1 A New & Corrected Edition of Ravel’s Quartet. 1 Quintets for Oboe, Clarinet, Bassoon, Horn & Piano. Is it necessarily so (Continued on page 3) IN THIS ISSUE The Chamber Music of Joseph Rheinberger Part VI. As a prime example, Ravel’s F-major Quartet (1904) has acquired a reputation as a bogey that has defeated many excellent musicians and is ever the work left over at the end of a chamber music evening, when players make a hasty exit for a good night’s sleep before the duties of the following day. We are approaching the centenary of a handful of other standards which have come to be somewhat in the ear but not in the eye or fingers. The earliest string quartets which may be considered standard but not generally sight-readable because of their difficulty date from, say, 1910, with Berg’s Op. But most important of all, was the fact that Europe, (France, Finland and Aus- (Continued on page 8) (Continued on page 5) A New & Corrected Edition Of Ravel’s String Quartet By Ronald Erickson Standard repertory in chamber music literature does not necessarily mean “sightreadable” for the avocational player, particularly with regard to the 20th century (surely the 21st century is too new for consideration). Perhaps the most influential and important musical personality of the age, Brahms, held Rheinberger’s works in the highest esteem. Not only was his music performed abroad but students from as far away as America came to study with him. His reputation as a composer and teacher had reached international proportions.
#Aria maestosa retard professional
He had obtained a position of social and professional prominence: he was a Royal Professor at the Munich Conservatory and, equally as important, Hofkapellmeister of the Court Church. Although his own health had deteriorated somewhat (he suffered from periodic respiratory ailments and his right hand developed problems which ended his career as a soloist and occasionally made it difficult for him to write), still, at age 41, he remained robust enough to carry on a very active musical life.
The next work under consideration, Piano Trio No.3, Op.121 dates from 1880, perhaps the happiest period of Rheinberger’s life.
A Guggenheim scholarship made it possible for him to visit Two years were to pass from the composition of the Piano Quintet (1878) before Rheinberger returned to the genre of chamber music. He studied with Ingolf Dahl, Halsey Stevens and George Antheil. Benjamin Lees (Harbin, China 1924-) is an American composer of Russian parents. It begins deceptively innocently, (the theme is a Gavotte), and by degrees makes greater demands on the technique of the players during the course of eight variations. His quintet Variations on a Theme by Padré Martini Opus 1 (1926) was written during his student years and published by Bote & Bock in 1983. He studied with the entarte composer Walter Braunfels (1882-1957) at the Hochschule in Cologne and later taught music in Berlin. Reinhard Schwarz-Schilling (1904- 1985) was a German organist. parts are quite difficult, but rewarding and the piano part, obviously written for the composer himself, is formidable. These included-in order of composition: Piano Trio No.1, Op.34, the Piano Quartet Op.38, the String Quintet (2Vla) Op.82, String Quartet No.1, Op.89, Theme & Variations for String Quartet, Op.93, Piano Trio No.2, Op.112 and his Piano Quintet, Op.114. The wind (In the first five parts of this series, the author traced the composer’s life from his birth in 1839 to 1878 and discussed the chamber works which he published. It was written for his friends at the Opera House in Hanover (Franz Helmut, Egon Gabler, Emil Klöpfel and Otto Mechler). His youthful and thoroughly French and Impressionist Quintet, dates from about 1919 and was published by Fürstner in Berlin in 1922. He remained active in Germany in the Second World War and was consequently prevented from appearing at Carnegie Hall in 1949. The pianist Walter Gieseking (1895- 1956) was born in France of German parentage and died in London. The third part, covering Lost and Recovered Quintets, Phantom Citations, Errata and Arrangements will appear in the Summer issue) The Twentieth Century The following works are compiled in approximate chronological order of composition. The second part, appearing here, covers the 20th Century. The first, Classical and Romantic appeared in the last issue. Silvertrust Quintets for Oboe, Clarinet, Bassoon, Horn & Piano And Related Works-by Michael Bryant (Part II) (This survey is presented in three parts. Volume XIII No.1 Spring -1- 2002 ISSN 1535 1726 e the chamber music journal e Joseph Rheinberger: The Chamber Music (Part VI) By R.H.R.
0 kommentar(er)
