Carl Maria von Weber: Andante and Hungarian Rondo, Op. 34/J. 158 (1809/1813) скачать в хорошем качестве

Carl Maria von Weber: Andante and Hungarian Rondo, Op. 34/J. 158 (1809/1813)

00:00 - I. Andante: Andante 04:34 - II. Hungarian Rondo: Allegretto _____ Bassoon: Matthias Rácz Conductor: Johannes Klumpp Orchestra: Nordwestdeutsche Philharmonie Year of Recording: 2013 _____ "Weber was born in Germany, near Lübeck, and died in London of tuberculosis. He is considered the founder of the German national opera, using libretti in German, drawing from German folklore for his plots, and hinting (as he does in this work) at popular German music of his time. He was a close contemporary of Beethoven, and like him, is considered to be a post-Classical or early-Romantic composer. His concerto for bassoon is second only to Mozart's in popularity, a fact which may provoke us to think of him more as a post-Classical than as an early-Romantic composer. I am tempted to compare Weber's music to the painting of Ingres, who, as a transitional figure, used the technique of the Classical painters, but the exotic "themes" of the Romantics. In his concerto for bassoon, for example, Weber uses the Classical sonata form, but introduces an exotic Neapolitan rhythm. In the music we hear today, he writes in another form common to Classical composers, the rondo, but he alludes to Hungarian music ("Ungarese" is Italian for "Hungarian"). since romantic composers continued to use form developed by their Classical predecessors, this alone does not mark him as a classicist, but his dynamic treatment of the music has more in common with Classicism than it does with Romanticism. Crescendos and diminuendos are kept to a minimum, and the work reminds us of the terraced dynamics of an earlier period. A rondo is an extension of the ternary form, where instead of a simple a-b-a, we have an a-b-a-c-a, or even a-b-a-c-a-d-a. In short, it is a matter of a theme played several times, with intervening "episodes" providing contrast. The Andante e Rondo Ungarese was written in 1809 as a viola piece, and rewritten in 1813 for the bassoon. It begins with a series of variations on a simple, almost languorous theme, set to a loping rhythm: Andante. The solo bassoon is accompanied by the strings, pizzicato. The variations invert the roles of soloist and tutti, with the orchestra taking the theme, while the bassoon plays a varied counterpoint. The variations are punctuated by the dit-dit-dit-day of Beethoven's opening to his fifth symphony. Is it a coincidence that Beethoven's work was performed in Vienna only a few months before Weber wrote this work? The rondo is sprightly, contrastic with the loping rhythm of the andante, and suggests the prancing of a circus horse, though it is meant to suggest a Hungarian folk dance. The theme is devised simply; the second half of the motif is an inversion of the first half. It is in the rondo, particularly, that the "step dynamics" are most noticeable. The work ends in a rapid series of triplets." (James Adams) ____ © COPYRIGHT Disclaimer, Under Section 107 of the Copyright Act 1976. Allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.