Bernhard Crusell: Bassoon Concertino (1829)
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- เผยแพร่เมื่อ 25 ก.ค. 2024
- 00:00 - I. Allegro brillante (to Poco adagio)
07:32 - II. Allegro moderato
11:28 - III. Polacca
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Bassoon: Klaus Thunemann
Conductor: Sir Neville Marriner
Orchestra: Academy of St. Martin in the Fields
Year of Recording: 1995
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"The Swedish composer Bernhard Crusell was born in Finland when that country was part of Sweden’s empire, became famous not as a flutist but as one of the greatest clarinet virtuosos of his time. The son of a poor family, he rose, after army service, to become clarinettist and deputy conductor with the Royal Court Orchestra in Stockholm. Though he remained based in Sweden, he travelled widely, studying composition in Berlin, Paris and Leipzig, and absorbed a great deal of European culture which enabled him to become an important force in Swedish music.
Crusell wrote in many genres, but he is naturally especially renowned for his clarinet compositions - which include three magnificent concertos. The Bassoon Concertino in B flat was the last concerto of any kind that Crusell wrote. He composed it in 1829, for his son-in-law Frans Preumayr, renowned as one of the great bassoon virtuosi of his time. Preumayr was about to embark on a major concert tour of France, Germany and England and needed a new concerto to play. Before his departure he played Crusell’s Concertino for the first time in Stockholm in September 1829 and declared himself delighted with it, saying it would be his ‘cheval de bataille’ (war-horse).
The first movement opens in festive and rather grand style with an orchestral tutti which the bassoon answers with an agile cadenza. It then moves to a plaintive melody, Poco adagio that in fact derives from an opera by Crusell’s French contemporary, Adrien Boieldieu. The materials are then worked out in a compressed sonata form. There is no real slow movement - the second movement, unusually, follows the first without a break, and proves to be a short sequence of variations on Boieldieu’s melody. The Concertino then concludes with a lively movement in Polonaise rhythm, full of humour and bravura display over the entire range of the bassoon.” (Calum MacDonald)
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does anybody know if there is an arrangement for this piece for a wind ensemble?
Yes there is. By swedish composer Andrea Lindberg-Tarrodi.
Weird composition...
How?
Why?
@@sooe7505 Well, first of all, I have to say, that it's just my personal view and opinion, certainly a matter of personal taste or distaste. But I try to explain my comment: The musical language of this piece is basically very similar to that of the Viennese Classical period - with some sideways to the Biedermeier Roamntic of Carl Maria von Weber or likewise. The music of that period mostly is very balanced and full of taste. Haydn and Mozart are masters of that classical balance, of the feeling for nuances and details, even when they're incorporating disturbances into the balance. They always manage to restall the general feeling of balance in the end. This concerto seems to me rather out of balance, its form - for me - doesn't really seem to know where it''s heading to, although there are some very nice and interesting ideas in it. But they don't add up to a convincing whole - always said, that that's just my personal feeling, you certainly may disagree!
Another point is the virtuosity of this concerto. I play bassoon myself, and I have to say, it's extremely difficult to play. But - again, to me - the virtuosity seems to be quite over the top and somewhat hollow, empty, without a real neccessity. That adds to my impression of a rather unbalanced, raw piece of music that doesn't really know what it's doing. The composer is from Finland from the late Classical or early Romantic period. I have the feeling, that the composer uses a musical language, that at long last is a foreign language for him, a language, he has acquired and not learned from the scratch. He surely is able to communicate in this language quite good, but one can hear and feel, that it's not his first language, that he speaks with a foreign accent. Perhaps that metaphor is sufficient to explain what I mean, when I say that I find this concerto somewhat weird. I have to appologize for my first comment, which perhaps was too short to be helpful.
Weird cope