Josef Mysliveček - Wind Octet No. 2 (1778)
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- Опубліковано 1 жов 2024
- Josef Mysliveček (9 March 1737 - 4 February 1781) was a Czech composer who contributed to the formation of late eighteenth-century classicism in music. Mysliveček provided his younger friend Wolfgang Amadeus Mozart with significant compositional models in the genres of symphony, Italian serious opera, and violin concerto; both Wolfgang and his father Leopold Mozart considered him an intimate friend. He was a pioneer in the composition of music for wind ensemble, the outstanding examples of which are his three wind octets. It may be fair to say that his greatest composition is the oratorio Isacco figura del Redentore, first performed in Florence in 1776. His violin concertos are perhaps the finest composed between the generation of Vivaldi and the Mozart violin concertos of 1775.
He was also one of the most gifted and most prolific composers of eighteenth-century symphonies, although his contributions to this genre have been ignored by musicologists in western Europe and North America almost as completely as his operas have been.
Wind Octet No. 2 in E-flat major. Donauschingen 1777 or 1778
1. Allegro spiritoso
2. Largo, soto voce
3. Rondo: Allegretto
L'Orfeo Bläserensemble (Period instruments) conducted by Carin van Heerden
Early Harmoniemusik was scored for six instruments, even as few as four on some occasions, as indicated by the clarinet and horn bands of England and France. The clarinet was the preferred treble instrument in the west, while the Germans and Austrians generally preferred oboes. By the early 1780's the most common instrumentation, known as the Vienna tradition, consisted of 2 oboes, 2 clarinets, 2 horns, and 2 bassoons, or more concisely, 2222.2 According to tradition, in 1763 Frederick the Great was first to standardize his military bands into the octet, from which Harmonie developed. However, there seems to be no reference to prove such a claim. In fact, Roger Hellyer, a leading authority on Harmoniemusik, found no mention of clarinets in Berlin before the 1791 wedding of the Duke of York to Princess Friederike, for which Rosetti was commissioned to write two partitas for 2222.3 While eight players became the norm, there were notable exceptions. Instrumentation in the 19th century required up to twelve players, perhaps due to the increased harmonic demands of music of the Romantic period. On the occasion of the coronation of Kaiser Joseph II at Pressburg, the Harmonien of Prince Grassalkowitz and Prince Esterhazy combined to perform a piece for 21 wind instruments written by Georg Druschetsky.
Frequently a contrabass line was added which brought the octet to nine players. The part was not designed as a solo line, but rather enhanced the sonority of the ensemble.
1:42, 2:26 and 9:36 some crazy natural horn writing.. Love it!
I propose an experiment for you...! Listen to the Largo, sotto voce at 3:47 at normal speed first, then after some phrases at 0.85x speed and compare the two. (note: you can only do this on a computer, not on a mobile device) My feeling is that the music would be much more beautiful if it were played slower. I feel something more Adagio in this rendition, not Largo.
Particularly at bar 16, after the fermata, the music is just so wonderful at a lower tempo. The normal speed is a little too bright, maybe even a little too happy, when in fact the musical phrase could offer so much more.
I feel the same for the Allegretto. It has to be light and especially in 2/4!
I. 0:06
II. 3:47
III. 7:24
I like it very much. Thank you for posting it on UA-cam.
Wonderful composer! Bravo Maestro.
Bravo
Wonderful piece. Thanks for posting.
Bellissimo molto bello grazie Maestro
conjures images of an18th century, remote, european farming harvest in warm weather
Hey I’m new to the channel and I have a question are All the pieces you upload are clássical
I am in a classical, early romantic streak right now, but the range is from Gregorian Chant to now. All styles. If there are scores of rock music out there I wouldn't hesitate to use it. Pink Floyd, Jazz Big Band scores. etc.
@@bartjebartmans i see, thank you
👌
Masterwork. Stop.
Absolutely!
This is easily some of the greatest music I’ve had the privilege to listen to!
Absolutely on par with or better than the works of his more famous contemporaries!
@@thomase13 Right ! So follow me beacause I will have IMPORTANT news on this composer!
Thank you !
Thanks for that history has quite justifiably consigned him to deserved obscurity. Thank god for Mozart!
He was friends with Mozart and that says it all. You are the one who lives in obscurity. Get your facts straight.
@@bartjebartmans That's me told ! I came across him by an article in the Spectator and your upload was the first result to come up.
" here are worse fates than posthumous obscurity. When Mozart visited Munich in October 1777, he was initially reluctant to visit his friend, the Bohemian composer Josef Myslivecek. Myslivecek was in hospital, undergoing treatment (as he told it) for a facial cancer brought on by a recent coach accident. But this being the 18th century, and Myslivecek having a reputation as a gallant, Mozart suspected venereal disease. When he finally appeared at Myslivecek’s bedside, he was appalled by what he saw: ‘The surgeon, that ass, has burned off his nose! Imagine the agony he must have suffered.’ Within four years, the luckless - and noseless - Myslivecek had died in poverty, aged 43. His music effectively died with him.
......... The other? Listen to all this perfectly serviceable music by successful, well-connected composers and consider that Wanhal wrote at least another 130 symphonies, that J.C. Bach’s death in 1782 was reported across Europe, and that even poor pox-ridden Myslivecek composed and premièred some five full-length operas after losing his nose. Posterity is the toughest critic: barring recordings like these, probably 99.9 per cent of all the music ever written will end up unplayed and forgotten. Bear that in mind the next time someone tells you that the neglect of a particular composer must necessarily be down to some grand socio-political conspiracy.
www.spectator.co.uk/article/are-mozart-s-forgotten-contemporaries-worth-reviving-
Vašnosto voni budou hlava.