Virtually
all of the chamber music that
RICHARD STRAUSS (1864-1949) composed was written before 1900 with
the exception fo his
STRING SEXTET FROM THE OPERA CAPRICCIO which
initially was not intended to be a stand alone piece of chamber music
but only as an introduction to the first scene of the opera. However,
soon after finishing the opera in 1942, Strauss changed his mind and
permitted the work to published as a stand alone piece of chamber music.
It is a work full of charm and elegance and one which can certainly
serve for a shorter entee in a sextet concert. It is also well within
the range of experience chamber music amateurs. |
Today, the name of the composer ANDREAS HALLEN (1846-1925)
is virtually unknown outside of his native Sweden.
But during his lifetime, it was known not only in Sweden but also in
Germany and Austria. Despite the fact that the few pieces of chamber
music he wrote received ringing positive reviews upon their
premiers, soon after they all inexplicably disappeared from the
concert hall.. His very well-sritten
PIANO QUARTET IN
D MINOR is elegant, graceful and
romantic, reflecting his training from his teachers at the Leipzig
Conservatory who idolized Schumann and Mendelssohn. It is a work
which will be enjoyed by audiences who hear it in the concert hall
and also by amateurs since it is not at all hard to play. |
We are
pleased to offer two first rate cello sonatas by two undeservedly
little known women composers. Russian pianist and composer LEOKADIYA
KASHPEROVA (1872-1940) studied
with Anton Rubinstein and toured as a soloist throughout Europe, Today, if
she is remembered at all, it is as Stravinsky's
piano teacher. Her
CELLO
SONATA NO.1 IN G MAJOR is elegant, graceful and
romantic, with melodies which have the flavor of late Russian
romanticism showing the influence of Rimsky Korsakov and
Tchaikovsky.
Dutch
pianist and composer HENRIETTE BOSMANS (1895-1952) enjoyed a
career as a touring soloist, teacher and composer. Her
CELLO
SONATA IN A MINOR, dating from 1919, is an incrediably
dramatic and powerful work. It certainly deserves the epithet of
masterpiece. Audiences will be riveted from start to finish. There
is really very little like this fine work in the repertoire |
Most
scholars believe that one of the most trusted biographies, in fact the
first biolgraphy, of Beethoven, was by his friend, student,
copyist, and agent
FERDINAND RIES (1784-1838) who was a virtuoso pianist, fine
violinist and first rate composer. His
STRING QUARTET NO.19 IN C MAJOR is just one of
several such works which remained moldering away in a German state
library in Berlin until recently.This appealing early Romantic era work
is an example of Ries' fine compositional talent as well as his gift for
melody. It would make an excellent choice for concert but can also be
recommende to amateur ensembles.. |
While
he was alive and throughout the first half of the 19th century, the name
of FRANZ KROMMER (1759-1831)
was routinely mentioned, along with those of Haydn and Mozart, as one of
the three most important composers of string quartets from the classical
era. (Beethoven being considered a Romantic era composer) Krommer's
quartets were sought after by the leading publishers of the day and were
immensely popular throughout Europe and even reached the United States.
They could regularly be found along side of the quartets of Mozart and
Haydn on chamber music programs. His
STRING QUARTET IN B FLAT MAJOR was a typical example of a
work which would appear on those programs but would also have been
popular among Vienna's
home music making
amateur ensembles. |
Up
until LOUISE FARRENC (1804-1875)
appeared on the scene there were no women professors at the Paris
Conservatory. It was only in 1842 that whe was appointed permanent
Professor of Piano. She was the only woman to serve as a professor
at that Conservatory througout the 19th century. Besides being one
of the leading piano soloists of the day, she was also a first rate
composer and several of her compositions also contributed to her
appointment. Her
PIANO TRIO
NO.1 IN E FLAT MAJOR was the kind of work which
showed that she was a first rate composer. This piano trio, in many
ways, harks back to Beethoven's early piano trios both in the
writing and the treatment of the instruments as her model. It is an
appealing work filled with fetching melodies and one which certainly
deserves concert performance. And, it is also a work which can be
managed by amateurs with a first rate pianist. |
FRANZ
DOPPLER (1821-1883) today is remembered as one of the greatest
flute virtuosos of the 19th century. But he was much more than that.
Having studied composition with Franz Liszt, he became a top notch
orchestrator as well as a composer. He wrote several successful
operas and his orchestration of Liszt's Hungarian Rapsodies,
published with Liszt's permission, are still used today. If this
were not enough, he also served as conductor of the Vienna
Philharmonic Orchestra for several years. His compositions with
flute were immensely popular and for good reason. One such work, his
ANDANTE &
RONDO FOR 2 FLUTES AND PIANO OR VIOLIN, FLUTE & PIANO
which is filled with lovely melodies and exciting episodes. A winner
in the concert hall, it shoudl not be ignored by amateurs who are
technically assured players. |
To
say that JOHANN BAPTIST VANHAL (1739-1813)
was on friendly terms with most of the prominent composers then
active in Vienna during the classical era would be no exaggeration.
Reports survive of him playing the cello in a quartet with
Dittersdorf on first violin, Haydn on second violin and Mozart on
Viola. Mozart was impressed enough by his music to perform several
of his violin concertos and conduct his symphones. For the last half
of his life, Vanhal had no patron or steady salary and made his
living writing for the emerging home music making market. His
TRIO FOR CLARINET, VIOLIN AND CELLO IN B FLAT MAJOR
is an excellent example of the type of work he produced for this
market. Well-crafted and fun to play, it enjoyed considerable
popularity and as such received several reprint editions.
This is a fine choice for amateur ensembles or student groups
looking to present a professional sounding work for recital. |
The
Norwegian composer CHRISTIAN SINDING (1856-1941)
is, after Edvard Grieg, the best known composer from that country.
Whereas Grieg used Norwegian folk melody extensively in his music,
Sinding did so far less often and rather like Tchaikovsky developed
what might be called a more cosmopolitan style. Grieg took his
inspiration from Mendelssohn and Schumann, whereas Sinding, more
than a decade younger than Grieg, was influenced primarily by Liszt
and Wagner. Some critics have called his
STRING QUARTET IN A MINOR the string quartet that
Wagner never got around to writing. It is filled with Wagnerian
style melodies including quotes from Tristan, Lohengrin and
Parsifal. A massive dramatic work, it makes an indelible impression.
Certainly a powerful choices for the concert hall but also within
the reach of experienced amateur players. |
MATHILDA
KRALIK (1857-1944) is another first rate
late Romantic era composer whose music, at least up until the First
World War, enjoyed considerable popularity and was frequently
performed. After the war, as music from that era was looked down up,
it along with so many other fine works disappeared from the concert
stage. It was probably due to the War that her
NONET IN C MINOR
FOR STRINGS, WINDS AND PIANO never received
publication until now. We are extremely proud to present the
World Premier Edition of this fine work which certainly deserves
performance in the concert hall. It is superbly written for all of
the instruments and filled with appealing melodies. Her alternating
use of the complete ensemble against diverse smaller groups of the
Nonet is original and quite striking. And unlike many works from
this period, it is not beyond the technical abilities of average
amateur enthusiasts which allows us to warmly recommended it to them. |