we must not block the view of the experimental and innovative composer, he was. Thanks to his thorough training and the invaluable experience he had gained in early youth on his travels in dealing with the most important musicians (in Vienna, Paris, Milan currently Sammartini , where he Nardini , Manfredi and Cambini belonged to one of the first string quartets in history), he was not only the pioneers say (not to the creator) of the String Quintet, he was also the first recognized composer of string sextets . One wonders, though, why Boccherini, who has devoted as many composers of his generation with such devotion to chamber music, so little written for ensembles with more than five instruments has, why he a path he had trod with his sextet, Opus 23 of 1776 at the age of just twenty-three years is not gone. Given the enormous scope of his chamber music work - nearly five hundred works - it's amazing that Boccherini for larger forces in addition to the sextets op 23 only six more Sextet for Flute and Strings (Op. 16 of 1773) and seven "Nocturnes" (five written two octets and sextets) for various mixed ensembles with strings and horns added (the six of the Nocturnes, Op 42 of 1787 and the last "Nocturne, Op 42 of 1789 for eight instruments, such as the Opus 38 / 2 and 3 is missing).
Luigi Boccherini (1743-1805)
This low proportion of chamber works for larger forces can have various causes. One reason might be the taste of his first patron, the Infante Don Luis , in large-scale chamber music ensemble had little time - the symphonies, the Boccherini wrote for him, go back to stylistically very different developments. A second, no less important reason may have been commercial considerations: trios, quartets and quintets were selling better than compositions for a larger number of instrumentalists. The real, underlying reason, however, though influenced by the first two is the introverted character of the music language Boccherini to look for yourself: larger forces were appropriate for their sound structure and sonority, in short, its orchestral effect, not that his music own play atmosphere of private contemplation, which was not designed to sound superb.
Was it the desire to experiment to the limits of chamber music, it was curiosity to try a new form, it was the desire for the narrow confines of the chamber music, but by means that go beyond this framework, a new notation to develop? Unfortunately, the sextets were Opus 23, containing both the shape as the musical content for so much new in the history of music little imitation until a century later, with compositions by Spohr (Op. 140), Brahms (Op. 18 and 36)
, Dvorak (Op. 48) and Schoenberg
(Transfigured Night, op 4) the string sextet fully valid as a species distinct.
plaque for Luigi Boccherini in his native city of Lucca
The Boccherini's compositional technique differs in its sextets fundamentally from that of other "sextets" of his time, the double trio, as used by Haydn and were cared for other composers of his generation as "effective shape" (double trio echo trio as inserts in several plays, etc.), or the shape of the sextet with three violins, in which his friend Gaetano Brunetti excelled in Madrid, works with a Art "Tutti" on a reduced scale, which were written really only a few soloists sake. Boccherini was not enough for that. In his Opus 23, he goes further: all the instruments are equivalent, and with great skill, he bears the four-part harmony on the set of six voices; Unisonoführung remarkable not only of the two basses (the simplest solution), but the violins and the effect of the violas in the middle voices a wonderful richness.
Chiara Banchini, Ensemble 415 (source: Schola Cantorum) used to sextets Boccherini to a technique that would later get his so consummate quintet style of great benefit: the real equality of all votes , clearly visible in the unusual treatment of the viola, solo passages of almost all instruments (especially the lovely "trio" of the sextet in E flat major), not to mention the very high degree of difficulty of the first violin and first cello. As an example of this equivalence of votes is the weight of the second violin called the persistently experiences the same virtuosic treatment as the first violin in the sextet in B flat major has Boccherini inserted at the end of the Andantino one of the first cello accompanied advertised cadence the second violin and two free cadences "ad libitum "in the first set. On the experimental nature of these sextets addition Boccherini begins to lay the foundations of his own personal musical language: in addition to the concise worked out dynamics and tone color effect, which he pays special attention has already seen one for the composition of his first Spain years characteristic feature, namely the unprecedented ability the Italian, English music to be recorded in its deepest essence and assimilate the rhythms and melodies of his adopted country in all their strength and character (good examples are the trio of the minuet and the allegro of the sextet in D major). This is also the reason why we Boccherini later regarded as the most famous "English" composer of his time.
Source: Emilio Moreno, (translation Heidi Fritz), in the booklet (page 8-10)
TRACKLIST
Luigi Boccherini (1743-1805)
Sextuors / Sextet Op 23
"Be Sestetti by due violins, due viole e
due violoncelli obbligati "(Madrid, 1776)
Sextet No. 1 in E flat major / E flat major / Es-dur
01. I. Allegro molto [7:51]
02. II. Larghetto [5:09]
03. III. Minuetto [06:30]
Sextet No. 2 in B flat major / B flat major / B-Dur
04. I. Allegro moderato [8:37]
05. II. Andantino [2:53]
06. III. Minuetto [3:54]
07. IV. Allegro vivo [03:00]
Sextet No 5 in D major / D major / D-Dur
08. I. Grave [5:40]
09. II. Very spirited Allegro [06:29]
10. III. Minuetto [5:01]
11. IV. Finale. Allegro vivo much [02:42]
Durée Total / Total Time [57'49]
Ensemble 415:
Banchini Clare (violin)
Enrico Gatti (violin) Emilio Moreno (Viola) Wim ten Have (purple)
Roel Dieltiens (cello)
Käthi Gohl (cello)
® 1994, 2002
enregistrement
mars 1993 Prise de son Pere et direction artistique Casulleras
Illustration:
Goya, La Pradera de San Isidro-
(detail)
DDD
Francisco de Goya y Lucientes (1746-1828): Die Wiese von San Isidro an seinem Festtag, 1788, Museo del Prado, Madrid
This was one of the sketches for a tapestry cartoon that was never executed, due to the death of Charles III, who had commissioned them. It was among the sketches sold to the Duke of Osuna in 1799. The scene represents the most popular festival in the Madrid calendar, which is still celebrated on 15 May, the feast day of the city's patron saint, Isidore the Labourer. In a letter to his friend Zapater in Saragossa, Goya wrote of the difficulties of such a subject especially as he had to finish this painting by the saint's day 'with all the bustle of the court'. It is in fact a rare example of a landscape by Goya, taken from the far side of the Manzanares River with the city's landmarks on the horizon, and in the foreground the crowds amusing themselves as at a fair, the pilgrims hard to distinguish among the animated crowds. Goya's viewpoint must have been the Hermitage of San Isidro, the goal of the pilgrimage. The building in Goya's painting (also designed as a sketch for a tapestry cartoon), is still preserved, marking the spot where the saint struck a well of water with healing powers. On a tiny scale, Goya has included the pilgrims lining up to enter the church, a picnic scene and a group at the miraculous well. Many years later Goya was to decorate the walls of his country house, the Quinta del Sordo, built not far from the Hermitage, with a
nightmare vision of A Pilgrimage to San Isidro.
(source: Web Gallery of Art)
Jean-François Chabrun: Goya. The man and his work. Translated by Eva Rapsilber. Galery Somogy Paris Bertelsmann reading ring, circa 1960
Whether the designer of the first posted by me Boccherini CD (quintet with double bass) of operations of the Infante Don Luis biographical link between Luigi Boccherini and
Francisco de Goya was aware of, is beyond my knowledge. It may also have been pure coincidence that it has a detail from Goya's chose "Family of Infante Don Luis" for the cover. - From the booklet of the last post (Guitar quintets) I cited Boccherini with Don Luis and Arenas associated life history. - And here comes the description of a scene from Goya's life, in the words of his biographer, Jean-François Chabrun: as Goya in the summer of 1783 with the Infante Don Luis, brother of King Charles III .
arrives, he is a little more as a decorative painter for churches and hardly known as a portraitist. Don Luis, a bon vivant, has on its title as
Cardinal-Archbishop of Seville (with right to Prebend omitted from all of Mexico) in order to marry, and on the throne of Spain, on which he could make claims to live in peace on his property and he is only interested in botany, art and hunting. Don Francisco de Goya (as he calls himself the past two years, since Don Melchior de Jovellanos
, the oracle of the English modern, ie neo-classical art, sometimes as one will be considered for liberal ideas ingested writers, the name of Goya Sun written at the beginning of a letter added, asking him to decorate the Church of the Academy), Francisco de Goya, then, for the ever-loyal Zapater lengthy and careful genealogical research has taken is to be justified at the conclusion of the nobility liked the Infante Don Luis lot. can paint
A good man is astonished as much about the speed with which Goya a picture in one morning, and about the finding that a painter, is necessarily a man of modest tradition, find as much pleasure as at the woodcraft can. The little poaching batturo hunts in fact than forty of its heart to a large area in the company of the owner, a prince of the blood, and behaves in such admirable that Don Luis ever to witness his environment increase:
"Faith, this paint marks (pintamonas) is also very keen on hunting as I do!" If a member of the royal family says something about a person are their assets and secure their family. Camillo was appointed chaplain of
Chinchon
, an honorable and lucrative office. On joining, he charged his brother with an Assumption of Mary. The picture of
Family of the Infante of 1783 - for him the first of its kind - is Goya himself, as well as to represent all the other pictures that mean for his career, an important step. This time he has twice right. Despite a degree of rigidity and a too simplified roughness at emanating from the principal light distribution one can compare the picture with the famous family of Charles IV that he should paint seventeen years later and that will be announced here already. Reached the stage at this moment is yet another reason of crucial importance. Previously he was a painter with a respectable reputation. Now he is becoming a popular portraitist. From Arenas keeping an enchanted memory: "We regretted my departure so," he wrote to Zapater, "that one away leaving me only on condition that I would at least once again come in if I do everything himself. there has occurred, could tell in detail would you be quite happy, I can not, however, because of the car ride I'm crossing lame "
later two years. 1785 death of the Infante Don Luis, but the passing of his patron's career Goya is already no more harm in front of him. open another dream castles, including in the same year the Duchess of Osuna, under whose protection he will work from now on almost a quarter of a century
source.
Jean-François Chabrun:
Goya The Man and his Work Translated by.. Eva Rapsilber Galery Somogy Paris Bertelsmann Lesering, page 80 - 83. The aforementioned (Martin) is a friend Zapater Goya since his youth days, Camillo, however one of his two brothers, who was a clergyman.
Sample:
Sextuor op 23 No 2 - III Minuetto
CD Info & Scans (tracklist, cover, booklet, samples, Bonus Pictures)
Read the file "download exhumed links.txt "for links to the Ape + Cue + Log Files
0 comments:
Post a Comment