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Post by jk on Oct 20, 2022 3:44:53 GMT -5
It is always with a feeling of slight apprehension that I launch a new topic in this sparsely populated section of the forum. Still, if just one person out there gets anything out of it -- a new composer or composition, a snippet of information, a laugh maybe -- it will have been worthwhile. In 2002, after seeing Brian in the televised version of the Party at the Palace and reading his "autobiography", I bought the Sunflower/Surf's Up twofer (plus a fantastic mix by the Amsterdam DJ 100% Isis called Reformation, which I can't find anywhere online). During the course of the next few months, I bought almost all the other studio twofers (and occasionally one-fers) -- in pairs, beginning with the one just before S/SU and the one just after it and then continuing in both directions simultaneously. I went back as far as Surfin' Safari/SUSA (obviously) but I believe I stalled at 15BO/Love You in the opposite direction, probably because I was underwhelmed by the first and baffled by the second. The other albums would follow later through (ahem!) another channel. This new thread does the same, fanning out in two directions from 1808, the year Beethoven completed his Fifth Symphony. It was among the handful of LPs I was given that set me off down the classical orchestral path in 1962. The slow movement is a thing of wonder: I feel it's somewhat overshadowed by the over-familiar opening movement (Fate knocking at the door) and the more energetic combination of Scherzo and Finale. en.wikipedia.org/wiki/Symphony_No._5_(Beethoven) Next up: 1807 and 1809.
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Post by jk on Oct 21, 2022 5:16:48 GMT -5
1807: Johann Baptist Cramer (1771–1858) is an entirely new name to me. (So this thread is good for something.) This is "No. 66 in E Major" from his Études for piano (book 2, op. 40; date unknown), performed by Gianluca Luisi: 1809: Carl Maria von Weber (1786–1826) is another matter. I'm familiar with at least two of this famous composer's opera overtures, and with his two concerti for clarinet, on which I used to accompany my music-teacher uncle on occasion (not in public, I should add). His lesser known Andante and Rondo Ungarese for Bassoon and Orchestra (op. 35) is played here by Klaus Thunemann with the Academy of St Martin in the Fields conducted by Sir Neville Marriner:
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Post by jk on Oct 22, 2022 3:47:11 GMT -5
1806: Until yesterday, Étienne Méhul (1763–1817) was just a name to me. This is the overture to his opera Uthal, in which he boldly replaces violins with violas throughout for a darker, "Scottish" atmosphere. It is performed here by Les Talens Lyriques conducted by Christophe Rousset: 1810: Johann Hummel (1778–1837) is better known to me, and indeed generally, his teachers having included both Mozart and Salieri. This is the third and final movement, "Rondo pastorale", from his Flute Sonata in D Major (op. 50), played by Lise Daoust with Carmen Picard at the piano:
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Post by jk on Oct 23, 2022 5:23:26 GMT -5
1805: This is the opening "Allegro" of the Concerto for Oboe No. 2 in F Major (op. 52) by Franz Krommer (1759–1831): 1811: Giacomo Meyerbeer (1791–1864) was a huge name in opera in the 19th century. Factors contingent on the subsequent virtual disappearance of his work from the repertoire include the great expense and vocal prowess involved in mounting it and the fact that the Nazi regime had banned his music in Germany and elsewhere (Meyerbeer was Jewish). Happily, the tide is now turning in his favour, with increasing numbers of performances and recordings of his operas. This is part 7, "Es geht aus seinem Strahlentor", from an early oratorio, Gott und die Natur, in which his penchant for opera is clearly evident:
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Post by jk on Oct 24, 2022 4:32:59 GMT -5
1804: I once found myself, as a decidedly amateur pianist (my classical training long forgotten), in the slightly hair-raising position of having to accompany an amateur choir in the admittedly splendid Requiem in C Minor by Antonio Salieri, of which this is the opening "Introitus" -- oh, the memories! 1812: Looking at the dates of Jan Ladislav Dussek (1760–1812), either he wrote this Duet for Harp and Piano (op. 38) in the year of his death or it's fallen prey to the chaos of putting Dussek's work in some kind of chronological order: "Cataloging Dussek's compositions has a history of its own. Dussek's oeuvre has historically been difficult to organize, due in part to the number of publishers who originally published his work, and to the fact that some of his works were published by more than one publisher. Some works published by multiple publishers were assigned different opus numbers; sometimes different works were given the same opus number by different publishers. Dussek further complicated this by arranging works for different instrument combinations." (From JLD's wiki page) That last remark explains the appearance of a natural horn in this recording:
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Post by jk on Oct 25, 2022 4:02:45 GMT -5
1803:The early American composer Jeremiah Ingalls (1764–1838) has been described as "short and corpulent with a high voice and an advanced skill at the bass viol". Northfield would seem to be his most famous composition, with words, according to commenter Elizabeth Folkie, "by the famous dissenter and prolific song-writer, Isaac Watts": 1813: Gioachino Rossini (1792–1868) was so successful as a composer of operas that he was in a position to retire while in his mid thirties. Exactly why he quit, however, has long been the subject of debate. Rossini wrote L'italiana in Algeri (The Italian Girl in Algiers) when he was 21 -- in 18 days flat by his account, 27 according to other sources. This is the "Overture". You are advised to crank up the volume for the exceedingly quiet opening bars:
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Post by jk on Oct 26, 2022 3:13:08 GMT -5
1802: Ignace (or Ignaz) Pleyel (1757–1831) was a famous composer in his day but is now best remembered as a builder of pianos and as a name that crops in books of piano music at the learning stage. Along with his didactic side, he's most familiar to me from an anecdote in Berlioz's Memoirs where young Hector, hopelessly in love with the pianist Marie Moke and learning that she had just become engaged to Pleyel's son Camille, left Rome post-haste, disguised as a washerwoman and armed to the teeth, with a view to killing Marie, her mother (who'd never approved of Berlioz), poor Camille and then himself. Happily he changed his mind en route (assuming it's all true). Anyway, this is the opening "Allegro" from Ignace Pleyel’s Symphonie concertante in F Major: 1814: Franz Danzi (1763–1826) is best known today for his works for woodwind, due to his consummate understanding of how each instrument works. Just a short step away, this is the central "Larghetto" from the Horn Sonata in E Minor (op. 44):
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Post by jk on Oct 27, 2022 5:01:17 GMT -5
1801: The Austrian pianist and composer Joseph Woelfl (sometimes written as Wölfl, 1773–1812) was a very tall man with an incredible finger span (a thirteenth, according to one account), although it didn't prevent him losing in a "piano duel" with his keyboard rival Beethoven. Out of favour for well over a century, the new millennium has seen a revival of his music, including quite a spate of recordings. This is the slow movement (Andante) from his Grand Duo for Cello & Piano in D Minor (op. 31): 1815: Beethoven regarded Luigi Cherubini (1760–1842) as the greatest living composer. He is best-known to me from the surreal scene painted by Berlioz in his Memoirs where Cherubini, by then director of the Paris Conservatoire, chased its most celebrated student around his office! This is the opening movement (Largo -- Allegro) from his Symphony in D Major:
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Post by jk on Oct 28, 2022 2:11:45 GMT -5
1800: François Boieldieu (1775–1834) was a name I was continually bumping into in lists at the back of orchestral scores, mainly in connection with one work, the opera Le calife de Bagdad. His Concerto for Harp in C Major (op. 77) was written in the year Le caliph was premiered. This is the closing "Rondo" (Allegro agitato): 1816: Unlike Boieldieu, Franz Schubert (1797–1828) needs little introduction. Considered one of the greatest composers of all time, he produced a vast and varied body of work during his short life. His Stabat Mater in F Minor (D. 383) for soprano, tenor and bass soloists, mixed choir, 2 flutes, 2 oboes, 2 bassoons, contrabassoon (unusual for Schubert), 2 French horns, 3 trombones and strings eschews the customary Latin sequence and is instead a setting of a text by Klopstok, the German poet who wrote The Messiah. From it, this is part five, "Wer wird Zähren sanften Mitleids":
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Post by jk on Oct 29, 2022 3:38:28 GMT -5
1799: Benjamin Carr (1768–1831) was accomplished on all musical fronts, not least publishing. He also wrote music for both the stage and the salon. This brief Dead March was written on the occasion of the death that year of George Washington, America's first president: 1817: Gaetano Donizetti (1797–1848) was first and foremost a composer of operas, with close to seventy to his name. The one I always associate with him is Lucia di Lammermoor, inspired by a novel by Sir Walter Scott. His Sinfonia for Winds in G Minor for flute, 2 oboes, 2 clarinets, 2 bassoons and 2 horns was written in the year he wrote his first opera, aged just 19 or 20:
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Post by jk on Oct 30, 2022 4:06:30 GMT -5
1798: Joseph Leopold Eybler (1765–1846) was regarded by his teacher Johann Albrechtsberger as second only to Mozart, who would become a lifelong friend, in the musical world of Vienna and received similar praise from the likes of Haydn. The Clarinet Concerto (HV160) was most likely written for clarinettist Anton Stadler, for whom Mozart has written his famous quintet and concerto: 1818: Sigismund von Neukomm (1778–1858) has a Haydn connection too. Taught theory by Joseph's younger brother Michael, he later made arrangements (with the composer's approval) of work by the elder Haydn and was even responsible for erecting a tombstone to his memory. Out of Neukomm's considerable output, this is his Sinfonie héroïque in D major (op. 19):
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Post by jk on Oct 31, 2022 4:12:09 GMT -5
1797: Domenico Cimarosa (I749–1801) managed to compose more than eighty operas in his brief working life (he died aged 51) and a lot more besides. Like Vivaldi before him, his luck changed when his royal patron (in his case the Holy Roman Emperor Leopold II) died. Before then, he had enjoyed international success as a composer, even being employed by the Russian court for four years. Back in Naples, he narrowly escaped the death penalty after backing the wrong political horse. Artemisia regina di Caria is a comparatively late opera, of which this is the engaging "Overture": 1819: Sinfonia alla turca is the last of the four symphonies by the German violinist-composer Andreas Romberg (1767–1821) and the only one with a descriptive title. This is the opening "Allegro":
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Post by jk on Nov 1, 2022 3:49:49 GMT -5
1796: Jakub Jan Ryba (1765–1815) had a tragic life full of conflict and ill health that ended with his suicide aged 59. This is the "Offertorium" from his most famous work, Czech Christmas Mass aka "Hail, Master!": 1820: The multi-talented Friedrich Schneider (1786–1853) followed in Bach’s footsteps as an organist at St Thomas Church in Leipzig, at whose school JSB had held the position of Cantor a century earlier. "Heil uns, heil wir sehn euch wieder" comes from his recently rediscovered oratorio Das Weltgericht, Op. 46:
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Post by jk on Nov 3, 2022 13:44:03 GMT -5
1795: We've already encountered Johann Georg Albrechtsberger (1736–1809) as Joseph Eybler's teacher. Beethoven and Hummel were among his more famous pupils; more names are bound to crop up later in this thread. Besides his didactic legacy, that of his writings on composition and harmony was felt until well into the 19th century. This is the opening "Tema con variazioni" from his Trio in C Major (op. 9, no. 1) for violin, viola and cello: 1821: Beethoven and Hummel loom equally large in the tragically brief career of Jan Václav Voříšek (1791–1825), who in fact began court life in Vienna as a qualified barrister. His lone Symphony (in D, op. 24) is a landmark in Czech symphonic literature:
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Post by jk on Nov 4, 2022 4:46:14 GMT -5
1794: Largely forgotten today, Simon Mayr (1763–1845) deserves praise for teaching and championing Donizetti and for inspiring the young Rossini. Originally a student of theology, his studies in Italy fired his interest in music and he changed course. The latter half of his refreshingly long life was spent at the heart of the music scene in Bergamo. From his oratorio La Passione, this chorus, "Sull' innocente Figlio", follows the opening instrumental "Sinfonia": 1822: The past thirty years have seen a broad revival of interest in the music of the composer, theorist and teacher Anton Reicha (1770–1836). A fascinating figure, many of his advanced ideas were way out of step with what was acceptable at the time. Reicha's oeuvre like Dussek's is a cataloguer's nightmare, not least due to multiple publications in different collections. This "Larghetto -- Allegro" comes from a genre inextricably linked to his name, the wind quintet (flute, oboe, clarinet, horn and bassoon), in this case Op. 99, No. 2, in F Minor:
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Post by jk on Nov 4, 2022 17:00:50 GMT -5
Time for a brief progress report: Well, for the first week or so of posting, I'd focused on getting the thread on the road. What I'd been doing (and generally speaking still do) is visiting "1820 [or whatever] in music", choosing a composition for that year and then checking around to verify it (so any errors are mine). More recently, though, I've been adding favourite works throughout the length and breadth of my list, as well as going through threads, here and elsewhere, for candidates. A golden rule is that each composer (or, from the 20th century onwards, artist) only features once -- I've long assumed that there have been at least 400 composers over the years!! Many favourite works I'd linked elsewhere regrettably had to be rejected through lack of accurate dating, a common occurrence in early music. Another proviso, when I get that far, is that none of the acts in my alternative BB timeline thread ("It Must Have Been Years") are eligible -- with one glaring exception. Now who might that be? They'll get just one mention here. Even at this early stage it has meant a lot of juggling, particularly during years crammed with good stuff (think 1910s, 1960s) but that's all part of the fun. I'll add any other aspects as and when I think of them. I haven't calculated it exactly, but I imagine I'll be up to date (2023) and down to date (1593) some time next summer.
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Post by jk on Nov 5, 2022 4:21:17 GMT -5
1793: The Danish composer Christian Frederik Barth (1787–1861) was one of a family of oboists; he and his brother became virtuosos under the tutelage of their father. Barth rose to first oboist at the Royal Chapel in Copenhagen. Later (thank you, Google Translate), he toured Denmark, Sweden, Germany and Holland, and everywhere his ravishing tone, masterful lectures and great skill were admired; in addition to these virtuoso qualities, he had considerable ability as a composer, especially for his instrument, as is evidenced by the closing "Allegro" from his Oboe Concerto in B-Flat Major (op. 12): 1823: Michael Haydn (1737–1806) had a very famous older brother but it doesn't seem to have affected the esteem in which his own work is held. He is known to have influenced Mozart and the two even collaborated on occasion. From his formidable oeuvre, which includes 43 symphonies and 47 masses, this is the complete Missa in honorem Sanctae Ursulae:
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Post by jk on Nov 6, 2022 6:19:16 GMT -5
1792: The name Claude Balbastre (1724–1799) means next to nothing these days but he was a musical celebrity during his lifetime; crowds flocked to hear him play the organ at church services. His harpsichord pupils included Queen Marie-Antoinette. He managed to survive the Revolution by diplomatically resorting to the likes of this Marche des Marseillois et l'air "Ça ira": 1824: Fanny Mendelssohn (1805–1847) discovered it was okay to be a first-rate female pianist but not a female composer. It would take her marriage to Wilhelm Hensel to get her the full support needed to get her compositions published, one being this Piano Sonata in C Minor:
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Post by jk on Nov 7, 2022 3:28:25 GMT -5
1791: André Grétry (c. 1741–1813) was yet another prolific opera composer; many of the 50 he wrote are opéras comiques, the genre for which he is best known. One example of the latter is the "drame mise en musique" Guillaume Tell. Eclipsed in popularity by Rossini's operatic take on the legend a quarter of a century later, its "Overture" still sounds pretty good to these ears: 1825: Giovanni Pacini (1796–1867) was even more prodigious in the opera stakes but Grétry's memory and repertoire have endured longer. Pacini himself later admitted than his operas lacked depth! All the same, he was a key figure in taking Italian opera down a new path (see his wiki page linked above). One seminal work in that respect is L'ultimo giorno di Pompei, from which this is the duet "Da te l'estrema volta":
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Post by jk on Nov 8, 2022 5:30:55 GMT -5
1790: Claus Schall (1757–1835) was a Danish violinist and composer. This is all Schall's English wiki page has to say, which is why I've linked the Danish page instead. Two sources state that his Violin Concerto No.4 in D Major dates from 1790 (May/June, according to uploader KuhlauDilfeng2), so I'm happy to go along with that: 1826: Like many of his contemporaries, Ferdinand Ries (c.1784–1838) occupies an area between Classicism and early Romanticism. He was not only Beethoven's pupil but also his friend and secretary, which put him in a very enviable position and enabled him to publish a collection of reminiscences about the great composer. This Piano Concerto in A Flat Major (op. 151) is listed as Ries's eighth and last (he wrote as many symphonies and no less than 26 string quartets): Perhaps I should point out that if anyone has anything to add, or wishes to comment in some way, please feel free.
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Post by jk on Nov 9, 2022 14:49:48 GMT -5
1789: Carl Ditters von Dittersdorf (1739–1799) may well have had the honour of playing in the world's first supergroup! In the 1780s he played first violin in a string quartet whose other members were Haydn on second violin, Mozart on viola and Johann Wanhal, said to be Dittersdorf's most eminent pupil, on cello. This is a string quartet of his own, No. 6 in A Major. Might the supergroup have played this too? 1827: Carl Czerny (1791–1857) is a name familiar to all students of the piano, including yours truly (before his discovery of pop music and the competitive aspect of piano lessons caused him to lose interest). Czerny composed a vast quantity of music, much of it for budding pianists but also works for larger forces. Himself a pupil of Beethoven, he trained the young Liszt and even managed to introduce the child prodigy to his increasingly irascible teacher. Here are his (deep breath) Variations de Concert sur la Marche des Grecs de l'Opéra Le Siège de Corinthe de Rossini (op. 138):
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Post by jk on Nov 12, 2022 4:43:57 GMT -5
1788: Jean-Baptiste Krumpholz (1742–1790) was a virtuoso concert harpist who wrote a mass of music for that instrument, including six concertos. He also contributed to the further development of the harp with the famous likes of Sébastien Érard. The poor fellow drowned himself in the Seine when his student-harpist wife ran off to London with her lover. This is his Harp Sonata in B-Flat Major (op. 13, no. 1): 1828: When I was young my father passed on to me this book (published in 1947) called Fifty of the Famous Music Composers. One of the fifty was Ferdinand Herold (1791–1833; the acute accent was a later development). That was the last I read of him until now! He seems to have had a heck of a reputation in his day but it hasn't stood the test of time too well. The one work I associate with him is his music for the ballet La Fille mal gardée, of which these are the two closing numbers from Act Two:
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Post by jk on Nov 13, 2022 4:27:10 GMT -5
1787: For a while, Carl Philipp Emanuel Bach (1714–1788) was held in even higher regard than his now world-famous father. His music marks a transition between JSB's Baroque style and the ensuing Classical era. (For a better understanding of his achievements you are referred to the above-linked wiki page.) A prolific composer in all areas except opera, he was arguably the earliest composer of symphonies as we know them today. From the year in question, this is a Keyboard Sonata in D Major (Wq. 61 no. 2, H. 286): 1829: The Bohemian-born Jan Kalivoda (1801–1866) has been described as a symphonic missing link between Beethoven and Schumann. Combining a melodic appeal and rhythmic energy that betray his Czech roots, he had a genuine understanding of symphonic development and real contrapuntal skill. A skilled orchestrator, his symphonic music has a passion and depth of emotion recalling Beethoven without being mere imitation. It looks ahead to the likes of Berlioz, Dvorák, Wagner and even Sibelius. (Distilled from his wiki page.) This is his Symphony No. 2 in E-flat Major (op. 17):
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Post by jk on Nov 14, 2022 3:36:53 GMT -5
1786: Cecilia Maria Barthélemon (1767–1859) was primarily a singer and then a composer, although she was also proficient as a keyboard player (harpsichord, piano and organ) and harpist. It seems her two marriages prevented her from writing more and ultimately ended her career as a performer. Her Opus 1 is entitled Three Sonatas for the Piano-Forte, or Harpsichord, the Second with an Accompaniment for the Violin and is dedicated to Princess Sophia Matilda of Gloucester. This is the first of the three; its three movements are "Allegro con spirito", "Larghetto" and "Rondo": 1830: A favourite composer of mine these days, Felix Mendelssohn (1809–1847) was only 21 when he completed his Symphony No. 5 in D Minor (op. 107, MWV N 15), known as the "Reformation" (he would only live another 17 years). Here is the opening movement, "Andante – Allegro con fuoco", here in the 1985 rendition by Claudio Abbado and the LSO. This, in the coupling with the same composer's Italian Symphony, was my very first CD, bought at the end of that decade.
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Post by jk on Nov 15, 2022 4:15:10 GMT -5
1785: Muzio Clementi (1752–1832) was a true renaissance man. Composer (including 110 piano sonatas and an estimated 20 symphonies), piano virtuoso and manufacturer, mechanic, inventor, music publisher and editor, teacher, conductor -- he did it all. I recall playing many of his pieces for budding pianists in the days when I had lessons. His opus 13 published in 1785 is entitled 3 Sonatas For Keyboard And Violin/Flute [1–3: G, C, E b] and 3 Sonatas For Piano [4–6: B b, F, F]. Here is the sixth in the series, whose three movements are "Allegro agitato", "Largo e sostenuto" and "Presto": 1831: Unlike Clementi, who lived to be 80, fellow Italian Vincenzo Bellini (1801–1835) was struck down by a sudden illness when only 33. A renowned opera composer during the bel canto era, several of his operas are still firmly in the repertoire. The aria linked below from La Sonnambula provided the musical inscription on Bellini's tomb. The line in question translates as "I did not believe you would fade so soon, oh flower":
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