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Hans Pfitzner Ulf Hoelscher Brahms Reger Palestrina Rosé Schumann Rosé Quartet 1836 1908
Performers: Ulf Hoelscher Ensemble. 00:00 I. Movement: Allegro ma non troppo 11:47 II. Movement: Intermezzo 18:36 III. Movement: Adagio 35:50 IV Movement: Finale Hans Pfitzner was a german composer of the late 19th and early 20th centuries. He represents together with Strauss the last remnants of the late romantic Germanic tradition. In the case of Pfitzner, he symbolizes the more absolute conception of music, taking Brahms and Reger as his main models, as opposed to the programmatic, championed by Strauss. He cultivated the chamber genre extensively, as well as the concerto, providing one piano, violin, and two cello essays in the genre. His most notable work, however, may be his opera Palestrina. The Quintet was written and premiered in 1908 by the Rosé Quartet with Pfitzner playing the piano. The premiere went largely unnoticed, it would seem. Nonetheless, the piece is a gigantic contribution to the genre, a worthy companion to those of Schumann and Brahms, and a real tour de force for all the performers. It shows Pfitzner at the height of his powers and signals the beginning of his mature period. It also stands as a majestic culmination of the quintet genre. The first movement is probably one of the freshest and most epic compositions of the repertoire. It is cast in a typical sonata form, albeit a monothematic one. It originates from a single melody, one of those tunes that sticks in your head and you won't be able to get rid of. The greatest achievement of Pfitzner is that he's able to create a very rich development of the theme as a whole, without necessarily having to subdivide it into smaller functional units. The whole movement is restless: even in passages where the music seems to quiet down, the tight contrapuntal writing keeps everything in tension. Remarkable is the development, where basically at any given bar the theme is present in at least one of the voices. Here Pfitzner displays all his contrapuntal ingenuity. The theme is presented in inversion, in canon, in diminution, etc. It culminates in a massive rush of the piano that leads directly to the reexposition with such a fluidity that if you're not careful you won't realize it. However, the highlight of the movement, probably of the entire piece if you ask me, is the triumphant coda, that releases all the might of the ensemble and presents the theme in all its grandeur. Few moments in the entire classical repertoire reach the level of dramatism and ecstasy that Pfitzner achieves here. After this explosion of color, the second movement offers a respite. The title indicates the relaxed mood of the movement, yet the counterpoint is by no means relaxed: the opening gesture of the cello, highly elegant and, to quote Pfitzner's own indication, "with calm grace", serves as the basis for most of the development of the piece. It sounds like a calm discussion between a group of friends, highly eloquent, and with very fresh moments like the rich filigree of the piano in the high register. If the first movement if the dramatic center of the quintet, the enormous adagio is the emotional climax. It is a mournful piece full of pathos, at times taking the form of a solemn funeral march, at times dissolving completely into a lament. Worthy of mention is the extended recitativo passage over a large dominant pedal, where all the sorrow turns into fierce rage and desperation, reaching a breve liberation in C# mayor, before returning back to the miserly mood. It's interesting to note the reciprocity of this movement with the first. Both employ materials of the development as the culmination of the coda, both seem to be firmly established in one mood and hardly ever do the movements deviate from it, etc. The final movement is joyous and bouncy. The theme is full of uncompromised energy, and of all the movements this one is the most tonally drifting. The theme itself seems to oscillate between tonalities, and hardly ever do we rest on a particular tonal centre until the end. A very elegant semiquaver filigree brings further joy and lightness. Halfway through we start to appreciate that segments of the theme actually trace their roots to the original theme of the first movement. In the end, like a tired child after playing, the piece slowly and peacefully dies down. There is a return to the coda of the first movement, tying the knot of the whole piece, but the material is abandoned and the piece ends with the semiquaver filigree fading in the distance. Get the music: (http•••) Video made for educational purposes. No copyright infringement intended.
Arnold Josef Rosé Beethoven Fischer Ruzicka Brahms Gustav Mahler Sir Adrian Boult Hellmesberger Goldmark Bayreuth Bach Vienna Philharmonic Orchestra Rosé Quartet Bayreuth Festival 1863 1867 1881 1888 1896 1902 1906 1938 1944 1945 1946 1975
Arnold Rosé, Paul Fischer, violins, Anton Ruzicka, viola; Friederich Buxbaum, cello Arnold Josef Rosé (born Rosenblum, 24 October 1863, Iaşi / 25 August 1946, London) was a Romanian-born Austrian Jewish violinist. He was leader of the Vienna Philharmonic Orchestra for over half a century. He worked closely with Brahms. Gustav Mahler was his brother-in-law. Although not known internationally as a soloist he was a great orchestral leader (concertmaster) and player of chamber music, leading the famous Rosé Quartet for several decades. For more than half a century Rosé was at the center of musical life in Vienna - and even then, it took Hitler's Anschluss of 1938 to displace him. Rosé's destiny was intimately bound up with the two most controversial figures in Viennese music at the turn of the century, Gustav Mahler and Arnold Schoenber; and he represented the final glory of the 19th-century Viennese string style. In 1881 he was made leader of the Vienna Court Opera. This orchestra, in unique Viennese tradition, played both in the orchestra pit and on the concert platform, and were the parent of the Vienna Philharmonic orchestra. He remained leader of these two venerable institutions until the 1930s. His reputation as an orchestral leader became legendary. For Sir Adrian Boult he was quite simply "Europe's greatest orchestral leader of his time". Two years later founded his quartet which was considered - not least by Brahms - superior to Hellmesberger's, in other words, the best of it's time. Rosé, who wed Mahler's sister Justine in 1902 (his cellist brother Eduard was already married to the composer's youngest sister Emma), played Goldmark and other contemporary composers as well as the Classics. From 1888 to 1896 he led the Bayreuth Festival Orchestra and when his own organization appeared in concert as the Vienna Philharmonic. The Rosé family lived in comfortable circumstances, but life was never to be easy for Jews anywhere in Europe. Emperor Franz Josef had guaranteed "freedom of religion and conscience" in 1867, but the reality was often different. They had two children: Alfred +••.••(...)), who became a pianist and conductor, and Alma +••.••(...)) who was a very successful violinist, but whose career took a highly tragic turn as she ended up directing an orchestra of prisoners in the concentration camp of Auschwitz-Birkenau. She eventually died in the camp. Justine Rosé died on 22 August 1938. Arnold was devastated by her death. Unable to continue living under Nazi occupation, he left Vienna four weeks later and travelled via Holland to England where he spent the last six years of his life. He continued to play chamber music with Buxbaum and other colleagues. His last appearances were in 1945; thus his career stretched over 65 years. After he learned the terrible news of Alma's death at Birkenau, he found it difficult to continue with his work, and died soon afterward. He published editions of the violin sonatas of Bach and Beethoven and of Beethoven's Quartets op 18.
Arnold Schoenberg Schönberg Evelyn Lear Rasch Arnold Rosé Gustav Mahler Marie Gutheil Schoder Rosé Quartet 1874 1907 1908 1921 1934 1937 1951 1967
- Composer: Arnold Schönberg {Schoenberg after 1934} (13 September 1874 / 13 July 1951) - Performers: New Vienna String Quartet, Evelyn Lear (Soprano) - Year of recording: 1967 String Quartet No. 2 for Soprano & String Quartet in F sharp minor, Op. 10, written in 1908. 00:00 - I. Mäßig (Moderate), F sharp minor 07:09 - II. Sehr rasch (Very brisk), D minor 14:18 - III. "Litanei", langsam ("Litany", slow), E flat minor 19:50 - IV. "Entrückung", sehr langsam ("Rapture", very slow), No key This work in four movements was written during a very emotional time in Schoenberg's life. Though it bears the dedication "to my wife", it was written during Mathilde Schoenberg's affair with their friend and neighbour, artist Richard Gerstl, in 1908. Previous dedicatees are guessed at to have been either Arnold Rosé, the founder of the Rosé Quartet (who performed Schoenberg's string quartets) or Gustav Mahler, a good friend of Schoenberg. The third and fourth movements are quite unusual for a string quartet, as they also include a soprano singer, Marie Gutheil-Schoder, using poetry written by Stefan George from the collection "Der siebente Ring" (The Seventh Ring), which was published in 1907. "I was inspired by poems of Stefan George, the German poet, to compose music to some of his poems and, surprisingly, without any expectation on my part, these songs showed a style quite different from everything I had written before." - Arnold Schoenberg (1937) The first three movements are tonal, though as in his First String Quartet this is the very extended tonality of the late Romantic period. The first movement is in a compressed sonata form. The second movement, the scherzo, quotes a Viennese street-song, 'Oh du lieber Augustin' (Oh, dear Augustin). The fourth movement has no key signature, and may be considered Arnold Schoenberg's first experiment in atonality, making use of the entire chromatic gamut, though its adventurous harmony comes to a close on a haunting F sharp major chord. Its first performance was given by the Rosé Quartet and Marie Gutheil-Schoder in Vienna on 21 December 1908. The work was later revised in 1921; Schoenberg also made a version for full string orchestra.
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