was while with this much-quoted lines is a valid description of the classical string quartet style . With the topic of "conversation among four people" (so already in 1773 Johann Friedrich Reichardt ) he is above all an essential characteristic of quartet composition, the "obbligato accompaniment," the picture of the speech, a technique, therefore, not in the a voice out alone, but work with motifs and themes is a matter of four instruments. course Goethe was referring to that form of the string quartet, since the canonization of the quartets of Haydn in the late 18th Century as the highest and most demanding genre of instrumental music was at all. This form as a specifically German (Austria and country), especially Viennese marked, should not be an exaggerated simplification. The pattern for this type of quartet composition shown alongside those of Haydn and the works of Mozart, then Beethoven - them is the realization of the ideal four-part set, and the cyclic four-movement form, based on the sonata , own, was soon established after 1800 and theoretically . Rank and demand of this relatively new genre show, inter alia, the fact that many younger composers in Vienna emerged since 1780 with string quartets as their first release, and thus a kind of companion piece delivered should. " But the fact that many a composer of the genus approached cautiously and only in a roundabout way, as the examples of Beethoven and Brahms. One way or another was the composition of a string quartet no casual en passant, it required the highest skill and the necessary individual disposition.
Luigi Cherubini
completed his first string quartet on 10 October 1814 in Paris. But he felt his way not careful approach to this genre, yet he made his debut with him. Rather, this work appears quite suddenly and fundamentally surprising in the context of his work. He had previously written relatively little, and hardly ever demanding for pure instrumental ensemble. The first quartet, he also went so unprepared for this particular terrain.
Luigi Cherubini (1760-1842) with the Order of the Legion of Honour, circa 1850 - Lithograph by Marie Alexandre Alophe (1812-1883) after a painting (Imp d'Aubert & Co. Galerie de la Presse de la Litterature et des Beaux Arts, c. 1850). (source: Wikimedia) A brief synopsis of Cherubini's career as a composer already shows how little he is predestined to a typical quartet composers born in 1760 in Florence, he devoted himself at the age of 13 years, especially church music, it was after studying at Giuseppe Sarti in the early 1780s then first opera success recorded in several Italian cities. 1784 Cherubini spent two years in London, where he came back with incidental music. In Paris, he then settled in the spring of 1786, to be there permanently to establish itself as an opera composer - starting with the Opera Comique "Lodoïska" on 18 July 1791 in
Théatre Feydeau was first performed, followed by a series of large Stage success, which the most significant of the opera "Medea" (1797) and "Les deux Journées" (1800) included. Cherubini used with them an opera guy who moved closer to concerns of the French Revolution, and therefore obeyed the spirit of the times, while helping to prepare the great romantic opera: The type of "rescue" or "horror opera"
by the struggle of the oppressed virtuous against the tyrants and the inevitable victory of good acts (which still fascinates Beethoven access to the subject of
Fidelio left). During the Revolution, with which he inevitably arrange had succeeded Cherubini, to receive one of five inspectors post of the Conservatoire. A number of representative vocal compositions for state purposes is also known from this period. The years after 1805 a watershed mark in Cherubini's career, but led back to the starting point, the sacred music. First there's his trip to Vienna in 1805-06, which owed much to France's borders squat reputation of his operas. In Vienna, Cherubini received an enthusiastic welcome, not least by Haydn and Beethoven (who regarded him as the greatest living composers), to Vienna, he composed the opera "Faniska." But with the previously composed Opéra-ballet "Anacreon" (1803) began as a master of Cherubini's opera star to fall. Younger competitors - Spontini, Meyerbeer
later - were soon to offer successful approaches, which Cherubini and his late operas could only emulate. 8ald after his return to Paris he fell into a deep depression and thought of giving up in favor of Botany, the music, but after a better remembered: he turned to church music - with the Mass in F Major, composed in 1808/09, is a new beginning moor, on the one hand, corresponded to the public taste, on the other hand, the changed zeitgeist and the restitution of the forthcoming Bourbons. Between 1811 and 1825 six other great shows (including two Coronation Mass) and the impressive followed Requiem in C minor (1816) .
Cherubini's grave at the Paris cemetery Père Lachaise - Link tip: Old photographs of this famous cemetery recorded by a German soldiers between 1940 and 1944, and was found in the attic of a Berlin apartment building are, have been published on Flickr. Among other things, a picture of Cherubini grave. But Cherubini, the former creator loud hymns in the service the revolution was not only the swing in the arms of religious devotion, he knew even at Louis XVIII. to make themselves indispensable, as his appointment as Surintendant de la musique du roi occupied. In 1822, he was eventually director of the reopened
Conservatoire, is thus Cherubini importance outlined appropriately in the last twenty years of his life: He was well respected head of the Parisian musical life, but his compositional activity was increasingly seeking, above all, they were no longer in the direction , and had to his work as head of the strict training system space. Only now, at 74 years, Cherubini turned a reasonably controlled chamber music production to: Between 1834 and 1837 were four string quartets and a string quintet (five more were planned after all), with the Requiem in D minor, Cherubini wrote the for themselves, which are important witnesses of his late style. That the Director
dedicated conservatory, which meant not the opera, and finally even the much church music, his contrapuntal arts in an intimate way the privatization string quartet, may be understandable. The first two quartets, however, 1814 and 1829, composed, in his work have their own unique position. The Quartet No. 1 in E flat major, isolated in time standing there, owed its origin probably a particular occasion, the quartet evenings fact that a friend of Cherubini violinist Pierre Baillot
since 1814 held in Paris. Cherubini provided him with this highly original quartet simply suitable material. The second quartet in C major, however, goes directly to another instrumental masterpiece of the composer back to the 1815 Cherubini's only symphony created . Together with the 1834 finished third quartet, the Quartet No. 1 and No. 2 were published in 1836 with a dedication to Baillot. It is interesting that the first string quartet, and the singular symphony, commissioned by the London Philharmonic Society was composed, in time as close together. The first-time tackling many of the "absolute" form in the quartet followed the discussion with the symphonic form, Cherubini's only attempt at an independent orchestral composition several movements at all. Cherubini explicitly wanted to emulate the patterns of the Viennese classics? At least the quartets were common at this time in France, barely, and had their first symphonies are being rediscovered in the late 1820s in Paris.
Jean Auguste Dominique Ingres: Luigi Cherubini, Portrait with Muse of Music, 1842, Musée du Louvre, Paris
But what about this "absolute" form the Cherubini's immediate environment? The characterization of Goethe quoted above is clearly directed at the traditional Viennese string quartet, in which the four-part set is represented as a composition of the ideal time. And in today's music scene that knows the period between about 1770 and 1820 are virtually confined to the works of Haydn, Mozart and Beethoven, it is this type who can still enjoy universal presence - an appreciation, then, the aesthetic standards of the Goethe- time equivalent. In France, however, was not so much the high intellectual demands of the genre in the foreground rather than the element of playfulness and virtuosity, and thus the aspect of entertaining. This type is known as Quatuor brilliant. Here are in favor of the first violin, the three other voices usually rudimentary, only as accompaniment (and not mandatory) designs. As in an accompanied solo of the leading violin virtuoso brilliance to promoting opportunities, but are thematic, logical structure and form, indeed, the character of the "conversation among four people" hardly implemented. appear somewhat modified these features Concertant in the equally fashionable quartets: the virtuoso gesture engages from the first violin here about it to other instruments, without, however, this has to constitute by far the constructive part of "classical" type. But no one follows Cherubini or the other of these patterns, although they have left their traces clearly legible: especially in the forming of the minuet or scherzo an exotic colored character piece, and the application of effective full harmony and melody-oriented theatrical. Maybe it was the preoccupation with church music, perhaps Cherubini's innate sense of the counterpoint (which made him write 1835 influential counterpoint teaching), it is possible that the sheer virtuosity with the colorful theme sequence, the pure entertainment object of the fashionable Parisian quartets poor were . He approaches a part of the sophisticated Viennese quartet form, but flavors it with a characteristic Special material that gives his works a specific color.
Source: Andreas Fries Hagen, in the booklet
TRACKLIST
Luigi Cherubini (1760-1842) Complete String Quartets
CD 1 [65:26]
String Quartet. 1 in E flat major
01 I. Adagio - Allegro agitato [12:42]
02 II Larghetto sans lenteur [09:50]
03 III. Scherzo. Allegretto moderato [07:32]
04th IV finals. Allegro assai [5:15]
String Quartet. 6 in A minor
05th I. Allegro moderato [12:17]
06th Andantino nice [04:31]
07. III. Scherzo. Allegro [05:52]
08. IV. Finale. Allegro affectionate [07:25]
CD 2 [54:54]
String Quartet No 2 in C (1829)
01. I. Lent - Allegro [10:57]
02. II. Lent [9:01]
03. III. Scherzo. Allegro assai [04:43]
04. IV. Finale. Allegro vivace [04:39]
String Quartet No 5 in F (1835)
05. I. Moderato assai [09:51]
06. II. Adagio [05:47]
07. III. Scherzo. Allegro non troppo [05:31]
08. IV. Finale. Allegro vivace [04:32]
CD 3 [61:28]
No. 3 String Quartet in D (1834)
01. I. Allegro comfortable [09:45]
02. II. Larghetto supported [06:58]
03. III. Scherzo. Allegro [08:00]
04. IV. Finale. Risotuto Allegro [05:46]
String Quartet No. 4 in e (1835) 05 I.
Allegro [10:35] 06
II. Larghetto [6:43] 07
III. Scherzo - Andantino con moto [06:15]
08 IV. Finale. Allegro assai [07:21]
HAUSMUSIK London
Monica Huggett, Violin
Pavlo Beznosiuk, Violin
Roger Chase, Viola
Richard Lester, Violoncello
Recording: 1996/97/98, Kammermusikstudio des SWR
Recording Supervisor: Michael Sandner
Recording Engineer: Friedemann Trumpp
(P) 2003 DDD
Hubert Robert (1733-1808): Der Pont du Gard, 1787, Musée du Louvre, Paris Eine der Obsessionen des Kammermusikkämmerers ist das Aufspüren der kunsthistorischen Vorlage des jeweiligen CD-Covers, vorausgesetzt, es gibt eine solche. Da alte Musik traditionell mit alter Kunst bebildert wird, I will find it in most cases. But alas, abandoned customs prevail in dealing with the masterpieces: More than once, the name of the painter on the long road from designer to editor of the booklet mutilated (examples here and
here ), which is also the title of the painting easy can undermine (see here) . Using graphics software mangled the composition (which leaves visible scars) or hesitation about filling the cover (as here) . The present CD surprises with creative Photoshop Technique: The model,
Hubert Roberts
"Pont du Gard was mirrored, and in the booklet as "spare the soldiers amid the Roman ruins" means. Since the picture - apart from the mirror - also details the same, and the title is misleading enough, I suppose, that you had with this Camouflage violation of copyright rights , they now denied or doubted, wished to avoid. (I imagine the media lawyers, as he says: "wirs to rotate, then we have zero problems" ... ).
Jean-Auguste-Dominique Ingres Jupiter and Thetis, 1811, Musée Granet, Aix-en-Provence
The blog Photoshop Disasters , Steals the picture ideas failed not because of the bins of the graphic, but unfortunately the real envelopes that appear hipper magazines and websites, refers deals with cases also failed images to musical editions. (So I have one of my favorite links - or should I say Favorite Links -. Smuggled freely in this text)
also one or the other image of old (or newer) Master belongs to the category "Insufficient and / or poorly thought out technology". A striking, 200 years old example, provides Jean-Auguste-Dominique Ingres
. The painter, apologetic for his stupendous
between elegance and Flattery shimmering portraits is famous, the French art a erotic enriched Orientalism , and whose portrait of the aged Luigi Cherubini I have indented further above, a "Jupiter and Thetis" has designed their body proportions beyond the credibility lie, and therefore in a wealthy family to ridicule. Photoshop Disaster Anno 1811th Rightly, the picture is not in the Louvre (as many works by Ingres), but is hidden from the Musée Granet in Aix-en-Provence. it would be better off in the MOBA, the Museum of Bad Art ,
"the world's only museum dedicated to the collection, preservation, exhibition and celebration of bad art in all its forms. "Those who visit the showroom in Dedham MA
or Somerville MA can not should not miss the website. The German Wikipedia is surprisingly, this institution is still unknown.
Cherubini "Song to the death of Joseph Haydn's" - bevel • Marilyn Martyn Hill • Paolo Barbacini - Cappella Coloniensis - Gabriele Ferro (Phoenix Edition) JPC.de This CD is ordered. A CD-Tip: Cherubini "Song to the death of Joseph Haydn's"
A macabre vision: the media report the death of one of the most famous contemporary composers, and another well-known composer writes in honor of the late master a dirge - and then it was a newspaper-duck: the Master lives! This happened in 1804. The declared dead was Joseph Haydn (who actually lived five more years), and the "Chant sur la mort de Joseph Haydn" composed by Luigi Cherubini, who felt obliged Haydn especially since he had welcomed him in Vienna. A French Masonic Lodge in Florence commissioned the born and living in Paris Cherubini to write (1760-1842), a memorial cantata in honor of Haydn. Cherubini verses set to music by the writer Louis Guillemain de Saint-Victor, who had written several treatises on Freemasonry. The verses describe the touching song of a dying swan "on the banks of the Danube". This is complemented by recording Cherubini Symphony in D major.
CD "Luigi Cherubini: String Quartets" in order JPC. CD "Luigi Cherubini: String Quartets": Info & Scans (tracklist, cover, booklet, Music Samples, Bonus Pictures), 52 MB
Read the file "Download links.txt" for next to the Ape + Cue + Log Files
CD 2, Track 7: String Quartet No. 5 in F - II Scherzo - Allegro non troppo
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