Era: Classical (even though now we are on our way to Romantic stylistically)
Year: 1823 for Konzertstück for piano & orchestra in F minor,
Form: chamber, etc.
Score: 83 for the first and 86 for the second.
Weber's palate is beautiful. He textures things in fantastic ways, even if I'm not crazy about it. This is clearly romantic flavoring - emotions are high and "form" is thrown out the window. The second album was much better imo - but the first still good. The overtures were also insightful into those works. Good, but fandom has not occurred.
Konzertstück for piano & orchestra in F minor, J. 282 (Op. 79)
Quote:
Weber composed this Concert Piece in 1821 and played the first performance at Berlin on June 28 of that year. The Konzertstück, third and last of Weber's works for piano and orchestra, was created while he rehearsed the first performance of Der Freischütz in Berlin, and was premiered by him just ten days after a triumphant first performance of his best opera. The Concert Piece is unlike the two piano concertos that preceded it, for Weber wrote all four sections of this volatile work (complete with "plot") in a single movement. As he played it through for his wife and his young English pupil, Julius Benedict, the composer told them the following scenario:
"A châtelaine sits alone on her balcony, gazing off in the distance. Her knight has gone on a Crusade to the Holy Land. Years have passed, battles have been fought; is he still alive? Will she ever see him again?" The music, in F minor, is marked Larghetto affetuoso and colored plaintively by clarinets and bassoons, very much in the spirit of Weber's new Romanticism.
Then, Allegro passionato but still in F minor, "her excited imagination summons a vision of her noble husband lying wounded and forsaken on the battlefield. Could she not fly to his side and die with him? She falls back, unconscious. Then from the distance comes the sound of a trumpet. There in the forest something flashes in the sunlight as it comes nearer and nearer." First from the clarinet, then in the full orchestra a Tempo di marcia bursts forth in C major, with echoes of Beethoven and, as it quickens, Fidelio especially.
"Knights and squires, with the Crusaders' cross and banners waving, are acclaimed by the crowd. And there her husband is among them!" An octave glissando signals the lady's joyful recognition before "she sinks into his arms." An impassioned bridge passage for solo piano brings on a Presto giocoso in F major, depicting "happiness without end! The woods and waves sing a song of love, while a thousand voices proclaim its victory" as Weber emerges from the keyboard era of Hummel and Czerny to light the way for Liszt. -Description by Roger Dettmer
Trio for flute, cello & piano in G minor, J. 259 (Op. 63)
Quote:
The flute figures in nearly half of Weber's small catalog of chamber music and the most substantial of these items (though not quite as extended as his more popular clarinet quintet) is the Flute Trio with the flute replacing the violin in the usual trio configuration. It's unclear why Weber chose this instrumentation; he designed his clarinet and bassoon works for specific soloists, but no court flutist seems to have inspired this trio, which is dedicated to Philipp Jungh, Weber's friend and doctor. (Weber's flute sonatas are merely alternate versions of his violin sonatas, fairly easy pieces intended for domestic consumption.) The somber first movement (Allegro moderato) begins with long cello and flute lines over a throbbing piano accompaniment and is full of dramatic outbursts. The second theme abounds in more conventional, Classical-style twittering and this tension between dark Romanticism and bright Classicism drives the movement's development with Romanticism having the last word. The Scherzo begins with a rugged, offbeat figure reminiscent of the out-of-kilter scherzo from Beethoven's "Spring" Sonata, though lacking Beethoven's humor. This alternates with a flighty waltz melody, a strong contrast that allows Weber to leave out the scherzo's customary trio section. The third movement, Andante espressivo, bears the title "Schäfers Klage" or "Shepherd's Lament." The simple flute tune creeps along, seemingly unsure of itself, gradually elaborated by all three instruments except for a strange, chromatic interruption similar to the spot where Weber's Oberon Overture harmonically falls apart. The long finale (Allegro) is more conventional, a loose assemblage of chipper tunes, some lyrical and some of the sewing-machine variety. Weber gives the instruments free rein, allowing each to come to prominence through the movement's course and then recede into the general trio texture.
Era: Classical (even though now we are on our way to Romantic stylistically)
Year: 1823 for Konzertstück for piano & orchestra in F minor,
Form: chamber, etc.
Score: 89
This is actually my first time seeking this out. I may have heard it in my lifetime, but as with much of this journey, it's deliberate practice into a world I've been exposed to my whole life in various forms and have thousands of hours in that exposure, but it's different when one intently listens/seeks out. At least that was true with the album era thing... I've changed my listening habits I guess is what I'll say.
Anyway, I see why it is so famous. I initially chose a weak recording... likely because I was searching by the German and most have it as Trout. Anyway, I'm glad I slowed down and found this better recording. This is quite beautiful. It doesn't quite speak to my heart yet, but I can see it getting there. I think for now my most favorite is the low end introduced here. It's hard to communicate that without amplification yet, it makes me excited a little when I hear the low end represented, especially as a separate voice and not just "backing". I think this is the first double bass in chamber music I've heard specifically arranged for... 🤔
Quintet for piano, violin, viola, cello & double bass in A major ("Trout"), D. 667 (Op. posth. 114)
Quote:
In the summer of 1819, Schubert traveled with the famous baritone Johann Michael Vogl to the river town of Steyr, where there was an abundance of musical activity. Schubert and Vogl's performance of the some of the composer's songs -- especially "Erlkönig" (Schubert himself taking the part of the father!) and "Die Forelle" ("The Trout") -- attracted the notice of Sylvester Paumgartner, a wealthy mining executive and an accomplished 'cellist, who then commissioned Schubert to write a quintet based on "The Trout" (and perhaps patterned after a work by Hummel that he had in his collection). The resulting "Trout" quintet -- scored for the unusual combination of piano, violin, viola, violoncello, and double bass -- has become one of Schubert's more enduring chamber works, and it is typical of his early style. A notable feature is the integration of the piano part into the musical texture, on equal terms with those of the string players. In his own writing, Schubert referred to typical piano music as "damnable thumping" and insists in this work, as in his others, that it behave as an orderly and equal member of an ensemble.
The first movement is disproportionately long at 13 minutes, nearly a third of the length of the entire five-movement work. It is a joyful movement in sonata-allegro form, propelled forward by piano arpeggios and triplet figures in the strings. A lyrical andante follows, sweetly expressive in the minor mode, and avoiding any sense of melancholy. It features three themes, one of which allows for an extended piano solo.
The brief third movement, a presto, begins aggressively but becomes a sort of "dance poem" containing Austrian folk tunes. The rhythmic impetus is unflagging.
This leads to the work's signature movement, the theme and variations on "Die Forelle" ("The Trout"). Potentially tedious, the theme and variations form is ingenious and satisfying in Schubert's hands--each variation is both individually engaging and integral to the whole. As in the first movement, the piano is thoroughly intermingled with the strings and the resulting sound is nearly symphonic (an exception to this is the third variation, which is a swirling piano cascade with subdued string accompaniment).
The final movement is simple and light with a swirling, almost "gypsy" sound that can be reminiscent of Dvorák at times. Like the third and fourth movements, the last seems to be broken into smaller units, in the style of a set of dances. Although he had already written 11 string quartets by the time of the "Trout" Quintet, this composition represents Schubert's first truly significant chamber work. His ability to blend and balance this combination of instruments seems instinctive and the piece is rightly considered one of his most popular and best early works. -Description by Rovi Staff
...until now. That Konzerstuck is one glorious piece of music! And as usual, Brendel totally nails it. But it's so much more than just the piano solo. Right from the start, the intro grabs you, things build and swell in such a captivating way! All that awesomeness creates expectations, and when the piano comes in, he better darn well be on point! Fortunately, Brendel's well up to the task. What a joy!
The rest was more of the less rousing Weber I'm used to.
FischmanRockMonster, JazzMeister, Bluesboy,ClassicalMasterProfile Land of Enchantment
I remember seeking out the Trout (as obviously would be expected of the Fischman) when I first fell I love with chamber music and was looking to expand beyond just the Haydn quartets.
I didn't have much in the way of expectations as, at least with the symphonies, Schubert didn't grab me the way Haydn, Mozart, or Beethoven did.
What a pleasant surprise. The Trout was delightful on first listen and remains so to this day. Fun video, btw. Thanks for the link.
RoundTheBendI miss the comfort in being sadProfile Ground Control
Yeah! Konzertstück in F Minor is fantastic. I was quite taken by it. I also learned to appreciate his textures - early romantic textures that later were used by some greats. Respect due I suppose.
Era: Classical (even though now we are on our way to Romantic stylistically and arguably Romantic/is Romantic - When Schubert/Beethoven die, that's it for me)
Year: 1815ish to 1828ish
Form: Lieder (songs)
Score: 87.5
First ever super group? haha - just kidding. But seriously, the poetry of Goethe and music of Schubert... packs a very powerful punch, even if some of the works were sometimes "too serious" for me. I suppose the equivalent you hear people say of "they are trying to hard"... but really it's fantastic works. There are a few poems that mean a lot to me from Goethe (quoted below), and it was neat to hear them put to music.
I think the one that hits all the right parts musically as well as poetically is this first one (all poems have the German and English Translations - just scroll to it):
Quote:
Erlkönig - the meter of the poem literally sounds like a horse riding, and Schubert totally matches... it's great
Who rides there so late through the night dark and drear?
The father it is, with his infant so dear;
He holdeth the boy tightly clasp'd in his arm,
He holdeth him safely, he keepeth him warm.
"My son, wherefore seek'st thou thy face thus to hide?"
"Look, father, the Erl-King is close by our side!
Dost see not the Erl-King, with crown and with train?"
"My son, 'tis the mist rising over the plain."
"Oh, come, thou dear infant! oh come thou with me!
For many a game I will play there with thee;
On my strand, lovely flowers their blossoms unfold,
My mother shall grace thee with garments of gold."
"My father, my father, and dost thou not hear
The words that the Erl-King now breathes in mine ear?"
"Be calm, dearest child, 'tis thy fancy deceives;
'Tis the sad wind that sighs through the withering leaves."
"Wilt go, then, dear infant, wilt go with me there?
My daughters shall tend thee with sisterly care;
My daughters by night their glad festival keep,
They'll dance thee, and rock thee, and sing thee to sleep."
"My father, my father, and dost thou not see,
How the Erl-King his daughters has brought here for me?"
"My darling, my darling, I see it aright,
'Tis the aged grey willows deceiving thy sight."
"I love thee, I'm charm'd by thy beauty, dear boy!
And if thou'rt unwilling, then force I'll employ."
"My father, my father, he seizes me fast,
For sorely the Erl-King has hurt me at last."
The father now gallops, with terror half wild,
He grasps in his arms the poor shuddering child;
He reaches his courtyard with toil and with dread, –
The child in his arms finds he motionless, dead.
Wer reitet so spät durch Nacht und Wind?
Es ist der Vater mit seinem Kind;
Er hat den Knaben wohl in dem Arm,
Er faßt ihn sicher, er hält ihn warm.
"Mein Sohn, was birgst du so bang dein Gesicht?" –
"Siehst, Vater, du den Erlkönig nicht?
Den Erlenkönig mit Kron' und Schweif?" –
"Mein Sohn, es ist ein Nebelstreif."
"Du liebes Kind, komm, geh mit mir!
Gar schöne Spiele spiel' ich mit dir;
Manch' bunte Blumen sind an dem Strand,
Meine Mutter hat manch gülden Gewand." –
"Mein Vater, mein Vater, und hörest du nicht,
Was Erlenkönig mir leise verspricht?" –
"Sei ruhig, bleibe ruhig, mein Kind;
In dürren Blättern säuselt der Wind." –
"Willst, feiner Knabe, du mit mir gehn?
Meine Töchter sollen dich warten schön;
Meine Töchter führen den nächtlichen Reihn,
Und wiegen und tanzen und singen dich ein." –
"Mein Vater, mein Vater, und siehst du nicht dort
Erlkönigs Töchter am düstern Ort?" –
"Mein Sohn, mein Sohn, ich seh' es genau:
Es scheinen die alten Weiden so grau. –"
"Ich liebe dich, mich reizt deine schöne Gestalt;
Und bist du nicht willig, so brauch' ich Gewalt." –
"Mein Vater, mein Vater, jetzt faßt er mich an!
Erlkönig hat mir ein Leids getan!" –
Dem Vater grauset's; er reitet geschwind,
Er hält in Armen das ächzende Kind,
Erreicht den Hof mit Mühe und Not;
In seinen Armen das Kind war tot.
Wanderer's Night Song (I & II)
Der du von dem Himmel bist,
Alles Leid und Schmerzen stillest,
Den, der doppelt elend ist,
Doppelt mit Erquickung füllest;
Ach, ich bin des Treibens müde!
Was soll all der Schmerz und Lust?
Süßer Friede,
Komm, ach komm in meine Brust!
Thou that from the heavens art,
Every pain and sorrow stillest,
And the doubly wretched heart
Doubly with refreshment fillest,
I am weary with contending!
Why this rapture and unrest?
Peace descending
Come, ah, come into my breast!
Über allen Gipfeln
Ist Ruh,
In allen Wipfeln
Spürest du
Kaum einen Hauch;
Die Vögelein schweigen im Walde.
Warte nur, balde
Ruhest du auch.
O’er all the hilltops
Is quiet now,
In all the treetops
Hearest thou
Hardly a breath;
The birds are asleep in the trees:
Wait, soon like these
Thou too shalt rest.
Meeresstille
Tiefe Stille herrscht im Wasser,
Ohne Regung ruht das Meer,
Und bekümmert sieht der Schiffer
Glatte Fläche ringsumher.
Keine Luft von keiner Seite!
Todesstille fürchterlich!
In der ungeheuern Weite
Reget keine Welle sich.
^^^This one is a bit eerie and well represented musically^^^
Prometheus (The rejection of God)
Bedecke deinen Himmel, Zeus,
Mit Wolkendunst,
Und übe, dem Knaben gleich,
Der Disteln köpft,
An Eichen dich und Bergeshöhn;
Musst mir meine Erde
Doch lassen stehn
Und meine Hütte, die du nicht gebaut,
Und meinen Herd,
Um dessen Glut
Du mich beneidest.
Ich kenne nichts Ärmeres
Unter der Sonn' als euch, Götter!
Ihr nähret kümmerlich
Von Opfersteuern
Und Gebetshauch
Eure Majestät,
Und darbtet, wären
Nicht Kinder und Bettler
Hoffnungsvolle Toren.
Da ich ein Kind war,
Nicht wusste, wo aus noch ein,
Kehrt' ich mein verirrtes Auge
Zur Sonne, als wenn drüber wär'
Ein Ohr, zu hören meine Klage,
Ein Herz, wie mein's,
Sich des Bedrängten zu erbarmen.
Wer half mir
Wider der Titanen Übermut?
Wer rettete vom Tode mich,
Von Sklaverei?
Hast du nicht alles selbst vollendet,
Heilig glühend Herz?
Und glühtest jung und gut,
Betrogen, Rettungsdank
Dem Schlafenden da droben?
Ich dich ehren? Wofür?
Hast du die Schmerzen gelindert
Je des Beladenen?
Hast du die Tränen gestillet
Je des Geängsteten?
Hat nicht mich zum Manne geschmiedet
Die allmächtige Zeit
Und das ewige Schicksal,
Meine Herrn und deine?
Wähntest du etwa,
Ich sollte das Leben hassen,
In Wüsten fliehen,
Weil nicht alle
Blütenträume reiften?
Hier sitz' ich, forme Menschen
Nach meinem Bilde,
Ein Geschlecht, das mir gleich sei,
Zu leiden, zu weinen,
Zu genießen und zu freuen sich,
Und dein nicht zu achten,
Wie ich![1]
Cover thy spacious heavens, Zeus,
With clouds of mist,
And like the boy who lops
The thistles' heads,
Disport with oaks and mountain-peaks;
Yet thou must leave
My earth still standing;
My cottage, too, which was not raised by thee;
Leave me my hearth,
Whose kindly glow
By thee is envied.
I know nought poorer
Under the sun, than ye gods!
Ye nourish painfully,
With sacrifices
And votive prayers,
Your majesty;
Ye would e'en starve,
If children and beggars
Were not trusting fools.
While yet a child,
And ignorant of life,
I turned my wandering gaze
Up toward the sun, as if with him
There were an ear to hear my wailings,
A heart, like mine,
To feel compassion for distress.
Who helped me
Against the Titans' insolence?
Who rescued me from certain death,
From slavery?
Didst thou not do all this thyself,
My sacred glowing heart?
And glowedst, young and good,
Deceived with grateful thanks
To yonder slumbering one?
I honour thee, and why?
Hast thou e'er lightened the sorrows
Of the heavy laden?
Hast thou e'er dried up the tears
Of the anguish-stricken?
Was I not fashioned to be a man
By omnipotent Time,
And by eternal Fate,
Masters of me and thee?
Didst thou e'er fancy
That life I should learn to hate,
And fly to deserts,
Because not all
My blossoming dreams grew ripe?
Here sit I, forming mortals
After my image;
A race resembling me,
To suffer, to weep,
To enjoy, to be glad,
And thee to scorn,
As I!
Ganymed - the "seduction" of God
Wie im Morgenglanze
Du rings mich anglühst,
Frühling, Geliebter!
Mit tausendfacher Liebeswonne
Sich an mein Herz drängt
Deiner ewigen Wärme
Heilig Gefühl,
Unendliche Schöne!
Daß ich dich fassen möcht'
In diesen Arm!
Ach, an deinem Busen
Lieg' ich, schmachte,
Und deine Blumen, dein Gras
Drängen sich an mein Herz.
Du kühlst den brennenden
Durst meines Busens,
Lieblicher Morgenwind!
Ruft drein die Nachtigall
Liebend nach mir aus dem Nebeltal.
Ich komm', ich komme!
Wohin? Ach, wohin?
Hinauf! Hinauf strebt's.
Es schweben die Wolken
Abwärts, die Wolken
Neigen sich der sehnenden Liebe.
Mir! Mir!
In eurem Schosse
Aufwärts!
Umfangend umfangen!
Aufwärts an deinen Busen,
Alliebender Vater!
How, in the morning brightness,
You all around shine at me,
Springtime, Beloved!
With thousandfold love-bliss
The holy feeling
Of your eternal warmth
Presses itself upon my heart,
Unending beauty!
Could I but embrace you
In this arm!
Ah, upon your breast
I lie, languish,
And your blossoms, your grass
press upon my heart.
You cool the burning
Thirst of my bosom,
Lovely morning-wind!
There calls the nightingale
Lovingly for me from the misty vale.
I come, I come!
Whither, ah whither?
Up! Up it surges.
The clouds are leaning
Downwards, the clouds
Bow down to yearning love.
To me! To me!
In your lap, clouds,
Upwards!
Embracing, embraced!
Upwards to thy bosom,
All-loving Father!
Era: Classical (even though now we are on our way to Romantic stylistically and arguably Romantic/is Romantic - When Schubert/Beethoven die, that's it for me)
Year: 1821 - Piano Sonata No.5, Op.81
Form: Sonata
Score: 84
At first I thought, well this is just some nice formulaic music. Nothing special... I then started going on a journey with these works. I guess the crown jewel is No.5 anyway, so I got to that point and see why this is considered great. I mean I still wasn't in deep thought, but I was indeed awed by this dude's piano compositions/chops. I guess this dude succeeded Haydn as Kapellmeister in Austria and his Romantic ideas weren't as drastic/well taken as Beethoven's. He seemed to be someone who finally got the limelight, but it moved on to new things before he enjoyed anything from it. Then again, his music does seem a bit limited from the two sets of recordings I've heard of his, so possibly deservedly so, even if this piano work is fantastic, albeit lacking dynamics in tone/emotion.
Of all Hummel’s keyboard sonatas, the Sonata in F sharp minor, Op 81 (1819) is the most adventurous, the one that turns its back resolutely on the Classical era and hoists its colours to the new expressiveness of Romanticism. On this occasion, the Allgemeine musikalische Zeitung reviewer found the work ‘meaningful, noble, spirited, pathetic, skilful, logical, novel, and pianistically resourceful to an extent truly deserving the term “Grosse Sonate” and making it the finest, also the most difficult, among all sonatas to date’. The youthful Schumann struggled to master this ‘epic, Titanic work’, the one composition of Hummel’s that would survive, he later considered.
The first movement (Allegro) surges dramatically, pauses to reflect, rushes onwards with sparkling passagework, lingers introspectively before roaring on again – a stylistic mélange of writing that more closely resembles a fantasy than a formally structured sonata first movement (there is no exposition repeat, for example). Clementi was famous for his rapid passages in thirds (Mozart addressed his own inferiority in this respect by never writing such passages), a skill which he clearly passed on to his pupil, and Hummel’s episodes of con brio semiquaver runs in fourths and thirds must have challenged many others besides Schumann (Hummel’s B minor concerto written in the same year as this sonata, and the A minor concerto of 1821 are no less intimidating).
The slow movement (Largo con molt’espressione) opens not with a gentle sigh but an angry outburst (fortissimo), the first of a series of unexpected explosions that punctuate it. Hummel’s novel pianistic decoration during its course offers a fascinating anticipation of Chopin’s, even if its thematic material is less memorable. Jolting us abruptly from this meandering reverie comes the striking opening subject of the finale (Vivace), an impulsive folk-like dance. This, at last, is Hummel with the gloves off, the athletic writing on occasion using the entire compass of the keyboard in a single measure, making all kinds of cruel demands on the player, not least in stamina. Hummel provides two brief intervals of quiet relief (one a fugal passage in the major tonic) in an otherwise relentless drive to the thrilling conclusion.
I've always found Hummel to be more entertaining than engaging, which is okay once in a while, especially in the classical repertoire. #5 is definitely fun... and rather engaging. Nice choice.
RoundTheBendI miss the comfort in being sadProfile Ground Control
I've always found Hummel to be more entertaining than engaging, which is okay once in a while, especially in the classical repertoire. #5 is definitely fun... and rather engaging. Nice choice.
Great way of putting it.
RoundTheBendI miss the comfort in being sadProfile Ground Control
Era: Classical (even though now we are on our way to Romantic stylistically and arguably Romantic/is Romantic - When Schubert/Beethoven die, that's it for me)
Year: 1802ish-1823
Form: Bagatelle
Score: 87
It could be the performer, but what a contrast between this and Hummel. Hummel was impressive, but lacked emotion. This is dripping with emotion.
On another note, I either love this era or my benchmark gone dun broke... my ratings seem a bit high/even "mediocre" stuff I'm rating high because I see great qualities in it... dunno... will definitely have to redo these ratings... but first wanted a sample... I really should put something like a 1 - Amazing, 2- Good, 3- OK, 4, lacking/boring... maybe will adjust that for my romantic/post-romantic push... dunno.
Wikipedia:
Quote:
The name bagatelle literally means "a short unpretentious instrumental composition" as a reference to the light style of a piece
AllMusic Descriptions
Quote:
Bagatelle for piano in B minor, Op. 126/4
Beethoven's bagatelles are generally light in character and often less consequential works in his keyboard output. Those in the Op. 126 set, however, break from this mold, offering the listener a more substantial artistic yield. The self-critical Beethoven himself expressed a favorable view of them in a letter to his publisher, stating they were likely the best of that genre he had yet composed. This B minor effort is not only one of the stronger efforts in the Op. 126 set, but one of the finest of all the 27 bagatelles. Marked Presto, the work stormily begins, the main theme and its subordinate material gradually evolving from amid much tension and bustle. The melody is both anxious and heroic in its rising contour and seeming struggle. A second theme, played in the upper register and underpinned by a rhythmic figure in the bass, is also lively but calmer, even serene in its wandering manner. The main material returns and after the second theme is heard again, the work abruptly ends. Lasting about four minutes, this is one of Beethoven's longer bagatelles.
Bagatelle for piano in E flat major, Op. 33/1
Although the date of composition in the headnote accurately reflects the period Beethoven worked on the seven bagatelles comprising the Op. 33 set, sketches for some of the pieces date back to much earlier times, as early as 1783. The works in the collection are generally light, energetic, and brief. That said, this E flat minor effort only partially meets that description -- it is light and somewhat lively, but its four-minute duration stretches it beyond brevity to a more moderate length. This Op. 33 set's leadoff item is, in fact, its largest member. The work is marked Andante grazioso, quasi allegretto, and opens with a joyful theme whose carefree, colorful manner allows few clouds in its bright sky. This melody and its subordinate materials are presented twice and then Beethoven briefly develops them, injecting only a hint of tension and darkness. After a reprise of the main materials, the piece ends in high spirits, emphatic chords resonating energy and joy. This is among the finest early bagatelles, even if it falls a rank or so below those in the masterful and much later Op. 126 set.
Bagatelle for piano in A minor ("Für Elise"), WoO 59
Among enthusiasts of Beethoveniana, the identity of the "Elise" in the title of the composer's most famous piano miniature, Für Elise, is almost as much of an enigma as that of the "Immortal Beloved." (One of the most popular theories is that "Elise" is actually "Therese" -- that is, Therese Malfatti, the longtime object of the composer's affections.) Given the modest technical demands of this work -- it has long been a favorite of keyboard novices -- it is reasonable to conclude in any case that "Elise" was a beginning piano student.
Though usually designated a bagatelle, Für Elise has the form of a compact rondo (ABACA). In spite of its brevity, the work bears the distinctive stamp of its creator. There is a slight hint of brooding in the Slavic-tinged A minor refrain; the B episode, in F major, possesses the yearning, songlike character of so many of Beethoven's slow movements. In the C episode, a very effective modulation from D minor to B flat major is achieved via a simple but very characteristic half-step shift in the bass. Like a tiny cut gem, Für Elise is flawless; even in an effort of such petite proportions, one is reminded of Leonard Bernstein's observation of the "sense of rightness" which pervades all of Beethoven's works.
Era: Classical (even though now we are on our way to Romantic stylistically and arguably Romantic/is Romantic - When Schubert/Beethoven die, that's it for me)
Year: 1823
Form: Incidental Music (although I've also seen opera attributed...)
Score: 87
This was quite good. The quality of composition is incredible - textures and emotions. I didn't fall in love with it directly, but the effort itself if that makes any sense. Like I can't recall a single melody or a certain point where it clicked- but it all clicked somehow at a deeper level... could drop the score, but I actually really thought highly of this even if I can't identify why.
Quote:
Schubert provided an overture and nine numbers for a play called Rosamunde, Queen of Cyprus by Wilhelmine von Chézy. It was a resounding flop, closing in two nights, but the music was well-received. Even so, Schubert did not take advantage of the evident high regard the audience had for it by extracting the music for concert purposes; that service was not performed until 1868, when Grove and Sullivan made their famous discovery of a treasury of forgotten Schubert scores (including the Unfinished Symphony) in Vienna. Schubert's nine numbers are: (1) Entr'acte in B minor; (2) Ballet in B; (3) Entr'acte No. 2 in D major and Romanza; (4) Spirit Chorus; (5) Entr'acte No. 3 in B flat major. (6) Shepherd's Melody; (7) Shepherds' Chorus; (8) Hunters' Chorus; and (9) Ballet No. 2 in G. Schubert re-used the tune of No. (5) in a later Impromptu and in his Quartet, D. 804. The score was composed at great speed and to some extent thrown together from other sources: the overture used (now commonly called the "Rosamunde" Overture) was originally written for an operetta called Die Zauberharfe. Another piece is also designated "Rosamunde" Overture for piano duet, but it was also composed earlier, for the operetta Alfonso und Estrella. Incidentally, Gerald Abraham speculates that the B minor Entr'acte is the missing final movement of the Unfinished Symphony in B minor. Scientific examination of the manuscripts themselves tends counter to this view. -Description by Joseph Stevenson
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RoundTheBend
Fischman
