August Kühnel Vidéos
compositeur ou compositrice, gambiste
Commémorations 2025 (Naissance: August Kühnel)
- viole de gambe
- Allemagne
Dernière mise à jour
2024-04-28
Actualiser
Wolfgang Amadeus Mozart Nikolaus Harnoncourt Johannes Brahms Alfred Einstein Kühnel Swieten Antonio Salieri Stadler 1762 1788 1789 1790 1791 1802 1831
Symphony No. 40 in G minor, KV. 550 was written by Wolfgang Amadeus Mozart in 1788. It is sometimes referred to as the "Great G minor symphony", to distinguish it from the "Little G minor symphony", No. 25. The two are the only extant minor key symphonies Mozart wrote. Composition The date of completion of this symphony is known exactly, since Mozart in his mature years kept a full catalog of his completed works; he entered the 40th Symphony into it on 25 July 1788. Work on the symphony occupied an exceptionally productive period of just a few weeks during which time he also completed the 39th and 41st symphonies (26 June and 10 August, respectively). Nikolaus Harnoncourt conjectured that Mozart composed the three symphonies as a unified work, pointing, among other things, to the fact that the Symphony No. 40, as the middle work, has no introduction (unlike No. 39) and does not have a finale of the scale of No. 41's. The 40th symphony exists in two versions, differing primarily in that one includes parts for a pair of clarinets (with suitable adjustments made in the other wind parts). Most likely, the clarinet parts were added in a revised version. The autograph scores of both versions were acquired in the 1860s by Johannes Brahms, who later donated the manuscripts to the Gesellschaft der Musikfreunde in Vienna, where they reside today. Premiere As Neal Zaslaw has pointed out, writers on Mozart have often suggested – or even asserted – that Mozart never heard his 40th Symphony performed. Some commentators go further, suggesting that Mozart wrote the symphony (and its companions, Nos. 39 and 41) without even intending it to be performed, but rather for posterity; as (to use Alfred Einstein's words), an "appeal to eternity". Modern scholarship suggests that these conjectures are not correct. First, in a recently discovered 10 July 1802 letter by the musician Johann Wenzel (1762–1831) to the publisher Ambrosius Kühnel in Leipzig, Wenzel refers to a performance of the symphony at the home of Baron Gottfried van Swieten with Mozart present, but the execution was so poor that the composer had to leave the room. There is strong circumstantial evidence for other, probably better, performances. On several occasions between the composition of the symphony and the composer's death, symphony concerts were given featuring Mozart's music for which copies of the program have survived, announcing a symphony unidentified by date or key. These include: Dresden, 14 April 1789, during Mozart's Berlin journey Leipzig, 12 May 1789, on the same trip Frankfurt, 15 October 1790 Copies survive of a poster for a concert given by the Tonkünstlersocietät (Society of Musicians) 17 April 1791 in the Burgtheater in Vienna, conducted by Mozart's colleague Antonio Salieri. The first item on the program was billed as "A Grand Symphony composed by Herr Mozart". Most important is the fact that Mozart revised his symphony (see above). As Zaslaw says, this "demonstrates that [the symphony] was performed, for Mozart would hardly have gone to the trouble of adding the clarinets and rewriting the flutes and oboes to accommodate them, had he not had a specific performance in view". The orchestra for the 1791 Vienna concert included the clarinetist brothers Anton and Johann Nepomuk Stadler; which, as Zaslaw points out, limits the possibilities to just the 39th and 40th symphonies. Zaslaw adds: "The version without clarinets must also have been performed, for the reorchestrated version of two passages in the slow movement, which exists in Mozart's hand, must have resulted from his having heard the work and discovered an aspect needing improvement". Regarding the concerts for which the Symphony was originally intended when it was composed in 1788, Otto Erich Deutsch suggests that Mozart was preparing to hold a series of three "Concerts in the Casino", in a new casino in the Spiegelgasse owned by Philipp Otto. Mozart even sent a pair of tickets for this series to his friend Michael Puchberg. But it seems impossible to determine whether the concert series was held, or was cancelled for lack of interest. Zaslaw suggests that only the first of the three concerts was actually held. The music The symphony is scored (in its revised version) for flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, and strings. The work is in four movements, in the usual arrangement for a classical-style symphony (fast movement, slow movement, minuet, fast movement):
Beethoven Swieten Hoffmeister Kühnel Joseph Haydn Wolfgang Amadeus Mozart Johann Georg Albrechtsberger Burg 1795 1797 1800 1801
Ludwig van Beethoven's Symphony No. 1 in C major, Op. 21, was dedicated to Baron Gottfried van Swieten, an early patron of the composer. The piece was published in 1801 by Hoffmeister & Kühnel of Leipzig. It is not known exactly when Beethoven finished writing this work, but sketches of the finale were found to be from 1795. The symphony is clearly indebted to Beethoven's predecessors, particularly his teacher Joseph Haydn as well as Wolfgang Amadeus Mozart, but nonetheless has characteristics that mark it uniquely as Beethoven's work, notably the frequent use of sforzandi, as well as sudden shifts in tonal centers that were uncommon for traditional symphonic form (particularly in the 3rd movement), and the prominent, more independent use of wind instruments. Sketches for the finale are found among the exercises Beethoven wrote while studying counterpoint under Johann Georg Albrechtsberger in the spring of 1797. The premiere took place on 2 April 1800 at the K.K. Hoftheater nächst der Burg in Vienna. Most sources agree that the concert program also included Beethoven's Septet as well as a symphony by Mozart, but there is some disagreement as to whether the remainder of the program included excerpts from Haydn's oratorio The Creation or from The Seasons and whether Beethoven's own Piano Concerto No. 1 or No. 2 was performed.[2][3][4] This concert effectively served to announce Beethoven's talents to Vienna. Ludwig van Beethoven Symphony No. 1 Op. 21 1. Adagio molto / Allegro con brio 2. Andante cantabile con moto 3. Menuetto. Allegro molto e vivace 4. Adagio / Allegro molto e vivace For more: (http•••) #MusicHistory #ClassicalMusic #Beethoven
Franz Anton Hoffmeister Eduard Brunner Speyer Kühnel Peters Schubart Gerber Münchener Kammerorchester 1754 1763 1768 1780 1783 1785 1790 1795 1798 1799 1803 1805 1812 1840 1929 1939 2017 2019
★ Follow music ► (http•••) Composer: Franz Anton Hoffmeister +••.••(...)) Work: Klarinettenkonzert B-Dur, Nr.2 (c.1780) Performers: Eduard Brunner +••.••(...), clarinet); Münchener Kammerorchester; Hans StadImair +••.••(...), conductor) Klarinettenkonzert B-Dur, Nr.2 (c.1780) 1. Allegro 0:00 2. Adagio 9:01 3. Rondo 15:02 Drawing: Johann Heinrich Ramberg +••.••(...)) - Drunk soldiers seated on a table to right (1798) Image in high resolution: (http•••) Further info: (http•••) Listen free: (http•••) / Franz Anton Hoffmeister (Rothenburg am Neckar, 12 May 1754 - Vienna, 9 February 1812) Austro-German composer and music publisher. He attended the University of Vienna in law beginning in 1768, but shortly thereafter he decided to pursue a career in music. In 1783 he began to publish his own music, and by 1785 he had established a firm in Vienna to compete with Artaria. Well educated, erudite, and congenial, he was a welcomed guest in intellectual circles in the Austrian capital for the next several decades, while his publishing business thrived with a branch in Linz and collaborations with others such as Bösseler in Speyer. After 1790 he began to devote himself more to his music, and in 1799 he undertook a concert tour as a keyboardist to Germany and France. In Leipzig he formed a partnership with Ambrosius Kühnel, which became one of the early progenitors of the firm of C. F. Peters. The international success of particularly his Singspiel Der Königssohn aus Ithaka made it possible for him to divest himself from his businesses by 1805. As a composer, he concentrated mostly upon instrumental works, since these were the most publishable and salable music. Hoffmeister was extraordinarily prolific and many of his Viennese works were also popular in foreign cities: by 1803 his most successful opera, 'Der Königssohn aus Ithaka' (Vienna, 1795), had been performed in Budapest, Hamburg, Prague, Temesvár (now Timişoara), Warsaw and Weimar; his numerous chamber works were published in Amsterdam, London, Paris and Venice, as well as throughout German-speaking regions. Although his symphonies were admired for their flowing melodies (Schubart) and his pedagogical works for being both pleasant and instructive (Gerber), his style is generally lacking in originality and depth. His works include nine Singspiels, two cantatas/oratorios, an offertory, 66 symphonies, 11 serenades, 54 sets of dances, 59 concertos (25 for fortepiano, 14 for flute, and 20 for other instruments, including five sinfonia concertantes), 30 quintets (string, flute, and other), 57 string quartets, 46 flute quartets, nine piano quartets, 18 string trios, 12 flute trios, 76 string duets, 130 flute duets, 50 violin sonatas, five flute and viola sonatas, 26 piano sonatas, and numerous other pieces for winds and keyboard. His music is in need of further exploration.
Beethoven Swieten Hoffmeister Kühnel 1795 1801
Ludwig van Beethoven's Symphony No. 1 in C major, Op. 21, was dedicated to Baron Gottfried van Swieten, an early patron of the composer. The piece was published in 1801 by Hoffmeister & Kühnel of Leipzig. It is unknown exactly when Beethoven finished writing this work, but sketches of the finale were found from 1795. I. Adagio molto - Allegro con brio 0:00 II. Andante cantabile con molto 09:30 III. Menuetto - Allegro molto e vivace 15:28 IV. Adagio - Allegro molto e vivace 19:26
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