Gurn's Classical Corner

[Gurn Blanston]

One would think that after the fraud you perpetrated over  in the Guess That Tune thread you woud be hanging your head in shame.

And yet, here I am!

[Gurn Blanston]

All this talk of Arriaga sent me burrowing into the La Ma de Guido website where I found a recording of classical era string quartets I didn't know about! Gasp! Came out last fall.



Arkivmusic quotes a Fanfare review thus. (I could giggle I'm so excited!)

TEIXIDOR String Quartets: No. 1 in B♭; No. 2 in G; No. 5 in E♭ • Cambini Qrt • LA MA DE GUIDO 2093 (61:04)

For a neglected composer with no entry in Grove, let alone Wikipedia, Josep Teixidor i Barceló (1752–c.1811) wrote string quartets of surprisingly high quality. This disc of three quartets from a set of six appears to be the only recording of any of his music. From the booklet notes written by Miguel Simarro, the first violinist of the Munich-based Cambini Quartet, in a garbled translation, we learn that Teixidor came from the Lleida region of Spain, was appointed as court organist in Madrid in 1774, taught, and was a theorist and music historian. His quartets were most likely composed during the last decade of the 18th century. The quartets' sometimes elaborate first-violin and cello parts reflect his acquaintance with the virtuosity of instrumentalist/composers such as the violinists Viotti and Rode, and the cellists Romberg and Duport. He knew the work of Spanish and European keyboard composers—Mozart and C. P. E. Bach among them—but the main influence is clearly that of Haydn, the characteristics and procedures of whose mature string quartets Teixidor used as a model with greater depth than Boccherini did, although Teixidor certainly sounds like Boccherini.

It's the first movement of the Quartet No. 1, the largest and most distinctive of the three recorded here, that best exemplifies Teixidor's absorption of Haydn's style. At the opening, he uses the musical equivalent of humorous spoken "asides" to create interest in the phrase structure. (There's a brief, throbbing drone in the viola at the start of the development section, a nice bit of Spanish color, but the only such moment in any of these quartets.) Like Haydn's slow movements, the Adagio is compact and achieves some intensity of expression. Teixidor's minuets are sturdy and varied. (I seem to remember a comment by Roger Sessions that while recovering from an operation, he had studied the scores of Haydn's approximately 80 string quartets and marveled that each minuet was different from every other one.) It's in the rather long finale that Teixidor's themes lack Haydn's pithiness, and so, the movement is comparatively diffuse.

The Cambini Quartet is a period-instrument group. It plays deftly, with good intonation, and observes all repeats. The characteristic thinness of tone and treble-oriented sound of these instruments becomes, at least for me, a little monotonous over the course of three quartets. One of these pieces would make a welcome, novel opening to a concert by a modern string quartet. The sound of the disc, on La mà de Guido, a label with more than 100 recordings of mostly obscure Spanish music, is nice and clear.

FANFARE: Paul Orgel

Man, that looks interesting! That must be mine!   Thanks for the tip!

[milk]

This is something I come back to again and again. It's an interesting collection of music. But the most interesting thing about the recording is the strange-sounding square piano. It's not like the square piano on the Leach or Katin recordings. It almost sounds like a banjo! Love it! The composers include Mozart, J.C. Bach, C.F. Abel, Philip Hayes, and James Hook. I hope I'm not veering into an unwelcome area (recommended recordings?). 

[Gurn Blanston]

This is something I come back to again and again. It's an interesting collection of music. But the most interesting thing about the recording is the strange-sounding square piano. It's not like the square piano on the Leach or Katin recordings. It almost sounds like a banjo! Love it! The composers include Mozart, J.C. Bach, C.F. Abel, Philip Hayes, and James Hook. I hope I'm not veering into an unwelcome area (recommended recordings?). 

No, by all means. And since you already have separated it from Leach (who I greatly like), it is bound to be highly interesting. I'll definitely have to look into that one!

As far as recommending recordings goes, our only interest is in avoiding the hammer fights that sometimes ensue over who has the best version of something or other. Most of the recordings that we are interested in are 1-offs anyway, so that isn't likely to be a problem. We tend to not care who has the best Mozart concerto cycle though...

[Leo K.]

All this talk of Arriaga sent me burrowing into the La Ma de Guido website where I found a recording of classical era string quartets I didn't know about! Gasp! Came out last fall.



Arkivmusic quotes a Fanfare review thus. (I could giggle I'm so excited!)

TEIXIDOR String Quartets: No. 1 in B♭; No. 2 in G; No. 5 in E♭ • Cambini Qrt • LA MA DE GUIDO 2093 (61:04)

For a neglected composer with no entry in Grove, let alone Wikipedia, Josep Teixidor i Barceló (1752–c.1811) wrote string quartets of surprisingly high quality. This disc of three quartets from a set of six appears to be the only recording of any of his music. From the booklet notes written by Miguel Simarro, the first violinist of the Munich-based Cambini Quartet, in a garbled translation, we learn that Teixidor came from the Lleida region of Spain, was appointed as court organist in Madrid in 1774, taught, and was a theorist and music historian. His quartets were most likely composed during the last decade of the 18th century. The quartets' sometimes elaborate first-violin and cello parts reflect his acquaintance with the virtuosity of instrumentalist/composers such as the violinists Viotti and Rode, and the cellists Romberg and Duport. He knew the work of Spanish and European keyboard composers—Mozart and C. P. E. Bach among them—but the main influence is clearly that of Haydn, the characteristics and procedures of whose mature string quartets Teixidor used as a model with greater depth than Boccherini did, although Teixidor certainly sounds like Boccherini.

It's the first movement of the Quartet No. 1, the largest and most distinctive of the three recorded here, that best exemplifies Teixidor's absorption of Haydn's style. At the opening, he uses the musical equivalent of humorous spoken "asides" to create interest in the phrase structure. (There's a brief, throbbing drone in the viola at the start of the development section, a nice bit of Spanish color, but the only such moment in any of these quartets.) Like Haydn's slow movements, the Adagio is compact and achieves some intensity of expression. Teixidor's minuets are sturdy and varied. (I seem to remember a comment by Roger Sessions that while recovering from an operation, he had studied the scores of Haydn's approximately 80 string quartets and marveled that each minuet was different from every other one.) It's in the rather long finale that Teixidor's themes lack Haydn's pithiness, and so, the movement is comparatively diffuse.

The Cambini Quartet is a period-instrument group. It plays deftly, with good intonation, and observes all repeats. The characteristic thinness of tone and treble-oriented sound of these instruments becomes, at least for me, a little monotonous over the course of three quartets. One of these pieces would make a welcome, novel opening to a concert by a modern string quartet. The sound of the disc, on La mà de Guido, a label with more than 100 recordings of mostly obscure Spanish music, is nice and clear.

FANFARE: Paul Orgel

Thanks for the heads up on this! Great find 

Hey, and it's on iTunes too! (I just downloaded it and I'm enjoying now, a rare impulse buy for me, but very affordable at 5.99) 

[clavichorder]

Directed toward Gurn or any other posters on this thread who think they can help: I really want to keep exploring the classical period.  So far I have listened to and enjoyed a sizable portion of the Haydn Symphonies and all the CPE Bach symphonies, and I have sampled symphonies of many other composers.  I'm particularly interested in symphonies right now.  So far, I have discovered and enjoyed Johann Stamitz, Joseph Martin Kraus, Luigi Boccherini, Henri-Jospeh Rigel(I discovered this one and there is only one CD out of his symphonies, it seems), Sammartini, all the Bach sons excepting Christoph Friedrich, who I am curious about, Michael Haydn(3 of his), Dittersdorf(3 of his).  I own works by all these composers.  I have found things interesting about all these composers, each of them, as similar as they sound to a non connesseur, have their own virtues.  I have tried Salieri and will say I found him very dull in formal composition and mediocre in opera overtures, but all the others I've mentioned I've found acceptably interesting and enjoyable, and very rewarding to know about.

So, anyone else who knows anything about the composers I've mentioned, what do you reccomend I go for.  I'm leaning on getting a complete set of Michael Haydn, Boccherini, and Johann Christoph Friederich Bach(especially him), what is the general opinion on these composers?  Boccherini is a little light but I find enjoyable things about him, Michael Haydn can be kind of academic, but is pretty interestingly layered, and the 3rd Bach composer son I have a lot of faith in.  Are there any other composers you'd recommend?  Composers not listed, and those who would fill in a gap for me or provide something new. 

Just starting off here.  I'll get more specific in time, I'm a bit rushed right now.  Thanks in advance.

[milk]

No, by all means. And since you already have separated it from Leach (who I greatly like), it is bound to be highly interesting. I'll definitely have to look into that one!

As far as recommending recordings goes, our only interest is in avoiding the hammer fights that sometimes ensue over who has the best version of something or other. Most of the recordings that we are interested in are 1-offs anyway, so that isn't likely to be a problem. We tend to not care who has the best Mozart concerto cycle though...

Great thanks. I love Leach's Field nocturnes on Square piano and Peter Katin has a fantastic Clementi recording on a square. However, the instrument Norris plays here is the strangest early piano I've heard. I notice that there are samples on the amazon site if one follows the link. [asin]B00008V6XL[/asin]
 

[clavichorder]

In the mean time, I will be browsing the rest of this thread like crazy.  Also, I'm mostly focused on early to mid-late classical symphonies at this point.

[Gurn Blanston]

In the mean time, I will be browsing the rest of this thread like crazy.  Also, I'm mostly focused on early to mid-late classical symphonies at this point.

Oh, we love to talk about that subject, although we haven't done much. We are awfully partial, it seems, to keyboard works. The idea of a clavichorder in our midst is just right.



----------------
Now playing:
Academy of Ancient Music \ Hogwood  Robert Levin - K 482 Concerto #22 in Eb for Fortepiano 2nd mvmt - Andante

[clavichorder]

As for being a clavichorder, I do in fact love the clavichord and CPE Bach is perhaps my favorite composer, get right down to it.  I'm not a big fan of all the Miklos Spanyi recordings though, as he plays too slow and nuanced. 

Have you seen teafruitbat's channel on youtube?  He's probably the most musical clavichordist online. Here is a W.F. Bach Fantasia played by him http://www.youtube.com/watch?v=NYF7faLCUkQ and here is a CPE rondo http://www.youtube.com/watch?v=OvfnS3JuE_Q&feature=channel_video_title.  Its a replica Stein travel clavichord, with enough keys on it to play late classical repertoire, excepting lower register octaves that can be faked. 

I love the CPE Bach sonatas with varied reprises, played by Collin Tilney. 

Has Henri-Joseph Rigel been mentioned on this thread yet?  I find his recorded symphonies very frantic and humorous, consistently quirky. 

I'm also interested in good deals for box sets and the like, I'm on a budget, but for many of the obscure composers, there is no such thing as a box set

[mc ukrneal]

Directed toward Gurn or any other posters on this thread who think they can help: I really want to keep exploring the classical period.  So far I have listened to and enjoyed a sizable portion of the Haydn Symphonies and all the CPE Bach symphonies, and I have sampled symphonies of many other composers.  I'm particularly interested in symphonies right now.  So far, I have discovered and enjoyed Johann Stamitz, Joseph Martin Kraus, Luigi Boccherini, Henri-Jospeh Rigel(I discovered this one and there is only one CD out of his symphonies, it seems), Sammartini, all the Bach sons excepting Christoph Friedrich, who I am curious about, Michael Haydn(3 of his), Dittersdorf(3 of his).  I own works by all these composers.  I have found things interesting about all these composers, each of them, as similar as they sound to a non connesseur, have their own virtues.  I have tried Salieri and will say I found him very dull in formal composition and mediocre in opera overtures, but all the others I've mentioned I've found acceptably interesting and enjoyable, and very rewarding to know about.

So, anyone else who knows anything about the composers I've mentioned, what do you reccomend I go for.  I'm leaning on getting a complete set of Michael Haydn, Boccherini, and Johann Christoph Friederich Bach(especially him), what is the general opinion on these composers?  Boccherini is a little light but I find enjoyable things about him, Michael Haydn can be kind of academic, but is pretty interestingly layered, and the 3rd Bach composer son I have a lot of faith in.  Are there any other composers you'd recommend?  Composers not listed, and those who would fill in a gap for me or provide something new. 

Just starting off here.  I'll get more specific in time, I'm a bit rushed right now.  Thanks in advance.

I am not quite as focussed on the classical period as some here, but my first love is the symphony, so I think I can help. First, there is the Contemporaries of Mozart series on Chandos. THis includes Stamitz. But there is also Pleyel, Gyrowetz, Bauger, Hoffmeister, Kozeluch, Krommer, Marsh, Myslivicek, Pichl, Richter, Rosetti, Vanhal, Wesley, Wranitsky (aka Vranicky), and Vogler. Not sure I covered every single release, but they are a great place to start. If you like any of them, there are often other discs to explore (for example, Vanhal has others on Naxos, Das Alte Werk, etc.). I have yet to find a stinker in the series - none are less than interesting (though tastes may vary). Some can be found in cheaper packs, like this:
[asin]B003TLRKAK[/asin]

Personally, I would hightly recommend the following Franz Xaver Richter discs (they are outstanding in every way, and this is the same Richter as above):
[asin]B000REGIXM[/asin]
[asin]B0020LSWWA[/asin]

I can only agree with some of those you mentioned. I enjoyed Michael Haydn on CPO tremendously as well as that Rigel disc. I like Kraus as well, though perhaps not as much as some of the others.

Another Myslivecek I love is this one:
[asin]B000JFZ9FC[/asin]

There are more, but I already feel like I may have overwhelmed you with names. I would start with the Richter Naxos discs myself, followed by something from those who are recorded a bit more often like Myslivecek, Vanhal, Pleyel, etc.

[clavichorder]

Thanks!  Not overwhelmed, the CD recomendations make things quite simple.  Its also nice that this is a set I can explore within.  Good to know there aren't any stinkers.

[Leo K.]

I am not quite as focussed on the classical period as some here, but my first love is the symphony, so I think I can help. First, there is the Contemporaries of Mozart series on Chandos. THis includes Stamitz. But there is also Pleyel, Gyrowetz, Bauger, Hoffmeister, Kozeluch, Krommer, Marsh, Myslivicek, Pichl, Richter, Rosetti, Vanhal, Wesley, Wranitsky (aka Vranicky), and Vogler. Not sure I covered every single release, but they are a great place to start. If you like any of them, there are often other discs to explore (for example, Vanhal has others on Naxos, Das Alte Werk, etc.). I have yet to find a stinker in the series - none are less than interesting (though tastes may vary). Some can be found in cheaper packs, like this:
[asin]B003TLRKAK[/asin]

Personally, I would hightly recommend the following Franz Xaver Richter discs (they are outstanding in every way, and this is the same Richter as above):
[asin]B000REGIXM[/asin]
[asin]B0020LSWWA[/asin]

I can only agree with some of those you mentioned. I enjoyed Michael Haydn on CPO tremendously as well as that Rigel disc. I like Kraus as well, though perhaps not as much as some of the others.

Another Myslivecek I love is this one:
[asin]B000JFZ9FC[/asin]

There are more, but I already feel like I may have overwhelmed you with names. I would start with the Richter Naxos discs myself, followed by something from those who are recorded a bit more often like Myslivecek, Vanhal, Pleyel, etc.

Quoted for truth! Great post!

I second the Naxos Richter recordings, as Richter's music is really amazing, and blew me away upon first hearing it.

[Leo K.]

At this moment, I am enjoying this recording of Giuseppi Cambini's (1746-1825?) symphonies:



Sinfonia in E minor
Sinfonia F major
Sinfonia concertante No. 12 for 2 violins and orchestra in C minor
Sinfonia concertante No. 5 for oboe, bassoon, and orchestra in B flat major



Quoth the Wiki:

Giuseppe Maria Gioacchino Cambini (Livorno, February 13?, 1746 - Paris ? 1825?) was an Italian composer and violinist.

Born in Livorno, it is likely that Cambini studied violin with Filippo Manfredi; the only evidence for this is however Cambini's own unreliable account, which also claims inaccurately that he worked with Luigi Boccherini and Pietro Nardini, and was a friend of Joseph Haydn. Another legend about Cambini, circulated by François-Joseph Fétis, claimed that Cambini and his fiancée had been kidnapped by Barbary pirates and ransomed by a music-lover.

Cambini arrived in Paris some time before or in 1773, and after one of his Symphonies was played at a Concert Spirituel, his music began to be published, quickly building up an oeuvre of much instrumental music and fourteen operas, only two of which survive complete. He was extremely prolific, writing 82 symphonies concertantes, nine symphonies, seventeen concertos and over 100 string quintets.

When Mozart was in Paris, a Concert Spirituel with Mozart's Symphonie Concertante, K. 297b, was cancelled, and Mozart blamed Cambini for sabotaging his performance. Gluck on the other hand estimated Cambini as an honest fellow.

During the French Revolution, Cambini wrote hymns for the revolutionaries, but after 1810, Cambini wrote less music and more essays about music, and the popularity of his music quickly declined. From this point, Cambini's biography is very sketchy: he might have stayed in Paris to his death in 1825, as stated by Fétis, or he may have gone to the Netherlands and died in the late 1810s.

The large amount of string quartets written by Cambini have led some commentators to assert that he had a major role in the development of this form in France.

This is the only Cambini I have, and sometime I'd like to explore his chamber music. This disk of symphonies is simply ravishing. The music is subtle, simple, melodic and with energetic rhythm, with a certain introspective quality thoughout each work, especially in the slow movements.

[DavidW]

I'm considering a couple of Boccherini string quintet, sextet cds performed by Ensemble 415 (in my bro cart at the moment), are these good or should I be looking for other recordings or works?

[asin]B00004TVGQ[/asin]

[Leo K.]

I'm considering a couple of Boccherini string quintet, sextet cds performed by Ensemble 415 (in my bro cart at the moment), are these good or should I be looking for other recordings or works?

[asin]B00004TVGQ[/asin]

I have a few of those Ensemble 415 recordings, including a Boccherini Quintet disk. They are great recordings indeed. I haven't heard the disks you are inquiring about, but I sure love this ensemble.



I want to add a word about Bocherrini's String Trios. SPLENDID!!!  Especially as played by La Real Camara.

[Leo K.]

Another shout out for Albrechtsberger!

I quote from Gurn from a year or two ago:

Well, I don't have other recordings, so I came with expectations from reading about him. Here is an excerpt from Grove's, for example;

After his imperial appointment in 1772 he became increasingly preoccupied with the composition of fugues – over 240 for instruments in addition to numerous examples in the sacred music. His two-movement sonate (slow homophonic, fast fugal), of which he wrote over 120 for various instrumental combinations after 1780, developed out of the Baroque church sonata but were intended for chamber rather than church performance. They had little influence on the already mature sonata form. His approach to Viennese church composition tended, as Weissenbäck noted, towards formal sectionalization or polarization of homophonic and polyphonic textures. In spite of their technical refinements, these late works seem less imaginative than those of his earlier years

And his real claim to fame was in theory and teaching, his specialty being polyphony and counterpoint. More from Grove's:

Nevertheless it was through his teachings and theoretical writings that Albrechtsberger exerted the strongest influence on his contemporaries and succeeding generations of composers. He began attracting students as early as 1757 (Franz Schneider), and by the time of his death he was the most sought-after pedagogue in Europe. Haydn regarded him as 'the best teacher of composition among all present-day Viennese masters' and unhesitatingly sent Beethoven to him for instruction (1794–5). The fugues of Beethoven's last years, particularly op.133, owe much to his teachings. His international reputation as a theorist rested on his extremely popular treatises on composition (1790) and figured bass (c1791). In place of innovatory theoretical concepts these works contained a skilful combination of elements borrowed primarily from Fux and Marpurg. His principal achievement in this area was to formulate 18th-century theory in a language and format which were practical and suitable to the needs of contemporary instruction.

So, yes, I had certain expectations.   I'm not sure, however, what of all these musics have been recorded.

This disk of his String Quartets is very interesting from a historical perspective, as well as musically fascinating. These are straightforward quartets, but not boring at all. They progress logically with good ideas, exhibiting a cheerful but cautious mood. There is beautiful, assured writing here.:



I'm glad I found out about this recording in this thread.

[DavidW]

Thanks Leo!

[Leo K.]

Thanks Leo!

Your welcome man!

[Leo K.]

Another fascinating disk of works for chorus and orchestra I am listening to this morning:



On this disk:

Confitebor
Glori in Excelsis, in Pastorale
Laudate Pueri
Magnificat
Te Deum



I searched high and low for more information about Giacinto Calerara (1729-1803). I finally found an Italian Website with information, and so I google-translated it below:

BIOGRAPHICAL
To understand the importance of Giacinto Calderara and his huge production in the Italian music scene, may be sufficient, the following brief biography drawn from the foreword to the Gloria in excelsis in pastoral care by Maestro. Joseph Gai and forthcoming:

"Among the many instructors who took turns in the direction of Chapel of the prestigious institution and secular music of the Cathedral of Asti, more commonly known as the Chapel of the Putti, the figure of Giacinto Calderara, interesting character and mostly unknown to modern history, despite the great reputation and a successful harvest in his time. Calderara was born March 12, 1729 in Casale Monferrato, where his father Michael - born in Borgosesia - held the position of maestro di cappella at the Duomo. son of an artist, began his musical studies family and soon became known beyond the borders of the small town with easy melodic invention and the happy mood. When he died in July of 1749, Antonio Berruti, Maestro di Cappella of the Cathedral of Asti, the Chapter, having to replace , went to the youth Casale. Calderara, then just twenty years old, accepted the post and went into service on the day of the Saints, leading the Mass: the first of many executions and appreciated fifty-four years of intense musical activity in the service of worship . Only a few brief secular interrupted the sacred production, highlighting the natural talent for melodrama in Calderara was gifted.

He wrote Alexander Indies and Ricimero, represented respectively in Alexandria in 1752 and Turin (Teatro Regio, with 21 repeats) in the 1756. For a third work, of which however is not given to know either the title or subject, mention the minutes of the Chapter of 1753, alluding to an application for a temporary license that had addressed the choirmaster of the Canons to travel to Verona to conduct a His theatrical work. Saddened for the abolition of the Chapel of Putti (enacted by Chapter 5 April 1801, following the Napoleonic forfeit), Calderara died September 16, 1803. With great honor was buried in the Cathedral, where even today a memorial stone marble. His was a life almost exclusively to the service of the Cathedral, which commits him not only as conductor and director of the frequent executions, as educator of the child singers, but also as a composer of new music for the celebrations. He was born in that context, 'and plenty of amazing music production almost entirely the Archives of the Cathedral of Asti has preserved and handed down. It is a few hundred vocal-instrumental compositions for liturgical use: many of them are short of breath, set up an instrumental ensemble reduced to the essential (first violins, second violins, cello and organ) corresponding, ie, stable staffing of the Chapel. More than a half of good compositions are more complex and more rich in instrumentation, as well as the usual strings, also provide, in accordance with cases, 2 Oboes, 2 Horns, Flute, Viola, or Third Violin and Double Bass. These were aimed at more solemn celebrations, and therefore require the use of external performers who were recruited mostly from neighboring cities. "

The music is galant-like, very cheerful in contrast to the subject matter to some of the sacred latin texts. I simply love it.