Presents
Leopold Aimon
String Quartet No.3 in g minor from the 12 New Quartets Collection
Leopold Aimon (1779-1866) was born in the French town of L’Isle sur la Sorge not far from city of Avignon. He studied cello and composition with his father Esprit Aimon a cellist and director of music for the Danish ambassador to France. His talent was such that he procured several jobs as a conductor of various theater orchestras in Marseilles and Paris. As most composers of the late 18th and early 19th centuries, he wrote a large number of works. Several of his operas were frequently performed in France and beyond. He is said to have composed some thirty string quartets as well as other chamber music which was apparently well thought of as evidenced by the list of subscribers who paid in advance to cover the cost of the publication of his 12 New String Quartets Collection. As you can see from the long list, not only the music loving nobility but also famous musicians and even well-known instrument makers subscribed. These individuals donated money to help make publication of a composer’s works possible. In the case of the 12 quartets, the list of subscribers contains the names of several important musicians of that era, including Pierre Baillot and Jean Louis Duport. Critical works in the 19th century described his chamber music as having considerable appeal and originality.
The String Quartet in g minor is the third work from the 12 New Quartets Collection was published in 1814. These 12 quartets were composed over a period of some six years from 1807 to 1813. We have been unable to find any information on the dedicatee, a Monsieur Guibret, presumably a good friend or particularly generous patron of the composer. The main theme of the opening movement, Allegro risolute. combines the style of the late classical era and early emerging romantic. It is somewht sad and melancholy. The second movement, Andante, poco adagio, shows that Aimon was quite conversant with the music of late Vienna classical period. Its lyricism recalls the kind of slow movement Haydn was writing in the last decade of the 18th century. In third place is a heavily accented Minuetto allegro, again more Viennese than French. A nicely contrasting trio follows. There is a continuous sense of restlessness to the finale, Allegro agitato, which created in part by its off-beat rhythms.
practice because it was generally
We have reprinted the quartet from the original 1814 edition. Though not like a new edition, it is clean and very readable. This is an appealing work, not at all hard to play and would be interesting in performance as an example of how music was changing in France at this time.
Parts: $19.95
