Gurn's Classical Corner

[Que]

Hello Leo - I really enjoyed the Hummel Septet disc on Brilliant - the recorded sound is excellent, and the fortepiano does add a completely different sound vs. my other recording on 'modern' instruments; and the keyboard used is quite appropriate for his time.  I purchased the disc based on a review in the Am Record Guide (Nov-Dec 2010 issue) - I've attached a copy for your perusal; the reviewer is obviously NOT a PI fan, but his only quibble was w/ the 'natural' horn - not a big deal for me.  So, if you want these works w/ the period keyboard instrument, then I would recommend the performance; believe that some of the other GMGers have given the recording positive comments.

Hi David, the Am record Guide review is ludicrous. Any sensible review should judge the music and a period instruments performance on its own terms. Telling us that he hates the recording just because it is on period instruments, is totally useless and tells us nothing we didn't already knew. Of course, I can sympathise with the poor guy: a Helter Skelter performance of a composer who pulls all the plugs on special effects, involving a 19th century Viennese grand piano and, above all, period winds - clarinet, oboe, flute and natural horn - can be too much for the faint hearted. But it is exactly what this music needs: it is designed to show off and sound daring. I don't know if I could endure the endless cascades of arpeggios otherwise - I feel any performance on "modern" instruments is bound to be deadly boring.
I particularly like the Viennese piano grand by Jacob Bertsche, which looks like this instrument of two years before:



Musically, Hummel's virtuosism mixed in with intimate Biedemeier style preciousness sounds close to Mendelssohn's piano concertos and preminiscent of Chopin's concertos and Liszt. Schubert's flashy cousin, so to speak... I wouldn't be in the mood for this every day but when I will, this performance does the trick giving the music the authenticity and the (rustic) flair it thrives on.

Q

[Leo K.]

Hi David, the Am record Guide review is ludicrous. Any sensible review should judge the music and a period instruments performance on its own terms. Telling us that he hates the recording just because it is on period instruments, is totally useless and tells us nothing we didn't already knew. Of course, I can sympathise with the poor guy: a Helter Skelter performance of a composer who pulls all the plugs on special effects, involving a 19th century Viennese grand piano and, above all, period winds - clarinet, oboe, flute and natural horn - can be too much for the faint hearted. But it is exactly what this music needs: it is designed to show off and sound daring. I don't know if I could endure the endless cascades of arpeggios otherwise - I feel any performance on "modern" instruments is bound to be deadly boring.
I particularly like the Viennese piano grand by Jacob Bertsche, which looks like this instrument of two years before:



Musically, Hummel's virtuosism mixed in with intimate Biedemeier style preciousness sounds close to Mendelssohn's piano concertos and preminiscent of Chopin's concertos and Liszt. Schubert's flashy cousin, so to speak... I wouldn't be in the mood for this every day but when I will, this performance does the trick giving the music the authenticity and the (rustic) flair it thrives on.

Q

Thanks for the review Que, you have me interested in hearing that orchestration of Hummel's.

[Leo K.]

I transpose a message I've just written in another thread, concerning - naturally - a classical composer.



It's interesting that you mention this CD, Traverso. It's the only CD I own of Brunetti's music, and I would like to know more of it before trying to describe the style of the composer. But specifically about these few string quartets I can say that it is some of the most intriguing chamber music of the classical period. Perhaps it is the use of listening to the Viennese composers of the time, but even compared with Boccherini's works these are very special; I would even say that they are very strange. Their emotional approach is a light one, but the music in itself is quite twisted: very strange textures, unexpected modulations, irregular subjects, and lots of other surprises.

If I had to describe these works, I'd say they are like a piranha. Their size is deceiving. And when gathered in groups, they can create a very powerful force. According to Wikipedia, he wrote a considerable amount of chamber music (44 string quartets, 66 string quintets, and so on). If most of his music had at least the level presented by this CD, we would be in front of a very sadly forgotten composer; and considering that Brunetti was active in Spain at the same time Boccherini was, they both could offer a most distinguished counterpoint to the Haydn-Mozart Austrian chamber music writing of this period.

This is the post that got me into Brunetti. I love how Gabriel writes of the quartets in the above quote.

What a great find this composer is. I'm very intrigued over this seemlingly isolated composer. 

I also enjoy the disk of his symphonies with the Concerto Koln:



What a great thread full of great discoveries.

[Gurn Blanston]

This is the post that got me into Brunetti. I love how Gabriel writes of the quartets in the above quote.

What a great find this composer is. I'm very intrigued over this seemlingly isolated composer. 

I also enjoy the disk of his symphonies with the Concerto Koln:



What a great thread full of great discoveries.

   Yes, this is the home of the quiet adventurers. The most you can say about our music is that it is "not new, but new to you!".  I am pleased that some people come here who can write well too. My intention in starting this thread was to have a 2 way street;  I would share what I have been learning about music history, and in return people would turn me on to new composers and disks to listen to. It has worked out smashingly well so far, at least for me!   






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Now playing:
Klaus Storck (Arpeggione) & Alfons Kontarsky (Hammerflügel) - D 821 Sonata in a for Arpeggione & Pianoforte 3rd mvmt - Allegretto

[Gurn Blanston]

Leo,
On the topic of Brunetti, I forgot to remind about this one;



Several years ago I started a thread on what was, at the time, my favorite genre. It still ranks very high in my estimation. That is the string trio or quartet fronted by a wind instrument playing the primo. This disk is a fine example of that, with my favorite instrument, the bassoon, taking the lead. Brunetti was in the same league as Krommer and Danzi in this ball park. Just goes to show that there are still discoveries to be made out there even after several years of ferreting out new works to listen to. If one sees Brunetti mentioned at all, it certainly isn't with bassoon quartets!




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Now playing:
Ryo Terakado \ Boyan Vodenitcharov - Bia 165 1 Op 12 #1 Sonata #01 in D for Piano & Violin 1st mvmt - Allegro con brio

[Leo K.]

Leo,
Several years ago I started a thread on what was, at the time, my favorite genre. It still ranks very high in my estimation. That is the string trio or quartet fronted by a wind instrument playing the primo. This disk is a fine example of that, with my favorite instrument, the bassoon, taking the lead. Brunetti was in the same league as Krommer and Danzi in this ball park. Just goes to show that there are still discoveries to be made out there even after several years of ferreting out new works to listen to. If one sees Brunetti mentioned at all, it certainly isn't with bassoon quartets!
\

Thanks for the Brunnetti recommend and the thoughts Gurn, I especially like how you say this thread is the land of the "quiet adventurer" 

I too am a huge fan of the string trio or quartet fronted by a wind instrument combo, since first discovering the Mozart Clarinet Quintet years ago (late 80s). Because of Mozart's clarinet chamber music and concerto, I fell in love with the clarinet.

The past few years, thanks to the efforts from those on this thread and with research on my own, I have finally discovered the clarinet chamber music of other composers from the classical and beyond! I have searched high and low, and this thread helped me arrive there faster. 

Here are my favorite concerti and chamber music with clarinet as the primo instrument. I'm sure these are not new for this thread 


(this Gossec symphony disk includes a clarinet concerto by Johann Stamitz)











And I understand these are just the tip of the iceburg!

[Gurn Blanston]

Leo,
Nice to see someone who likes this sort of work.  Last week, for the second time in as many months, I read something (in a general music history) about the bassoon to the effect that it is such a weak instrument that it can't hold its own other than as a continuo instrument, and that no one has even written anything for it!!!   Overlooking, or marginalizing at best, an entire genre!      

And the clarinet, of course, actually fares the best against the strings because it just has more body, shall we say? And it is more reliable in a pinch, I reckon. Some of the most beautiful music has been written for it. I'm glad you found Crusell, he is often overlooked. He is a specialist for the instrument and a fine one. I toss you a recommendation here since it contains one of my favorite pieces:

[asin]B00000144N[/asin]

the Weber Grand Duo Concertante. And a very nice Clarinet Quintet too!  One can do some more hunting and turn up some PI versions too, they are out there. Weber was a very good composer, always interesting, and surprisingly influential (particularly in his operas). Highly recommended to go along with what you have now. Speaking of which, I know some Gossec, but not that one. Looks interesting. I'll dig.   And Backofen is like totally new to me, so that will be worth some hunting too. Especially with Klöcker playing, one can scarcely go wrong. The balance of those disks I am very familiar with, and not a bad one there. Excellent beginnings for exploring Classical Clarinet.



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Now playing:
Ryo Terakado \ Boyan Vodenitcharov - Bia 165 3 Op 12 #3 Sonata #03 in Eb for Piano & Violin 1st mvmt - Allegro con spirito

[SonicMan46]

............... Speaking of which, I know some Gossec, but not that one. Looks interesting. I'll dig.   And Backofen is like totally new to me, so that will be worth some hunting too. Especially with Klöcker playing, one can scarcely go wrong. The balance of those disks I am very familiar with, and not a bad one there. Excellent beginnings for exploring Classical Clarinet.

Leo & Gurn - I'd have to join in and state that the clarinet is probably my favorite wind instrument fronting in chamber works (and orchestral ones w/ a wind being up front as the solo instrument).  Obviously, Klöcker figures prominently in my collection (can't even guess 'how many' discs I own w/ him - would need to check my database).  But, I do not own the recording w/ Gossec (just have 1 CD his works - symphonies), but have all of the others, and most in the same performances!

And I must further support Gurn concerning that bassoon disc of Brunetti's compositions for that instrument - like the bassoon also and am looking for more output w/ this neglected wind!   

[SonicMan46]

Hi David, the Am record Guide review is ludicrous. Any sensible review should judge the music and a period instruments performance on its own terms. Telling us that he hates the recording just because it is on period instruments, is totally useless and tells us nothing we didn't already knew. Of course, I can sympathise with the poor guy: a Helter Skelter performance of a composer who pulls all the plugs on special effects, involving a 19th century Viennese grand piano and, above all, period winds - clarinet, oboe, flute and natural horn - can be too much for the faint hearted. But it is exactly what this music needs: it is designed to show off and sound daring. I don't know if I could endure the endless cascades of arpeggios otherwise - I feel any performance on "modern" instruments is bound to be deadly boring.
I particularly like the Viennese piano grand by Jacob Bertsche, which looks like this instrument of two years before...................

Q - thanks for the comments in your previous post (partially quoted above) and the extra pictures of the piano - excellent!  And I agree on that review from the American Record Guide - grudgingly I believe he did like the recording; in fact, his prissy comments actually swayed me to a purchase - basically, he probably should not have been given the recording to review in the first place!  Dave 

[Leo K.]

Leo,
Nice to see someone who likes this sort of work.  Last week, for the second time in as many months, I read something (in a general music history) about the bassoon to the effect that it is such a weak instrument that it can't hold its own other than as a continuo instrument, and that no one has even written anything for it!!!   Overlooking, or marginalizing at best, an entire genre!     

And the clarinet, of course, actually fares the best against the strings because it just has more body, shall we say? And it is more reliable in a pinch, I reckon. Some of the most beautiful music has been written for it. I'm glad you found Crusell, he is often overlooked. He is a specialist for the instrument and a fine one. I toss you a recommendation here since it contains one of my favorite pieces...

Thanks Gurn! I am going to check out Weber, and I already have that Weber Clarinet Quintet as part of a recording with the Clarinet Quintet by Robert Fuchs (Brahms contemperary). I will listen to that very soon 

[Leo K.]

I am going through the past posts on this thread, getting ideas for study and recommends, and came across this post by Gurn:

Info on Albrechtsberger is... uncommon, it's true. What i have picked up has mainly been from reading about others, in whose lives he figured, mostly as a teacher of counterpoint. This is what his reputation was based on. Some of his more famous students were Beethoven, Hummel and Reicha.

(from Wiki and other websites)

Johann Georg Albrechtsberger (Composer)

Born: February 3, 1736 - Kloserneuburg, near Vienna, Austria
Died: March 7, 1809 - Vienna, Austria

Johann Georg Albrechtsberger was an Austrian musician, master of musical theory, and teacher of Hummel and Beethoven.

Life
Johann Georg Albrechtsberger began his musical career at the early age of seven as a choir-boy with the Augustinians in Klosterneuburg, , where he also studied the organ and composition. The pastor of St. Martin's, Klosterneuburg, observing the boy's talent and his remarkable industry, and being himself an excellent musician, gave him the first lessons in thoroughbass, and even had a little organ built for him. Young Albrechtsberger's ambition was so great that he did not even rest on Sundays and holidays. To complete his scientific and musical studies he repaired to the Benedictine Abbey at Melk (from 1749). Here his beautiful soprano voice attracted the attention of the future Emperor Leopold, who on one occasion expressed his high appreciation and presented the boy with a ducat. The library at Melk gave him the opportunity to study the works of Antonio Caldara, Johann Joseph Fux, Giovanni Battista Pergolesi, Georg Frideric Handel, Graun etc. He also studied philosophy at a Benedictine (Jesuit) seminary in Vienna (1754) and became one of the most learned and skillful contrapuntists of his age. His his profound knowledge of music gave him a high rank among theorists.

Having completed his studies, J.G. Albrechtsberger became organist at the Melk cathedral, where he remained for twelve years. He next had charge of the choir and organist at Raab in Hungary (1755), and at Mariatfel (1757), and back in Melk (1759-1765). Subsequently, in 1765, he went to Vienna having been named choir-director of the church of the Carmelites. Here he took lessons from the court organist, Mann, who was highly esteemed at that time. Mann became his friend, as did also Joseph and Michael Haydn, Gassmann, and other excellent musicians. In 1772 he obtained the position of second court organist (and in 1792 promoted to First organist) in Vienna, which Emperor Joseph had promised him years before. This position he held for twenty years. He became Assistant Kapellmeister at St. Stephen's Cathedral in 1791, where he was promoted to Kapellmeister in 1793.

J.G. Albrechtsberger's fame as a theorist attracted to him in the Austrian capital a large number of pupils, some of whom afterwards became eminent musicians. Among them were Johann Nepomuk Hummel, Joseph Eybler, Ignaz Moscheles, Josef Weigl (1766-1846), Ludwig von Beethoven and others. Beethoven had arrived in Vienna in 1792 to study with Haydn but quickly became infuriated when his work was not being given attention or corrected. Haydn recommended (This isn't true, Beethoven went off in secret to study and didn't tell Haydn GB) his friend Albrechtsberger, with whom Beethoven then studied harmony and counterpoint (1794-1795). On completion of his studies, the young student noted, "Patience, diligence, persistence, and sincerity will lead to success," which reflects upon Albrechtsberger's own compositional philosophies. The Swedish Academy of Music at Stockholm made him an honorary member in 1798. J.G. Albrechtsberger died in Vienna on March 7, 1809, less than three months before Josef Haydn. His grave is in St. Marx cemetery. His status in musical history rests mainly on his theoretical writings and his knowledge of counterpoint.

Works
Johann Georg Albrechtsberger will probably always hold a high rank among musical scientists, his treatise on composition especially will ever remain a work of importance by reason of its lucidity and minuteness of detail. He composed nearly 300 church works, around 300 keyboard works (mainly organ) and over 240 various other works. His many church compositions, on the other hand, while technically correct and ornate, are dry, and betray the theorist. Of his compositions, only 27 are printed; of the unpublished remainder, the larger part is preserved in the library of the Gesellschaft der Musikfreunde at Vienna. His published compositions consist of preludes, fugues and sonatas for the piano and organ, string quartets, etc.. His compositional style derives from Johann Joseph Fux's counterpoint, who was Kapellmeister at St. Stephen's Cathedral 1713-1741, a position that Albrechtsberger would hold 52 years later. Around 1765, Albrechtsberger wrote at least seven concerti for Jew's harp and strings (three survive in the Hungarian National Library in Budapest). They are pleasant, well written works in the galant style. One of his most notable works is his concerto for Alto Trombone and Orchestra in Bb Major. As the trombone has few works dating back to the classical period, his concerto is often highlighted by the trombone community.

Probably the most valuable service he rendered to music was in his theoretical works. As a highly influential composition teacher, he published in 1790 at Leipzig his famous Treatise on composition, a clearly written and accessible work in which he formulated 18th-century theory, of which a third edition appeared in 1821. His complete works on thoroughbass, harmony and composition were published, in three volumes, by his pupil, Ignaz Von Seyfried (1776-1841) in 1826. An English version of this was published by Novello in 1855.

I am now interested in listening to this:



Any new thoughts on this recording?

[Gurn Blanston]

I am going through the past posts on this thread, getting ideas for study and recommends, and came across this post by Gurn:

I am now interested in listening to this:



Any new thoughts on this recording?

I was never able to run across that recording, Leo, although some folks here did and reported back positively. I have a nice disk on Hungaroton (I'll link it when I get home) of duos by Albrechtsberger and Haydn that you might like. Meanwhile, I will hunt around for that SQ disk some more. It still intrigues me.



Edit: This is the disk I mean. It is at the Amazon Marketplace:

[SonicMan46]

I am going through the past posts on this thread, getting ideas for study and recommends, and came across this post by Gurn:

I am now interested in listening to this:



Any new thoughts on this recording?

Leo - back on page 51 or so of this thread (and after posts) discussed the disc mentioned above HERE - I own this disc and enjoy but the reviews have been mixed (as follow-up posts mentioned) - there is just not much available on this THEN well-know composer/teacher, so not much choice if you want to take a chance?  Dave 

[Leo K.]

Leo - back on page 51 or so of this thread (and after posts) discussed the disc mentioned above HERE - I own this disc and enjoy but the reviews have been mixed (as follow-up posts mentioned) - there is just not much available on this THEN well-know composer/teacher, so not much choice if you want to take a chance?  Dave 

Thank you for the link to that part of the conversation!



By the way, another composer on my mind and one who is completely new to me is Friedrich Ernst Fesca, such as this recording:



Any thoughts on this composer?

[Leo K.]

I was never able to run across that recording, Leo, although some folks here did and reported back positively. I have a nice disk on Hungaroton (I'll link it when I get home) of duos by Albrechtsberger and Haydn that you might like. Meanwhile, I will hunt around for that SQ disk some more. It still intrigues me.



Edit: This is the disk I mean. It is at the Amazon Marketplace:

Gurn, thank you for the new recommend. My wish list is so full! I am getting married this year, and perhaps I could put these on my Amazon wedding registry...ha ha! 

[Gurn Blanston]

Thank you for the link to that part of the conversation!



By the way, another composer on my mind and one who is completely new to me is Friedrich Ernst Fesca, such as this recording:



Any thoughts on this composer?

Oh dear, this is so difficult. I would not want to be the one that makes you have to postpone the wedding due to having to rebuild the nest-egg... 

I find Friedrich Ernst to be a highly entertaining composer, possibly even more-so than his son, Alex:

[asin]B00005NY41[/asin]

Rather more like Mendelssohn than Beethoven, you might say. Which is no slap coming from me; I love Mendelssohn.   Anyway, there again, you would very likely be delighted with that disk (which is the one I have, not the one with symphony #1 and the 3 overtures). And Alex' septets are perfectly in the mold of Biedermeier hausmusik (if the house is one of accomplished musicians, as many of them were).

You must stop roaming through Amazon, Leo. You're dangerous to yourself!   




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Now playing:
Ryo Terakado \ Boyan Vodenitcharov - Bia 294 Op 24 Sonata #05 in F for Piano & Violin 1st mvmt - Allegro

[Leo K.]

Oh dear, this is so difficult. I would not want to be the one that makes you have to postpone the wedding due to having to rebuild the nest-egg... 

I find Friedrich Ernst to be a highly entertaining composer, possibly even more-so than his son, Alex:

[asin]B00005NY41[/asin]

Rather more like Mendelssohn than Beethoven, you might say. Which is no slap coming from me; I love Mendelssohn.   Anyway, there again, you would very likely be delighted with that disk (which is the one I have, not the one with symphony #1 and the 3 overtures). And Alex' septets are perfectly in the mold of Biedermeier hausmusik (if the house is one of accomplished musicians, as many of them were).

You must stop roaming through Amazon, Leo. You're dangerous to yourself!   




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Now playing:
Ryo Terakado \ Boyan Vodenitcharov - Bia 294 Op 24 Sonata #05 in F for Piano & Violin 1st mvmt - Allegro

Ha ha! Indeed! My wife-to-be has to put up with my numerous recordings as it is! It's time to get that nest-egg ready 


Interesting that Friedrich's son is a composer as well! Thanks for the heads up on the septets release above 

[SonicMan46]

By the way, another composer on my mind and one who is completely new to me is Friedrich Ernst Fesca, such as this recording:

 

Any thoughts on this composer?

Well, I do enjoy that disc of Friedrich Fesca; also own a CD of his Flute Quartets (inserted above), if you would like some chamber works?

Also agree w/ Gurn's recommendations of his son's, Alexander Fesca, Septets - another tragic composer who died young (1820-1849) from 'lung disease' according to the Wiki Article HERE; I would suspect the scourge of that century, i.e. TB (interesting, Chopin died the same year from the same disease!) - 

[DavidW]

I really, really, really like the Beethoven Hummel PTs recording I bought (in particular the Op 1 #3 PT is by far the most intense performance I've heard)

[asin]B000U7V9HQ[/asin]

So I wanted to know of any other classical era PI recordings by those performers: Staier, Sepec, Queyras that I should check out.  Any recs?

[Gurn Blanston]

I really, really, really like the Beethoven Hummel PTs recording I bought (in particular the Op 1 #3 PT is by far the most intense performance I've heard)

[asin]B000U7V9HQ[/asin]

So I wanted to know of any other classical era PI recordings by those performers: Staier, Sepec, Queyras that I should check out.  Any recs?

The only one that I know about is the Beethoven sonatas by Staier and Sepec. It is this one here:

[asin]B000G7EYK4[/asin] and it's very nice indeed. His 2 minor key sonatas and a set of variations. AFAIK, that pretty well covers it, more's the pity.