At a time when France celebrated for the opera enthusiasts and composers such as Auber , Halévy, Boïeldieu and Meyerbeer, Georges Onslow devoted himself to chamber music. The English created in the Auvergne Headquartered cellist a monumental work, which mainly consists of 70 string quartets, quintets and as well as 27 works for piano and ensembles of various instrumentations. The two pieces presented here are among the last period of the composer. From 1846 until his death in Onslow, in fact, turned again to the piano, which he had neglected for nearly twenty years. Emerged one after the two quintets op.70 and 76, a sextet op.77a, a Septet op.79, all with piano, and several string quintets and Opus 81 for wind instruments.
The sextet op.77a he wrote in 1848. It really is the transcription of the major op.77 Nonet for strings and five wind instruments, the Onslow published a year ago was dedicated to the English prince consort Albert of Saxe-Coburg . This gave him the printed and sent with a dedication provided collection of his own works. Onslow, who had felt very flattered to have become the answer he received honor by sending his nonet, which he regarded as one of his most successful works. Compared to a nonet is a sextet for the musical expression, virtually unchanged: the string parts are found in the piano and the horns Parte be rewritten just because of the lack of oboe. On closer examination, we discover a work of generous inspiration, the classic, balanced form by A finely engraved instrumentation is marked.
Georges Onslow (1784-1853) The castle is Bellerive Septet op.79 in 1849 created a very charming work of great verve and remarkable freshness. How Moscheles in his Opus 88 Onslow are the piano a dominant role here already puts the septet to the limits of the piano concerto. But the composition is so relaxed, that the other instruments can distinguish themselves with solo passages.
The classical form of these two in the middle of the 19th Century resulting work may be surprising. It is clear that until his Onslow end of life is the legacy of Haydn and Mozart, and faithful in terms of the structures remained academic. But it can also be influenced by the romance, as is evident from the harmonic and melodic chromaticisms, from the less dramatic than lyrical character of the forms and ultimately from a certain pathos. This puts him in the vicinity of the early German Romantics like Schubert, Weber, Spohr and Mendelssohn.
Georges Onslow worked most of the year in the beautiful part of its assets in the Auvergne . During the four winter months he lived in Paris and presented to the audience before his most recent works. His friend, the piano teacher at the Paris Conservatory, Antoine Marmontel , writes: "Onslow reputation spread, more and more, including excellent performers contributed significantly. Baillot, Tilman, Urhan, Kreutz, Vidal, Norblin sen., Alard, Sauzay, Cuvillon, Dancla, Franchomme and Gouff were summoned at the beginning of winter .... "
"Modern dramatic composer" from the "Gazette Musicale" (by A. Maurin, 1844): Background: Berlioz, Donizetti, Onslow, Auber, Mendelssohn, Berton - Foreground: Halévy, Meyerbeer, Spontini, Rossini In fact, the last works that were available usually only in manuscript, in the artistic salons of the Journal played. Many of these artists were friends of the composer. The enthusiastic reception to the Opus 77 has been paid, confirmed the extraordinary success which had already won the composer in 1825 with the first written sextet op.30. On countless Soree one or the other set was given this sextet that Onslow had also set up for two violins, viola, cello, double bass and piano. At the first performance of the Septet op.79 de Malléville Charlotte sat at the piano, the work is dedicated. Some months later she performed it again in a by the composer even anxious version for piano and string quintet (with Kontrabassl.
If you want the former written testimonies believed, the famous piano virtuoso Sigismond Thalberg with that factory his fame in Paris has acquired.
When we hear this music, can we wonder, just that one time was so famous composer today so little is being played. Onslow was perhaps not one of the geniuses of the century , but he is without doubt the most brilliant representative of the French chamber music of his time. He has a most appealing music leave, it probably deserves to be rediscovered
source.: Booklet
TRACKLIST
Georges Onslow
1784-1853
Grand Sextuor Op.77a (aka 77 to ) (1848)
for piano, flute, clarinet, bassoon, horn and double bass
pour piano, flute, clarinet, bassoon, cor et contre basse
for piano, flute, clarinet, bassoon, horn and double bass
spirituoso 1 Allegro 10'04 2
Minuetto 5'00
3 Theme with variations 10'36
4 Final 7'18
Grand Septuor Op.79 (1849)
for piano, flute, oboe, clarinet, horn, bassoon and double bass
pour piano, flute, oboe, clarinet, cor, bassoonn et basse
center for piano, flute, oboe, clarinet, horn, bassoon and double bass
5 Allegro 13'45
6 Scherzo 6'19
Andante 7'55 7 8'58
8 Final
Total timing 70'01
Nielsen Quintet
Marc Marder, double bass
Hubeau Jean, piano
Recorded at Maison de Radio France , Paris, from 29 -31 October 1991
Recording supervision: Philippe Pelissier. Sound engineer: Agnès Warnier
Assistant engineer and editing; Françoise Prud'Hom
(P) 1992 (C) 2003 - DDD
Waldmüller: The Expected, 1860, Neue Pinakothek, Munich Waldmüller
1793 - 1865
also Waldmüller it has finally brought so far and is misleading quotes. A painter who does not get a professorship at a Vienna university consoles are about as some hapless director of the opera in Vienna with the observation that it was yes, "even a Waldmüller" from the university once been removed. As it was a special sign to have been of negative quality of the university, have a favorite painter of all the currently rejected conservatives. Waldmüller that could have been his time to himself so wild that it would have suffered in any high school, and that they would cite this as a very positive feature for the universally popular painter, is an apparently much rarer in mind.
has actually taken place as follows: Waldmüller was widely recognized and his works at the Academy with a separate class that is eating, when he decided in 1837, both to his superiors as well as his colleagues to publish a pamphlet. A should "set of" ideas on a draft report disappointing full-instruction in the visual arts state what in his view, was to reform the class. The very attempt to publish such ideas in the pre-March period was brave, was not rewarded. The machinations of his colleagues dismissed as a painter pleasing images or incited him to the death, and only Prince Metternich - in artistic things always willing not to take seriously its own censorship - decreed that Waldmüller had to be printed views. Metternich was expressly reform proposals, including extensive, were by no means an "insult to the academy," one has artistic Hold discussions.
Waldmüller: The roof stone of the place from Sophie, 1835, Austrian Gallery, Vienna Waldmüller was born in January 1793 in Vienna and has a very solid training participated. "Even as a boy was drawing his favorite leisure activity. A little known painter named Zintl taught him in it. Zintl forces alone were too low and the forest and the young Müller therefore visited in the beginning of this century, much appreciated elementary school of Professor Hubert Maurer where quite a number of talented students was assembled. "Thus, a contemporary account, is apparent that he won prizes to paint at Lampi especially miniatures learned further formed as a copyist in the "Gallery of the Imperial Belvedere" not only but also immediately earned his living, while "those safe, accurate details "proved him to render a Viennese art friends soon knew to appreciate.
A Viennese painter, then, in the future of the 19 get century enough orders white and is in the Viennese art scene at home: like his colleagues he was also a lover of music and theater, like all good artists, he held it with the "interaction" and profited from it - the most famous scene from Raimund "The King of the Alps and the misanthrope" is a role model for his painting "The attachment must have been." Waldmüller again tried his hand as a theater decorator, just to give back to the stage, what they may have given him for suggestions.
Waldmüller: Old trees in the Prater, was about 1831 This painting in the May / June 2005 auction at the Dorotheum , the opening price was 50,000 €. Very in contrast to the present was the relationship between artists and clients to Waldmüller times delicate and dangerous: The portraitist had also endure the Office of the flatterer and their works, they had to be provided as livelihood must prevail today against those who were created without offending customers.
Waldmüller, also still in the cursory remarks as the most important Biedermeier painter, had such a feeling for the little drama in the image that his portraits, his genre scenes always came back to descriptions of activities that one can also recount today.
As Thirty Years at the Academy already teacher, he was with his students very popular and attracted by all snide remarks of my colleagues solely because he study the operation wanted to reform. That he was busy during his lifetime, but mannered called, is as significant as the estimates in the assessment, he ran "so" many pleasing images that can be from a report by the prestigious Anton Ritter read out by Örg - he was as an instance to be called more than ten years extending disputes.
Waldmüller to this chapter is not to have been incomplete, 1857, after all still fired for anti-academic writings, was thus in the lifetime of the cachet of a rebel, so that it now rightfully be called a state of the school victims.
Waldmüller: The attachment, 1847, Historical Museum of Vienna But that can not be all. When he was dismissed, he had long been a highly respected and sought-after painter and had his most famous paintings housed already ". Of course, neither he nor his contemporaries suspected what would be the way of the world. That would be the friend of Raymond's one day with all his images of the most popular and most expensive painting of an era and its direction, that his "manuscript" are even in the present as the safest and most sought would, that was not in sight. That in life, especially as hard-working and well-humored and all authority compared with a laugh one day a suspicious man "investment value would be," was of course beyond any contemporary thought. Waldmüller, who looked with not a genius, but as a particularly reliable craftsmen poetry and music would be as shocked as irritated, given its importance 100 years after his death.
Source: Franz Endler: Waldmüller, in: Thomas canon (Hrgr): Larger Austrians, Carl Ueberreuter Wien / Heidelberg, 1985, ISBN 3-8000-3212-0 , pages 82-83
Georges Onslow on the Internet:
A good introduction the life and work are "Le site de George Onslow or " The George ONSLOW website ", which I have taken the pictures published here.
A catalog of his chamber music can be found here, but also in "Chamber Music Publishing Conferences".
The highlight of the "Site de l'Association George Onslow contrast, is a collection of essays by working reviewers (also in English and German), in which I turn came across the track of Bert Hagel ( "On the Reception of Onslow in Germany to 1830" ).
Sample:
Track 4: Georges Onslow: Grand Sextuor Op 77bis - IV Finale
CD Info & Scans (tracklist, cover, booklet, Music Sample, Bonus Pictures), 30 MB
Onslow - Sextet and Septet INFO.rar
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
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