Presents
Adolphe Blanc
Septet in E flat Major, Op.54
For Piano, Viola Cello, Bass, Flute, Oboe and Horn
Adolphe Blanc (1828-1885) was born in the French town of Manosque. His musical talent was recognized early and he entered the Paris Conservatory at age 13 first taking a diploma in violin and then studying composition with the then famous composer Fromental Halevy. Although for a time, he served as a music director of a Parisian theater orchestra, he primarily devoted himself to composing and most of his works were for chamber ensembles. During his lifetime, these works were much appreciated by professionals and amateurs alike and in 1862 he won the prestigious Chartier Chamber Music Prize. Besides the fact that his works are pleasing and deserving of performance, Blanc's historical importance cannot be underestimated. He was one of the very few in France trying to interest the public, then with only ears for opera, in chamber music. He paved the way for the success of the next generation of French composers, Among his chamber works are three string trios, four string quartets, seven string quintets—four for 2 violins, viola, cello and bass or two cellos, the other three for 2 violins, 2 violas and cello—-fifteen piano trios, three piano quartets, four piano quintets and a septet for winds and strings.
Writing in his Chamber Music Handbook, the famous chamber music critic Wilhelm Altmann commented “The chamber music of Adolphe Blanc, himself a violist and quartet performer, is of the first order. In the style of the Vienna Classics, the works are always well constructed, with appealing melodies and interesting.”
Probably the most famous work of chamber music that Blanc ever wrote was his Op.40 Septet for the same combination as Beethoven's Op.20 Septet. Neither has a piano. This septet does, and in fact, it would be fair to say that the piano plays the most important though not dominant role in the work. Dating from 1876, some 15 years after his first septet, it was dedicated to a Madame de Balachoff, a Russian countess at that time living in Paris. Most probably, she was an able amateur pianist, for while the piano is often given an important role, it does not require a virtuoso technique. In four movements, the opening Allegro maestoso e risoluto has for its main subject a horn call theme and thus the horn is given substantial solos. In the movement, the piano is given several important running passages which add a sense of piquancy. The second movement, Andante affetuoso, begins with a rather lengthy piano solo before the others finally join in en masse. The flute is entrusted with the fine second melody. The massing of the instruments at times gives the work an orchestral feel. The show-stopper is the incredibly exciting Scherzo-vivace which serves as the third movement. It is a wild, whirling affair. The somewhat calmer but not actually calm trio section provides a nice contrast. The finale, Allegro ma non troppo, is subtitled chasse, a term meaning the chase of wild animals during a hunt, and here the horn takes the lead as the music portrays the hunt.
Parts: $44.95
Parts & Score: $74.95
