Nested the tradition history of Gioachino Rossini s' is four to six sonatas. " They are the earliest works of composers who have survived - if they exist today because even in the form as at the time of their creation in 1804. Shortly before has had the touring musician in the family of the young Gioachino Lugo (between Ravenna and Bologna) established, where they made the acquaintance of the family Malerbi in the library of the prospective likely to have a composer many works of Haydn and Mozart found and studied. To own pieces inspired him to turn the amateur musician Triossi Agostino, played the double bass and occasionally on his estate in the circle of musical Rencontres organized. created for such a house concert, later recalled back to the old Rossini, "six terrible sonatas, which I composed on the estate (near Ravenna) my friend and Maecenas Triossi when I was still in the most childish age, without ever a lesson in the counseling to have received, composed and copied the whole thing in three days and performed by Triossi, double bass, Morri, his cousin, first violin, his brother, cello that played like dogs, and myself as second fiddle, at the least God is not behaving like a dog. " that Rossini had written these pieces was known, but they were long considered lost. What was present, were the five string quartets, the publishers Ricordi and Schott / Paris had published around 1825, and based on this Wind Quartets for flute, clarinet, bassoon and horn, which had two years arranged to Friedrich Berr, the solo clarinetist Rossini at Théâtre Italien in Paris. Certainty about the origin of these arrangements brought before the discovery that the composer Alfredo Casella in the Library of Congress made in Washington. Here is a copy of the Sonata a quattro was conducted with the note cited by Rossini, and now turns out that even the "Sreichquartette" from his youth working of five of these sonatas were descended and all subsequent versions of it.
Gioachino Rossini at a young age (The picture is from a forum discussion Classic Forum Tamino ) Now it could be that the publication of the "sins of youth" at the peak of Rossini's fame more or less in-depth editorial was preceded it. Finally, he had a reputation to lose, he was in the 1820s the opera composer in Europe in general. Who would blame him, his first child a little more elegant and grown to attract? On the other hand, the double bass sonatas of the Washington manuscript are formally identical to their descendants. Rossini would therefore working hard to improve the children's children, he would have also modeled this document subsequently for their ancestors, so fake. And this seems to a transcript, he has shown a few friends and never intended for publication, then quite unlikely.
So it is with the Sonata a quattro probably really is an amazing testimony from Rossini's childhood and "we are dealing here with a magnificent brilliant idea, a creative roll, the few Parallels in the history of music does "(shear Volker Liess). Technically superior and in the proportions designed convincing, it is above all, the courageous independence, which falls on the sonatas in the eye: for example the beautiful contrasts, Rossini from the alleged "imbalance" - the sonic gap between the violins and cello or double bass - wins. And - as Arnold Schoenberg said it so well - "because one has to stick to what they want to give the artwork, and not in what is its external cause," we can still trace what type Rossini the listener wanted.
Giuseppe Malerbi (The picture is from a forum discussion Classical Forum Tamino ) A Divertimento in the style of Haydn and Mozart, the Sonata a quattro No. 1 in G major. The original cast is quite unorthodox: two violins, cello and double bass instead of the usual two violins and viola and cello. This ad-hoc line-up was found at the Triossis - Rossini and has made the most of it. The sometimes perilous passages for the bass, which he treated in contrast to common practice regardless of the cello-voice show the influence of the Italian bass virtuoso Domenico Dragonetti . A big piece of the pie cuts Rossini in the design of the second violin part itself off. A disadvantage of the original cast is perhaps the most wide spread between the voices involved, so that a transfer to viola and cello is able to compress the sentence structure. Melodies galore must have been in this boy's head, and intelligently Divertimento form of the first movement is the composer enough room to let his thoughts wander. The slow middle movement and simply constructed, he developed a very reminiscent of Mozart sigh motif. Even here, he explores the possibilities of its occupation and expanding the ensemble to some extent on the basis of the low instruments. Rossini has apparently also the contemplative or Mozart as well as its exuberance developed: A furious Rondo-Allegro concludes the sonata. The Sonata a quattro
No. 2 in A major, impresses with its reliable lifting minor-Andante, in which an elongated, almost floating melody is pulsed through the middle part of vibrating triplets - and famous of Mozart's Andante from the C- Major Piano Concerto warned. Two cadential chords open the door to the final Rondo a nutshell, include the couplets are only a few bars: the upbeat double blow of the topic thoroughly determined and until recently the cheerful tone of this piece.
sources: Malte Krastig: program booklet No. 46 on 02/22/2005 the Berlin Philharmonic and Heike Fricke: program Issue 46 for 01/31/2007
TRACKLIST
Gioachino Rossini (1792-1868)
STRING SONATES
6 Sonata a quattro
CD 1
SONATA No. 1 in G major
first Moderato 7'53
second Andante 3'58
third Allegro 2'20 Sonata No.
. 2 in A major
4th Allegro 10'10
5th Andante 2'44
6th Allegro 1'59
SONATA No. 3 in C major
7. Allegro 6'07
8. Andante 3'56
9. Moderate 2'43
SONATE No. 4 in B flat major
10. Allegro vivace 10'00
11. Andante 3'32
12. Allegretto 2'37
TOTAL TIME 58'32
CD 2
SONATA No. 5 in E flat major
1. Allegro vivace 10'19
2. Andante 3'13
3. Allegretto 3'19
SONATA No. 6 in D major
4. Allegro spiritoso 9'57
5. Andante assai
2'39 6. Tempesta (Allegro) 5'55
Prelude, Theme et Variations, for horn and piano
7. Andante maestoso 4'22
8. Allegro moderato 2'31
9. Andante maestoso 3'58
GAETANO DONIZETTI (1797-1848)
LARGHETIO, TEMA E Variazioni
for violin and piano
10.
Larghetto 2'25 11. Tema (Andante) 1'22
12. Var. I 1'25
13. Var. II (live) 1'10
14. Var. III (piu little slow) 2'02
15. Var. IV (tempo primo) 2'19
16. Var V (good) 1'39
17. Var VI (very happy soon-
kidding) 3'36
TOTAL TIME 62'48
Haydn Philharmonia Soloists, Ezio Rojatti
Baroncini Simone, Massimo Belli
horn, violin
Terekiev Victoria, piano
Recording: Church of St. Maria della Fratta,
San Daniele del Friuli, Italy, August 26-September 2 1991
Producer: Alessandro Nava & Daniel Prefumo
Engineer: Michael Seberich
William Turner Schneesturm - vor ein Dampfschiff einer Hafeneinfahrt Signale gibt und in einer Untiefe bewegt After the solder. The author was in this storm in the night the Ariel sailed from Harwich Snow Storm - Steam Boat off a Harbour's Mouth making signals in shallow water, and going by the Lead. The Author was in this Storm in the Night the Ariel Left Harwich - issued in 1842 in the Royal Academy, oil on canvas, 91.4 x 121.9 cm London, Tate Gallery, Turner Bequest N 00530, 398 BJ Joseph Mallord William Turner (1775-1851)
This Marine is the most extraordinary image of a storm from the group of major oil paintings that Turner exhibited 1842nd The lively representation of a tossed by huge waves steam vessel in a swirling Swirl of sea, snow and smoke is captured as it leaves the protection of the harbor, is a new and radical interpretation of the seascape. The motive of the storm-tossed ship has always been the repertoire of the marine painter - in this case refers Turner's dynamic contemporary form. The painting is in the field of marine painting the counterpart of which two years later issued picture Rain, Steam and Speed (London, National Gallery ; BJ 409), which celebrates the triumph of the railroad.
The long biographical title emphasizes the modernity of the image, as he seems to anchor it in a real, recently made experience. In his copy of the Catalog of the Royal Academy listed Ruskin - but without further explanation - it would be significant that Turner himself instead as "author" as "artist" called. In fact, Turner would have invented the comic, but there is no record of a steamer named Ariel, who had operated on by Harwich, a port of the Essex coast. Turner also told that he was tied to the mast for four hours to watch this storm, which he did not think to survive. This is to be understood in the context of Turner's self-initiated legend wrapped up in themselves. As it was well known, it was said at the latest since 17 Century, similar stories about marine painter. In truth billowed Turner on the subject and mystified, in order to emphasize the realism of the painting and himself and his contemporary audience to engage in a credible drama.
William Turner: detail from the painting "Temeraire" Turner's anecdotes also back the destructive force of the storm in perspective. The painting is often considered the crowning example of Turner's obsession with the destructive, irrational forces of nature and the impotence of humanity called them over. Here, however, he survived, is testimony to the Incident from painting and the image. The steamer may be shaken by the storm, but he is not really in danger, the team works with the sonar, to ensure that the ship runs in the rough, but shallow lake bottom. The picture depicts both human energy and power as well as the benefits of technical progress and by the force of the storm. This aspect escaped Ruskin, the steamships and locomotives declined, although he wrote ironically about the image: "Of course it was not understood, his best works are never understood, he interpreted it rather than." One of the greatest depictions of sea movements of fog and light, each placed on a canvas . Was, even from Turner "Ruskin also recorded Turner's anger, as this image as" soapsuds and whitewash "described heard
As one other critic." This man has to draw on previous occasions with cream or chocolate, egg yolk or currant jelly popular - here he offers his entire arsenal of kitchen equipment. Where the steam boat - where the port begins or ends - what are the signals and that the author is on the Ariel ... All this is unfortunately not figure out. "Today's viewer through works of art from the impressionists to the abstract already been trained, he is therefore able to identify the nearly black spot on the right of the center of the bow of the steamer, recognizes the paddle wheel and a pole with streamers. That the very bright spot about the glossy white magnesium light is a signal rocket, lit by a given statement as well. One can see the stormy waves, receives an idea from the raging snow storm and the torn clouds in the low-hanging sky.
Although it could not aware of the contemporaries, is the seemingly everything in disintegrating, centrifugal vortex subjected to a very well-ordering principle. In steam ship materializes the center of the composition, the circular motion in front of Ariel finds its resting place. The seemingly formless remainder is structured by brightness gradations. In the exact center of the image, slightly above the paddle wheel, rests a light gray stain. The composition works, albeit on principles, in addition to Turner a few contemporaries should be clear.
The novelty of this representation of nature must be hardly emphasized. She has a long history.
William Turner: The Fighting "Temeraire" tugged to her last berth to be broken up to 1838, Clore Gallery of the Tate Gallery, London The Fighting Temeraire
Few paintings be experienced as intense as the symbol period, such as Turner's "The Fighting Temeraire is his final berth towed to be scrapped. "(London, National Gallery; BJ 377), the painter who happened to witness, as the ship that had fought gloriously in Aboukir and Trafalgar , was towed to Rotherhithe French name. "foolhardy" ship explained by the hijacking and the classification of a French warship in the Bay of Lagos during the Seven Years' War (1759). 1798 a new building was a ship of the line first rank with 98 guns. As a farewell to a great era of British naval history presented Turner the image under the motto of Campbell s poem "Ye Mariners of England ':
"The flag which braved the battle and every wind,
they are no longer in possession."
As a professional marine painter, the lack of precision complained - "a transparent ghost of mist and moonbeams with a rigging made of spider's web" - felt the novelist Thackeray the Téméraire as "a magnificent national anthem or a song." In fact, Turner was the warship that was like the Victory in the Nelson Fashion "design (the dark hull was light stripes along the marked gates gun), in silvery shimmer of" Baroque "as appear in reality. It was not a Marine, but a symbol, which stood at the beginning of a new era that was hoped for with the accession of the young Queen Victoria (1837). With a few hints Turner says the entire shipping history: The boat in the foreground makes its two occupants still recognizable as people, while the crowded compact team of beefy paddle steamer, and illuminated by the glow of the boiler fire, has become a part of the machine. A cutter, a ship under full Leesegeln in the distance, a forest of masts on the horizon verdämmernder form the escort of the dead turn. A buoy in the dark from sunset as blood-colored lake is like a grave stone at the end.
William Turner: Staffa, Fingal's Cave, 1832, Yale Center for British Art, New Haven Strangely enough has anticipated one of the earliest projects of a steam ship Turners Téméraire: Jonathan Hull adopted in 1736 a patent on a TV equipped with Newcomen engine boat - never realized his announcement he had a triple-deck boat towed by this.
ago Téméraire Turner had the phenomenon of the steamboat gave his attention. In the 1825/30 caused by "steam ship and light vessel" (London, Tate Gallery; BJ 279), he attacked the subject for the first time and placed it with " Staffa, Fingal Cave (New Haven, Yale Center for British Art; BJ 347) from 1832 in conscious contrast to the romantic mood landscape The picture was presented with verses Walter Scott ;.. Turner had taken a cruise on the fabled basalt cave of Fingal Da Storm arose, failed the captain continue to Iona , stamped, however, "as Turner still remembered in 1845," cheer up the disappointed, the last three times around the island "
. Source: David B. Brown and Klaus Albrecht Schröder (Hrsgr): Joseph Mallord William Turner, Catalogue of the exhibition at the Art Bank Austria Wien , 5 March to 1 June 1997 Munich / New York Prestel, 1997 ISBN 3-7913-1821-7 . The authors of the excerpts are: (Page 308, David B. Brown) (pages 95/96, Andrea Winklbauer) (pages 78 to 80, Wolfgang Häusler)
CD Info & Scans (tracklist, cover, booklet, Music Sample, Bonus Pictures)
Rossini - String Sonatas INFO.rar
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
Sample:
Track 4: Sonata No. 2 in a Quatto A major - I Allegro
Jonathan Hull, draft steamboat with paddlewheel, 1737 
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