini 2012-03-25 | ≈ Painting ≈ "A bather" by William-Adolphe Bouguereau. ≈ History ≈ ~ based on materials from the Grove Dictionary & Opera Today ~ Giovanni Bononcini (1670-1747) is yet another Baroque composer whose name, once as well-known as that of Handel, still remains obscure to the modern audience (1). Orphaned at the age of 8, the boy promptly moved to Bologna where his talents enabled him to enter into the Philharmonic Academy in 1686. Thereinafter, Bononcini gradually established a strong reputation by writing just in the 1690s more than 200 cantatas, 6 serenatas and 4 operas, including what is noted at times as the most successful musical drama of the period - "Il trionfo di Camilla" (1696). The composer's fame took him to all the major musical capitals of Europe, and when Bononcini arrived to London in October 1720, it was he, not Handel, who for two seasons attracted the most warm reception from the English audiences: five of his works accounted for 82 of the 120 performances given by the Royal Academy of Music during that time (2). However, the Saxon's growing influence and, ultimately, a copyright conflict (3) saw Bononcini steadily fall out of favor in Europe. In the present case, we approach one of his first large-scale works: in August 1693 Bononcini, then in the middle of his Roman sojourn, wrote with his librettist Stampiglia what is effectively a sequel to the composer's 1692 serenata "La nemica d'Amore", also written for Rime. (1): "Per la gloria d'adorarvi" notwithstanding. (2): A popular epigram by Byrom likened the composers, suggested to have been involved in a direct rivalry with each other, to Tweedle-dum and Tweedle-dee. (3): In 1727-28 an unsigned manuscript of "In una siepe ombrosa" was introduced at a meeting of the Academy of Ancient Music. Bononcini apparently claimed to be the composer of this madrigal until, at the meeting in January 1731, Bernard Gates directed a performance of the same work drawn from Lotti's "Duetti, terzetti e madrigali". The academy's directors seemingly made a great noise about it. ≈ Narrative ≈ Ironically adapted by Handel for the 1707 comic cantata "Clori, Tirsi e Fileno", the plot of Bononcini's serenata is a familiar tale of pastoral love: the nymph Clori (soprano) continually repels the sincere feelings of the shepherd Tirsi (countertenor), proclaiming herself to be an "enemy of love" on the prompting of the satyr Fileno (baritone) who is himself enamored with her. This is effectively the narrative of both the 1692 and 1707 serenatas. However, the 1693 drama presents a strikingly realistic inner struggle of Clori with the realization of her own love for Tirsi. After Fileno's scheme is revealed, and Clori dismisses him, the lovers prepare for a happy life together. ≈ Music ≈ Historian John Hawkins, a contemporary of Bononcini, found that "[his] genius was adapted to the expression of tender and pathetic sentiments". Indeed, the pastoral setting of the serenata in question is captured most elegantly in a series of brief but immediately appealing numbers. While Clori, allotted 7 full arias, is the center of attention, Tirsi is blessed with a charming andante aria just before the closing of work. Its elegiac atmosphere might suggest otherwise but the presented piece is not an actual lament but an intimate affirmation of love, as Tirsi quietly expresses his happiness in a perfectly serene sarabande. The A section of the aria is constructed around two extended melodic sequences. The yearning first theme is immediately established by an obbligato cello in a cantabile ritornello which is then repeated by Tirsi (0:30) with slight decorative alterations (0:41). The sighing second theme follows without interruption, effectively resolving the melody (0:51). A sustained note from Tirsi, heard over a complete repetition of the first theme by the cello (1:10), returns us once more to the second theme (1:30), while the A section is resolved by a recapitulation of the opening prelude (1:44). The B section, slightly warmer in tone, is of lesser emotional immediacy (2:06), serving as a simple contrast to the succeeding da capo (3:01). Comparisons with similarly conceived arias by Handel (the dark "Voi che udite") and Vivaldi (the graceful "Sol da te") help underline the most notable characteristic of Bononcini's art: an ability to establish through artistic means a tableau of rustic simplicity and unaffected freshness. ≈ Score ≈ There is no set of sheet music currently available in open access. ≈ Recording ≈ The 2002 Zig-Zag Territoires recording is expertly produced and boasts a winning orchestra in Ensemble 415 (notably, we are treated to the generous playing of Gaetano Nasillo on solo cello) lead by Chiara Banchini, as well as a vocal cast of well-established Baroque specialists. Clori ~ Adriana Fernandez Tirsi ~ Martin Oro Fileno ~ Furio Zanasi Hope you'll enjoy =).
Baroque mementos ~ John Frederick Lampe ~ Pyramus & Thisbe (1745) ~ Selected highlights LindoroRossini 2012-02-24 | ≈ Painting ≈ "Rinaldo enchanted by Armida" by Giovanni Tiepolo can be found on PicasaWeb in a copy by Michel Semenov. ≈ History ≈ Grove Dictionary & Gramophone The obscurity of German composer John Frederick Lampe (1703-51) can be at least partially attributed to the rather spare details of his life. Graduating from the University of Helmstedt in 1720 as a jurist, the young man arrived in London in 1725-26 in search of a career in music. Lampe initially earned his living playing the bassoon in Handel's orchestra (1). As a writer of music, the musician did not attract much public attention until 1733, when he joined the project of promoting English opera at the Haymarket Theatre. While Lampe's first three opera, cast in a serious mood, were not successful, the comic "The Opera of Operas", adapted from Fielding's "The Tragedy of Tragedies" as an operatic parody, was warmly received, thus, his subsequent efforts naturally took the shape of burlesques. "The Dragon of Wantley" followed in 1737 (enjoying a run of 69 performances, overtaking "The Beggar's Opera" and holding the stage until 1782) (2), "Orpheus and Euridice" - in 1740 (receiving 46 performances in the season) and, ultimately, "Pyramus and Thisbe" - in 1745 (his final major work). Lampe would continue to tour with his company until his death. In the present case, we will approach his last and, thus far, only recorded work. (1): A double bassoon part was incorporated into "L'Allegro, il Penseroso ed il Moderato" seemingly with Lampe in mind. (2): At around this time Lampe married his leading lady - Isabella Young - becoming the brother-in-law of Thomas Arne in the process. ≈ Narrative ≈ The plot of the opera closely follows the text of the lamentable play-within-a-play from Shakespeare's "A Midsummer Night's Dream": Pyramus (tenor) and Thisbe (soprano), tired of having to exchanging words of love through a crack in the Wall (tenor), arrange a meeting. The ill-fated presence of a Lion (bass) forces Thisbe to flee the rendezvous place. Pyramus, finding his lover's veil, kills himself. Thisbe follows suit. Minor variations of the bard's verses are introduced but only the framing device is drastically changed: the wedding feast is replaced by a rehearsal of a new opera by the composer Semibrief who is entertaining two gentlemen with distaste for "English entertainments". ≈ Text ≈ The complete version of Shakespeare's play can be found on Shakespeare.MIT.edu. ≈ Music ≈ The burlesque was a most unexpected but delightful surprise. Naturally, the primary source of inspiration comes from opera seria, thus, numerous influences of contemporaries - Rameau (a gallant essay in the stately French ouverture tradition at 4:31), Handel (literal roars and growling, recalling with the similarly conceived "Oh! ruddier than the cherry", in the Lion's aria at 5:11) and Hasse (a vocally demanding sketch of an Italian rage aria at 6:00) - can be detected in Lampe's deft, appealing, light parodies; however, the music is undeniably entrenched within the English tradition of Purcell (e.g. "The Fairy Queen") and Arne (e.g. "Alfred") in its extensive use of clear, vaguely rustic songs (consider Pyramus' elegant introductory cavatina with its extensive ornamental touches at 2:51 or Tisbe's ballade to the moon at 6:59 which recalls pastoral English oratorios) and direct, telling musical effects, less pronounced in the more formal Italian tradition (the almost patter-like phrases in the Moon's (tenor) aria at 9:03). What's even more notable is the composer's lightness of touch and quicksilver manner: thus, the Wall's minor-key number features both orchestral depictions of "groans" and "moans" and a humorous inflexion of the word "whispering" (2:08); while both Pyramus' and Tisbe's death scenes, obviously modeled on Dido's great Lament, stunningly poke fun at the repetitive nature of baroque musical forms (10:38). All in all, a parody of potency and immediacy, presenting the listener with a viable alternative to the more familiar "Beggar". The lively, elegantly structured Cuckoo Concerto for Flute and Orchestra (c. 1740) - the only surviving independent orchestral work of Lampe - forms a perfect complement to the main work. ≈ Score ≈ Sadly, no set of sheet music for the opera can be found in open access at the present moment. ≈ Recording ≈ The 1994 Hyperion premiere recording is exceptional in all respects from the inspired production (the opera's reconstructed dialogue/recitatives are as professionally performed as the music) by the Label and the Opera Restor'd Touring Company, directed by Jack Edwards and Peter Holman who also serves as conductor, to the high profile cast of singers. Pyramus ~ Mark Padmore. Thisbe ~ Susan Bisatt. Wall ~ Michael Sanderson. Moon ~ Arwel Treharne. Lion & Prologue ~ Andrew Knight. Semibrief ~ Peter Milne. Gentlemen ~ Alan McHanon & Jack Edwards. Hope you'll enjoy =).
Baroque mementos ~ Sylvius Leopold Weiss ~ Lute Sonatas (1706-1750) ~ Arranged sonata LindoroRossini 2012-02-20 | ≈ Painting ≈The painting - "Still life with Globe, Lute and Books" by Gerrit Dou - can be found on Elibron.com.≈ History ≈based on the Grove Dictionary, Bach Cantatas & SLWEISS.comThe story of master lutenist Sylvius Leopold Weiss (1686-1750) bears a striking similarity to that of Mozart, both being child prodigies taught by their fathers from a young age - by his seventh year Weiss had already performed for Emperor Leopold I - and propelled to international renown in their adult lives. In the case of Weiss, throughout his life the lutenist occupied lucrative positions in the courts of European aristocracy: in 1706 and 1715-1717 Weiss served in the court of the Count of the Palatinate; he spent 1710-14 in Italy with the Polish Prince Sobiesky; by 1717 he was listed as a member of the chapel at the Saxon court in Dresden; in September 1718 he was sent with eleven of the court's best musicians to Vienna where he played for the Emperor. These are only some of the composer's engagements. By 1744, Weiss was the highest-paid instrumentalist at the Saxon court with a salary of 1 400 Thalers and seemingly enjoyed the recognition of the whole continent. In particular, Bach arranged Weiss' Sonata No. 47 as BWV 1025 (1), while in 1728 Telemann oversaw the publication of the composer's Sonata No. 49, the sole work of the lutenist to be printed in his lifetime. However, in stark comparison to Mozart, Weiss' name fell into obscurity soon after his death and has resurfaced only recently with the advent of the Baroque Revival.(1): There is also a suggestion that both composers competed in improvisation as full equals.≈ Music ≈Weiss is credited with writing more than 650 lute sonatas - the largest corpus of music in the history of the instrument. These pieces are further dispersed in over 25 manuscripts located in various European cities (Dresden, London, Moscow, Salzburg etc.). Despite this quantity of material, the conceptual unity of the whole corpus is impressive. Most notably, the structure of Weiss' solo suites remained practically unchanged during his lifetime. A basic model of allemande -- courante -- bourrée -- sarabande -- minuet -- gigue is faithfully followed (2), while musical variety is limited to the length and development of the individual movements themselves. Formulary substitutions are rare but can be discovered in select pieces: thus, in Sonata No. 52 a Siciliana replaces the Sarabande, while the presented Gavotte from No. 27 (5:28) stands in for the Courante. Short preludes, considered to have been improvised by the composer in practice, are included with some pieces. The baroque lute does not permit the advanced harmonic shifts that can be found in Bach's music but Weiss' own musical language is highly sophisticated and involves diminished seventh chords and enharmonic changes. One has to immediately admit that the thematic elegance and cyclical structure of the sonatas, coupled with their sheer number, create a slightly generic aesthetic that somewhat undermines much of the musical effect. Thus, many of the sarabandes sadly sound interchangeable and indistinctive. Moderation is, thus, key in listening to Weiss' oeuvres, as, indeed, there is much comfort to be found in his music which is as surprising as Telemann's recently recovered works. In the present case, I ultimately decided to follow the greatly honored Baroque tradition and create a pastiche from the movements of four sonatas in accordance with the structure mentioned above. We begin the Allemande from Sonata No. 11, an introverted, hushed cantabile lament somewhat recalling the plaintive theme of the Goldberg Variations (0:22), which is followed with an unusually melancholic, low-lying Gavotte from No. 27 and a hurried, heavily ornamental Bourree from No. 11, giving us a glimpse of Weiss' ease at navigating shifting tessitura (7:53). We continue to No. 50 with its delicate Monteverdian sarabande, an epitome of serenity and easily one of the composer's most endearing creations (9:44), and engaging Presto finale, a showpiece of graceful runs and subtle modulations from major to minor (19:29). These two pieces are divided by a most charming menuet from No. 32 with a particularly delightful dropping accent strewn between the lines (17:17). Hopefully, the resulting "work" sound authentic enough to provide an introduction into Weiss' limitless treasure chest of lute music still waiting to be rediscovered.(2): His lute concertos employ the more traditional tri- and quadripartite sequences (see the 2004 Chandos recording with Tempesta di Mare).≈ Scores ≈Sadly, no complete sets of sheet music for Weiss' various sonatas can be found in open access at the moment.≈ Recording ≈The ongoing 1996-2012 Naxos complete series of Weiss' lute music fully displays the beautiful playing of lutenist Robert Barto.Hope you'll enjoy =).
Baroque mementos ~ Sylvius Leopold Weiss ~ Sonata for Two Lutes in C major (?) ~ i. Andante LindoroRossini 2012-02-20 | ≈ Painting ≈The painting - "A sleeping dog" by Gerrit Dou - can be found on Wghenry.Blogspot.com.≈ History ≈based on the Grove Dictionary, Bach Cantatas & SLWEISS.comThe story of master lutenist Sylvius Leopold Weiss (1686-1750) bears a striking similarity to that of Mozart, both being child prodigies taught by their fathers from a young age - by his seventh year Weiss had already performed for Emperor Leopold I - and propelled to international renown in their adult lives. In the case of Weiss, throughout his life the lutenist occupied lucrative positions in the courts of European aristocracy: in 1706 and 1715-1717 Weiss served in the court of the Count of the Palatinate; he spent 1710-14 in Italy with the Polish Prince Sobiesky; by 1717 he was listed as a member of the chapel at the Saxon court in Dresden; in September 1718 he was sent with eleven of the court's best musicians to Vienna where he played for the Emperor. These are only some of the composer's engagements. By 1744, Weiss was the highest-paid instrumentalist at the Saxon court with a salary of 1 400 Thalers and seemingly enjoyed the recognition of the whole continent. In particular, Bach arranged Weiss' Sonata No. 47 as BWV 1025 (1), while in 1728 Telemann oversaw the publication of the composer's Sonata No. 49, the sole work of the lutenist to be printed in his lifetime. However, in stark comparison to Mozart, Weiss' name fell into obscurity soon after his death and has resurfaced only recently with the advent of the Baroque Revival.(1): There is also a suggestion that both composers competed in improvisation as full equals.≈ Music ≈As a small bonus to the Arrangement of four Weiss solo lute sonatas that has been posted earlier, I am also uploading a section from one of the composer's Lute Duets - the rustic opening Andante with its delicate contrast in the instruments' lines.≈ Scores ≈Sadly, no complete sets of sheet music for Weiss' various sonatas can be found in open access at the moment.≈ Recording ≈The 1998 Symphonia issue features both an impressive duo of soloists in Robert Barto and Karl-Ernst Schroder and an exceptionally warm acoustic of the Eremo di Ronzano (bird songs feature prominently in the background adding a hint of rustic charm to the proceedings).Hope you'll enjoy =).
Hidden treasures ~ Felix Mendelssohn ~ Lieder & Duets (1819-1847) ~ Selected highlights LindoroRossini 2012-01-22 | ≈ Painting ≈The painting - "Morning in the mountains" by Caspar David Friedrich - can be found on Wikimedia Foundation.≈ History ≈(based on materials from the Grove Dictionary, Centro studi Eric Sams & Wikipedia)The word Lied, essentially used to designate any Germanic song with no reference to its individual characteristics, evokes in the modern listener an expectation of high poetry and inspired music united into a single miniature masterwork. This predisposition is closely associated with the advent in the 19th century of the Romantic Lied tradition which is generally considered to have been launched by Schubert in Gretchen am Spinnrade (1814) (1). The Romantic Lied is generally differentiated from its predecessors by a strive for unity between text and music, a concept attributed to Goethe (2) which, in turn, represents a broadening of the Gluckian "veristic" formula to other genres. Schubert, Loewe, Schumann, Brahms and Wolf are noted among those who have pursued this path. Though the composer in question, Mendelssohn, has written no fewer than 106 lieder (3) and is, thus, one of the first true exponents of the Romantic Lied, his efforts are generally considered to have exerted little influence on the development of the medium (4). On an interesting note, though less of a public figure than her brother, Fanny Mendelssohn is the author of a catalogue of 300 songs written exclusively for performance in private company, seemingly indicating a greater predisposition to the medium. 6 of her songs, included in the highlighted Hyperion issue, were originally published under Felix's name (5).(1): Dvorak would remark that "all have followed in [Schubert's] footsteps".(2): "Only [when poetry is set to music] does the inspiration become sublimated into... [a] sensory experience".(3): Admittedly, a small number next to Schubert's 660.(4): Ironically, the Songs without Words have received the greater attention.(5): Fanny's son - Sebastian - relates an embarrassing moment when Queen Victoria, receiving Felix at Buckingham Palace, expressed her intention of singing one of his songs. Mendelssohn confessed it was by Fanny.≈ Texts ≈Full transcripts of the poems which formed the base for Mendelssohn's Lieder can be found on RecMusic.org -- http://www.recmusic.org/lieder/m/mendelssohn.html≈ Music ≈If we assume Schubert's Lieder to be the realization of Goethe's ideal, then Loewe and Mendelssohn, to paraphrase imminent musicologist and Lieder specialist Eric Sams, represent the two extremes of music: heightened attention to directly translating the text into music VS. amplified focus on writing fine music. Mendelssohn's songs are predominantly strophic, straightforward pieces with only the subtlest elaborations of vocal/orchestral lines (consider the simple gratifying transition to a gentle Andantino in the Frühlingslied (13:57) which is one of the more dramatic gestures of the Lieder) and an appealing lyric melodic language which lends itself by its very nature, however, to a certain elegant sameness (consider Lieblingsplätzchen (1:57) and Im Herbst (11:20), differing notably only in their key but not in general effect). As Sams notes in a 1972 article, "in Schumann's lieder, the keyboard sings; in Mendelssohn's, a voice is accompanied", and this turn of phrase reflects perfectly Mendelssohn's aesthetic. His songs offer perfect vehicles for a warm-voiced singer, while the piano serves primarily as a lovely accompaniment and is rarely allowed a more pronounced role, such as in the elegant and varied writing in "Da lieg' ich" (3:26), perfectly mirroring the singer's torment, or the Reiselied (19:00) with its light imitation of a horse. However, in the end this desire to attain lyrical beauty allows Mendelssohn to create pieces of natural eloquence which cannot be denied of interest: a stunningly dark lament of lost love with a gentle flowing piano line (5:13) - a passionate love song for a gondolier, set to a rather ungainly text which is made relevant through sheer melodic charm (6:56) - a subdued, intense tableau, describing a young woman comforting her dying mother (10:11) - a warm exchange of farewells between two lovers set to a luminous wave-like piano line (21:37) etc. If not as dramatically compelling as Schubert's creations, Mendelssohn's fine lyric catalogue offers a wonderful introduction to the German Lieder and a perfectly charming series of lyric moments.≈ Scores ≈The sheet music for Mendelssohn's lieder is available in open access on IMSLP --http://imslp.org/wiki/Category:Mendelssohn,_Felix≈ Recording ≈The 1998-2010 Hyperion series, presenting a scholarly review of Mendelssohn's Lieder in elegant performances by soprano Sophie Daneman, mezzo Sarah Connolly, baritones Nathan Berg/Stephan Loges and pianist Eugene Asti, is self-recommending.Hope you'll enjoy =).
Hidden treasures ~ Édouard Lalo ~ Concerto russe for Violin & Orchestra (1879) ~ II. Chants russes LindoroRossini 2012-01-09 | ≈ Painting ≈The painting - "Red sunset" by Arkhip Kuindzhi - can be found on Wikimedia Foundation (it is credited to shooting_brooklyn of Flickr).≈ History ≈(based on materials from the Grove Dictionary of Music & Tchaikovsky Research)Edouard Lalo (1823-1892) studied the violin/cello at the Lille Conservatoire in his youth, but at the age of 16, dissuaded from a serious musical career by his father, left home for Paris, studying for a brief period under Habeneck at the Paris Conservatoire. Success did not come to Lalo overnight: indeed, the composer worked in relative obscurity up until his 50s, making his living primarily as a violinist (1). The formation of the Société Nationale in 1871 by Bussine and Saint-Saens, and the support of contemporaries (in particular, the famous Spanish violinist Pablo de Sarasate for whom many of the composer's violin works were intended (2)) proved essential in the establishment of Lalo as a serious orchestral composer. Works, such as the seminal Symphonie espagnole (1875) and the Cello Concerto (1877) formed the base for Lalo's popular renown which was ultimately raised to general acclaim with the premiere of the opera "Le roi d'Ys" in 1888, considered by the composer as his masterwork. The "Russian" concerto which is highlighted in this case was written and first performed in 1879. It was composed with Sarasate in mind but for unknown reasons the performer did not premiere the piece with the honor falling to the Belgian Martin Marsick.(1): This part of Lalo's career is mainly notable for his participation in the creation in 1855 of the Armingaud Quartet (where Lalo played viola/second violin) which aimed to make better known the string quartets of the classical period.(2): Lalo went as far as crediting Sarasate directly in a personal letter with the launch of his active compositional period: "Your entry into my life awoke me".≈ Music ≈The Concerto russe, less immediately appealing than its justly famous Spanish counterpart in its preference for melancholic suspensions of the violin's long lines over a subdued orchestral background, presents the listener with a rather overstretched lyrical tableau in a style somewhat reminiscent of Borodin and Rimsky-Korsakov with relatively brief moments of bravura, a notable exception being the genuinely colorful closing Vivace. I originally intended to post the latter brilliant movement but ultimately found myself won over by the central Lento with its languid main theme. The section is designated as the first "Chant russe" of the work. Whether or not a true Russian motive was used by Lalo remains dubious, and, in any case, it is not important, as the piece offers, instead of national authenticity, remarkable restraint in orchestral coloring and genuinely affecting melodic treatment which lend it rare poignancy. The movement opens with an exchange between the trombones/bassoons (0:08) and the strings (0:16) of strong extended chords which form the background line of the movement's principal section where it is alternatively taken by the flute/oboe/clarinet (0:40, 1:08, 1:42 etc.) and the strings (0:57, 1:17, 1:33 etc.). No constant number of chords is established. The violin enters with a stunningly reserved lyric melody (0:40) which, though initially reflecting the bass line (0:56), hereinafter refuses to be bound by it, developing the theme in a highly romantic series of elegant figurations, at times briefly pausing in a pensive manner (1:22, 1:50). Seemingly to prevent a feeling of sameness, Lalo introduces a sudden dissonant dip into the lower register in the violin and a dramatic rise in the bassoon (2:11) which force a transition to an agitated tempo di mezzo (2:12), provoking the strings to take up a running triplet motive which is maintained throughout the section (2:13). The violin itself goes through a series of angular lines only accentuated by extended trills (2:33, 2:41), somewhat akin to a violent cry of despair, genuinely breaking the preceding serenity. However, this brief interlude gradually begins to melt away (3:06) and finally gives way to a welcome return of the main theme, now presented in a high-lying variant (3:16). The movement ends with a traditional romanticized (and somewhat overused in the violin concertos of the period) rise of the violin into the stratosphere over a subdued string accompaniment (4:26). Still, it does not distract from the preceding enchanting tableau.≈ Score ≈The complete sheet music of the presented movement can be found in IMSLP (P. 19-21):http://216.129.110.22/files/imglnks/usimg/7/7f/IMSLP109858-SIBLEY1802.15189.ed15-39087009423064score.pdf≈ Recording ≈The 1999 Chandos issue from which the rendition in question heralds unites several of Lalo's less familiar violin works in a highly polished reading by Olivier Charlier (Violin) and the BBC Philharmonic under Yan Pascal Tortelier.Hope you'll enjoy =).
Hidden treasures ~ Felix Mendelssohn ~ Reformation Symphony No. 5 in D major (1830) ~ iv. Andante LindoroRossini 2011-12-24 | ≈ History ≈In comparison with its more renowned Italian and Scottish-themed brethren, Mendelssohn's Fifth Symphony is a work of striking obscurity and somewhat dubious standing among the maestro's oeuvres. Originally conceived for the Centenary of the Augsburg Protestant Confession with a possible premiere venue being the celebrations of the date in Berlin in June of 1830, the symphony due to a number of unfortunate events, including a bout of measles at the Mendelssohn household, was completed only in May, too late to be performed during the festivities (1). In any case, the planned European tour of the composer seemed to be of more pressing importance. However, Mendelssohn would return to the symphony in 1832 in a bid of mounting it as an independent work. In particular, during his stay in Paris he approached the Conservatoire Orchestra on the subject but was turned down on the grounds of the piece being "too learned, too much fugato, too little melody". Only in November of 1832 was the symphony first performed in Berlin under the title "Symphony in Celebration of the Church Revolution". Hereinafter, Mendelssohn virtually ignored the piece, referring to it as "juvenilia". Indeed, the work was published only in 1868 (2).(1): On an interesting note, the celebrations themselves were ultimately cancelled because of the rising political tensions in Europe.(2): Hence its designation as No. 5.≈ Music ≈The symphony in question, with its monumental opening of unfilled aspirations, a secondary allegro passage without a clear melodic center and a curiously profane andante, is an uneven work by any standard; thus, one does leave it partially in agreement with Mendelssohn's self-criticism. However, the finale of the piece, though overwrought in its development, is strikingly rich in moments of rare eloquence that one cannot overlook. There is no pause between the finale proper and the preceding andante, with strong cello/bass notes leading directly to the affecting melody of the hymn "Ein feste Burg" first stated by a lone flute (0:08) which is progressively joined in the subsequent descending line by the oboe/clarinet/bassoon (0:18). The violas/cellos/trombones add their voices to the winds' exposed ornamental lines in an even elaborate ensemble (0:47). This extended prelude is rounded out by the addition of the brasses heralding the stately conclusion of the hymn (1:21). After a brief transitional passage which includes allusions to the preceding melody in the wind section over a triplet-laden string bass line (1:36), the second principal theme of the movement is presented by the strings in a boisterous Allegro maetoso (2:08-2:53) with the winds providing support throughout in a series of gratifying effects, such as the doubling of the violins' lines by the flute (2:16) or the trumpet call of the oboe/clarinet/horn/trombone (2:27). The presentation of the second theme fulfilled, the whole string section, led by the second violins, goes through an extended counterpoint episode, faintly recalling the organ music of Bach, while the winds are reduced to a few grace notes (2:53), until a unified wave-like motion from the strings (3:22) leads into a slightly more introverted adaptation of the secondary theme by the flute/clarinet/trombone (3:37). The strings soon force a swift resolution of the secondary theme which cedes its place to a second lyric tableau (4:07), as the violins/violas form a doted accompaniment for an enlightened exchange between the bassoon/cello and the oboe (4:41), briefly developed by the whole orchestra in a manner of a formal chorale (5:14) before a gradual crescendo returns us to the triumphant partial repeat of the second main theme (5:34), most notably centered on a recapitulation of the counterpoint section, this time with the first violins at its helm (5:46), and the jubilant march melody, now stated by the whole orchestra (6:42). After the preceding exuberance, the transition to a stunning duet between the winds and the strings with its long breathed lines and warm violin runs comes as a breath of freshest air (7:08). A striking crescendo episode, employing echo effects in the horn section (7:51), sets up the monumental coda of the work, as the whole orchestra, playing solely in whole notes, restates the Lutheran hymn in a grandiose manner, completely removed from the fragility of the movement's opening yet just as moving (8:05).≈ Score ≈The complete sheet music of the movement can be found here (P. 4-36):http://216.129.110.22/files/imglnks/usimg/4/4f/IMSLP25456-PMLP22731-Mendelssohn_Symphony_5_III--IV.pdf≈ Recording ≈The Berliner Philharmoniker under Herbert von Karajan (Deutsche Grammophon, 1971-73), graced with the luminous clarity of its wind section and the full-headed attack of the strings, gives a most glorious interpretation of all of Mendelssohn's symphonies, as well as the movement in question.Hope you'll enjoy =).
Hidden treasures - Luigi Boccherini - The complete symphonies (c. 1765-1798) - Selected highlights LindoroRossini 2011-11-11 | ≈ History ≈At the end of the 1760s Jean-Baptiste Davaux and Carl Stamitz introduced a new musical genre to the European public in the form of the symphonie concertante. Both a direct descendant and a further development of the baroque tripartite opera sinfonia and the traditional sonata, the symphony would prove to be a vehicle of great importance for 18th century composers even before the form reached its revolutionary status with the advent of romanticism. The circumstances of Luigi Boccherini's life dictated that his main occupation would be the composition of chamber music, but he was in fact one of the first composers to embrace the new aesthetic: thus, upon his arrival to Madrid in 1769 Boccherini introduced himself to the Spanish public with the large-scale Symphony in C major (labeled as a "concerto") which would be his first work in the genre. The composer would go on to write no less than 28 extended symphonies (1). In particular, during his happy tenure as court composer to the Spanish infant Don Luis in Aranjuez he wrote no less than 3 symphonic cycles of 6 works each (2).(1): If we are to ignore the dubious nature of some pieces, such as G500, which are attributed to Boccherini.(2): Article is based on materials from the Grove Dictionary of Music and the essays of Christian Speck that accompany the CPO recordings that are highlighted in the present case.≈ Music ≈Boccherini's status as a chamber composer of elegant court music and a noted contemporary, rather than full equal, of Mozart and Haydn (3) serves as a predisposition for our critical approach to his symphonic efforts. The composer's personal approach to the form went through significant changes in his lifetime which accounts for the variety of scale, structure and orchestration of his oeuvres, ranging from the straightforward and brief 1765 Symphony in D major (originally an overture to a cantata) to the more Germanic works of the 1780s in the more standard four sections, perhaps reflecting the influence of the above-mentioned maestros. In general, workmanship, rather than inspiration, is evident in most of the movements (especially the frequently mechanic allegros), while constant repetitions of phrases leads to a lack of development and subtlety. However, persistence proves to be rewarding, as the jewels one uncovers in the symphonic cycles turn out to be well worth of rediscovery. At his best, Boccherini provides the listener with a continuance of his chamber works: charming melodies, arranged in appealing orchestral accompaniments. The collection presented in this case is effectively a showcase of the slower movements from the symphonies. The sole exclusion is an appealing Allegro from the First Symphony in C major which presents the listener with a daring virtuoso duo for two violins over a constantly developing orchestral background (9:43). Similar opening and closing movements of the symphonies tend to be indistinctive. But it is the perfectly balanced, elegiac andante passages which Boccherini weaves into his music where one finds true beauty: the tender ornamental melody in the warm Grave of G523, at first passed between the guitar/cello/oboe/violin and then effectively blooming into an elegant ensemble in the development section (1:26); the genuinely chilling, even hypnotic brooding string theme of the Andante lento in G509, only accentuated by an extended coda passage effectively contrasting the high trills of the violins with the descending phrases of the remaining orchestra (6:13); the passionately sighing double cello line of the Larghetto in G495, at first constantly interrupted by the remaining orchestral forces but then developing into an eloquent romanza over a stylized heartbeat accompaniment (11:46); the glowing exchange of descending lines between the winds/strings in the Andantino of G503 (14:58); the fragile suspension of the strings' eloquent fiorituras in the Andantino of G497, at times suggesting the advent of a fugue which, however, fails to begin (18:06); and finally, the radiant peaceful of the pastoral Lentarello from G519 disturbed only by a boastful duettino alla caccia for the violins (20:00). It is such passages that fully negate the notion of Boccherini's symphonies as devoid of interest.(3): Reflected in the affectionate but rather crude commentary of Boccherini as Haydn's [musical] wife.≈ Scores ≈Selected sheet music for Boccherini's symphonies (G490, G493-498, G503-508, G515-518, G521) can be found here:http://imslp.org/wiki/Category:Boccherini,_Luigi≈ Recording ≈The 1999 CPO box set which unites all of Boccherini's symphonies on 8 CDs is self-recommending by virtue of both its completeness and the high standards of playing that are achieved by the Deutsche Kammerakademie Neuss (the German Chamber Academy) under the direction of Johannes Goritzki.Hope you'll enjoy =).
Johann Sebastian Bach - Cantata BWV 82a (1731) - Aria - Ich habe genug (Carolyn Sampson) LindoroRossini 2011-10-31 | ≈ History ≈Among Bach's extensive catalog of cantatas none have received as much attention both from the composer and his admirers than the pivotal BWV 82 which incorporates one of Bach's most moving meditations on Death's coming on which we will focus in the present posting. The cantata itself dates from the early Leipzig years of Bach's career which were primarily dedicated to the composition of isolated cantatas for specific events. BWV 82 was originally produced for the Feast of the Purification of Mary (February 2, 1727). However, in a rare occurrence among Bach's cantatas, the work, conceived as a scene for bass/oboe, enjoyed subsequent performances and went through a series of rearrangements in 1731, 1735 and 1746-48 for different voices (soprano/alto) and different obbligatos (flute/oboe da caccia), showing that the composer held the piece in high regard (1).(1): Its importance is also proven by the inclusion of the central andante into the Klavierbüchlein of Anna Bach.≈ Narrative ≈BWV 82 is set to an anonymous text from the Gospel of Luke (2, 22-32). The suggested narrative seems straightforward at first: an unnamed man/woman, claiming to have finally "seen the face of God", proclaims a desire to promptly leave the world of mortal pains in favor of the Savior's Elysium. However, Bach's ambiguous setting of the potentially commonplace text creates a dissonant aesthetic which can be interpreted in a variety of ways, from pure religious exaltation to almost suicidal resignation to the idea of death.≈ Music ≈The tightly woven ensemble of the titular aria clashes openly with the tableau of undisturbed peace which is created in the succeeding "Schlummert ein". The piece opens with an orchestral ritornello which is effectively an extended solo for the obbligato set to a subdued wave-like accompaniment of quint-/sextuplets in the violins and triplets in the viola/continuo. The strings remain bound to the organ's underlying bass line during the whole aria. However, the flute seemingly ignores this formality and, after a double citation of the aria's "death" leitmotiv (0:11), engages in a breathless virtuoso countermelody, freely moving above the strings' lines (0:25-0:33, 0:35-0:47) and only rarely reflecting upon the latter (1:02). After the prelude, the soprano (2) echoes the leitmotiv (1:11) before entering into a tortured, uncertain arioso (1:33), heavily reliant on duplet figurations but otherwise devoid of ornamentation and so fragile as to break midway, provoked by a return to the leitmotiv (1:46). The establishment of a first full arioso provokes a mere doted accompaniment from the strings, while a series of elegant but bizarrely disconnected ornamental lines are heard in the obbligato, strangely removed from the proceedings. A series of unsure phrases, answered by the beckoning call of the flute (1:55), give way to a resolute but gradually dimming duettino for the soprano/flute which closes the first arioso (2:05). A varied repeat of the ritornello follows (2:26), the flute recalling the preceding movement in its figurations (3:05). A second arioso is then introduced, the composer developing the vocal material in a subtle major modulation (3:26), as the singer recalls of image of Christ. The strings/flute at first follow the voice, hesitant to disturb this warm memory. However, an echo of the leitmotiv (3:47) provokes violent rising runs from the singer, as though the latter were trying to shake away the doubts and the very fear of death (4:00). An abridged ritornello follows, the flute shedding completely its former brilliance and stunningly eching of the strings (4:18). The final arioso follows the basic structure of the second vocal statement but abandons the former's brief suggestion of peace in favor of the opening's desperation (4:45), as the soprano, openly mirroring the flute and several times directly alluding to the leitmotiv, ultimately moves through a second coloratura flight to a subdued realization of death's coming (5:17). The whole piece is closed with a complete repeat without alterations of the opening ritornello (5:35).(2): The soprano version reflects Bach's own 1731 arrangement of the cantata as BWV 82a which replaces the oboe obbligato with a flute.≈ Score ≈The sheet music for the cantata can be found on IMSLP (p. 3-11) -http://petrucci.mus.auth.gr/imglnks/usimg/9/93/IMSLP01238-BWV0082.pdf≈ Recordings ≈I originally envisioned three separate uploads of respectively the bass, soprano and alto versions of the aria in question, however, I ultimately decided to limit the project to two uploads, as finding an appealing bass rendition proved to be rather difficult. For BWV 82a, I went for the 2008 BIS recording with Carolyn Sampson (more warm and idiomatic than a recent issue with Natalie Dessay) and the Bach Collegium Japan under Masaaki Suzuki.Hope you'll enjoy =).
Johann Sebastian Bach - Cantata BWV 82 (1727) - Aria - Ich habe genug (David Daniels) LindoroRossini 2011-10-31 | ≈ History ≈ Among Bach's extensive catalog of cantatas none have received as much attention both from the composer and his admirers than the pivotal BWV 82 which incorporates one of Bach's most moving meditations on Death's coming on which we will focus in the present posting. The cantata itself dates from the early Leipzig years of Bach's career which were primarily dedicated to the composition of isolated cantatas for specific events. BWV 82 was originally produced for the Feast of the Purification of Mary (February 2, 1727). However, in a rare occurrence among Bach's cantatas, the work, conceived as a scene for bass/oboe, enjoyed subsequent performances and went through a series of rearrangements in 1731, 1735 and 1746-48 for different voices (soprano/alto) and different obbligatos (flute/oboe da caccia), showing that the composer held the piece in high regard (1). (1): Its importance is also proven by the inclusion of the central andante into the Klavierbüchlein of Anna Bach. ≈ Narrative ≈ BWV 82 is set to an anonymous text from the Gospel of Luke (2, 22-32). The suggested narrative seems straightforward at first: an unnamed man/woman, claiming to have finally "seen the face of God", proclaims a desire to promptly leave the world of mortal pains in favor of the Savior's Elysium. However, Bach's ambiguous setting of the potentially commonplace text creates a dissonant aesthetic which can be interpreted in a variety of ways, from pure religious exaltation to almost suicidal resignation to the idea of death. ≈ Music ≈ The tightly woven ensemble of the titular aria clashes openly with the tableau of undisturbed peace which is created in the succeeding "Schlummert ein". The piece opens with an orchestral ritornello which is effectively an extended solo for the obbligato set to a subdued wave-like accompaniment of quint-/sextuplets in the violins and triplets in the viola/continuo. The strings remain bound to the organ's underlying bass line during the whole aria. However, the oboe seemingly ignores this formality and, after a double citation of the aria's "death" leitmotiv (0:11), engages in a breathless virtuoso countermelody, freely moving above the strings' lines (0:25-0:33, 0:35-0:47) and only rarely reflecting upon the latter (1:02). After the prelude, the alto (2) echoes the leitmotiv (1:11) before entering into a tortured, uncertain arioso (1:35), heavily reliant on duplet figurations but otherwise devoid of ornamentation and so fragile as to break midway, provoked by a return to the leitmotiv (1:46). The establishment of a full arioso forces a mere doted accompaniment from the strings, while a series of elegant but bizarrely disconnected ornamental lines are heard in the obbligato, strangely removed from the proceedings. A series of unsure phrases, answered by the beckoning call of the oboe (1:58), give way to a resolute but gradually dimming duettino for the alto/oboe which closes the first arioso (2:07). A varied repeat of the ritornello follows (2:30), the oboe recalling the preceding movement in its figurations (3:10). A second arioso is then introduced, the composer developing the vocal material in a subtle major modulation (3:30), as the singer recalls the image of Christ. The strings/oboe at first follow the voice, hesitant to disturb this warm memory. However, an echo of the leitmotiv (4:01) provokes violent rising runs from the singer, as though the latter were trying to shake away his doubts and the very fear of death (4:05). An abridged ritornello follows, the oboe shedding completely its former brilliance and stunningly echoing the strings (4:23). The final arioso follows the basic structure of the second vocal statement but abandons the former's brief suggestion of peace in favor of the opening's desperation (4:50), as the alto, openly mirroring the oboe and several times directly alluding to the leitmotiv, ultimately moves through a second coloratura flight to a subdued realization of death's coming (5:24). The whole piece is closed with a complete repeat without alteration of the opening ritornello (5:42). (2): The presented alto version is actually a modern rearrangement of the original BWV 82, as the mezzo/alto versions sanctioned by Bach are effectively lost. ≈ Score ≈ The sheet music for the cantata can be found on IMSLP (p. 3-11) - http://petrucci.mus.auth.gr/imglnks/usimg/9/93/IMSLP01238-BWV0082.pdf ≈ Recordings ≈ I originally envisioned three separate uploads of the bass, soprano and alto versions of the aria in question, however, I ultimately decided to limit the project to two uploads, as finding an appealing bass rendition proved to be difficult. For the alto rendition of the BWV 82, my choice is the exceptional 2008 Virgin recording with David Daniels and the English Concert directed by Harry Bicket which introduces the arias of BWV 82 as its centerpiece. Hope you'll enjoy =).
