Franz Danzi: Bläserquintette op.56 Nr.1-3
Bläserquintette op.56 Nr.1-3
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
- Künstler: Michael Thompson Wind Quintet
- Label: Naxos, DDD, 94
- Bestellnummer: 7423413
- Erscheinungstermin: 1.6.1995
Obwohl Danzi nach 1812 in keinem der wichtigsten Musikzentren Europas lebte, deutet die Veröffentlichung seiner Quintette op. 56 für Flöte, Oboe, Klarinette, Horn und Fagott darauf hin, dass er auf dem neuesten Stand der Entwicklung blieb, denn diese Instrumentenkombination wurde kaum verwendet, bis Anton Reicha 1817 in Paris sechs Quintette veröffentlichte. Weitere Sechsersätze folgten jährlich für jeweils drei Jahre, und dann veröffentlichte Danzi 1821 seine eigenen Quintette op. 56, die er nicht seinen üblichen Verlegern, sondern dem Pariser Maurice Schlesinger übergab und deren Widmung an Reicha in grösseren Buchstaben als sein eigener Name erscheinen liess. Dies war eindeutig ein Versuch, von der Popularität von Reichas Quintetten zu profitieren, und der Verkauf wurde dadurch gefördert, dass Danzi einen prägnanten, technisch anspruchslosen und formal konventionellen Stil verwendete, der im Gegensatz zu Reichas expansivem und oft virtuosem Ansatz stand. Auch die Quintette op. 56 zeigen Danzis Gabe für attraktive Melodien und sanfte chromatische Harmonien, doch während er in seiner Kammermusik gewöhnlich die höchste Lage bevorzugte, folgen diese Werke dem Beispiel Reichas und behandeln alle Instrumente gleich.
Das Bläsersextett ist nicht durch Reichas Einfluss entstanden, sondern durch die "Harmonieorchester", die in der zweiten Hälfte des achtzehnten Jahrhunderts von der Aristokratie in ganz Europa beibehalten worden waren. Diese populären Ensembles mit zwei Hörnern, zwei Fagotten, zwei Klarinetten und für zwei Oboen zogen eine ungeheure Menge an Musik an, darunter eine immense Anzahl populärer Operntranskriptionen sowie einige originelle Serenaden und Divertimenti. Danzis einziges Werk dieser Art, das Sextett in Es-Dur, wurde nicht in seiner ursprünglichen Form veröffentlicht und überlebt heute nur in einer einzigen Manuskriptkopie, aber das Datum seiner Revision für Oboe oder Violine, zwei Bratschen und Cello, die im August 1802 als Op. 10 veröffentlicht wurde, lässt vermuten, dass es mit ziemlicher Sicherheit für ein "Harmonie"-Ensemble in München komponiert wurde. Auf das einleitende Allegro folgt zunächst ein besonders berührender langsamer Satz und dann ein zügiges Menuett. Das Finale, ein lebhafter Satz im 6 / 8-Takt, spiegelt die zeitgenössische Mode für Sätze wider, die an die Musik der Jagd erinnern.
Although Danzi did not live in any of Europe's main musical centres after 1812, the publication of his Op. 56 Quintets for flute, oboe, clarinet, horn and bassoon indicates that he kept abreast of the latest development, for this combination of instruments had hardly been used until Anton Reicha published six quintets in Paris in 1817. Further sets of six followed annually for each of the next three years, and then in 1821 Danzi published his own Quintets Op. 56, giving them not to his usual publishers but to the Parisian Maurice Schlesinger and allowing their dedication to Reicha to appear in larger letters than his own name. This was clearly an attempt to cash in on the popularity of Reicha's quintets, and sales were helped by Danzi's use of a concise style, technically undemanding and formally conventional, which contrasted with Reicha's expansive and often virtuoso approach. The Op. 56 Quintets also exhibit Danzi's gift for attractive melodies and gently chromatic harmonies, but whereas he usually favoured the top line in his chamber music, these works follow Reicha's example and treat all the instruments equally.
The Wind Sextet is a product not of Reicha's influence but of the "Harmonie Bands" which had been retained by the aristocracy throughout Europe during the second half of the eighteenth Century. These popular ensembles of two horns, two bassoons, two clarinets and for two oboes attracted an immense amount of music including an immense number of popular operatic transcriptions as well as some original serenades and divertimenti. Danzi's only work of this type, the Sextet in E flat, was not published in its original form and survives today only in a single manuscript copy, but the date of his revision for oboe or violin, two violas and cello, which was published as Op. 10 in August 1802 suggests that it was almost certainly composed for a "Harmonie" ensemble in Munich. The opening allegro is followed first by a particularly touching slow movement and then by a brisk minuet. The finale, a lively movement in 6 / 8 time, reflects the contemporary vogue for movements which recall the music of the hunt.
Product Information
Although Danzi did not live in any of Europe's main musical centres after 1812, the publication of his Op. 56 Quintets for flute, oboe, clarinet, horn and bassoon indicates that he kept abreast of the latest development, for this combination of instruments had hardly been used until Anton Reicha published six quintets in Paris in 1817. Further sets of six followed annually for each of the next three years, and then in 1821 Danzi published his own Quintets Op. 56, giving them not to his usual publishers but to the Parisian Maurice Schlesinger and allowing their dedication to Reicha to appear in larger letters than his own name. This was clearly an attempt to cash in on the popularity of Reicha's quintets, and sales were helped by Danzi's use of a concise style, technically undemanding and formally conventional, which contrasted with Reicha's expansive and often virtuoso approach. The Op. 56 Quintets also exhibit Danzi's gift for attractive melodies and gently chromatic harmonies, but whereas he usually favoured the top line in his chamber music, these works follow Reicha's example and treat all the instruments equally.
The Wind Sextet is a product not of Reicha's influence but of the "Harmonie Bands" which had been retained by the aristocracy throughout Europe during the second half of the eighteenth Century. These popular ensembles of two horns, two bassoons, two clarinets and for two oboes attracted an immense amount of music including an immense number of popular operatic transcriptions as well as some original serenades and divertimenti. Danzi's only work of this type, the Sextet in E flat, was not published in its original form and survives today only in a single manuscript copy, but the date of his revision for oboe or violin, two violas and cello, which was published as Op. 10 in August 1802 suggests that it was almost certainly composed for a "Harmonie" ensemble in Munich. The opening allegro is followed first by a particularly touching slow movement and then by a brisk minuet. The finale, a lively movement in 6 / 8 time, reflects the contemporary vogue for movements which recall the music of the hunt.
- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Wind Quintet in B flat major, Op. 56, No. 1 : I. Allegretto
- 2 Wind Quintet in B flat major, Op. 56, No. 1 : II. Andante con moto
- 3 Wind Quintet In B Flat Major, Op. 56, No. 1 : Iii. Menuetto
- 4 Wind Quintet in B flat major, Op. 56, No. 1 : IV. Allegretto
- 5 Wind Quintet in G minor, Op. 56, No. 2: I. Allegretto
- 6 Wind Quintet in G minor, Op. 56, No. 2: II. Andante
- 7 Wind Quintet In G Minor, Op. 56, No. 2: Iii. Menuetto
- 8 Wind Quintet in G minor, Op. 56, No. 2: IV. Allegretto
- 9 Wind Quintet in F major, Op. 56, No. 3: I. Andante sostenuto - Allegro
- 10 Wind Quintet in F major, Op. 56, No. 3: II. Andante
- 11 Wind Quintet In F Major, Op. 56, No. 3: Iii. Menuetto
- 12 Wind Quintet in F major, Op. 56, No. 3: IV. Allegretto
- 13 Wind Sextet in E flat major, Op. 10: I. Allegro
- 14 Wind Sextet in E flat major, Op. 10: II. Andante
- 15 Wind Sextet In E Flat Major, Op. 10: Iii. Menuetto
- 16 Wind Sextet in E flat major, Op. 10: IV. Allegretto
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