DCXIII. VANTZOU, Christina: No. 1

DCXIII. VANTOU, Christina

No. 1 (2011)
(43:03)

Ambient music with an edge.

DCXII. HINDEMITH, Paul: Kammermusik #1, Op. 24, No. 1

DCXII. HINDEMITH, Paul (1895-1963)

Kammermusik #1, Op. 24, No. 1 (1922)
1. Sehr schnell und wild
2. Mäßig schnell Halbe
3. Quartett: Sehr langsam und mit Ausdruck
4. Finale 1921: Lebhaft
Klangforum Wien
Emilio Pomárico, cond.
(15:33)

"We're reached it at last! Modern German music has finally managed to embrace today's lifestyle having its fling at its most frivolous and vulgar ... one is confronted with a kind of music the likes of which no German composer with an artistic attitude has ever even dared think about, let alone write, music of a lewdness and frivolity only possible for a very special kind of composer." -- 1920's review

Hindemith was special, all right. The reviewer is also correct in stating that no had even "dared think about" such incredible music. It is sad to think about what the next decade had in store for this "degenerate" German composer.

**

The eight Kammermusik concerti (including the Kleine Kammermusik) comprise an important part of Hindemith's output. Previous posts discussed #4 and #6.

This mini-masterpiece is written for a small ensemble of flute, clarinet, bassoon, trumpet, harmonium, piano, string quintet and percussion.

First movement

Second movement

Third movement

Fourth movement

DCXI. BACH, J.S.: Concerto #2 in E Major for Violin, BWV 1042

DCXI. BACH, J.S. (1685-1750)

Concerto #2 in E Major for Violin, BWV 1042
1. Allegro
2. Adagio
3. Allegro assai
Shunske Sato, violin
Netherlands Bach Society
(15:49)

A marvel of inspiration! From the stately opening ...

First movement

... to the dark C-Sharp Minor dirge-like hymn of beauty ...

Second movement

... to the utterly joyful dance!

Third movement

Sato is a true Bach master, and it is a joy to hear him embellish the music just as would have been done in Bach's time.

DCX. BEETHOVEN, Ludwig van: Again, my Lyre, yet once again, Op. 108, No. 24

DCX. BEETHOVEN, Ludwig van (1770-1827)

Again, my Lyre, yet once again, Op. 108, No. 24 (from 25 Scottish Songs) (1815-18)
Felicity Lott, soprano
Elizabeth Layton, violin
Ursula Smith, celllo
Malcolm Martineau, piano
(3:28)

DCIX. HAYDN, Franz Joseph: String Quartet #62 in C Major, Op. 76, No. 3

DCIX. HAYDN, Franz Joseph (1732-1809)

String Quartet #62 in C Major, Op. 76, No. 3 (1797)
1. Allegro
2. Poco Adagio. Cantabile -- Variations I-IV
3. Menuetto. Allegro
4. Finale. Presto
Zagreb Quartet
(21:34)

Commissioned by Count József Erdődy and nicknamed the Kaiserquarett, which we'll explain below.

First movement

Typically, Haydn's simple little themes undergo great transformation, as in this sonata form movement.

Second movement

Haydn -- who spent many years in England -- was always greatly moved by the simple British anthem, God Save the King. The same tune is used for the patriotic American tune America, or My Country 'Tis of Thee, which I grew up singing in school.

Determined to have such an anthem for his native Austria/Hungary, he dug through many old folk songs, and after many drafts, composed this famous melody.

This is the original version written as a paean to Francis II, Holy Roman Emperor.

The text changed over the centuries, but today it is the German national anthem.

In this movement, he states the theme with warm accompaniment, and then gives each instrument the melody over the subsequent four variations:

Third movement

Traditional minuet with a Trio in A Minor:

Fourth movement

A very satisfying conclusion, in C Minor:

DCVIII. BEETHOVEN, Ludwig van: Falstafferel, laß dich sehen!, WoO 184

DCVIII. BEETHOVEN, Ludwig van (1770-1827)

Falstafferel, laß dich sehen!, WoO 184 (1804)
Gisela Fetting, soprano
Christina Klopsch, soprano
Renate Schunke, soprano
Wolf-Dieter Batzdorf, violin
Bernd Niedermayr, violin
(1:01)

Beethoven had an amazing sense of humor. When his good friend, the violinist Ignaz Schuppanzigh returned to Vienna after a trip to Russia, he composed this five-part canon to welcome him back ...

Falstaffery, show yourself!

Beethoven is referencing Schuppanzigh's fat belly with the Falstaff reference.

DCVII. MOZART, Wolfgang Amadeus: String Quartet #16 in E-Flat Major, K. 428

DCVII. MOZART, Wolfgang Amadeus (1756-1791)

String Quartet #16 in E-Flat Major, K. 428 (1783)
1. Allegro non troppo
2. Andante con moto
3. Menuetto & Trio
4. Allegro vivace
Ebène Quartet
(30:33)

First movement

The entire quartet is filled with clever chromaticisms. These leading tones and the A-flat approaching the G from above, give the music an unsettled quality, which Mozart quickly settles with an authentic cadence.

The development section is even more unsettled in vague harmonic movement.

Second movement

Mozart moves to the subdominant (A-Flat) for this typically gorgeous slow movement. It, too, contains much chromaticism.

Third movement

A lively minuet and trio (in the dominant B-Flat).

Fourth movement

A very clever and sweeping vivace, also with touches of chromaticism.

This whittling down of thematic material to its barest form -- just two notes -- and the rallentando to interspersed silences, was to greatly influence Beethoven.