Louise Farrenc Symphony No. 3 in G Minor, op. 36 скачать в хорошем качестве

Louise Farrenc Symphony No. 3 in G Minor, op. 36

#LouiseFarrenc Louise Farrenc Symphony No. 3 in G minor, op. 36 October 7, 2021 First Christian Church, Colorado Springs, CO The Chamber Orchestra of the Springs Thomas Wilson, Music Director www.chamberorchestraofthesprings.org Audio and Video Engineer: Michael Lascuola Program Notes by Jennifer Carpenter Louise Farrenc (b. March 31, 1804 in Paris, France - d. September 15, 1875 in Paris, France) Symphony No. 3 in G Minor, op. 36 (1847) There are composers who enjoyed rightful praise during their careers but whose music seemingly disappears after their death. Unfortunately, this happens far too often with women composers. But the French composer Louise Farrenc deserves to be celebrated and her music known. Farrenc (née Dumont) showed talent as a pianist early on and by the age of 15 she began studying composition and orchestration at the Paris Conservatoire. She married the music publisher Aristide Farrenc in 1821 and together they ran a successful music publishing business. Farrenc’s earliest published compositions for piano appeared intermittently between 1825 and 1839; all were issued by her husband and several were published in London and Bonn. Receiving special praise from composer Robert Schumann and the French critic Maurice Bourge, her piano pieces soon became established piano repertoire. In 1842 the Paris Conservatoire appointed Farrenc professor of piano, a post she retained until her retirement in 1873. She was the only woman musician at the Conservatoire in the 19th century to hold a permanent chair of this rank and importance. Although there were well-known female composers in the 19th century, they often thrived because they were fortunate enough to share a last name with an already recognizable composer, e.g. Clara Schumann and Fanny Mendelssohn. Both were talented in their own rights, but their familial connections gave them visibility that someone like Farrenc lacked. Her success built steadily over time: she focused on piano compositions before expanding to writing orchestral and chamber works, including her three symphonies. Symphonic writing belonged to the Germans in the 19th century and Farrenc faced an uphill battle finding success with orchestral compositions in France where opera reigned supreme. Systemic problems in French musical life led to a lack of orchestras for hire; composers had to put together an ensemble at their own expense or hope their composition was chosen for performance by the Société des Concerts du Conservatoire. Fortunately, this society did premiere Farrenc’s Symphony No. 3 in G Minor in 1849. Farrenc’s Third Symphony’s first movement opens with a short adagio presented by hesitant woodwinds and trembling strings, as if the music is sneaking onto the stage. But what follows is a confident and dramatic Allegro that releases the pent-up energy present in the opening Adagio. The Allegro is rather Beethoven-esque in its urgency and grandiosity. Perhaps Farrenc is paying homage to the German master. The second movement lives up to its “cantabile” descriptor: it begins its songlike melody with the clarinet who is joined by the strings who share in the elegant dialog throughout the movement. The timpani provides a steady yet emotional heartbeat that underpins the melodies. The third movement is a lively Scherzo. Farrenc manages to introduce each of the instruments (particularly the winds) in their dizzying motives before bringing them all together in their shared frenzy. There is a spirited joy reminiscent of Mendelssohn’s scherzo movements, but I dare say Farrenc outdoes Mendelssohn with her whirling, flighty gossamer of motives that dance around the orchestra. The final movement, a wild Finale - Allegro, releases any restraint she may have shown in any of the previous movements. It opens with a memorable unison tune before the melody oscillates with frenetic wonder around the orchestra. The movement is full of false endings, but they all build up into a dark and uncompromising minor-key coda (her last left turn!) before the thrilling, cohesive, and ultimate final cadence. We may hear references to the 19th-century German symphonic masters, but the culmination of each of her compositional devices results in works that are distinctively her own. Farrenc shows sensational mastery of her sparkling orchestration, dramatic formal processes, and long-range harmonic planning. She has a distinguishably expressive and significant voice that deserves to be heard.