What's New for Winter 2025
Click on the links in all caps and boldface for more details and soundbites
|
|
|
 Although
his compositions were admired and praised by Gustav Mahler and Richard
Strauss as well as many other critics, the music of HANS PFITZNER
(1869-1949, except for one opera, never achieved the popularity or
status he wished for and all but disappeared when Hitler came to power
even though he was not Jewish. Pfitzner was an opponent of atonalism and
the Second Vienna School and this also placed him as out of touch with
his contemporaries. His
SEXTET FOR
CLARINET, VIOLIN, VIOLA, CELLO & PIANO
in no way sounds like the work of an old man in his late 70s who was
sick and blind. Genial and upbeat, Pfitzner produced a very appealing
chamber music masterpiece just a few years before
he passed away. It is a late Romantic era gem which does not sound like
it was composed in 1945. This Sextet belongs in the concert hall and
with its straight forward thematic material can be recommended to
amateurs. |
The German composer JOHANN CHRISTIAN LOBE (1797-1881) though
he composed in virtually every genre, works which were well received
and achieved critical acclaim on their premiers, were overshadowed
by his writings and treatises on music. His Guide to Musical
Composition went through several editions and is still in use today,
and his teaching at the Leipzig Conservatory and editorship of the
AMZ also made his name. His
STRING QUINTET IN A MAJOR though is proof that he did
compose appealing and well-written works. This Quintet is not at all
difficult to play and would make a very good choice for amateur
ensembles looing to present a work in concert. |
|
|
 While
it is the fate of most to vanish after death without a trace, except
perhaps for a gravestone, one would think that it would be less likely
for a composer of a charming piano trio to also disappear
in this fashion. But this appearently is what has happened to
FRIEDRICH WILHELM GRÜNBAUM. Despite long hours of research we could
find nothing about him, all the more frustrating as he composed a very
charming PIANO TRIO
IN B FLAT MAJOR. This is a mid 19th century Romantic era
work aimed specifically at amateurs looking for a piece to present in
concert. |
 When
it comes to naming Finnish composers, most music lovers can come up with
the name of Sibelius and no one else, and few know of his chamber music.
Perhaps one or two cognoscente have heard of Erkki Melartin, whose
music is every bit as good as that of Sibelius. But virtually no one has
ever heard of ERIK FURUHJELM (1883-1964). A generation younger
than Sibelius and Melartin, he studied with the same teachers that they
did and was, during his lifetime, an important musical personality at
least in Finland, serving as director of the Helsinki Conservatorfy for
many years. While not a prolific composer, he did write in most genres
including chamber music.His massive
PIANO
QUINTET IN C MINOR is a
towering work in the late Romantic style. This powerful Brahmsian
quintet is sure to make a very strong impression on audiences who get a
chance to hear this very fine work. Can be managed by amateurs who have
a first rate pianist. |
It is not infrequent to hear from those who have not taken the time
to investigate, that no one was composing works which could rival
those of Haydn. But, of course, this is not true.
One prominent example which disproves this idea is the music of the
German composer JOSEPH SCHMITT (1734-1791) who became the
leading figure in Dutch musical life during the last part of the
18th century. Like Haydn before he changed his style from the Sturm
und Drang, Schmitt's music exhibits the same qualities. His
SIX STRING TRIOS from the late 1770s are the
equal to those which Haydn was composing at the same time. The
melodies are appealing and the part-writing quite good. An excellent
choice for concert or home. |
One has to wonder why it is that today the name of FRANZ KROMMER (1759-1831) is
not mentioned in the same breath as Haydn and Mozart, because in his
time it was. He was almost universally considered the worthy
successor to Haydn who had stopped composing around 1800. Krommer's
quartets and quintets were regularly programmed throughout Europe
and went through several editions. He was a favorite of the Austrian
emperor who played quartets with him for many years. His
STRING QUARTET IN F MAJOR composed in the
first decade of the 1800s is an exciting work, with a real authentic
Polacca. It makes a
excellent concert hall choice and which is certain to bring bravos
from the audiences who hear it. But is is also a work which can be
managed by amateurs. |
 ERMEND
BONNAL
(1880-1944) studied with some of the finest teachers
on offer at the Paris Conservatory: composition with
Gabriel Faure, piano with C.W. de Beriot, and organ
with Louis Vierne. He became a top-notch organist,
but this did not stop him from composing in all
different genres, including chamber music writing
string quartets and a trio. At the request of two of
his friends, amateur musicians, he composed a very
emotive work, his
PETIT POEME FOR
VIOLIN, VIOLA AND PIANO.
A good choice for concert where a shorter work is
required and also good for amateurs. |
Most fans of string quartets from the classical era are, of course,
familiar with the names of Haydn and Mozart. But there were many
other then important composers living in Vienna whose quartets were
respected and often performed. One of these was the Czech composer
PAUL WRANITZKY (1756-1808) who came to Vienna as a yound man
and stayed the rest of his life. He counted Haydn, Mozart and
especially Beethoven as his good friends, Wranitzky's
Trained
in Italy, HENRIQUE OSWALD (1852-1931, arguably the most
important Brazilian composer of the late 19th & early 20th
centuries. His reputation and success spanned both Europe and South
America. He composed a considerable amount of first rate chamber
music such as his
Though not the founder of Lithuanian music, nonetheless JURGIS
KARNAVICIUS (1884-1941) was the first Lithuanian composer to
write a string quartet. His