Gurn's Classical Corner

[Gurn Blanston]

Hammer, Franz Xaver (1741-1817) - Sonatas, Viola da Gamba w/ Simone Eckert & Hamburger Ratsmusik; instruments include Eckert on the Viola da Gamba, and others on Cello, Theorbo, and keyboard (harpsichord or fortepiano) -  posted the images below in the listening thread yesterday; a new arrival which was highly recommended in the American Record Guide - believe that I have just one other disc by this group, Hamburger Ratsmusik.

The liner notes are of interest and well done by Simone Eckert - she uses a period instrument built by J.U. Eberle, who was active in Prague in the second half of the 18th century.  Hammer became a cellist in the court orchestra of Prince Nikolaus I in 1771; of course, the Kapellmeister was Joseph Haydn, who along w/ the prince became fans of the new string player; apparently he was the second highest paid member of the band, just below Haydn, himself!  In 1778, he left that employment for reasons not explained.

The viola da gamba ('knee fiddle') gradually fell out of favor during the 18th century and was replaced by the cello; however, the instrument apparently was quite popular in its time.  Carl Abel & Anton Lidl were considered outstanding 'gamba' players, both dying in the late 1780s; the last (hence the name of the CD) of the great gambists were Joseph Fiala & Franz Hammer, passing away in 1816 & 1817, respectively. 

The works on this disc are nearly all by Hammer (a couple tracks of Carl Abel) - fun disc w/ old instruments and a transitional feeling of nostalgia while listening - 


 

Thanks for the most interesting post, Dave. Given his association with Esterhazy, I am chagrined that this is an entirely new name to me. I will certainly look into this disk. Some of the late gamba music, like that of Carl Stamitz, is really fine, and deserving of our attention.

[DavidW]

I wasn't aware that the viola da gamba compositions ran so late, cool Dave!

[SonicMan46]

Gurn & David - yes, I was unaware of Hammer until I read the ARG review and ordered the disc; then the liner notes provided much interesting information relative to his 'Haydn connection' - another interesting story was about an incident in the 'tavern' at the Eszterhaza Palace probably following a night of drinking much wine (sounds good to me!); Hammer was involved in a 'fracas' w/ the oboist Zacharias Pohl, whose eye was gouged out by Hammer w/ his ring - OUCH!  Haydn intervened and even asked Prince Nick to help in arbitrating the ensuing lawsuit - the story goes on in the notes!

I really enjoy the late 17th into the early 19th century not only for the variety and changing musical compositions, but equally for the development of these various instruments; just does not seem to be another era in which these musical instruments were not only changing dramatically but often co-existed, such as Hammer being a cellist & a viola da gamba player - so much to fascinate one's interest - Dave

[Gabriel]

A few words to tell you about a very beautiful musical experience I had today: I attended the first performance of Grétry's Andromaque since, if I remember correctly, 1781. In general I've considered his music as a bit light, in the best style of opéra comique.

Such prejudices were totally destroyed by today's performance, for Andromaque resulted to be a tragédie in the style of the great operas of Gluck. I wouldn't doubt to qualify it as a masterpiece of classical French opera. Grétry got perfectly the dynamic sense of Gluck's tragedy, adding his own contributions: some very strange modulations, experimental textures, and even explorations in timbre that anticipate Méhul or Berlioz (the recitatives of Andromaque were often accompanied by three flutes, something quite unusual for those years). Really great music (and I can't understand how such a score could have been waiting for more than two centuries to be played again).

[SonicMan46]

Susan (i.e. Harpo) and I are on a 5-night vacation in the BIG APPLE - last night we met Bruce Hodges in our hotel bar for some drinks & snacks before going our separate ways to different concerts - just a wonderful visit - took a few pics which I hope to post in the thread related to meeting other GMGers! 

Our concert was at Carnegie Hall - the Takács Quartet playing Scuhmann - String Quartet, No. 1; Wolfgang Rihm - String Quartet, No. 11; and Beethoven - String Quartet, Op. 59, No. 1 - I guess the Schumann & Beethoven certainly belong in this thread;  Rihm, of course, is a living composer whom I have little experience - the work was in one movement, about 30+ mins in length, and commissioned for this group; probably my least favorite work of the evening - just don't know this composer.

Of course, my favorite for the evening was the Beethoven work - I have this group in ALL of the Ludwig's SQ works, so expected to enjoy, and was not disappointed - they have played these quartets so often and for so long that the playing just flowed beautifully from the instruments; two of the performers (Karoly Schranz on violin & Andras Fejer on cello) are from the 'original' group, which was formed in 1975 when they were students at the Franz Liszt Academy in Budapest; the quartet is now based at the University of Colorado in Boulder, although they perform many concerts worldwide; actually this is my second experience - we saw them in our North Carolina home town probably 20 or so yrs ago.  Overall, a wonderful experience to be in that building and the hear this group live again! 

[DavidW]

Just as I subversively changed the subject of Gurn's thread to Bach, Dave one ups me by talking about Rihm, far removed from the Gurnian era.   Well played Dave, well played.

Anyway it sounded like a splendid evening, I love the Takacs Quartet recordings of Beethoven's SQs, and you got to hear them live!!  Awesome!

[Gurn Blanston]

A few words to tell you about a very beautiful musical experience I had today: I attended the first performance of Grétry's Andromaque since, if I remember correctly, 1781. In general I've considered his music as a bit light, in the best style of opéra comique.

Such prejudices were totally destroyed by today's performance, for Andromaque resulted to be a tragédie in the style of the great operas of Gluck. I wouldn't doubt to qualify it as a masterpiece of classical French opera. Grétry got perfectly the dynamic sense of Gluck's tragedy, adding his own contributions: some very strange modulations, experimental textures, and even explorations in timbre that anticipate Méhul or Berlioz (the recitatives of Andromaque were often accompanied by three flutes, something quite unusual for those years). Really great music (and I can't understand how such a score could have been waiting for more than two centuries to be played again).

Sounds like a very interesting evening, Gabriel. Grétry is one of those composers that one seems to hear much about, yet never hears anything by. Certainly that is in my case. Other than the usual "Variations on a Theme by Grétry" sort of stuff, one has to dig pretty deeply to find anything to listen to. I'm pleased that you got the opportunity, and envious that I didn't...   Of course, there is little or no chance that this was recorded for wider distribution, so perhaps it will be another <>228 years before it is heard again?

[Gurn Blanston]

Susan (i.e. Harpo) and I are on a 5-night vacation in the BIG APPLE - last night we met Bruce Hodges in our hotel bar for some drinks & snacks before going our separate ways to different concerts - just a wonderful visit - took a few pics which I hope to post in the thread related to meeting other GMGers! 

Our concert was at Carnegie Hall - the Takács Quartet playing Scuhmann - String Quartet, No. 1; Wolfgang Rihm - String Quartet, No. 11; and Beethoven - String Quartet, Op. 59, No. 1 - I guess the Schumann & Beethoven certainly belong in this thread;  Rihm, of course, is a living composer whom I have little experience - the work was in one movement, about 30+ mins in length, and commissioned for this group; probably my least favorite work of the evening - just don't know this composer.

Of course, my favorite for the evening was the Beethoven work - I have this group in ALL of the Ludwig's SQ works, so expected to enjoy, and was not disappointed - they have played these quartets so often and for so long that the playing just flowed beautifully from the instruments; two of the performers (Karoly Schranz on violin & Andras Fejer on cello) are from the 'original' group, which was formed in 1975 when they were students at the Franz Liszt Academy in Budapest; the quartet is now based at the University of Colorado in Boulder, although they perform many concerts worldwide; actually this is my second experience - we saw them in our North Carolina home town probably 20 or so yrs ago.  Overall, a wonderful experience to be in that building and the hear this group live again! 

Very nice way to spend the weekend, Dave. Carnegie Hall has got to be where I would enjoy my concert experience too. I have seen so many televised concerts from there over the years that seeing it in person is mandatory by now. And a nice concert too. Rihm is one of my very favorite modern composers, and Beethoven and Schumann aren't bad either. Unlike a few of our little community here, I even prefer the Op 59 over some of the later SQ's. Nice blood and guts music.   I hope you took a chance to let the Takacs know that they play the Schubert Quintet too damned slow, though...

[karlhenning]

Yes, even Billy Joel has performed in Carnegie Hall 

[Gurn Blanston]

Yes, even Billy Joel has performed in Carnegie Hall 

Period instruments, I hope...

[DavidW]

I was listening to Haydn's Baryton trios and was quite engaged, and loved the sound of the instrument... but I must admit it's been so long I forgot a baryton is, were there previous posts on this forum written about the instrument?

[Gurn Blanston]

I was listening to Haydn's Baryton trios and was quite engaged, and loved the sound of the instrument... but I must admit it's been so long I forgot a baryton is, were there previous posts on this forum written about the instrument?

I'm positive there are, don't have time to dig right now, but if you haven't found or posted something by later on, I'll do some up.

[Gabriel]

Sounds like a very interesting evening, Gabriel. Grétry is one of those composers that one seems to hear much about, yet never hears anything by. Certainly that is in my case. Other than the usual "Variations on a Theme by Grétry" sort of stuff, one has to dig pretty deeply to find anything to listen to. I'm pleased that you got the opportunity, and envious that I didn't...   Of course, there is little or no chance that this was recorded for wider distribution, so perhaps it will be another <>228 years before it is heard again?

Yesternight's performance of Andromaque, tonight's in Brussels at the Palais des Beaux-Arts (both in concert version) and several ones next year in the Schwetzinger Festspiele (staged) are announced in Glossa Music's webpage. I can presume that they will cleverly record a CD or a DVD, but I guess it would be done once they are more used to the work (so for next year in Germany).

Next year Zémire et Azor and L'amant jaloux will be performed in Paris (Opéra Comique). I'll try not to miss them.

[Gurn Blanston]

Yesternight's performance of Andromaque, tonight's in Brussels at the Palais des Beaux-Arts (both in concert version) and several ones next year in the Schwetzinger Festspiele (staged) are announced in Glossa Music's webpage. I can presume that they will cleverly record a CD or a DVD, but I guess it would be done once they are more used to the work (so for next year in Germany).

Next year Zémire et Azor and L'amant jaloux will be performed in Paris (Opéra Comique). I'll try not to miss them.

Ho, that would be great. Maybe even come available over here. So far, whatever operas that I have enjoyed (except for Carmen, of course) have all been from the Classical Era. So a few more to hear and see, that would be excellent.

[Gurn Blanston]

I was listening to Haydn's Baryton trios and was quite engaged, and loved the sound of the instrument... but I must admit it's been so long I forgot a baryton is, were there previous posts on this forum written about the instrument?

The Baryton

CLASSIFICATION:   

Chordophone, Bowed Stringed Instrument

HISTORY:    
The baryton is a bowed stringed instrument similar to the bass viol. It is a hybrid instrument based on the Baroque bass viol and includes features of the Lyra viol and the Bandora (a metal-strung plucked bass instrument). The instrument is bowed like a bass viol and simultaneously plucked from behind the fingerboard. The strings behind the fingerboard also act as sympathetic strings that will resonate along with the frequencies from the bowed strings. These unique features provided a rich palate of sounds for the composer and musician. Originally, the baryton was performed with the bowed strings playing the melody while the plucked strings provided the accompaniment. In later years, it became less common to hear both sets of strings played simultaneously, especially in chamber music. The two sets of strings were more likely to be performed in alternation. The original baroque practice of playing a melody with accomaniment was left to only the most skilled performers.

The baryton was said to have been invented in England by Daniel Farrant, but that is of some debate. It is clear that versions of the baryton were in existance early in the 17th century in Germany (c. 1618) and England (c. 1608). By the 18th century, baryton parts were notated in the treble clef, sounding an octave below. Numbers below the staff indicated the strings to be plucked. The plucked strings were indicated from lowest to highest in this period.

Austria and southern Germany was where the baryton was most developed. Most notably in the court of Prince Nicolaus Esterházy. Court composer Franz Joseph Haydn composed numerous chamber works for the baryton as his patron, Prince Nicolaus, was an amateur musician who played the baryton. Haydn composed for baryton between 1765 and 1778 and a common baryton trio included the baryton, viola and cello. By 1800, the baryton was still in use, but it's popularity was waning. The baryton is also know by several other names and variations of those names including bariton, barydon, paradon, paridon, pariton, viola paradon, viola di bordoni, viola di bardone, and Viola di Bordone.

Although the baryton was seldom heard in concert by the end of the 19th century, there was a late 20th-century revival with a number of composers writing new compositions for the baryton. Additionally, the International Baryton Society was formed in 1992 to coordinate and promote baryton research and performance.
PHYSICAL DESCRIPTION:   

The baryton is a large instrument, similar to a bass viol. Often known as the "instrument of kings", most barytons are highly ornamented with decorative carvings. This includes carved scrolls, (often in the shape of heads and painted), and inlays using ivory, ebony or mother-of-pearl. Early descriptions of the baryton indicated that it was a bass viol with the addition of wire strings to make the sound better. There are three basic versions of the baryton found today; Baroque, Classical and revival.

The Baroque baryton has six bowed gut strings (like a bass viol) over a very broad neck with a fingerboard with seven frets (known as the upper manual). The fingerboard is hollowed in the rear to accommodate as many as twenty sympathetic strings (known as the lower manual). Originally, the baryton had nine metal bass strings in the lower manual that ran parallel to the fingerboard on the and were plucked from behind the neck with the left thumb. They provided the baryton with the capability to simultaneously play melody and accompaniment while enhancing the sound by sympathetic resonance. The number and pitch range of the metal plucked strings was later increased and sometimes a third manual, with gut strings, was added.

The Classical baryton was used extensively in the Esterházy court during the 1760s and 70s with around 170 compositions by court composer Franz Joseph Haydn. The lower manual was tuned to the same pitch range as the upper four strings of the upper manual with a seventh bowed string and a lower manual of 15 or more metal strings. The strings in the lower manual were connected to individual bridges and tuned with tuning pegs from the head of the instrument. Later in the century, up to 44 lower-manual strings were used on some barytons.

The revival baryton closely resembles the Esterházy instrument. This was a heavier instrument, but, was soon replaced by lighter instruments.

SOUND PROPERTIES:   
The sound of the baryton is like that of a bass viol with the sympathetic strings providing a unique and warm resonance. When the strings of the lower manual are plucked, they create an effect of a lute accompaniment.

RANGE:    
Typically, the six bowed strings in the upper manual are tuned like those of the bass viol, D - G - c - e - a1 - d1, but it was common that the baryton also used scordatura tunings. The sympathetic strings in the lower manual are tuned in diatonic or chromatic progression, and since there were numerous variations in the number of strings in the lower manual, there is no standard tuning for this manual.


Of course, this information is all stolen from various websites.

[DavidW]

Thanks dude!

[Sorin Eushayson]

Fantastic write-up, Gurn!  I have some of Haydn's music for this unique and rich instrument and enjoy it very much.

[SonicMan46]

Gurn - thanks for bringing all of that information together on the Baryton - enjoyed the read! 

A couple of years ago when I was getting more into purchasing baryton recordings, I had an itch for acquiring one to put in our living room w/ the rest of Susan's instruments; no plan to learn to play - would just look cool sitting there w/ the harps & guitars!

Well, I contacted Jeremy Brooker of the 'International Baryton Society' and we exchanged several messages; basically a complicated instrument to build (i.e. professional needed was my interpreatation) and quite expensive, so I gave up the quest - below quoted is one of his responses to me that might be of interest - Dave

Dear Dave,

Really, building a baryton is a bit of a nightmare and not to be embaked on lightly. The most complicated string instrument there is! No one has published drawings, so there is also a lot of research to consider different models. The baryton never reached a definitive form, but evolved continuously over its long history. I have 3 different barytons, and if finances ever permit would like to commission another...

Most modern players go for a Classical baryton, which has the most accessible repertoire (Haydn mostly- wonderful music, and well worth the trouble of playing it!) and most of it easily playable by someone who already plays viola da gamba. A suitable instrument would need 6 bowed strings and 9 plucked.

Not sure how useful this is, but wish you every success!

Best wishes,
Jeremy Brooker

[Gurn Blanston]

Gurn - thanks for bringing all of that information together on the Baryton - enjoyed the read! 

A couple of years ago when I was getting more into purchasing baryton recordings, I had an itch for acquiring one to put in our living room w/ the rest of Susan's instruments; no plan to learn to play - would just look cool sitting there w/ the harps & guitars!

Well, I contacted Jeremy Brooker of the 'International Baryton Society' and we exchanged several messages; basically a complicated instrument to build (i.e. professional needed was my interpreatation) and quite expensive, so I gave up the quest - below quoted is one of his responses to me that might be of interest - Dave

In a baryton-related PM just the other day, I joked to someone that you had a home-made one in your living room... never realized I was anywhere close.

Fantastic write-up, Gurn!  I have some of Haydn's music for this unique and rich instrument and enjoy it very much.

All stolen, Sorin, but I'm pleased with the quality of the booty this time, past efforts have netted very little in the way of solid info that this has.



----------------
Listening to:
Quatuor Festetics - Hob 03 81 Quartet in G for Strings Op 77 #1 1st mvmt - Allegro moderato

[SonicMan46]

Just obtained and am listening to the discs shown below - have one other disc of this composer's symphonies - thought that a short bio w/ a more detailed link might interest some in this important mid-18th century composer - have not checked back on the pages in this thread, so hopefully not much duplication.  A thread on him was started by Newman w/ only himself responding - maybe I'll paste this post there to generate some interest! 

Josef Mysliveček (1737-1781) was a Czech composer born in Prague; he left for Venice in 1763 to study opera composition. In the 1770s, he was on friendly terms w/ the Mozart family, which ended in 1778 when he failed to obtain an opera commission in Naples for Wolfie. Mysliveček was also known as Il Boemo (The Bohemian) - apparently the Italians had a difficult time pronouncing his name! He died destitute in Rome in 1781.

Mysliveček contributed to the formation of late 18th century classical music, especially in his symphonic and wind writing.  In the 1770s, during Mozart's visits, some of the stylistic aspects of the older composer's writing certainly influenced the younger Wolfgang.  Il Boemo was a prolific composer - his works include 26 operas, oratorios, cantatas, and other vocal works. He composed nearly 50 symphonies, which are often in a short Italian overture form (such as the works on the disc shown).  He also wrote dozens of concertos and chamber works for one or more instruments, including string quartets/quintets and wind quintets & octets.

More detail of his life (including a disfiguring nose malady, likely syphilis) and a listing of his works can be found in a this Wiki rticle. A new book entitled Josef Myslivecek, "Il Boemo": The Man and His Music by Daniel Freeman & Susan Parisi was published this year - may see if I can obtain a library copy.