What's New for Spring 2024
Click on the links in all caps and boldface for more details and soundbites
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 The
German composer and violin virtuoso ANDREAS ROMBERG (1767-1821)
during the first part of his life lived as a touring concert artist.
While in Vienna, he reestablished his earlier friendship with
Beethoven and became a good friend of Haydn. In chamber music, string quartets were his metier which
he modeled on those of Haydn. His
PIANO QUARTET IN D MINOR is in large part a
Haydnesque work. It is full of appealing melodies and nice
part-writing. It deserves to be brought into the concert hall where
it is sure to be well-received and can also be recommended to
amateur groups. |
 HEDWIGE
CHRETIEN (1859-1944), cspent 15 years as a student at the
Paris Conservatory winning virtually every prize there was to
win--in harmony, piano, composition and many others. She was
appointed Professor of Music Theory and her books are still in use
today.She wrote a fair of first
rate music which somehow has flown beneath the radar. Her
WIND QUINTET IN G MINOR
from the 1880s is an excellent example of her tremendous
compositional talent. This is a chamring work, very French, which
would make an excellent choice for a concert program. It is not a
difficult work to play and as such can be warmly recommended to
amateurs. |
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 ADOLPHE
BLANC (1828-1885) was one of the few 19th century French
composers who did not dedicate himself to opera at a time when
French audiences were interested in little else. Instead Blanc
devoted himself to writing chamber which to the French upper classes
and to home music makers. Whether he was writing or strings or winds
with or without piano, it did not matter for the result was always
beautiful, appealing music. For this he won the prestigious Chartier
Chamber Music Prize. His
ROMANCE FOR OBOE, HORN AND PIANO is a superb example
of his gift for melody and his talent for writing in true chamber
music style. This appealing work makes an excellent short program
work or encore. |
 British
born of an American father and German mother, REBECCA CLARKE (1886-1979)was
originally trained as a violinist. However, when she decided she
wanted to study compositon, her teacher Charles Villiers Stanford
advised her to switch to viola. This she did and became a virtuoso
on that instrument. Though she composed very little, several works
which she did write won prizes, including her
PIANO TRIO which was entered anonymously. The work,
though not traditionally tonal, is not atonal. Dating from 1921, it
was hailed as a masterpiece but soon fell into oblivion. The writing
is highly original and fresh sounding. Professional ensembles would
do well to bring this work into the concert hall. |
 The
Swedish composer,
LARS-ERIK LARSSON (1908-1986), who was trained in Vienna
with Alban Berg and in Leipzig with the eminent musicologist Fritz
Reuter, went on to enjoy a career as a conductor, professor of
composition, radio personality and composer. He became one of the
most important Swedish composers of the 20th century. His style was
quite varied, ranging from late Romantic to Neo Classical to 12 tone
serial music. His
QUARTETTO ALLA SERENATA
dating from the mid 20th century is primarily a Neo Classical work
with touches of the Romantic and a very occasional use of wayward
tonaliity. This engaging work deserves concert performance and can
certainly be managed by amateurs experience with modern music. |
 Though
trained at the St Petersburg Conservatory by the likes of
Balakirev, Rimsky Korsakov and Liadov,
FEODOR AKIMENKO (1876-1945), went his own way
much like his contemporary Alexander Scriabin. Not only does
his music not bear any resemblance to that of his teachers,
it does not sound Russian.
His
STRING TRIO IN C MINOR,
composed when he was bearly out of the Conservatory sounds
light years ahead of anything else from this time (1899)
Undoubtably a masterwork, one can hear touches of French
Impressionism and Central European developments in this
trio. An extraordinary work by any standard for this
ensemble, it certainly deserves to be heard in concert. |
 Friedrich
Ludwig von Preussen better known as LOUIS FERDINAND
PRINCE OF PRUSSIA (1772-1806)
was yet another highly talented composer whose life was cut short
while still young. In his case, it was his own fault, a professional
soldier who refused to surrender during battle and insisted on
fighting until he was killed. Schumann considered him one of the
most talented composers of the late classical era and his
PIANO QUARTET NO.2 IN F MINOR is widely regarded as
the best work of this genre from the classical era. Unlike most
piano quartets of this period, it is not a solo work for piano with
string accompaniment. The part-writing is good for all. A must for
concert when a classical era piano quartet is required. |
Born
in Salzburg,
JOSEPH WÖLFL (1773-1812), first studied violin, piano and
composition with Mozart's father Leopold Mozart and then with Haydn's
brother Michael Haydn. Upon moving to Vienna, he studied briefly with
Wolfgang. With this kind of a musical education it is not surprising
that he produced first rate music. It
is no an exaggeration to say that his quartets are on a par with those
of Joseph Haydn. His
JOSEPH ACHRON (1886-1943), Lithuanian-American composer and
violinist,though he enjoyed a career as a touring solist throughout
Europe is remembered today for compositions using primarily Eastern
European Jewish melodies. Most of his works were for violin and piano,
however he did write a few chamber music works including his
Much
of the information we have about the
Italian composer and violinist,
GIUSEPPE MARIA CAMBINI (1746-1825), comes from
autobiographical articles which Cambini almost certainly embellish,
such as the fact that he played in a string quartet with Nardini,
Manfredi and Boccherini. What is certain is that for more than 20
years, his music was incredibly popular in Paris, London, Amsterdam
and many other cities throughout Europe.
A prolific composer of chamber music much of which was considered
important even by the likes of Mozart. An example is his elegant