As I listened to a number of pieces, the phrase “Easy Listening” came to mind. It is easy to listen to! And then I began to wonder: What separates him from his great contemporaries (Mozart, Haydn and Hummel etc.) ? Why is he a “lightweight?” Althought the melodies and musicality are there, what keeps the music from being profound or inspired? Would a few touches of complexity in the midst of his simplistic composition elevate it to greatness? An inspired background counterpoint? Why couldn’t he do it?
(* Sorry … these are just the ramblings of a Classical dilettante!)
3 pieces lasting about 12.5 minutes
Orchestral quartet in G major 2nd movement
Concerto for 2 clarinets #4 in B flat major 3rd movement
In an attempt to broaden the site, I’ve gone searching for those ‘well known’ composers who until now haven’t been on the site. It was a quick and superficial effort to find either their better known works, or those that I felt had a great appeal. Apologies to anyone who knows and appreciates these composers … if my choices were poor ones!
Under the composer name are links to Biographies.
Henry Purcell (10 September 1659 (?)– 21 November 1695)
Wanting to include composers who weren’t already on the site, or whose music I didn’t know; or those I thought I didn’t like … I searched for something by Franck that I (and you?) could enjoy. I couldn’t find anything! I suppose I must really dislike his music. So I just picked a piece at random to illustrate why (so far) I don’t like his music.
The first 3 minutes of Les Dijnns (there is a slight (5 second) delay on this one playing)
After my last posting “Clara Schumann – the only woman?!” (the next one down the page) my brother sent me an email with a link showing hundreds of female Classical composers. I took this as a sign! I needed to research and listen. How many of these female composers were considered to be very accomplished? On a par with the men? Why weren’t any of them included in that ‘Boy’s Club’ list of “Great Composers”? It was a fantastic journey into territory I knew nothing about.
The two big questions for you dear listener (and for me too; since I haven’t listened really carefully yet after acquiring the pieces – but I will!) 1) Can you hear the same ‘greatness’ in some of the pieces? 2) Can you detect a subtle (or maybe not so subtle) colour/tone/vibe of the Feminine Principle?
Under each composer is a link to Biographical information.
Since a reviewer I used in my research declared: “Madame Farrenc is certainly the greatest woman-composer in the history of classical music.” I’ll save her until last; along with some germain notes on the issue.
Marianne von Martines (Martinez) (May 4, 1744 – December 13, 1812) A student of Haydn. You can certainly hear it!
Besides the wikipedia reference above, I found another review of her life and music in which the author declared: Madame Farrenc is certainly the greatest woman-composer in the history of classical music. In this review it was pointed out how highly regarded she was at the time, and the great composers she was associated with, or who admired her work. (she studied with Hummell, Anton Reicha and was admired by Schumann and Berlioz) SO? Why didn’t she join the ranks of The Greats? Some of the reasons are in the Wikipedia article, about half way down, titled ‘ Why did Farrenc remain unknown as a composer?’
But what about the elephant in the room?! Male Chauvinist attitudes? “…the best known Paris critic of the 19th Century, François-Joseph Fétis (1784–1871) included her name in his important lexicon “Universal Biography of Musicians” and stressed her “quasi masculine gift for musical organisation”. (*”quasi masculine gift”?!) The same critic who proclaimed her the greatest woman composer, in the next breath states: Notwithstanding her evident extraordinary artistic and technical qualities, Madame Farrenc’s works do not show the presence of this invisible and indefinable spark, which marks the difference between the great talent and the genius.”
Aha .. the invisible and indefinable spark.What’s a woman to do?!
Farrenc Long Play 24 minutes long
Sonata No. 1, Op. 37: II. Poco adagio
Etudes opus 26 – No 18 en re bemol majeur
Nonette pour cordes et vents en mi bemol majeur Adagiol
Variations concertantes sur une mélodie suisse, Op. 20
Improptu en Si Menor
Nonette pour cordes et vents en mi bemol majeur Adagio
“I once believed that I possessed creative talent, but I have given up this idea; a woman must not desire to compose — there has never yet been one able to do it. Should I expect to be the one?”
It never occured to me until today when I began researching Clara’s work; that not a single Classical composer – ranked as a “Great” – was a woman! How very strange. Well Clara Schumann was certainly an accomplished composer, and what a person! She raised 8 children (4 died before her) cared for a husband who became more and more unstable, befriended and grew very close to Brahms and still found time to tour extensively! – acknowledged as a virtuoso pianist.
So here’s to the ‘only woman’ on the site – (so far) Let’s make it a Long Play Selection. (approx. 25 minutes)
(* dig that horn!)
UPDATE: Clara is no longer the only female composer on the site. Go here for a comprehensive look at the female composers. http://jimsclassicalmusic.com/?p=2855
Clara Schumann
Drei Romanzen, Op. 22 (arr. for horn and piano): I. Andante
Drei Romanzen, Op. 22 (arr. for horn and piano): II. Allegre
I was put off a bit by Brahms during my initial ‘musical education’ because of some bombastic riffs I’d encountered. Over the past weeks I’ve been obsessing on his music. Listening to a lot and reading commentary/critiques. Learning about his life and musical influences. (*note: there is now a Long Playing Brahms)
In this, the second movement of his third piano sonata, I think Brahms is inviting us to drift away. Perhaps he felt like this when he smoked his cigar and watched the sun set.
02 – Piano Sonata No.3 in F min, Op.5 – Andante espressivo
Afterthought: For those of you who might not know … Brahms was a cigar smoker. I’ll just betcha this was one of his smoking tunes!
In the post “Trumpet Synaesthesia” I made a half joking attempt to sum up the sound of the trumpet. In this post I’ll admit to being stumped … as to how one could describe the Trumpet’s Beauty in words. (* only an idiot tries to describe music with words!) Anyway here’s the beauty of the trumpet by a few Masters. (the player is darn good too! – Rolf Smedvig)
MergeTrumpet
Haydn: Trumpet Concerto in E-flat major: I.
Haydn: Trumpet Concerto in E-flat major: II.
Haydn: Trumpet Concerto in E-flat major: III. Finale
Hummel: Trumpet Concerto in E-flat major: I.
Hummel: Trumpet Concerto in E-flat major: II.
Hummel: Trumpet Concerto in E-flat major: III. Rondo
Torelli: Trumpet Concerto in D major: I. Allegro
Torelli: Trumpet Concerto in D major: II. Adagio
Torelli: Trumpet Concerto in D major: III. Allegro
My brother heard some bassoon quartets on the radio and requested that some Devienne be put on the site. I wasn’t familiar with him so I went shopping! Here are a few snippets of what’s said about him:
“the elegant tone of Paris at the time… grace and balance – qualities which are associated with Mozart … explaining why Devienne was called the French Mozart.”
I got a bit carried away, and what was going to be a few pieces has turned into a Long Play selection! (nearly 40 minutes) I also realised there is very little flute on the site so welcome some Devienne flute. (he was a flautist)
Devienne Long Play
Trios for flute – Allegro Con Spirito – Trio En Ré Majeur
Symphonie Concertante for Flute and Bassoon /Andante
Bassoon sonata I in C major, Op. 24 All three movements
and Oboe sonata in G major opus 71 all three movements
Someone writing a review for an album on Amazon wrote:
The Bach solo string music is, of course, one of the landmarks of classical music. These are some of the greatest pieces of music ever written. They are the musical equivalent of the plays of Shakespeare.
Well … personally I’d have to say I’m not crazy about it (solo violin). I Much prefer the addition of piano which I feel softens what can sometimes be a grating intensity.
These few selections would have to be up there with the best of the best because afterall it is Bach, and its Hillary Hahn playing; whom “they” rave about!
Not enough Schubert on this site I think! Here’s a movement from his Octet. It’s interesting how it came about. A famous clarinetist asked Schubert to compose a work similar to Beethoven’s Septet Op. 20. (Schubert added a second violin)
Schubert and Beethoven: Arguably the two greatest composers of that time; and someone asks Schubert to do something similar to Beethoven! Schubert composed it in 1824. Beethoven died in 1827 so he only had 3 years to hear it. Wonder if he ever did?
Never mind … you get to hear a movement from each!
