That is to say: a huge number of the compositional choices, which seem inevitable now, had to be drawn up from scratch, for a group with eight distinct voices. And then there are biographical matters, yet more astonishing: Mendelssohn wrote the Octet as a birthday present for his violin teacher when he was sixteen years old. The Mendelssohn Octet is played with unmatched clarity and exuberance, and with the expected spontaneity characteristic of a live performance. By that time he had been composing for several years and had piled up a dozen symphonies for strings, numerous concertos and some chamber music which he chose not to publish, regarding those works as mere juvenilia. Visit the link below to purchase tickets. Throughout the work, each of the eight instruments is used somewhat differently to achieve maximum musical contrast within an overall of sonic. Perhaps it was because these outstanding musicians knew that unless they made orchestra versions of these pieces they would never have the opportunity to perform some of the greatest music ever created.
The presto finale opens with outright bizarre chuffing from the cellos, but explodes immediately into a vigorous romp which plunges ahead, barely taking a breath, to a large, truly symphonic finale. This would have been enough for anybody. The complexity of a structure spanning forty minutes in performance caused him considerable difficulty, though he found the challenge exciting. The remarkable Octet of the 16-year-old Mendelssohn 1825 and the interesting Octet of the 19-year-old George Enescu 1900 are coupled on a disc that offers playing of the highest caliber. The piece is particularly significant in 's career as it was one of two singularly brilliant works considered to be a signpost of his genius in his teenage years. As Mendelssohn develops this idea, the first violin continues to comment with fragments of its cavalier opening melody.
Throughout the work, Mendelssohn displays an uncanny mastery of sonority, exploring the various textures afforded by the ensemble at hand. Throughout the twentieth century, it was not unusual for works from the chamber-music repertory to turn up in orchestral concerts. The Octet, arguably the greatest piece of music ever written by a 16-year-old, is a work of great emotional range and scope that sings and soars, and now will also literally dance in this unique presentation. Various other conductors, such as Wilhelm Furtwängler, Arturo Toscanini, William Steinberg, Dimitri Mitropoulos, Leonard Bernstein and Neville Marriner, simply doubled or quadrupled the original string parts to present orchestral versions of such works as Tchaikovsky's Souvenir de Florence originally for string sextet , the Verdi Quartet, Rossini's string sonatas, various Beethoven quartets and the same composer's Septet for winds and strings. Octet in E-flat major for Strings, Op.
Some of the unicode supporting hardware is using 16bits as one Byte. Classics 50999 519312 2 3. The work ends with a buoyant Presto finale. Witness its unforgettable opening, first violin soaring above expectant tremolandi. Reissued in a coupling with the in D Major, Op.
However, after five rehearsals, the impresario removed it from the program on grounds that it was too risky, a decision that Enescu regarded bitterly , 265. These are not only out-and-out masterpieces, but are also works that can be sight-read, as most string players know them from their days as advanced students. At the end the first violin soars feather-light aloft—all is blown away. There are no changes of notes, as part of the fun is to try to play this piece as if it were gigantic chamber music. In 1825, when Mendelssohn composed his Octet, Beethoven, Schubert and Weber were still alive and still active. The Hague: Ottavo Recordings, 2001.
But we do add a few double basses to the instrumentation. Le Quatuor Alcan; Le Quatuor Québec. It was also the first string octet to be written as a true eight-part work and to this day remains the finest work in that form extant. But to see and hear some of the facts around and inside this piece is to know that there is something special about it, something, at the least, quite out of the ordinary. But Byte size varies depends on the hardware. He completed a Clarinet Concerto and a Flute Concerto, which, like the Quintet, endure among the most significant twentieth-century works in their respective genres.
. Within Strum I utilized texture motives, layers of rhythmic or harmonic ostinati that string together to form a bed of sound for melodies to weave in and out. It was originally written for the Providence String Quartet and guests of Community MusicWorks Players, then arranged for string quartet in 2008 with several small revisions. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration. In the late eighteenth century, divertimentos, serenades, and other incidental genres—musical greetings cards, typically intended for outdoor celebrations—were penned quickly as the occasion arose, and rarely with the expectation of a second performance. He takes listeners inside the music, unraveling, slowing down, and recomposing key passages to hear why a piece is so extraordinary. But there is a political and religious dimension as well.