Gurn's Classical Corner

[Leo K.]

Well, oddly or not, my favorite part of Figaro is the first act.  The drama unfolds, there is comedy and drama, and the music is spectacular! Not that the rest isn't great too, but...



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Now playing:
Academy of Ancient Music \ Hogwood  Brown  (Natural Horn) - Hob 07d 03 Concerto #1 in D for Horn 3rd mvmt - Allegro

The first act of Figaro is indeed a marvelous design. There is comedy, like you say, and action! Like how the opera begins after the overture, with the great first duet and Figaro measuring a space for the bed...brilliant!

And I love how the arias and ensembles don't generally have much of an instrumental introduction, only a few bars or two and the singing starts (like how Symphony no.40 in g minor begins).

BUT suddenly Act II begins, and the music is reflective, with the warm tone of clarinets, and we hear an extended introduction like we haven't heard in the opera, and immediately we are in the emotional world of the Countess, a world rich in reflectivity and sadness. Suddenly, the drama unfolds from an interior place, the inner subjective world of the Countess and her sadness. But the beginning of Act II wouldn't work without the brilliant set up of Act I. 

[Florestan]

Ah good! At last, opera has made its way through this thread! Excellent! 

Here are some niceties to explore.



Premiered during the 1796 Carnival in Venice this farsetta per musica in two acts has everything a Classical-era fan can hope for: a libretto by Carlo Goldoni, charm, wit and an uninterrupted flow of gorgeous tunes. 

[asin]B0019ZF3KC[/asin]

This opera-ballet (a typically French genre) was first performed in 1783 and illustrates the "Turcophile"and "exotic" fashion of its time. It was performed more than 500 times --- this alone should raise your interest. 

[asin]B00005YVZU[/asin]

Cherubini's most succesful opera was premiered in 1800. It should be of special interest to Gurn not only because it greatly influenced Beethoven when composing "Fidelio" but also because one can hear in a certain number a melodic line which clearly anticipates... but hush! I'm not going to disclose it. 

[Gurn Blanston]

The first act of Figaro is indeed a marvelous design. There is comedy, like you say, and action! Like how the opera begins after the overture, with the great first duet and Figaro measuring a space for the bed...brilliant!

And I love how the arias and ensembles don't generally have much of an instrumental introduction, only a few bars or two and the singing starts (like how Symphony no.40 in g minor begins).

BUT suddenly Act II begins, and the music is reflective, with the warm tone of clarinets, and we hear an extended introduction like we haven't heard in the opera, and immediately we are in the emotional world of the Countess, a world rich in reflectivity and sadness. Suddenly, the drama unfolds from an interior place, the inner subjective world of the Countess and her sadness. But the beginning of Act II wouldn't work without the brilliant set up of Act I. 

No, no, you are quite right. It is like a different world after the Countess (The Main Character, IMO) shows up. Such beautiful music he wrote for her. Mozart loved his women, no doubt. It seems like the best music in every opera is reserved for them. Like Fiordiligi in Cosi fan tutte.  Some of the loveliest music ever written (and I don't even go to threads abut that stuff...  ).



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Now playing:
Yuko Wataya (Cembalo & Clavier) - Hob 16 01 Sonata #10 in C for Clavichord 2nd mvmt - Adagio

[Florestan]

Mozart loved his women, no doubt. It seems like the best music in every opera is reserved for them.

Yesss. Like that little gem of Don Giovanni, Batti, batti o bel Masetto. Never fails to send shivers on my spine every time I hear it.

Not to mention Non so piu. 

[Leo K.]

Ah good! At last, opera has made its way through this thread! Excellent! 

Here are some niceties to explore.



Premiered during the 1796 Carnival in Venice this farsetta per musica in two acts has everything a Classical-era fan can hope for: a libretto by Carlo Goldoni, charm, wit and an uninterrupted flow of gorgeous tunes. 

[asin]B0019ZF3KC[/asin]

This opera-ballet (a typically French genre) was first performed in 1783 and illustrates the "Turcophile"and "exotic" fashion of its time. It was performed more than 500 times --- this alone should raise your interest. 

[asin]B00005YVZU[/asin]

Cherubini's most succesful opera was premiered in 1800. It should be of special interest to Gurn not only because it greatly influenced Beethoven when composing "Fidelio" but also because one can hear in a certain number a melodic line which clearly anticipates... but hush! I'm not going to disclose it. 

These are right up my alley, but I haven't heard a note. Thanks for the recommends sir!

[Gurn Blanston]

Ah good! At last, opera has made its way through this thread! Excellent! 

Here are some niceties to explore.



Premiered during the 1796 Carnival in Venice this farsetta per musica in two acts has everything a Classical-era fan can hope for: a libretto by Carlo Goldoni, charm, wit and an uninterrupted flow of gorgeous tunes. 

[asin]B0019ZF3KC[/asin]

This opera-ballet (a typically French genre) was first performed in 1783 and illustrates the "Turcophile"and "exotic" fashion of its time. It was performed more than 500 times --- this alone should raise your interest. 

[asin]B00005YVZU[/asin]

Cherubini's most succesful opera was premiered in 1800. It should be of special interest to Gurn not only because it greatly influenced Beethoven when composing "Fidelio" but also because one can hear in a certain number a melodic line which clearly anticipates... but hush! I'm not going to disclose it. 

Ah, they were poised, waiting in the wings for the majick word "opera"!   

That Spontini opera must have been from very early on in his career, since what I have read of him all seems to be centered after Beethoven's passing. You're right about Goldoni, he is well more to my taste than Metastasio is. Opera seria is more than I can handle yet. But Haydn did 3 of his libretti and in particular Il mondo della Luna (The World on the Moon) is hilarious.

Clearly some things to look into here, thanks for the pointers.




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Now playing:
Yuko Wataya (Cembalo & Clavier) - Hob 16 01 Sonata #10 in C for Clavichord 2nd mvmt - Adagio

[Florestan]

These are right up my alley, but I haven't heard a note. Thanks for the recommends sir!

Most welcome signor Leo! 

[Leo K.]

No, no, you are quite right. It is like a different world after the Countess (The Main Character, IMO) shows up. Such beautiful music he wrote for her. Mozart loved his women, no doubt. It seems like the best music in every opera is reserved for them. Like Fiordiligi in Cosi fan tutte.  Some of the loveliest music ever written (and I don't even go to threads abut that stuff...  ).



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Now playing:
Yuko Wataya (Cembalo & Clavier) - Hob 16 01 Sonata #10 in C for Clavichord 2nd mvmt - Adagio

I totally agree. It does appear he saved the loveliest music for his women...great choice! 

[Gurn Blanston]

Yesss. Like that little gem of Don Giovanni, Batti, batti o bel Masetto. Never fails to send shivers on my spine every time I hear it.

Not to mention Non so piu. 

Yes, fine examples too. If it wasn't for Mozart, I would have never been able to get over the hump into appreciating, even liking, opera. So I owe him a lot too, like Leo.





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Now playing:
Yuko Wataya (Cembalo & Clavier) - Hob 16 01 Sonata #10 in C for Clavichord 3rd mvmt - Menuetto - Trio

[Florestan]

That Spontini opera must have been from very early on in his career,

AFAIK it's the earliest of his operas, but this doesn't prevent it  from being a sheer deight from the beginning to the end.

since what I have read of him all seems to be centered after Beethoven's passing.

Well, his universally acclaimed masterpiece, La vestale, was premiered in 1807 and its praises have been sung, decades later, by none other than Richard Wagner. 

Clearly some things to look into here, thanks for the pointers.

Always my pleasure, Gurn.

[Florestan]

Yes, fine examples too. If it wasn't for Mozart, I would have never been able to get over the hump into appreciating, even liking, opera. So I owe him a lot too, like Leo.

For me opera was love at first sight... with the dangerous mademoiselle Carmen no less. 

[Gurn Blanston]

For me opera was love at first sight... with the dangerous mademoiselle Carmen no less. 

Ah, I love Carmen!. If only all operas were this engaging. Well, some others are, and that's what makes them eternal. But no, it wasn't "at first sight" for me; it took me 2 years to work up the nerve to play my ...Figaro set for the first time. Better now, though.



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Now playing:
Yuko Wataya (Cembalo & Clavier) - Hob 16 02 Sonata #11 in Bb for Clavichord 2nd mvmt - Largo

[Gurn Blanston]

AFAIK it's the earliest of his operas, but this doesn't prevent it  from being a sheer deight from the beginning to the end.

Well, his universally acclaimed masterpiece, La vestale, was premiered in 1807 and its praises have been sung, decades later, by none other than Richard Wagner. 

Yes, but my acquaintance with him is through his directorship of the Berlin Opera from 1820 to <>1840. Among other things he was a scourge for Mendelssohn and an 'anti' with Beethoven's 9th. He was a well-known and sometimes controversial figure in that role. I only knew about his operas peripherally.



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Now playing:
Yuko Wataya (Cembalo & Clavier) - Hob 16 02 Sonata #11 in Bb for Clavichord 3rd mvmt - Menuetto - Trio

[Leo K.]

My Easter listening continues!

Wow, an incredible disk here:



I like what Gabriel wrote earlier in this thread on this composer/Prince. I quote it below:

I must write a couple of lines about Prince Louis Ferdinand of Prussia (1772-1806), whose works have been seldom commented in GMG. Incredibly beautiful music that has been incredibly ignored by most specialists and amateurs during two centuries.

Perhaps Prince Louis Ferdinand didn't concentrate all his efforts to composition, his works being relatively scarce, but I have purchased the three CDs of his chamber music recorded by the Trio Parnassus, and they show nothing less than music at the highest level of that time - so standing beside the best chamber music of Beethoven, Hummel, Rejcha, Spohr or Schubert. I don't know what is more worthy of praise in his works: the beautiful melodic ideas, the impressive harmonic command, or the beauty of the sound of the ensemble, including piano parts that are among the most beautiful of that time. Perhaps his interest in counterpoint was not the one shown by Beethoven, Rejcha or Cherubini, but on the other hand there are modulations that sound like Schumann or Chopin. These chamber works are really a treasure, and in my opinion they should be known and enjoyed by all people interested in the music of late classicism.

Changing briefly the subject towards another composer, I said some time ago I would write some lines on the wind quintets of Franz Danzi, as I had bought the set of three CDs released by BIS some years ago. I was not particularly impressed, these works seeming to me clearly less interesting than the quintets written by Rejcha.

Also, I am entranced by the music and sound of these works by Kozeluch:

[SonicMan46]

My Easter listening continues!

Wow, an incredible disk here:



I like what Gabriel wrote earlier in this thread on this composer/Prince. I quote it below:

Leo, Gurn, et al - BOY! I've been busy all day doing a woodworking project w/ one of my radiology residents - just helping him out on a large bookcase (I have the tools & experience & he's a beginner - BTW, felt like a second son!) - at any rate, returned to this thread and at least 2 pages have past! 

But I own & enjoy (and recommend) the disc on the PRINCE - I've not read the liner notes in a while, so won't make more definite comments - but certainly worth a listen and possibly a purchase - Dave 

[Leo K.]

Wow. Haydn's Sonata in C Major H.XVI:48 is just so amazing! (Listening to Staier's performance on the way to work this morning)

[Leo K.]

Leo, Gurn, et al - BOY! I've been busy all day doing a woodworking project w/ one of my radiology residents - just helping him out on a large bookcase

Funny, I work in Radiology too! But I am a clerk, not a tech or a radiologist, though  I wondered about your Avatar!

[Gurn Blanston]

Wow. Haydn's Sonata in C Major H.XVI:48 is just so amazing! (Listening to Staier's performance on the way to work this morning)

How about that presto 2nd movement! It's a finger breaker, no doubt. It is a great example of a fortepiano advantage over modern piano. What rolls right off the fingers on that instruments has to be killer to play on a Steinway! 

[Leo K.]

How about that presto 2nd movement! It's a finger breaker, no doubt. It is a great example of a fortepiano advantage over modern piano. What rolls right off the fingers on that instruments has to be killer to play on a Steinway! 

I bet it is!

I remember the first time I heard a fortepiano, on the Hogwood/Levin Beethoven piano concertos set. Those are beautiful recordings of those works, still my top choice as a complete set. The sound of the fortepiano was intriguing to say the least. The revelation was the sound of the 4th Concerto, and how the fortepiano sounded with the orchestra. I suddenly heard a work I haven't really heard before. The exquisite sound was breathtaking.

I then bought some of the Melvin Tan/Norrington Beethoven piano concertos when they were released as individual disks. Although the sonics weren't as good, I thought the 4th Concerto sounded more evocative of Beethoven's time, and I'm not sure why! But I prefer the Tan/Norrington 4th Piano Concerto a little more, despite the fortepiano being a little too far back in the mix 

[Leo K.]

Another Haydn sonata that is hitting me hard, again, from the Staier performance, is the Sonata In E Flat Major, Hob Xvi/49 ...the second movement, and the amazing middle section there! The sound of the fortepiano in the loud chords in the lower register of the instrument, it's just profound!