Recently Published Chamber Music

Although PETER HEISE (1830-1879) was generally considered to have composed the finest Danish opera of the 19th century and during his relatively short life garnered the reputation of being Denmark's finest art song or lieder writer, much like what happened to Schubert, his chamber music escaped notice. In the case of his six string quartets, it was because he never got around to having them published nor did his wife who kept the manuscripts for half a century after his death. Even when they were turned over to the Royal Danish Conservatory, no one paid any attention until now. It is with great pleasure that we present the world premiere edition of his STRING QUARTET NO.3 IN B FLAT MAJOR. While the key was different, the instrumentation was the same as Beethoven's. Dating from the mid 1850s, this fine work show the influence of Mendelssohn and Schubert, but sounds nothing like them. It deserves concert performance and will please amateurs 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.
The name Ernst Theodor Amadeus Hoffmann or as he is better known E.T.A. HOFFMANN (1776-1822) today is only remembered for his stories which were used by Offenbach as the basis of his opera The Tales of Hoffmann and also by Tchaikovsky for his ballet The Nutcracker. But duing his lifetime, Hoffmann was regarded as a ground-breaking music critic. Though less known, he was also a composer, a follower of the Vienna Classical Tradition and was espeically fond of and influenced by the early works of Beethoven. Hearing his engaging PIANO TRIO IN E MAJOR, one might well think it was a work by Ludwig. However, the writing for the strings is much better than Beethoven's in his Op.1. Certainly strong enough for concert & recommended to amateur piano trio ensembles.	RUDOLF ARCHDUKE OF AUSTRIA (1788-1831) was not only Beethoven's patron, but also his friend and his composition student. Not a prolific composer, most of Rudolf's works were for piano. However, shortly before his death he composed a SEPTET FOR WINDS AND STRINGS IN E MINOR. While the key was different, the instrumentation was the same as Beethoven's. There is no question that Rudolf had his teacher's septet, which was one of the most popular piece he ever wrote, in mind. The idea is the same--to present a serenade type work which would be pleasant to play and to hear. In this, he surely succeeded for the work is full of tuneful and appealing melodies. A very good choice for the concert hall and for amateur music makers.
LUDWIG VAN BEETHOVEN (1770-1827) the first time he came to Vienna it was to study with Mozart, however, he was upon arrival forced to return to Bonn because his mother was dying. By the time he returned to Vienna, Mozart had already passed away. Instead, he became a student of Haydn whose lessons did not particularly agree with him so he switched to Haydn's friend Johann Georg Albrechtsberger with whom he started to make rapid progress. Albrechtsberger set him several projects one of which resulted in his PRALUDIUM AND FUGUE FOR 2 VIOLINS AND CELLO Beethoven was quite proud of the work and had planned to get it performed in concert and published. Unfortunately, this did not happen until after his death. Composed two years before his first string trio, it shows how Beethoven had mastered Albrechtsberger's lessons. It is a work which can be brought into the concert hall and also played by amateurs.	Had she been a man, there is a good liklihood that EMILIE MAYER(1812-1883) would have become one of the better known composerS of the Romantic era. Her music, especially her chamber music, is extraordinarily fine and only the fact that she lived at a time when it was very difficult for women composers not only to get their works performed but also to get them published that she and her music disappeared after her death. She was only able to get a few of her works published. The rest lay moldering in libraries awaiting discovery which at last is slowing starting to come. Her PIANO QUARTET IN E FLAT MAJOR dating from the mid 19th century is historically important but can stand on its own regardless of this fact. It deserves concert performance and can also be recommended to amateurs ensembles.
All that is known about the French composer WILLIAM BASTARD (1880-194??) is that he was active and living in Paris during the first decades of the 20th century. It is not known where he was born, nor with whom he studied, nor how he suported himself, There only seems to be a few works of his that were ever published. One of these is his PIANO TRIO IN G MINOR. What we have here is an unknown work by an virtually unknown composer. This trio is by turns powerful and dramatic, but also lryical with singing melodies and fine part-writing, it gives evidence of a composer with a great compositonal talent as well as a gift for melody. If brought into the concert hall, it is sure to be a success. Additionally, it is only of standard difficulty for works of this period (1908) and as such can be warmly recommended to amateur ensembles.	The Belgian flutist and composer EUGENE WALCKIERS (1793-1866) not only had a wonderful gift for melody but also the ability to arrange large works for chamber ensembles. This led Parisian publishers to seek him out. His own works were also much in demand. He primarily concentrated on writing chamber music. His STRING QUINTET NO.4 IN A MAJOR was one of four works he wrote for 2 violins, viola, cello and bass, largely because of his friendship with Achille Gouff, one of the leading bass players of the day. The bass is not given a solo or virtuoso role but is perfectly integrated as a regular member of the quintet. It can also be played with a second cello instead of bass if desired. Chock full of appealing melodies. This is a quintet not to be missed.
The Bavarian composer FRANZ LACHNER (1803-1890) recounted that during his time studying in Vienna, he and Schubert became the closest of friends sharing ideas, showing each other and discussing their new compositions. Though Lachner was to live until the end of the 19th century, he remained true to the values and ideas of the Vienna Classical period. His STRING QUARTET NO.3 IN E FLAT MAJOR though composed in the 1840s, harks back to the 1820s and his time in Vienna with Schubert. This is a lovely work with appealing melodies which should appeal to amateurs and professionals alike. And presentation in the concert hall where a work from this era is required would be welcomed by audiences who get a chance to hear it.	ADOLPHE BLANC (1828-1885) was one of the few French composerss who devoted himself almost entirely to chamber music and this at a time when the French concert-going public was only interested in opera. Himself, an active chamber music player who performed in several string quartets and other ensembles, Blanc knew extremely well how to fashion appealing chamber music both for concert performance and also for the emerging home music making market. He was awarded the prestigious Chartier Chamber Music Prize and though quartets, quintets and piano trios were his metier, he did not ignore larger ensembes such as his SEPTET FOR VIOLA, CELLO, BASS, FLUTE, OBOE, HORN AND PIANO. Typical of his output, this appealing work is strong enough for concert performance but well within the range of amateur players who will enjoy it.