Cheer for your violin! Trumpets and whistles! Today you must you once angreiffen quite extra.
to glorify and praise this day
The Henry is able to provide the Barmann. ...
The desires that plunge in me over the other
such as fennel, cumin and coriander as,
I do not know what to say, I'm
so to speak from emotion completely mad.
Above all I wish him 'ne hellish lung
Which brings authentic' tireless tongue.
The lips continuously as misery leather,
The finger to bounce like a watch spring ... For the 15th
July 1811 Carl Maria von Weber wrote a long, knobby-humorous name-day poem, from which we quote here only three "blessings". Recipient of the poignant verses Heinrich Josef Baermann was (1784-1847), who had premiered shortly before his first day of honor Weber's Clarinet Concert: Hellish lungs, untiring tongue, lips and leathers resilient fingers were the excellent musicians really needed, he wanted the technical requirements to master that he owed the inspiration of his friend.
Heinrich Barmann was Carl Maria von Weber, a muse and a very special kind not a single case of music history. Even Wolfgang Amadeus Mozart had found in the brothers Stadler the source of great clarinet music. And just was Louis Spohr Bärmann colleagues Johann Simon Hermstedt met, for which he, over time, as well as four concerts was to write a series of pleasing chamber works. The unique qualities of the instrument that sounds almost human, the unheard of virtuoso opportunities, and the extraordinary range with its clearly differentiated from each other registers: All these qualities came to meet the artistic ideas of the early Romantics. And who then, as Weber and Spohr, had the good fortune to a master of the subject know - who could really not do otherwise than to ink, pen and paper to take effect. (Even the aging Johannes Brahms could be recorded by the young Mühlfeld lure from his early retirement and created with the two clarinet sonatas, the Clarinet Trio and Clarinet Quintet four pieces of chamber music.)
Carl Maria von Weber (1786-1826 ) must have been How thrilled Carl Maria von Weber Bärmann artistic achievements, illuminating the fact that he composed in one year (1811) two major concerts and a Concertino with the orchestra and the Variations op 33rd In the latter Work made use of a theme from Weber's 1810 in Frankfurt am Main Silvana premiered opera, and he gives two participating instruments plenty of room to imagine in all the brilliance.
The same virtuosic interplay we hear in the five years his junior Grand Duo Concertante, op 48th Behind the title is a three-movement Sonata for clarinet and piano, the first very hearty in the fashionable jargon of the early 19th Century revels before they impressed in the slow movement with a passionate action and also in the final with expressive declamation.
From the year 1815 is the Quintet for Clarinet and Strings in B flat, Op 34, which generally Weber most important chamber music works is expected. emphasize in particular the second movement with the heading of Fantasia, which contains one of the finest melodic inspirations of the composers. The internalized attitude of Mozart's quintet is sure to look for in vain: after all, Weber was primarily concerned to provide the friend with playful antics and Caprices. It thanked him, as we know from contemporary documents, with excellent performances. Weber praised the perfect equality tests of the tone from top to bottom, and the heavenly tasteful presentation. The composer and scientist François Joseph Fétis example, wrote that there was no one in France, who could take it in the field of play clarinet with the artist. And Felix Mendelssohn composed in 1833 for Heinrich Joseph Barmann and with his son, two concert pieces for clarinet, basset horn and piano, the first of the dedication: The Battle of Prague, great duet steam noodle and cream strudel ...
After Carl Maria in Weber's early death, years 1826 Introduction, Theme and Variations, Op posth published for clarinet and string quartet, which is now either with the authors of previous works, steam or noodle strudel have to do: The composition is rather on the hard-working Küffner Joseph (1777-1856 ), the 1800 employed as a court musician in Würzburg since 1802 and was entrusted with the reorganization of the Bavarian military music. Küffner wrote among other symphonies, several operas and music for winds (Harmony Music) which found appeal beyond the German borders.
Source: Cris Posslac, the booklet © 1995
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John Hayter: Carl Maria von Weber at Covent Garden Theatre Leading His Celebrated Opera of Der Freischütz (London: J. Dickinson, 1826), lithographer , printed by G. Hullmandel Source: Centre for Performance History CPH Carl Maria von Weber arrived in London on 5 March 1826, after four days travel from Paris. He had been commissioned to compose a new opera, Oberon, for Covent Garden, but was already seriously ill with the consumption that would kill him a few months later. Despite this he immediately threw himself into a demanding series of rehearsals and concerts. He was impressed with the opera house, the main soloists and the Covent Garden chorus, less so with the orchestra. The first event, shown in this lithograph, was a concert of selections from Der Freischütz, on 8 March.
Weber was one of the first specialist conductors. Most orchestral performances were led by one of the players - a pianist or the leader of the orchestra (or, as in the case of the London Philharmonic Society concerts, both) - but Weber abandoned the keyboard and stood with a roll of manuscript paper as a primitive baton. This lithograph gives a glimpse of his technique at his first London concert. There seems to be some conversation in the audience, but also a serious approach, with the ladies apparently following the music from cumbersome folio editions. The widespread introduction of more convenient miniature scores had to wait until the 1880s and 1890s.
The Centre for Performance History 's copy of this lithograph by John Hayter (1800-95[?]) is a proof copy. The process of lithography had been invented by Alois Senefelder (1771-1834) in the mid 1790s and Weber and his father, who had met him in Munich in 1799, became interested in the process. Carl Maria was an apprentice to Senefelder, and he and his father briefly set up as lithographers in Freiberg, until 'the extensiveness and the mechanical, soul-destroying nature of the business' convinced the younger Weber to return to composition.
TRACKLIST
Carl Maria von Weber (1786-1826)
Carinet Works
Clarinet Quintet in B Flat Major, Op. 34 (J. 182)
[1] Allegro (10:16)
[2] Fantasia: Adagio ma non troppo (5:49)
[3] Menuetto: Capriccio presto (4:56)
[4] Rondo: Allegro giocoso (5:34)
[5] Introduction, Theme and Variations for Clarinet and String Quartet
, Op posth. (8:18)
Grand Duo Concertante in E Flat Major for Clarinet and Piano, Op 48 (J. 204)
[6] Allegro con fuoco (9:23)
[7] Andante con moto (6:00)
[8] Rondo: Allegro (6:45)
[9] Seven Variations on a Theme from Silvana for Clarinet and
Piano in B Flat Major, Op. 33 (J. 128) (9:34)
Playing Time: 67'18"
Kálmán Berkes, Clarinet
Jenö Jandó, Piano
Auer Quartet
Recorded at the Scottish Church, Budapest, from 23rd to 27th August 1994.
Music Notes: Keith Anderson - Producer: Ibolya Tóth - Engineer: János Bohus
Cover Painting: The Solar Eclipse over the Marchfeld Plain by Leander Russ
(P) & (C) 1995
Das Original zum Coverbild, "Die Sonnenfinsternis vom 8. Juli 1842" (Aquarell, 1842), von Leander Russ , is currently in Vienna's Albertina issued:
"In the exhibition " James and Rudolf von Alt. On behalf of the Emperor " (02/10/2010 to 05/24/2010), the Albertina presents 120 masterpieces from the heyday of the Austrian watercolor painting. On behalf of Emperor Ferdinand I were 1830-1849 nearly 300 city and rural landscapes, which should document the beauty of the Austrian Empire and neighboring countries. The works are from the hand of the finest watercolor painter of the time, Jacob and Rudolf von Alt, Eduard Gurk and Leander Russ. With this exhibition, the large size and vivid watercolors, which provided over 170 of Jacob and Rudolf von Alt, first presented comprising "
Caspar David Friedrich: Giant Mountains, 1835, Hermitage, St. Petersburg Caspar David Friedrich (1774 -. 1840)
Friedrich , who came from Greifswald , a little, then sleepy university town on the Baltic Sea, was home and origin connected all his life. subheading he returned regularly, be it to visit his relatives , be it to roam on sketching excursions further afield, and here also lie the roots his work. In particular, the offshore island of Greifswald complaints the painter always offered a wealth of creative ideas. The large family of a soap-boiler was derived, Friedrich first lessons at the university art teacher Quistorp . A rooted in pietism piety, encouraged by the early death of his mother in 1781 and a brother who drowned before the eyes of the painter in the ice, coined the bourgeois family. Of books with illustrations Chodowiecki and by the acting in Greifswald theologian Friedrich suggestions Kosegarten seems to have received. At the Academy in Copenhagen in Jens Juel and Nicolai Abildgaard , he completed his training before he settled in Dresden in 1798. There took place the decisive encounters, the artist who opened the emergence of Romanticism. He learned in 1801 Philipp Otto Runge know whose views on art he owed much wrong, in a circle around Tieck that close to him carried out the work of the 1801 deceased Novalis , and was familiar with Friedrich Wilhelm Schelling , the religious philosopher Schleiermacher , the brothers Schlegel, with Heinrich von Kleist, and others.
In this atmosphere of intense intellectual debates climate occupied by the French in Dresden, Friedrich between about 1805 and 1810 the shape of its distinctive landscape art that this philosophical and literary heyday was adequate. His work can only be understood against this background in its depths. Three images founded Frederick's early fame as a leading Romantic painter of Germany: the »Děčínská altar" (Dresden, Gemäldegalerie Neue Meister ) that caused in the art press a scandal, and in 1810 from Prussian king bought counterparts "Monk by the Sea" and "Abbey in the Oakwood" (Berlin, National Gallery ). Apart from repeated study tours, particularly in the Giant Mountains , Frederick remained until his death in Dresden. His later work, which denied the romantic conception never came, however, in the time of the emerging realism to fade into oblivion.
Caspar David Friedrich, Monk by the Sea, 1808/1809, Alte Nationalgalerie, Berlin Determined worked the closed, deeply religious artist in the realization of his cosmos. At times melancholy and longing for death as Novalis devoted, he reworked the artistic, he has scattered in his writings but not directly into the philosophical and aesthetic discussions intervened, but repeated his own view of art expressed that reveals a detailed knowledge of the romantic thought. His position in relation to other currents defining it delimits against the classicism with its rigid, dogmatic rules of art, take the ideal man and not the absolute as a measure, challenges the Nazarene with their outdated, reactionary aping and against the "unthinking" realism that not "feel" from within. He writes, for example, with a clear jab at the Nazarene: "Is it is not [... ] Anti-something, and often disgusting, dried Marien see a starving child Jesus in her arms, and clothed in papery gowns. Often, well-recorded on purpose [... ]. All errors of that time aping one deceptively after, but the good of those plaques, the deep, pious, childlike spirit that animates these pictures so really can not be sure, imitated with his fingers, and we will succeed to the hypocrites never, even then not when the adjustment so far gone and become Catholic. What our ancestors did in childlike simplicity, we can not do more with better knowledge "
Caspar David Friedrich.: Abbey in the Oakwood (monk's funeral in the oak grove), 1810, Alte Nationalgalerie, Berlin Three factors make for Frederick the gifted artist: feeling, thinking and technical skills. The rules of art that should not be imposed from outside, should feel any artist, person to person, in himself. Schleiermacher feeling instance and Schelling philosophy of identity required Friedrich remains "pure sensation" and an unbroken desire for truth is always the progressive, liberal romantics, his art at the service of knowledge and dissemination of the divine, but not for Philistines, but only for a select group of like-minded people. He suffers from the alienation felt by the oppressive conditions as the present, which he perceives as a gap between the religious, national, ethical, and libertarian ideals. These were in a past present once and must be restored to a higher level. From the consciousness of the separateness of the yearning for a new era resulted, according to a new time, for a unity with nature. In his specific historical dynamics of a plant that uses its content for teaching a strong symbolism, religion, form, nature and history of the defining Factors.
Even the contemporaries recognized the newness of this art. Sun Tieck, the "this truly wonderful nature [... ] Violently taken "shall, unless it also" much in its essence remained dark "is:" Frederick aims [... ] A feeling, a real vision and to create in this established ideas and concepts, with the rise of that sadness and solemnity and become one. He tried, therefore, in light and shadow animate and only orbene nature, snow and water and also in the staffage allegory and symbolism to introduce a certain sense, the landscape that seemed to us more than such a vague allegation, a dream and arbitrariness of history . And rise to the legend certain clarity of the terms and intentionality in the imagination "
Source: Peter Wegmann: Foundation Museum Oskar Reinhart Winterthur . German, Austrian and Swiss paintings from the 18th, 19th and early 20 Century, Insel Verlag Frankfurt am Main and Leipzig 1993, pages 68-70
Caspar David Friedrich: Monastery ruins Oybin (The Dreamer), 1820-1840, Hermitage, St. Petersburg CD Info & Scans (tracklist, cover, booklet, Music Sample, Bonus Pictures), 37 MB
Weber Clarinet Quintet INFO.rar
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
Sample:
Track 5: Introduction, Theme and Variations for clarinet and string quartet
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