F. Schubert - Octet in F major, D. 803 скачать в хорошем качестве

F. Schubert - Octet in F major, D. 803

F. Schubert - Octet in F major, D. 803 | OSLive Streaming Orchestra of St. Luke's performs Schubert's Octet for OSLive Steaming at DiMenna Center for the Performing Arts, New York , NY, 2020 1. 00:00 Adagio – Allegro – Più allegro 2. 16:52 Adagio 3. 29:30 Allegro vivace – Trio – Allegro vivace 4. 36:33 Andante – variations. Un poco più mosso – Più lento 5. 50:40 Menuetto. Allegretto – Trio – Menuetto – Coda 6. 58:51 Andante molto – Allegro – Andante molto – Allegro molto Violins: Benjamin Bowman and Mitsuru Tsubota Viola: Kaya Katarzyna Bryla - Weiss Cello: Thapelo Masita Bass: Anthony Manzo Clarinet: Jon Manasse Bassoon: Marc Goldberg French horn: Julia Pilant "Franz Schubert began writing his Octet in F Major, one of his most ambitious, large-scale chamber works, during the height of Beethoven’s late-career popularity in the city of Vienna. The daring theatricality, dramatic passions, and forward-thinking musical complexities of Beethoven’s compositions had thoroughly infiltrated the tastes of Vienna’s musical audiences by the time Schubert was coming of age as a composer. The pressure to compare with Beethoven’s towering reputation, coupled with the fierce competition of the Viennese musical scene and Schubert’s own irrepressible creativity led to the relatively swift genesis of the octet, a chamber piece whose length, scope, and ingenuity more closely resembles a Beethoven symphony than it does similar pieces by Schubert’s contemporaries. Schubert was commissioned to write the octet by Count Ferdinand von Troyer, chief steward in the court of Archduke Rudolf, brother to Emperor Leopold II and Beethoven’s former pupil. Troyer wanted Schubert to compose a work similar to Beethoven’s popular Septet, with the clarinet part written expressly for the Count, who was an accomplished clarinetist. Schubert began working on the piece in February 1824, adding a second violin to the clarinet, bassoon, horn, violin, viola, cello, and double bass of Beethoven’s septet. Work on the octet seems to have completely engulfed Schubert. He completed the lengthy, nearly hour-long work after a few weeks of intensely focused concentration observed by the painter Moritz von Schwind, who relayed in a letter to a mutual friend: “Schubert has now long been at work on an octet, with the greatest enthusiasm. If you go and see him during the day he says “Hello. How are you?” and carries on working…” Beethoven loomed over Schubert not only mentally but also everywhere in the city around him. Soon after the premiere of the octet, Vienna would see the premiere of Beethoven’s House of Consecration Overture, as well as performances of the Symphony No. 9 and Missa Solemnis. Schubert would later write to his friend, painter Leopold Kupelweiser that he viewed the octet and the Rosamunde and Death and the Maiden string quartets also written during this time as preparing him to write a “grand symphony”—perhaps a hint at his own aspirations to emulate the grand symphonies of Beethoven. Whether or not Schubert was as preoccupied with the success and popularity of Beethoven, his octet is an ambitious and colossal accomplishment, which stretches the boundaries of chamber music, surpassing Beethoven’s septet (which the composer himself had disdain for), and reaching toward the symphonic summit. The octet was first performed on April 1, 1824 at a private concert in the home of a Viennese nobleman. In addition to Troyer, who premiered the prominent clarinet part, the ensemble included several other instrumentalists who had premiered Beethoven’s septet nearly 25 years earlier; however, unlike that septet, Schubert’s octet was not an immediate success, nor would it be recognized for the masterpiece it is for another century. The first public performance of the octet didn’t occur until 1827, receiving a warm, if unenthusiastic, critical reception, and it would take nearly six decades after the first performance for the octet to be published in its entirety. There are many structural similarities between Beethoven’s Septet and Schubert’s Octet, in addition to the near-identical orchestration (plus one violin). They both contain six movements, which mirror one another in several ways: the first and sixth movements of each begin with slow introductions and the Scherzo third movements contrast with Menuetto fifth movements. Beyond that, Schubert’s Octet distinguishes itself as a work largely independent of its inspiration and bears the composer’s characteristic combination of lyricism, longing, and drama." Video courtesy of Orchestra of St. Luke's, New York, NY