Gurn's Classical Corner

[Leo K.]

Exactly Gurn! Vanhal is a top reccomendation for those interested in exploring the comtempories of Haydn and Mozart.

By the way, this morning I'm also enjoying this 3 CD set:



Sinfonia In A major, J-C 88
Sinfonia (Sonata) for 2 violins & bass in F major, Op.2/1, J-C 38
Sinfonia for 2 violins, viola & bass in C major, J-C 7
Sinfonia (Sonata) for 2 violins, viola & bass in F major, Op. 2/8, J-C 37
Sinfonia for 2 violins, viola & bass in D major, J-C 14
Sinfonia for 2 violins & bass in B flat major, J-C 66b
Sinfonia (Sonata) for 2 violins, viola & bass in F major, Op. 2/11, J-C 33
Sinfonia for 2 violins, viola & bass in F major, J-C 34
Sinfonia for 2 violins & bass in G minor, J-C 59 (2 movements only)
Sinfonia for 2 violins, viola & bass in D major, J-C 15
Sinfonia for 2 violins, viola & bass in A major, J-C 65
Sinfonia for 2 violins, viola & bass in G major, J-C 39
Sinfonia (Sonata) for 2 violins, viola & bass in F major, Op. 2/5, J-C 35
Sinfonia for 2 violins & bass in B flat major, J-C 66a
Sinfonia for 2 violins, viola & bass in F major, J-C 36
Sinfonia for 2 violins, viola & bass in C minor, J-C 9
Sinfonia (Sinfonia No.5) for 2 violins & bass in A major, J-C 64
Sinfonia for 2 violins, viola & bass in D minor, J-C 23
Sinfonia for 2 violins, viola & bass in B flat major, J-C 67
Sinfonia for 2 violins, viola & bass in F major, J-C 32



Anyone else a fan of Sammartini? This is fantastic music, played on Authentic instruments. 

[Gurn Blanston]

Exactly Gurn! Vanhal is a top reccomendation for those interested in exploring the comtempories of Haydn and Mozart.

By the way, this morning I'm also enjoying this 3 CD set:



Sinfonia In A major, J-C 88
Sinfonia (Sonata) for 2 violins & bass in F major, Op.2/1, J-C 38
Sinfonia for 2 violins, viola & bass in C major, J-C 7
Sinfonia (Sonata) for 2 violins, viola & bass in F major, Op. 2/8, J-C 37
Sinfonia for 2 violins, viola & bass in D major, J-C 14
Sinfonia for 2 violins & bass in B flat major, J-C 66b
Sinfonia (Sonata) for 2 violins, viola & bass in F major, Op. 2/11, J-C 33
Sinfonia for 2 violins, viola & bass in F major, J-C 34
Sinfonia for 2 violins & bass in G minor, J-C 59 (2 movements only)
Sinfonia for 2 violins, viola & bass in D major, J-C 15
Sinfonia for 2 violins, viola & bass in A major, J-C 65
Sinfonia for 2 violins, viola & bass in G major, J-C 39
Sinfonia (Sonata) for 2 violins, viola & bass in F major, Op. 2/5, J-C 35
Sinfonia for 2 violins & bass in B flat major, J-C 66a
Sinfonia for 2 violins, viola & bass in F major, J-C 36
Sinfonia for 2 violins, viola & bass in C minor, J-C 9
Sinfonia (Sinfonia No.5) for 2 violins & bass in A major, J-C 64
Sinfonia for 2 violins, viola & bass in D minor, J-C 23
Sinfonia for 2 violins, viola & bass in B flat major, J-C 67
Sinfonia for 2 violins, viola & bass in F major, J-C 32



Anyone else a fan of Sammartini? This is fantastic music, played on Authentic instruments. 

  OK, well I have that box too. Sammartini was the Italian version of Johann Stamitz, more or less, in that he advanced the sinfonia from being an ear opener that meant nothing into a work all on its own with a reason to be. Haydn was said by some of his contemporaries to have been influenced early on by Sammartini, but he vehemently denied it, claiming his only influence was from CPE Bach. Nationalism, perhaps? Since Haydn's teachers in the 1750's were both Italian (Metastasio & Porpora), I wouldn't be at all surprised if some Sammartini didn't sneak in under the door, so to speak.

Good music, as you say, and worth a listen even if not for historical purposes.

[Leon]

A thought struck me as was listening to a Mozart piano concerto and I wanted to solicit some ideas from my fellow corner-dwellers.

Looking at the "Big 3", Haydn, Mozart and Beethoven - my thought is that while each one excelled in all the forms they composed in, for me, these are the forms that I find they really made their own and contributed, arguably, their most important statements:

Haydn: String Quartet & Piano Trio
Mozart: Piano Concerto and Opera
Beethoven: Symphony and Piano Sonata

As I said, they all wrote masterfully in all the forms they attempted, but I seem to identify each one with a different group of works.

I would love to hear from others their ideas.

[Geo Dude]

Interesting idea, but I'm pretty sure most would identify Haydn with the symphony and Beethoven with the string quartet (due to his late ones), along with the other things you suggested.

[Leon]

Interesting idea, but I'm pretty sure most would identify Haydn with the symphony and Beethoven with the string quartet (due to his late ones), along with the other things you suggested.

Oh, yes, agreed - but I was trying to find two forms for each composer and associating different ones for each. 

But, it seems something that only I find interesting - 

Such is life.

[Leon]

Here's a new composer for me - Frantisek Ignác Antonín Tuma (1704-1774).  I am usually interested in Italian composers from the early Classical era, and am excited to find one I have never come across before.

I haven't heard this yet, but am looking forward to it eagerly

Frantisek Ignác Antonín Tuma: Partite, sonate e sinfonie



Some nice words from a Fanfare review:

Fanfare Magazine, Laura Ronai, Jan/Feb 2009
The present CD starts its contact with the world at large very auspiciously; featuring one of the best covers I have seen this year, it will easily attract the eye of the music-lover. Stark, simple, and beautiful, the photograph on the cover (by Mark Power) seems like a painting in its stunning graphic balance. The overall design respects and amplifies the effect, and the result could not be any better. The liner notes, by Alessandrini himself, are direct, informative, and elegantly written. If the playing were not of the highest level, it would be a bitter disappointment.

Fear not! The CD lives up to its promise. Alessandrini and his colleagues give us the sort of interpretation we have grown used to expecting from Concerto Italiano: full-blooded, technically exceptional, musically interesting at all times, intelligent, and absolutely convincing. It is hard to imagine that only seven musicians create the universe of sound displayed in these works. Even though the group cannot properly be called an orchestra, the illusion that we are dealing with a much larger ensemble is created by the huge dynamic scope obtained, the ever present sense of direction in the phrases, the subtle differences in timbre, the ample variety in articulations, and the sudden (and apt) changes in character--but also because all interpreters involved seem to share the same ideal regarding tone and sentiment. Cohesion, virility, contrast, complete engagement to the chosen repertoire, and a fine body of works to sink their teeth into. Who would not love the resulting performance? Most definitely, this one goes to the top shelf of my collection.

[SonicMan46]

A thought struck me as was listening to a Mozart piano concerto and I wanted to solicit some ideas from my fellow corner-dwellers.

Looking at the "Big 3", Haydn, Mozart and Beethoven - my thought is that while each one excelled in all the forms they composed in, for me, these are the forms that I find they really made their own and contributed, arguably, their most important statements:

Haydn: String Quartet & Piano Trio
Mozart: Piano Concerto and Opera
Beethoven: Symphony and Piano Sonata

As I said, they all wrote masterfully in all the forms they attempted.................

Hi Arnold - well, hard to compare these 3 great classical composers into so limited a number of categories, but for me, if you want to play this game and just select a couple of their greatest outputs, then my list would be below:

Haydn - Symphonies & String Quartets

Mozart - cannot choose 2 - he was outstanding in orchestral, chamber, opera, etc. music - he was the most versatile, IMHO -

Beethoven - Symphonies & Piano Sonatas - now one can easily expand on these choices - Dave

[Geo Dude]

This CD comes out next week but I'm not in a position to order it just yet.  Needless to say, I expect a thorough review from at least one of you gents some time soon.

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[Florestan]

Just discovered this fabulous disc.

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[Gurn Blanston]

Just discovered this fabulous disc.

[asin]B00005LX8Q[/asin]

Looks highly interesting. I would rate my likelihood of ever getting it at around 1 in 500. I have been "signed up to be notified" on 5 or 6 disks, some for as long as 8 years.

[Sergeant Rock]

Here's a new composer for me - Frantisek Ignác Antonín Tuma (1704-1774).  I am usually interested in Italian composers from the early Classical era, and am excited to find one I have never come across before.

The music sounds interesting (heard clips at JPC). Ordered it. However, I believe the composer was Bohemian, not Italian.

Franz Ignaz Anton Tuma stammte aus Böhmen, 1704 in Adlerkosteletz geboren, wo sein Vater Organist war. Zur Ausbildung kam er zu den Jesuiten nach Prag --JPC product information

František Ignác Antonín Tůma (Kostelec nad Orlicí, Bohemia, October 2, 1704 – Vienna, January 30, 1774) was an important Czech composer of the Baroque era. Born in Kostelec nad Orlici, Bohemia, he lived the greater part of his life in Vienna --Wiki

Sarge

[Leon]

The music sounds interesting (heard clips at JPC). Ordered it. However, I believe the composer was Bohemian, not Italian.

Franz Ignaz Anton Tuma stammte aus Böhmen, 1704 in Adlerkosteletz geboren, wo sein Vater Organist war. Zur Ausbildung kam er zu den Jesuiten nach Prag --JPC product information

František Ignác Antonín Tůma (Kostelec nad Orlicí, Bohemia, October 2, 1704 – Vienna, January 30, 1774) was an important Czech composer of the Baroque era. Born in Kostelec nad Orlici, Bohemia, he lived the greater part of his life in Vienna --Wiki

Sarge

Thanks for the correction.  I had thought the name was not typically Italian and am unsure why I thought he was from Italy.  The important thing is that the music is interesting, somewhat piquant, which is fine with me.

[SonicMan46]

Thanks for the correction.  I had thought the name was not typically Italian and am unsure why I thought he was from Italy.  The important thing is that the music is interesting, somewhat piquant, which is fine with me.

Yep Arnold - you have to be careful w/ those names and can go in either direction, e.g. I enjoy the short lived Bohemian composer Antonio Rosetti and have many discs; the wind music is outstanding - however, he 'italianized' his name for whatever reason - there are certainly other examples!  A short excerpt from this Wiki bio below -    Dave

Antonio Rosetti (c. 1750–June 30, 1792, born Anton Rösler, changed to Italianate form by 1773) was a classical era composer and double bass player, and was a contemporary of Haydn and Mozart.

Rosetti was born around 1750 in Litoměřice, a town in Northern Bohemia, and was originally called Franz Anton Rösler.

[SonicMan46]

Just discovered this fabulous disc.

 

Andrei - hello!   Gurn may be right for us across the pond - Amazon states unavailable - I don't go on waiting lists; but am curious from the cover - assume the Op. V works, i.e. G. 25-30 (1768) - are these played on clavichord or fortepiano (or other)?

I have the 2-CD set inserted above on Brilliant (licensed from Tactus) - includes the same Op. V as above but w/ fortepiano & violin; the other disc are the G. 143-148 works (Op. 23, 1-6) from 1781 according to the liner notes - these are basically keyboard (fortepiano) and strings (violin & cello); positive review reprinted HERE from MusicWeb; a more negative review HERE from Allmusic (I don't fee that the reviewer is into the Tactus approach to these period recordings?).

Now I also have 'Clavier Quintets', but have no solo keyboard works by Boccherini despite my rather comprehensive collection - maybe our comments will bring forth a cornucopia of recommendations?   Dave

[Florestan]

Andrei - hello!   Gurn may be right for us across the pond - Amazon states unavailable - I don't go on waiting lists; but am curious from the cover - assume the Op. V works, i.e. G. 25-30 (1768) - are these played on clavichord or fortepiano (or other)?

Hi Dave! Actually I don't own the physical CD, I've been listening to it on Youtube here. They are played on a harpsichord made by Marc Ducornet (with a very strong delineation between the high and low registers, something I don't hear too often in harpsichords). It is available on Amazon UK. Track listing here. That's all the information I could gather, hope it helps somewhat.

[Gurn Blanston]

Andrei - hello!   Gurn may be right for us across the pond - Amazon states unavailable - I don't go on waiting lists; but am curious from the cover - assume the Op. V works, i.e. G. 25-30 (1768) - are these played on clavichord or fortepiano (or other)?

I have the 2-CD set inserted above on Brilliant (licensed from Tactus) - includes the same Op. V as above but w/ fortepiano & violin; the other disc are the G. 143-148 works (Op. 23, 1-6) from 1781 according to the liner notes - these are basically keyboard (fortepiano) and strings (violin & cello); positive review reprinted HERE from MusicWeb; a more negative review HERE from Allmusic (I don't fee that the reviewer is into the Tactus approach to these period recordings?).

Now I also have 'Clavier Quintets', but have no solo keyboard works by Boccherini despite my rather comprehensive collection - maybe our comments will bring forth a cornucopia of recommendations?   Dave

Dave,
Haven't researched this yet, but I am rather sure it's the same works (I have the Tactus, BTW). You know that string accompaniment was considered optional at the time.

Hi Dave! Actually I don't own the physical CD, I've been listening to it on Youtube here. They are played on a harpsichord made by Marc Ducornet (with a very strong delineation between the high and low registers, something I don't hear too often in harpsichords). It is available on Amazon UK. Track listing here. That's all the information I could gather, hope it helps somewhat.

This is an interesting thing. The reason I say so is that in 1766 (67?) when these were composed, they turned off to be the earliest works composed specifically for the fortepiano with violin. Luigi wrote them for a specific lady player who actually had a fortepiano. Not known if his ploy was successful. But anyway, the fact that they are played on a harpsichord, even a cool one as you describe, is much more surprising than that they dropped off the violin part. 

[SonicMan46]

Hi Dave! Actually I don't own the physical CD, I've been listening to it on Youtube here. They are played on a harpsichord made by Marc Ducornet (with a very strong delineation between the high and low registers, something I don't hear too often in harpsichords). It is available on Amazon UK. Track listing here. That's all the information I could gather, hope it helps somewhat.

Thanks, Andrei, for the links - I listened to a couple of minutes on YouTube - appears that the entire album was uploaded although the sound via that source is not great, the harpsichord does indeed sound wonderful as you describe - will add to my 'wish list'!  Dave

[Leon]

I forget when I got this disc -

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I was looking to see what I had by the Festetics Quartet, and lo and behold found that I had this recording squirreled away; and indeed, a very nice recording it is.  And from a composer for whom I have no other music and still know nothing about ...   

Other than that these quartets are gems.

[chasmaniac]

I forget when I got this disc -

[asin]B000083MCR[/asin]

I was looking to see what I had by the Festetics Quartet, and lo and behold found that I had this recording squirreled away; and indeed, a very nice recording it is.  And from a composer for whom I have no other music and still know nothing about ...   

Other than that these quartets are gems.

They've got 3 fine discs of obscure string 4s on Hungaroton by Bengraf, Grill and Spech, respectively.

[SonicMan46]

Dave,
Haven't researched this yet, but I am rather sure it's the same works (I have the Tactus, BTW). You know that string accompaniment was considered optional at the time.
This is an interesting thing. The reason I say so is that in 1766 (67?) when these were composed, they turned off to be the earliest works composed specifically for the fortepiano with violin. Luigi wrote them for a specific lady player who actually had a fortepiano. Not known if his ploy was successful. But anyway, the fact that they are played on a harpsichord, even a cool one as you describe, is much more surprising than that they dropped off the violin part. 

Hi Gurn - thanks for the comments!  As we know, many of these works from this mid-18th period were let's say 'wide open', i.e. written w/ many possibilities, i.e. single vs. multiple instruments and for different instruments, so these works are of interest for this variety!  Bottom line seems to be that these works could be played alone on keyboard or combined w/ some strings!  LOVE IT! Is the 18th century the only period that such variety and freedom was available for choosing HOW to perform a composer's composition(s)?  Dave