Franz Schmidt(1874-1939)

[Symphonic Addict]

Another example of me eating my own words. I've come to enjoy more of this composer's music lately. Namely, the 2nd symphony, which is an absolute treasure chest of beautiful ideas. The opening motif alone sends me to quite a tranquil and sunlit place. It also reminds me of spring for some odd reason. Almost like a reawakening of the spirit in a way. Looking forward to digging into the 1st and 3rd symphonies, which I don't know well at all.

The 2nd is a terrific score. Its style reminds me of Bruckner and Strauss in how imposing, challenging, devotional and chromatic sounds like. The 2nd movement is my favorite, with a splendidly lyrical section around 6:30 that just melts my heart. That is a tune with technique!!

The No. 3 in A major could be the more challenging or chromatic of the bunch. The style is rather "autumnal", sober, very introspective in my view. That work has grown on me over the years. And the 1st is so lovely. Schmidt pays homage to Bruckner with a motif or an idea in the endearing 2nd movement which seems belonging to Bruckner's 7th Symphony. He's an interesting composer for sure. His chamber music has some gems too: the Piano Quintet in G major and the Clarinet and Piano (left hand) Quintet in A major.

[Mirror Image]

Well, at least you're making amends by adopting him as your avatar - for now  .

Indeed!

[Mirror Image]

The 2nd is a terrific score. Its style reminds me of Bruckner and Strauss in how imposing, challenging, devotional and chromatic sounds like. The 2nd movement is my favorite, with a splendidly lyrical section around 6:30 that just melts my heart. That is a tune with technique!!

The No. 3 in A major could be the more challenging or chromatic of the bunch. The style is rather "autumnal", sober, very introspective in my view. That work has grown on me over the years. And the 1st is so lovely. Schmidt pays homage to Bruckner with a motif or an idea in the endearing 2nd movement which seems belonging to Bruckner's 7th Symphony. He's an interesting composer for sure. His chamber music has some gems too: the Piano Quintet in G major and the Clarinet and Piano (left hand) Quintet in A major.

Excellent to read, Cesar. Glad you enjoy this composer's music as well. I'm just starting to really get reacquainted with it after a long hiatus. The chamber works are definitely on my must-hear list along with Notre Dame.

[Symphonic Addict]

Excellent to read, Cesar. Glad you enjoy this composer's music as well. I'm just starting to really get reacquainted with it after a long hiatus. The chamber works are definitely on my must-hear list along with Notre Dame.

Good stuff, John. The Husar Variations also contain some remarkable music and ideas. His organ works are virtually unknown to me, and that's a significant deal of his output.

[Mirror Image]

Good stuff, John. The Husar Variations also contain some remarkable music and ideas. His organ works are virtually unknown to me, and that's a significant deal of his output.

I'll gladly skip over the organ works, but yes, Variations on a Hussar's Song is a great piece.

[André]

Listening to the 4th as I write, after Welser-Möst, Moralt, Rajter (last week) and before Mehta (tomorrow).

It is indeed a very, very fine performance, definitely digging deeper into the score than WM and Rajter, but less than Moralt, whose searing conception is carried out by the Wiener Symphoniker as if it was their last concert on this earth.

I noticed a couple of thematic connections with other composers' works. The opening trumpet solo (reprised at the beginning of III) is varied into a motto that is used by Strauss in Elektra (Elektra's opening scene, when she calls out the ghost of her slain father: 'Agamemnon!') - and then in II, Delius' shadow hovers, especially in the ascending scales of the long opening theme, first heard on the cello (hardly noticeable), then on the strings (more so) and then the clarinet and oboe (unmistakeable). I'm sure these are not quotes, not even influences other than a common Austro-German post-romantic heritage. Still, for some strange reason these perceived links to Strauss and Delius make me appreciate Schmidt even more.

[kyjo]

Reposted from the "blown away" thread:

Schmidt: Piano Quintet in G major (1926)



Where has this work been all my life?? It's written in Schmidt's characteristically rather understated (but never dull!) and bittersweet style, juxtaposing winding chromatic harmonies with beautiful diatonic melodies. The whole work is excellent, but Schmidt had a real knack for writing deeply touching slow movements, and this one is certainly no exception. It's stunningly beautiful in its timeless simplicity, and I won't deny that it brought me to tears!! Needless to say, the performance by these "big name" artists is uniformly superb and gives this splendid music the advocacy it so richly deserves. Any self-respecting Schmidt and/or chamber music enthusiast needs to hear this work!!

[Symphonic Addict]

A fresh release (but not much so in terms of the recording date) of Schmidt's second and last opera.

[Symphonic Addict]

A fine tribute to Schmidt on his 150th anniversary would be a new recording of his string quartets, being this Nimbus CD the only one that with good sound and has both quartets. This music is interesting and it grows on you with repeated listens.

[kyjo]

A fine tribute to Schmidt on his 150th anniversary would be a new recording of his string quartets, being this Nimbus CD the only one that with good sound and has both quartets. This music is interesting and it grows on you with repeated listens.

Indeed, Cesar. Schmidt had a pattern of writing emotionally withdrawn, thematically elusive first movements to his chamber works - I sense this in both SQs as well as the Quintet in B-flat for clarinet, piano, and strings. And then, in the remaining movements, he "opens up" sonically and emotionally, especially in the slow movements which are often very deeply-felt and contain occasional echoes of Hungarian folk music (to my ears). I could see if people might get put off by the first movements of these quartets (particularly the one in A major, IIRC), but they should persist because there is some really fine music awaiting them later on. I agree that Schmidt's music has a subtle and complex quality that rewards repeated listening!

[Mandryka]

If anyone wants the Moyzes Quartet recording they can PM me.

[Symphonic Addict]

Indeed, Cesar. Schmidt had a pattern of writing emotionally withdrawn, thematically elusive first movements to his chamber works - I sense this in both SQs as well as the Quintet in B-flat for clarinet, piano, and strings. And then, in the remaining movements, he "opens up" sonically and emotionally, especially in the slow movements which are often very deeply-felt and contain occasional echoes of Hungarian folk music (to my ears). I could see if people might get put off by the first movements of these quartets (particularly the one in A major, IIRC), but they should persist because there is some really fine music awaiting them later on. I agree that Schmidt's music has a subtle and complex quality that rewards repeated listening!

It never ceases to amaze me how our own perception on music changes over the years. When I first heard those quartets I found them dull and too "advanced" (especially the one in G major), but now they sounded like completely different and attractive pieces. Granted, the G major quartet is not an easy piece, but I did find it more approachable this time. Have you ever heard his monumental Quintet in A major for clarinet, piano and string trio? All of the features you mentioned appear there in spades. That truly is a masterpiece, his last one to be more precise.

[kyjo]

It never ceases to amaze me how our own perception on music changes over the years. When I first heard those quartets I found them dull and too "advanced" (especially the one in G major), but now they sounded like completely different and attractive pieces. Granted, the G major quartet is not an easy piece, but I did find it more approachable this time. Have you ever heard his monumental Quintet in A major for clarinet, piano and string trio? All of the features you mentioned appear there in spades. That truly is a masterpiece, his last one to be more precise.

The A major Quintet is high on my "need to listen" list - I look forward to hearing it! There's also the G major Quintet for piano left-hand and strings - overall a very fine work with, again, a touchingly beautiful slow movement.

[Roasted Swan]

It never ceases to amaze me how our own perception on music changes over the years. When I first heard those quartets I found them dull and too "advanced" (especially the one in G major), but now they sounded like completely different and attractive pieces. Granted, the G major quartet is not an easy piece, but I did find it more approachable this time. Have you ever heard his monumental Quintet in A major for clarinet, piano and string trio? All of the features you mentioned appear there in spades. That truly is a masterpiece, his last one to be more precise.

I really don't know the Schmidt quartets at all.  Which performances do you rate and how do they (the works not the performances) compare musically to say the Zemlinsky quartets which I think are utterly remarkable.

[Symphonic Addict]

I really don't know the Schmidt quartets at all.  Which performances do you rate and how do they (the works not the performances) compare musically to say the Zemlinsky quartets which I think are utterly remarkable.

So far I only know the disc I posted the other day. Since that disc contains the only performances I have heard (for now), they sounded considerably apt, so did the recording. If you know or are familiar with Schmidt's Symphony No. 3, you will have an idea about the sound world of those quartets. It's music without much agitation, they have a pensive and autumnal nature, just like immense lyricism. The 2nd Quartet is more chromatic, it's sort of close to Reger's style, but with less academic vibe. They develop with no hurry. On the other hand, Zemlinsky's quartets have more incisive gestures, piquant ideas and forward momentum as you know. I hope it helps.

[Mandryka]

So far I only know the disc I posted the other day. Since that disc contains the only performances I have heard (for now), they sounded considerably apt, so did the recording. If you know or are familiar with Schmidt's Symphony No. 3, you will have an idea about the sound world of those quartets. It's music without much agitation, they have a pensive and autumnal nature, just like immense lyricism. The 2nd Quartet is more chromatic, it's sort of close to Reger's style, but with less academic vibe. They develop with no hurry. On the other hand, Zemlinsky's quartets have more incisive gestures, piquant ideas and forward momentum as you know. I hope it helps.

The work I would compare the Schmidt second quartet to is Pfitzner's op 36 quartet, this one

https://open.spotify.com/album/3y8KbNzjKB7yLlDnXBcNpp?highlight=spotify:track:3S166xglgqtGacGnkoxP0n

[Symphonic Addict]

The work I would compare the Schmidt second quartet to is Pfitzner's op 36 quartet, this one

https://open.spotify.com/album/3y8KbNzjKB7yLlDnXBcNpp?highlight=spotify:track:3S166xglgqtGacGnkoxP0n

Judging by what I heard it definitely shares that understated mood and similar writing.

[Roasted Swan]

So far I only know the disc I posted the other day. Since that disc contains the only performances I have heard (for now), they sounded considerably apt, so did the recording. If you know or are familiar with Schmidt's Symphony No. 3, you will have an idea about the sound world of those quartets. It's music without much agitation, they have a pensive and autumnal nature, just like immense lyricism. The 2nd Quartet is more chromatic, it's sort of close to Reger's style, but with less academic vibe. They develop with no hurry. On the other hand, Zemlinsky's quartets have more incisive gestures, piquant ideas and forward momentum as you know. I hope it helps.

thankyou - really illuminating descriptions!

[Maestro267]

A great mystery has finally been solved. This recording of Schmidt's Piano Quintet is listed all over the disc, and on Discogs, as being in D major, but Schmidt NEVER WROTE a D major Piano Quintet. It is the G major Quintet. It absolutely staggers me that every proofreader in the whole process, and those afterwards, did not consult the score to make sure they were correct.

[Le Buisson Ardent]

Listening to the 4th as I write, after Welser-Möst, Moralt, Rajter (last week) and before Mehta (tomorrow).

It is indeed a very, very fine performance, definitely digging deeper into the score than WM and Rajter, but less than Moralt, whose searing conception is carried out by the Wiener Symphoniker as if it was their last concert on this earth.

I noticed a couple of thematic connections with other composers' works. The opening trumpet solo (reprised at the beginning of III) is varied into a motto that is used by Strauss in Elektra (Elektra's opening scene, when she calls out the ghost of her slain father: 'Agamemnon!') - and then in II, Delius' shadow hovers, especially in the ascending scales of the long opening theme, first heard on the cello (hardly noticeable), then on the strings (more so) and then the clarinet and oboe (unmistakeable). I'm sure these are not quotes, not even influences other than a common Austro-German post-romantic heritage. Still, for some strange reason these perceived links to Strauss and Delius make me appreciate Schmidt even more.

Have you heard the Sinaisky or Jonathan Berman? Both of these accounts are quite fine even if they don't quite erase Mehta's towering performance. For the record, I do like both Järvi performances a lot as well.