Wow, this was quite pretty. Beautiful dance with Harp and Violin. And at times I thought maybe John Williams nicked a tune... :lol:. I guess this guy rubbed shoulders with Beethoven - performing for some of his works as violinist.
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Violinist, teacher, and composer Louis Spohr (1784 - 1859) was described by Paganini, no less, as "The most outstanding singer on the violin." One of the leading virtuosos of his era, Spohr was a man of exceptional stature (physically, as well as morally and intellectually -- he stood over six feet six inches in height), and as a liberal-minded freemason he was noted for his nobility of thought and deed. By his own admission, however, Spohr had been "from earliest youth, very susceptible to female beauty," and in 1805 (soon after he had become director of music to the Court at Gotha), he became infatuated with the brilliant and beautiful young harpist Dorette Scheidler, the talented daughter of one of the court singers. Scheidler became Spohr's wife in February 1806. Spohr's series of sonatas and other pieces for violin and harp were written for the couple to play together. Each work employed an ingenious solution to the outwardly ill-matched registral characteristics of the instruments. Spohr realized that the range in which the violin sounded most effective was, coincidentally, that which suited the harp least of all. He overcame this problem by stipulating that the harp should be tuned a semitone below regular concert pitch (in a flat key), while the violin was pitched a semitone below the harp part so that (as in this case) a harp part written in E flat major equated with a violin part in the key of D. The Sonata Concertante, Op. 113 (written in 1805 but published much later), was in fact the first work in which this novel solution was used. The piece comprises three movements and lasts around 20 minutes in all. The opening movement (Allegro brillante) is a vehicle to demonstrate the full virtuoso capabilities of both performers, and each has an equal share of the limelight. Next comes a reflective Adagio that exploits the violin's vocal characteristics (as noted by Paganini), while the harp assumes a more subordinate role. The finale, in Rondo form (Allegretto) deploys several carefree and affable melodies, again shared on more or less equal terms between both instruments. -Description by Michael Jameson
Do you remember where you heard Spohr before/what you liked? I was quite smitten at first listen, largely because of the unique instrumentation, and probably doesn't hurt he wrote it with his love in mind playing along with him.
A lot of this reminded me of a mix of Mozart and Beethoven. It makes me wonder a bit about the whole web of influences thing with New Historicism, and this idea that maybe Mozart and Beethoven were great and all, but really they were part of this larger web. We point to them as the greats and they indeed have great moments, but how much of that is a product of their environment/other musicians of the time, synergy, etc. Then of course I hear this and don't love it nearly as much as anything Beethoven or Mozart wrote - so of course it's just a logical game with that New Historicism idea.
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Carl Maria von Weber (1786-1826) composed his Clarinet Concerto No. 1 in F minor, Op. 73, in 1811 after his Concertino for Clarinet and Orchester in E flat major, Op. 26, and before his Clarinet Concerto No. 2 in E flat major, Op. 74. All three works were written for and dedicated to the clarinetist Heinrich Joseph Baermann, and all three show a complete understanding of the capabilities of the instrument. Weber's Clarinet Concerto No. 1 is distinctly different from the earlier concertino: where the earlier work is lightly playful and lyrically expressive, the Concerto No. 1 is deeply serious and dramatically, almost operatically, expressive. The concerto is in three movements: a forceful opening Allegro, an intensely expressive central Adagio, and an energetic closing Rondo Allegretto. Weber is clearly a master of the Romantic orchestra, and his writing for the soloists is supremely skillful throughout. - Description by James Leonard
Era: Classical
Year: 1812 - Silken Ladder & 1829 - William Tell (were the two that brought me here, but this a comp of a whole life's work)
Form: Opera Overtures
Score: 85
These are fine. Good, but not great. Of course the William Tell overture is the most popular here (see excerpt below). It's quality work that I can see was entertaining in it's day. Perhaps I'm undervaluing it because I've never really spent much time with his operas or the context in which these overtures are in. As a matter of fact, I purposely selected the "best of" collection here because I knew if the overture didn't sell me I likely wouldn't care for it musically and would have to see the opera to appreciate it in any other way. I mean these are fine. I just kinda feel like it wasn't emotionally captivating. Mozart could be silly and then serious - a gamut of emotions... somehow I felt like these weren't very deep emotionally, but they were fun and so pending my mood I could see myself revisiting... I also might find a better recording/collection as the youtube videos were better.
Do you remember where you heard Spohr before/what you liked? I was quite smitten at first listen, largely because of the unique instrumentation, and probably doesn't hurt he wrote it with his love in mind playing along with him.
A lot of this reminded me of a mix of Mozart and Beethoven. It makes me wonder a bit about the whole web of influences thing with New Historicism, and this idea that maybe Mozart and Beethoven were great and all, but really they were part of this larger web. We point to them as the greats and they indeed have great moments, but how much of that is a product of their environment/other musicians of the time, synergy, etc. Then of course I hear this and don't love it nearly as much as anything Beethoven or Mozart wrote - so of course it's just a logical game with that New Historicism idea.
If I recall correctly, my entry point with Spohr was his 2nd violin concerto heard on WCRB (Boston). From there, I explored his other violin concertos, being particularly impressed with his 8th. After that, I delved into the symphonies, especially #s2, 3, 9, &10. HIs symphonies, while not unexpectedly somewhat lightweight next to his contemporary, Beethoven, are still great listens for the most part and downright compelling in some. Then on to the string quartets and he also has a marvelous octet.
One of the great things about Spohr is how he was such a part of the movement from the Classical era to the Romantic era. You can hear this in his work and it makes for a very interesting, and in my opinion, unique body of work.
Weber, on the other hand, never really grabbed me. Nor does he here. Part of that is not doubt my inherent lack of love for the clarinet (only Mozart made the instrument interesting to me), and part of it is no doubt just Weber. He's not a poor composer by any stretch, but when compared to his contemporaries, he's just not worth me cutting out time for. I know folks who love him though.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
The William Tell may be the most popular, but The Barber of Seville, or should I say the Bunny of Seville, is close behind and stood the test of time in part due to getting a boost to all of us who used to watch Saturday morning cartoons back in the day.
These were great. Full of melody, intrigue, and unique style. A clear path to Romantic symphony style. Yeah... Idk what else to say to be honest, a bit succinct. I dig... wasn't like super wowed by it, but it was indeed a great listen. (So I just wrote this, and then read the stuff below and was like... shit... 16 years old!!!!). At 16 I may have been able to find my belly button. Geez. Totally puts this in perspective. I was more interested in this than a lot of works written by much more experienced composers. I also disagree that these don't have any feeling in them (I mean a lot of that has to do with the performance given).
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Symphony No. 1 in D major, D. 82
Franz Schubert was 16 years old when, on October 18, 1813, he put the final touches on his first complete symphony, the Symphony No. 1 in D major, D. 82. An impressively polished product, it doubtlessly benefitted from the young composer's two earlier, abortive efforts in the genre (also in D major) and the handful of symphonic overtures he wrote in 1811 and 1812. Like the rest of Schubert's pre-1820 symphonies, the Symphony No. 1 was not published until the late nineteenth century, when it was included in the original complete works edition. Schubert did, however, have the luxury of hearing it played during his lifetime; the obliging orchestra was possibly that of the seminary school from which the composer had recently disenrolled, or one of the ad-hoc ensembles put together in the house of Viennese music enthusiast Otto Hatwig.
The Symphony No. 1 is by far the finest piece of Schubert's to date. Though it dates from the post-Beethoven era, the Symphony No. 1 proudly displays Schubert's eighteenth century roots, established through his studies with Antonio Salieri (competitor of Mozart and admirer of Haydn). The grandiose Adagio introduction to the first movement and the Mozartian zip of that same movement's Allegro vivace main theme are unmistakably Classical in nature; as with many of Schubert's earliest works, there are countless superficial melodic nods to Beethoven, but the general manner of the work shows that, beyond such similarities of contour and inflection, Schubert yet had little access to the musical operations that lay at the heart of the master's symphonies.
Parts of the invigorating first movement's lengthy second subject were later deleted by the composer, presumably in the interest of structural balance, but are sometimes restored in performance. Somewhat unusually, the music of the Adagio introduction returns later in the movement to usher in the recapitulation. The Andante that follows is a light-footed movement, the graceful opening melody of which is countered by a marchlike second subject. The minuet (Allegro) returns to the boisterous D major of the first movement; its trio is an episode of great instrumental color, especially admirable for its woodwind scoring. The finale (Allegro vivace) bursts forth on a lively, much-ornamented idea in the violins; the vigorous coda that ends the Symphony is of a forcefulness and stiff harmonic fiber well outside the limits that Schubert's eighteenth century idols prescribed for themselves. - Description by Blair Johnston
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Symphony No. 6 in C major ("Little C Major"), D. 589
Franz Peter Schubert composed this work between October 1817 and February 1818. It was first performed in 1818 by Otto Hatwig and a small orchestra in the conductor's Schottenhof apartment; the public premiere wasn't until December 14, 1828, at a Gesellschaft der Muskfreunde concert in Vienna. It is scored for two each of flutes, oboes, clarinets, bassoons, horns, and trumpets, plus timpani and strings.
As Salieri's pupil Schubert composed five symphonies between 1813-1816, adding the Sixth on his own in 1817-1818 -- the musical equivalents of May wine in recycled bottles, which is to say in forms pioneered by Haydn and perfected by Mozart that Beethoven had set about shattering when Schubert was still a nursing infant.
He paid his respects to Beethoven in the opening pages of Symphony No. 6, but especially in the scherzo -- the first time Schubert adopted Beethoven's coinage in place of Minuet. The Sixth begins with a loud C major tutti that fades down, as Beethoven began his Seventh Symphony with the same instrumentation (but in A major) just a few years earlier. Yet Schubert's subsequent melodies prove no more heroic than his structures or harmonic bias. Although Robert Haven Schauffler wrote that his "approach to the recapitulation is Beethoven to the life," the materials themselves suggest dance tunes. By then Rossini had ensorcelled Vienna, and when Schubert wasn't being a genius he could be a blotter. The slow movement goes briskly, with a dactylic chief theme in the violins. And it does sound like Schubert on holiday in the Austrian countryside, a notable expressive advance for the 20-year-old composer.
Homage to Beethoven in the scherzo clearly derives from the deaf master's First Symphony -- especially the use of loud-soft dynamics -- but its E major Trio (Più lento) is closer to a Haydn Ländler than a Beethovenian jest.
Schubert introduces the rondo-like main theme of his Allegro moderato finale softly, as he'd done in the three previous movements. But structurally his Rossinian context is simpler than a rondo. Schauffler considered it "full of exuberant drive," despite his caveats about derivations and an abruptly harsh charge of "somewhat shoddy quality." The eminent Maurice J.E. Brown gave credit for "a great advance in technical matters over the previous five symphonies....The use of the orchestra is masterly, its movements are expertly organized to the point of glibness, all is crisp and competent." But he concluded -- as many have since -- that there's little or "no heart in the work; it is all externals." Even so, Schubert was learning by doing, and proved it two years later in sketches for a Seventh Symphony (E minor, D. 729), followed by two movements in 1822 that posterity has christened "the Unfinished." -Description by Roger Dettmer
That first is positively astonishing given Schubert's age at the time of its composition. Hell, it'd be a masterwork at any age, but 16? Egad! I was unaware he was kicking it so hard that young. But I guess I shouldn't be so shocked, having heard what Mozart and Mendelssohn had also done at such a young age as well.
I haven't always been that blown away by Schubert outside a few of his most famous works (Syms 8&9, Trout Quintet, Death and the Maiden quartet), but thoroughly enjoyed listening to these performances. Once again, thanks for the links.
RoundTheBendI miss the comfort in being sadProfile Ground Control
I'm most familiar with Winterreise from Schubert because I read the text and discussed it a bit at Uni. But yeah, even Mozart didn't write something that good until he was older than 16. I mean sure he wrote stuff, but if I remember right it wasn't until he was in his 20s until really good music was written. Schubert's 1st is actually very fine music comparably. Full of surprise, emotion, musicality, etc.
Era: Classical
Year: 1806 for #6
Form: Concerto
Score: 83
This was an attempt to get into Ludwig August Lebrun. It's not bad, but I have no interest in coming back... and that could be due to a lack of a good performance, but I'm having a hard time finding "recognizable" recording artists willing to do Lebrun's 6th oboe concerto.
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Ludwig August Lebrun was an outstanding oboist who contributed some nicely written oboe music to the instrument's repertoire. His father was an oboist and singers' rehearsal coach in the court of Mannheim, renowned for having the most outstanding and innovative orchestra of the time. A 1756 register of Mannheim musicians states that he was a Belgian. Young Ludwig learned oboe from his father. In 1764, at the age of 12, he was admitted to the Mannheim orchestra with the status of "scholar," meaning he was learning orchestral playing by sitting in with the orchestra at least during rehearsals. He was made a full member in 1767 at the age of 15 and stayed in the orchestra until his death. He was an outstanding musician even by the standards of that elite orchestra. This is shown by the fact that he also joined the specially picked group of chamber musicians who were drawn from the orchestra to perform at the court of Elector Carl Theodore and from the high salary that account books of the time show he was given.
He was permitted to travel to give concerts and make guest appearances with other orchestras. In 1778, he married the famous soprano Franziska Danzi, daughter of a famous musical family (elder sister of composer Franz Danzi). They had two musically important children: pianist Sophie Lebrun (1781 - after 1815) and Rosine Lebrun (1873 - 1855), a soprano. They are evidently not related to the horn player France Jean Lebrun (1759 - 1809). They often toured thereafter, visiting such cities as Milan, Vienna, Prague, Paris, Berlin, and London. He was regarded as the finest oboist of his time and is recorded as the first to reach D and E above high C on that instrument as musically usable tones. He wrote highly effective music for oboe, including several concertos and pieces for chamber groups. He also wrote some music not involving oboe and some dance suites. His music is sweet and undemanding on the listener. -Artist Biography by Joseph Stevenson, AllMusic
"His music is sweet and undemanding on the listener. -"
- sums it up pretty well. Very pleasant, but unremarkable music. Happy to hear it, but like you, not something I'd make a serious attempt at getting more of.
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RoundTheBend
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