Recently Published Chamber Music

ARCANGELO CORELLI (1653-1713) is one of the better known composers from the Italian Baroque. While his reputation does not rest on one piece, it is nonetheless fair to say that his Christmas Concerto for strings is probably his most famous work. Commissioned by the pope's cardinal nephew, Corelli wrote on the manuscript that it was intended to be performed on the night of Christmas, hence the title. The CHRISTMAS CONCERTO FOR 4 VIOLINS, VIOLA, 2 CELLOS AND BASS has come down to us a number of versions which included a harpsichord used to double the bass line but adding nothing to the work. As the work asks for 2 cellos and a bass, doubling the bass line in someways distorts the music which is why we have not included it. Obviously a fine choice for a baroque concert and not at all hard to play technically.	Had she been living in an era when women did not give up their careers upon marriage, the superb music of the Swedish composer and violinist AMANDA MAIER (1853-1894) almost certainly would have been taken serious and have received publication during her lifetime. But her 1880 marriage to the German composer Julius Rontgen basically ended her career. And despite the fact that occasional public performances of her music, off of manuscript copies, were highly praised by the likes of Brahms and Grieg, most of her compositions languished in a Stockholm music library for a century. Her 1891 PIANO QUARTET IN E MINOR is one such work. This is almost certainly a work which would have entered the standard repertoire had she made any effort to get it published, but her energies were spent raising a family. It goes without saying that it deserves concert performance and can be managed by good amateur players.
Carl Maria von Weber's opera DER FREISCHUTZ FOR PIANO TRIO? Who would do such thing? The answer is lots of people. But not everyone who tried to do this was good at it. By the time of Mozart, arranging themes from famous operas became quite common and exceedingly popular. Why? Because people wanted to be able to play the lovely themes for themselves. To give but one example, half of Franz Liszt's repertoire consisted of arrangement from famous opers. Among the best and most sought after such arrangers was RENAUD DE VILBAC (1829-1884). This superb arrangement is a must for concert performance.	RALPH VAUGHAN WILLIAMS (1872-1958) is fairly well-known but not for his chamber music. He is generally considered one of the most important English composers of the 20th century. His music combines many influences which can be traced to some extent to the teachers with whom he studied. From Charles Villiers Stanford he gained an appreciation of English folk music, from Max Bruch German formalism and from Maurice Ravel the tonal palette of French Impressionism. His STRING QUARTET NO.1 IN G MINOR completed just after his studies with Ravel is an interesting mixture of French Impressionism with English ideas. It is an original sounding work which will be well-received by audiences who get the chance to hear and is in no way beyond amateur ensembles.
ANTON REICHA (1770-1836) was without doubt the most important composition teacher in France during the first part of the 19th century. George Onslow, Louise Farrenc, Franz Liszt and Charles Gounod were only a few of his many students who went on to become important composers in their own right. But he was much more than just a composition teacher. An important forward thinking composer who is credited with inventing the wnd quintet and experimenting with harmony and tonality. Chamber music was a big part of his oeuvre. His CLARINET QUINTET IN B FLAT MAJOR is one of many such works he composed. A work sounding of the Vienna Classical era not surprisingly as that is where he was trained. Good for concert and also amateurs.	Born in the Dutch city of Rotterdam LOUIS VICTOR SAAR (1868-1937) studied with Rheinberger in Munich and Brahms in Vienna. His compositions won several prestigious prizes including the Mendelssohn Prize in Berlin and the Tonkunstlers Prize in Vienna. After moving to America, he impressed Dvorak who appointed him as a professor at what became the Juilliard Conservatory. He subsequently taught at conservatories all over the United States. He was not only a sought after teacher, but also fine arranger of operatic works for chamber music ensembles. His MELODIES FROM BIZET'S CARMEN FOR FLUTE, 2 VIOLINS, CELLO AND PIANO, is an excellent example of his talent as an arranger. Listening to this wonderful rendition, you would never assume it was originally music for an opera orchestra. The work makes a superb choice for concert but is well within the abilities of amateurs.
The Danish composer LUDVIG SCHYTTE (1848-1909) after first working as a pharmacist decided to study music. He first studied piano Eduard Neupert and then composition with Niels Gade in Copenhagen after which he traveled to Germany where he studied privately with Franz Liszt. Once his studies were completed, he moved to Vienna where he lived and worked for two decades, composing and teaching. He became well-known for his extraordinand talent of understanding the timber of the piano and its capabilities. He also had a excellent gift for melody as evidenced by his SOUVENIRS FOR PIANO TRIO IN G MAJOR. Well written for all three voices, it seems a pity that he did not compose more works for piano trio.	JEAN SIBELIUS (1865-1957) is Finland's most famous composer. His reputation rests almost entirely on works for orchestra such as his symphonies and tone poems. Though he composed chamber music most of it, with the exception of one string quartet, has been entirely ignored. One of his favorite works, the ANDANTE FESTIVO FOR STRING QUARTET dating from 1922 is virtually never heard. Instead, it is his 1938 adaptation for strings and timpani which he made for radio which has become well-known and performed. But Sibelius prefered his original version which he had performed on special occasions such as his favorite niece's wedding and which he gave instructions to be played at his funeral. A very evocative work which always makes a strong impression when performed. Technicall not difficult but requiring a fine feel for the emotional quality of the music.
JEAN PHILIPPE RAMEAU (1683-1764) was one of the most important composer of the French Baroque era. Though today one hardly, if ever, gets a chance to hear his fine music performed live in concert, which is a shame, some of it can still be heard on CDs. But during his lifetime, his music was frequently performed not only in France but also throughout most of Europe. In addition to this he wrote several important treatises on music theory and was regarded as one of the leading experts of the first part of the 18th century. His THIRD CONCERT FOR STRING SEXTET dating from around 1725 is one of the works which was to make his reputation and excellent example of his craft. This is a work which is a must for a baroque concert which will be much appreciated. Not at all hard to play, amateur groups will certainly enjoying playing as well.	RENE DE BOISDEFFRE (1838-1906) came from an upper-class, famous French military family. Despite his talent, he was not allowed to enter the Paris Conservatory, however, he was allowed to study privately with Saint Saens among others. He concentrated solely on composing and his metier was chamber music. Being of independent means as well as of an important French family, he had no trouble getting his works published, And despite the fact that he was not considered by many as a professional musician because he did not make his living that way, his works were quite well regarded as evidenced by the fact that he won the prestigious Chartier Prize for Chamber Music. His PIANO SEXTET NO.1 IN B FLAT MAJOR is a compelling work of many moods and ideas Though from the last decade of the 19th century, it eschews Impressionism and follows the French Classical tradition. An impressive work which is good for concert and experienced amateur ensembles.