Haydn Symphonies for Count Morzin from 1757-1758

Haydn: Symphonies for Count Morzin 1757-1758

Count Morzin was the first to employ Haydn as his music director (1757-1761). Count Karl Joseph of Morzin (1717–1783) was a Bohemian aristocrat from the Morzin family (originally from northeastern Italian region of Friuli), remembered today as the first person to employ the composer Joseph Haydn as his Kapellmeister.

[Dolní Lukavice castle]

In 1759, Haydn was appointed music director to Count Morzin in Vienna, with a salary of two hundred gulden, free room, and board at the staff table. This position provided Haydn with a comfortable and carefree existence, which he thoroughly enjoyed. The winters were spent in Vienna, and the summers at Lukavec Castle near Pilsen (now the Czech Republic). This migratory pattern was typical of the aristocracy in Haydn's day, who spent summers on their hereditary estates and winters in the fashionable capital.

The Count's orchestra consisted of six, possibly eight violins, while in the basso section there were at least one cello, one bassoon, and one double bass (violone). There was also a wind-band sextet (oboes, bassoons, and horns). This ensemble was much smaller than the orchestras Haydn would later write for, which could include up to about 60 musicians.

While in Vienna, the Morzin ensemble was evidently part of a lively musical scene sponsored by the aristocracy. Around this time, the music of Sammartini was introduced to Vienna, where it quickly became fashionable. Aristocratic sponsors competed in bringing musical novelties to their almost daily concerts.

During his tenure with Count Morzin, Haydn married Anna Maria Keller on 17 November 1760, despite his contract forbidding him to marry. The marriage, lasting until Anna Maria's death in 1800, was unhappy. A year passed before Count Morzin learned of Haydn's marriage. However, financial difficulties soon forced the Count to reduce his expenditures, resulting in the dismissal of his musicians and Haydn losing his position as Kapellmeister.

Fortunately, Haydn's growing public reputation and amiable character worked in his favor. Count Morzin, moved to help Haydn, facilitated his next career move. Shortly after losing his post, Haydn was appointed Vicekapellmeister to Prince Anton Esterházy at Eisenstadt, with a salary of 400 florins.

The initial 15 or so symphonies of Haydn's prolific career were composed for Count Morzin. However, the numbering of these early works is uncertain, ranging from 1 to 37, with the possibility of even more compositions from this period. Scholars disagree on the exact chronology, and some of these symphonies may have been written as late as 1760, just before Haydn moved on to his new position.

Typically, these early symphonies were crafted for a modest ensemble consisting of oboes, horns, and strings. While bassoons were often included, their role was usually limited to doubling the bass line. The use of percussion was rare, with timpani seldom employed.

Below I introduce the first 8 symphonies, which probably date from 1757 and 1758.

(1) Symphony No. 1 in D major

Written in 1757 while in the service of Count Morzin at the castle of Dolní Lukavice near Pilsen, the count's summer residence.

It is scored for 2 oboes, 2 horns, strings and continuo.

Like most of Haydn's early symphonies, it is in three movements:

(1) Presto in D (sonata form)
(2) Andante in G (sonata form)
(3) Presto in D (sonata form)

This most familiar of Haydn's early symphonies unusually begins with a crescendo that rises in pitch before reaching a forte and an impressive horn fanfare (not to be confused with the much longer so-called "Mannheim crescendo"). Horn fanfares continue to appear at key points. After modulating to A major, the second theme appears in eighth notes. The development is based on the second theme, but is very short, and the recapitulation is preceded by an ostentatious horn fanfare.

As in Haydn's other symphonies of the period, the slow movement is for strings only. The movement establishes the combination of liveliness with profundity so characteristic of Haydn's intimate andantes. It is in sonata form, with a surprise turn to the minor mode and denser counterpoint for the recapitulation of the opening theme. The main theme, which begins with a triplet, features a distinctive exchange between the first and second violins.

The concluding Presto exemplifies Haydn's "short 3/8 finale style". It has a lively theme that begins with an ascending arpeggio and is a simple, monothematic piece.
 

(2) Symphony No. 37 in C major

Although this symphony bears the advanced number of No. 37, it is actually one of Haydn's earliest symphonies, dated 1758 in a manuscript found in Český Krumlov, Czech Republic. Since it usually took about a year for a manuscript to appear after the work was composed, it probably dates from 1757 and was written while Haydn was in the service of Count Morzin in Lukavice (1757-1761).

It is scored for 2 oboes, 2 horns, strings and continuo. In some performances, trumpets and drums are added.

The work consists of four movements:

(1) Presto in C (sonata form)
(2) Menuet/trio in C/c
(3) Andante in c (ternary song form)
(4) Presto in C (sonata form)

This symphony exemplifies Haydn's C major style. However, as it does not appear to have originally included trumpets and percussion, it is less festive and more typical of the early symphonies in general.

In the constantly shifting first movement, the key suddenly changes to G minor in the middle of the exposition. After a very short development, there is a recapitulation that differs markedly from the exposition.

This work is one of the few symphonies of the Classical period to place the minuet second. The stately minuet is characterized by a dotted rhythm. The Trio is in C minor and is played by strings only.

The Andante is also for strings only. Unusually, it is also in the tonic minor of C.

The finale, again in Presto 3/8, is rather abrupt and contains many internal contrasts.

(3) Symphony No. 18 in G major

Probably composed between 1757/59, as Haydn's chronological third symphony, during his time working for Count Morzin. Contrary to the usual form, the work begins with the slow movement.

It is scored for 2 oboes, 2 horns, strings and continuo.

The work is in 3 movements:

(1) Andate moderato in G (sonata form)

(2) Allegro molto in G (sonata form)

(3) Tempo di Menuet in G (Rondo)

In the first movement, which is serious in tone, the second violin plays a dotted theme over a bass eighth note accompaniment, and the first violin takes over, making it similar to a trio sonata. The wind instruments play a supporting role throughout.

The second movement consists of fast music, even incessant, relentlessly driving quaver rhythms, often with fanfares from the horns. After the first and second themes are heard in the development section, the original key is restored, but unlike true sonata form, the theme is not repeated, only the transitional and concluding sections are repeated.

The third movement is in ternary form, like a normal long and leisurely minuet. The main part of the minuet is a beautiful piece of music using triplets, dotted rhythms, trills, etc. The trio changes to G minor. After returning to the first part, the repetition is omitted, and a 10-bar coda is added at the end, giving it the feel of a final movement.

(4) Symphony No. 2 in C major

Haydn probably composed this C major symphony between 1757 and 1759 while working for Count Morzin. The autograph of the symphony has been lost, but contemporary copies of the parts exist. Its authenticity is assured by an entry in Haydn's own handwritten "Draft Catalogue". A peculiarity of the work is that the movements do not contain the usual repetitions of parts. A short symphony, without repetitions, but with some pleasant themes.

There are three movements:

(1) Allegro in C (sonata form)
(2) Andante in G (ternary song form)
(3) Presto in C (rondo)

According to Robbins Landon, a comparison of the first movements of Symphonies 1 and 2 shows a constant struggle between pure Baroque style and pre-classical elements of the Viennese, Mannheim and Italian schools. Symphony No. 1 leans more toward the Mannheim school, while No. 2 returns to Baroque cadences and long, deliberately archaic sequences. Nevertheless, in terms of general structure and thematic development, No. 2 is clearly more modern. It is hard to believe that the two symphonies were composed within a few years of each other.

Here, the first movement combines homophonic and contrapuntal sections in such a way that the main motif of the homophonic opening becomes one of the contrapuntal motifs, and the large form combines elements of sonata and ritornello form. This symphony disproves once and for all the notion that the young Haydn's instrumental works were 'conventional'. The opening Allegro is unique; it is the subject of a kind of dialogue or confrontation between traditional and modern styles.

In the second movement, the winds are omitted and the violins play in semiquavers from beginning to end (a kind of perpetuum mobile), the pattern often broken by the use of trills. The violas in this slow movement double the bass part throughout at an octave above (e.g., "col basso," which was common at the time).

The last movement is Haydn's first attempt at a symphonic rondo and is characterized by a preoccupation with imitative processes.

(5) Symphony No. 4 in D major

Joseph Haydn composed this symphony between 1757 and 1760, when he was employed by Count Morzin. The symphony is in the common (early classical Italian) three-movement form of the time; the final movement is unusual in having the tempo of a minuet.

The three movements are:

(1) Presto in D (sonata form)
(2) Andante in D (ternary song form)
(3) Tempo di Menuetto in D (sonata form)

The Presto is kept in the spirited character of the then "modern" galant type in the style of the Italian opera overture. Compared to the similarly structured first movement of Symphony No. 1, there is somewhat more thematic work, the middle section ("development") has stronger dynamic contrasts (piano to fortissimo), and the recapitulation is more varied than the exposition.

The second movement has a syncopated second violin part. As in Haydn's other symphonies of this period, the slow movement is played by strings only. The violins are muted, but the first violins play the melody while the second violins repeat the syncopated figure.

The finale is marked Tempo di menuetto, but is not in the 34th beat of a minuet, but in the 3/8th beat typical of Haydn's other early symphonic finales. Also, unlike other minuets, the movement lacks a central trio section.

(6) Symphony No. 27 in G major 

This symphony was composed by Joseph Haydn between 1757 and 1760, while he was employed by Count Morzin. When a copy of the work was found in Romania in 1946, it was mistakenly thought to be a new symphony by Haydn.

There are three movements:

(1) Allegro molto in G (sonata form)

(2) Andante siciliano in C (ternary song form)

(3) Presto in G (sonata form)

Despite the small forces at Haydn's disposal, the symphonic expression is broad and vigorous. The main theme of the opening movement hints at the Mannheim Rocket, although in abbreviated fashion. The second hybrid subject employs a developmental device quite common in Haydn's early works. It starts in the dominant major but concludes in the dominant minor, setting up a bright contrast with the closing refrain of the exposition.

The second movement is a lilting 6/8 siciliano played on muted strings and without winds or horns. Robbins Landon describes the movement "as Italian an andante as was ever composed in Naples or Palermo".

The symphony concludes with a bright, upbeat and brief finale that, like many of his other early works, is developmentally straightforward.

 

 

(7) Symphony No. 10 in D major

Haydn composed this symphony around 1758 to 1760 during his employment with Count Morzin. The symphony corresponds to the (early classical Italian) type with three movements that was common at the time, with the structural emphasis on the first movement, the second movement for strings only and the last movement as a "finale" having a light character. The sudden dynamic changes from forte to piano in the outer movements are remarkable.

There are three movements:

(1) Allegro in D (sonata form)

(2) Andante in G (ternary song form)

(3) Presto in D (sonata form)

The first movement consists of strongly contrasting elements.

The second movement is written for strings only and is characterized by ascending and descending chains of seconds and suspensions ("sigh motifs").

As is typical for a symphony of this period, the last movement is designed as a lightweight "finale". It begins forte with the lively eight-bar theme with embellishments (triplet, trill). This symphony shines in the finale. 

(8) Symphony No. 20 in C major 

This symphony was composed in the group of 15 symphonies within Haydn's tenure with Count Morzin (1757 - March 1761). The early work is in the festive C major style "with timpani and trumpets". Of Haydn's early symphonies, No. 32, No. 33 and No. 37 also belong to this type, although the timpani and trumpets were partly added later and partly were not by Haydn. According to H. C. Robbins Landon, these early C major symphonies for "large" orchestra are characterized by a rather impersonal atmosphere, "reminiscent of the cold elegance of baroque Austrian monasteries".

The symphony is in four movements:

(1) Allegro molto in C (sonata form)

(2) Andante cantabile in G (ternary song form)
(3) Menuet / Trio in C-F major
(4) Presto in C (sonata form)

The symphony begins forte in the entire orchestra as a symmetrically constructed question-answer structure and cadential "appendix" with trills (bars 1 to 12, "first theme").

The slow movement is in an unusual "serenade style" and is marked Andante cantabile alla breve; it has a uniform structure (regular melodic phrases, quarter-note accompaniment and pizzicato bass) and only towards the end of each half is it slightly broadened and accelerated. The winds are silent in the serenade-like second movement with the melody in the first violins, broken chords in the second violins and a pizzicato bassline.

In the festive minuet, which is already reminiscent of Haydn's later style, the upbeat triplets, the sweeping ascending and descending chord breaks and the forte-piano contrasts are striking.

The Presto is designed as a three-part da capo movement (A-B-A structure), with both parts A and B being in three parts. Since the middle sections have a development-like character, both parts are reminiscent of "sonata movements in miniature".

[Includes edited information from the relevant articles in the German, English and Japanese Wikipedia]

Music in F-sharp minor

F-sharp minor has been characterized as a somber key, a key of melancholy and a sense of being troubled. It has a lonely, pessimistic quality. But it can also be a key full of passion.

F-sharp minor is a minor scale based on F♯, consisting of the pitches F♯, G♯, A, B, C♯, D, and E. Its key signature has three sharps. Its relative major is A major, and its parallel major is F sharp major (or enharmonic G flat major).

On the violin, the F-sharp minor scale has few open strings, which makes it sound dark and cloudy.

Very few symphonies are written in this key, Haydn's Farewell Symphony being a famous example. Dora Pejačević also wrote a symphony in this key.

We have a handful of concertos written in this key: Rachmaninov's Piano Concerto No. 1, Scriabin's Piano Concerto, Wieniawski's Violin Concerto No. 1, Vieuxtemps' Violin Concerto No. 2, Stojowski's Piano Concerto No. 1, and Koussevitzky's Double Bass Concerto. I don't know if it has anything to do with this key, but these were concertos written by virtuosos for their own use. Hans von Bronsart also wrote a piano concerto in F sharp minor, op. 10.

As far as chamber music is concerned, we also have Haydn's Piano Trio No. 40 (Hob. XV:26) and his String Quartet Op. 50, No. 4. A very impressive example is the Piano Quintet in F Minor, Op. 34 by Brahms. Other piano quintets in this key were written by Amy Beach, and Reynaldo Hahn. There is also a Piano Trio (Opus 1 No 1) by Cesar Franck. William Sterndale Bennett wrote a sextet in F-sharp minor; Frank Bridge wrote a Fantasy Piano Quartet in F-sharp minor; Dmitri Shostakovich's String Quartet No. 7 Op. 108 is in F-sharp minor. So it seems to be a rather popular key for chamber music with strings, and especially for combinations of piano and strings.

Piano pieces written in F-sharp minor include Schumann's Sonata No. 1, Brahms' Piano Sonata No. 2 Op. 34, Chopin's Polonaise in F♯ minor, Scriabin's Third Sonata, and Ravel's Sonatine. The slow movement of Beethoven's Hammerklavier Piano Sonata is in this key.

Handel set the sixth of his eight harpsichord suites of 1720 in F sharp minor. Apart from a prelude and a fugue from each of the two books of The Well-Tempered Clavier, Bach's only other work in F-sharp minor is the Toccata BWV 910. Mozart's only composition in the key is the second movement of his Piano Concerto No. 23 in A major.

Characteristic music in F-sharp:

Toccata in F sharp minor, BWV 910

One of Bach's early works based on earlier models, in this case the North German Toccata with distinct contrasting sections and fugal passages embedded in the rhapsodic material, as opposed to the more familiar two-movement Prelude and Fugue format. Other early Bach works that follow this sectional, Buxtehude-influenced format include the Prelude (Toccata) and Fugue in E major, BWV 566, and the Prelude and Fugue in A minor, BWV 551, as well as the other toccatas in this series, BWV 911-916. Although the specific instrumentation is not given for any of the works, they are all strictly manualiter, as none of them calls for pedal parts. The present toccata is somewhat inconsistent, so perhaps individual sections were composed separately and later joined together. The earliest sources for the toccatas in BWV 910, 911, and 916 appear in the Andreas Bach Book, an important collection of keyboard and organ manuscripts by various composers compiled by Bach's eldest brother, Johann Christoph Bach, between 1707 and 1713. This suggests that most of these toccatas were written no later than Bach's early Weimar years, although the early North German style suggests a possible Arnstadt origin.

Pianist: Nathalia Milstein.

Joseph Haydn: Symphony No. 45 in F-Sharp Minor, Hob.I:45, “Farewell”

One of the most famous symphonies in F sharp minor is Haydn's Farewell Symphony. His Symphony No. 45, written in 1772, is accompanied by a story told by Haydn himself: Prince Nikolaus Esterházy and his court were staying longer than usual at the summer palace in Esterháza. The musicians had left their families in Eisenstadt and wanted to return home, and they asked Haydn to help them convey this message to the prince. Haydn put their plea into music: in the last movement, as each player finished, he extinguished the candle on his music stand and left. In the end, only 2 violins remained: Haydn himself and his concertmaster. The message was understood, and the court left for home the next day.

Il Giardino Armonico | Giovanni Antonini

Henryk Wieniawski: Violin Concerto in F-sharp minor No. 1, Op. 14

The premiere of this concerto took place in Leipzig on October 27, 1853, with Wieniawski as soloist, accompanied by the famous Leipzig Gewandhaus Orchestra. The concerto was dedicated to the King of Prussia, who awarded the composer the Great Golden Medal of Arts and Sciences. Although the means used by Wieniawski in the Concerto in F-sharp Minor do not go beyond the style of the time, the amazing thing is that the piece was composed by a seventeen-year-old composer. His compositional style was clearly influenced by Niccolo Paganini, Karol Lipiński and Henri Vieuxtemps. The choice of key alone is reminiscent of Lipiński's Concerto No. 1 or Vieuxtemps' Concerto No. 2. What was new was Wieniawski's use of the cadenza as an integral and obligatory concerto movement. The beginning of the second movement, with the then fashionable title Preghiera (The Prayer), is reminiscent of medieval music. The contemplative mood, however, disappears with the sound of the fanfare, a jocular trumpet motif that begins the third movement. The finale, in the form of a rondo, contains folk elements reminiscent of Hungarian melodies. Full of artistic finesse and virtuoso technique, the work ends with a bravura coda.

Henryk Wieniawski - Violin Concerto Nr.1 | Ray Chen | Cristian Măcelaru | WDR Sinfonieorchester

Johannes Brahms, Piano Quintet in F minor, Op. 34

If Brahms hadn't been such a stickler for perfection, he might have given us a great string quintet instead of the masterpiece that is his piano quintet. When Clara Schumann got Brahms's string quintet manuscript in 1862, she loved it, saying it had strong emotion and beautiful writing for the instruments. But when Brahms turned it into a sonata for two pianos the next year, Clara thought it felt more like a rearranged piece than a proper sonata. Brahms listened to her feedback and combined both ideas into the Piano Quintet we know today. It's one of his earlier works but still highly regarded in chamber music.

The Piano Quintet was inspired by Schubert's String Quintet in C major, especially noticeable in how Brahms originally wrote it for strings and in similarities between their slow movements. It might also draw from Beethoven's "Appassionata" Sonata, starting in F minor with octaves and a main theme interrupted by fast sixteenth notes.

Brahms finished the Piano Quintet in 1864 and published it in 1865, dedicating it to Princess Anna of Hesse. Like most piano quintets written after Robert Schumann's Piano Quintet in 1842, it's scored for piano and a string quartet (two violins, viola, and cello).

Maria Ioudenitch, violin; Andrea Obiso, violin; Matthew Sinno, viola; Timotheos Petrin, cello; Chelsea Wang, piano




César Franck, Symphonic Variations
     
The Symphonic Variations (Variations symphoniques) is a piece for piano and orchestra composed by César Franck in 1885. Critics have praised it as one of his most polished works, with a perfect blend of piano and orchestra. It showcases Franck's skill in using cyclic unity, where one theme transforms into different variations. Both piano and orchestra play significant roles in developing the musical ideas. The piece is in F♯ minor, with the final movement shifting to F♯ major.

Franck dedicated the piece to Louis Diémer, who premiered Franck's symphonic poem Les Djinns in March 1885 to critical acclaim. Franck had promised Diémer a reward, and the Symphonic Variations, with a similar orchestration, was the outcome. Franck's students, such as Vincent d'Indy, Henri Duparc, Paul Dukas, and Ernest Chausson, championed his works, helping the Symphonic Variations gain popularity among major pianists. Alongside Franck's Symphony in D minor, this piece contributed significantly to his posthumous fame. Today, it is a staple of concert performances and has been recorded numerous times.

Britanee Hwee performs Franck's Symphonic Variations with the University of Washington Symphony Orchestra.




Gabriel Fauré, Pavane Op. 50 in F-sharp minor

The Pavane op. 50 in F sharp minor is a single-movement piece for a small symphony orchestra, including two flutes, two oboes, two clarinets, two bassoons, two horns, and strings. It's dedicated to Countess Elisabeth Greffulhe, known for her beauty, grace, and light step, affectionately called "Madame ma Fée" by Fauré. At her request, Fauré added a part for a mixed choir (sopranos, altos, tenors, and basses) with lyrics by her cousin, Robert de Montesquiou-Fezensac. The premiere was on November 25, 1888, performed by the Concerts Lamoureux conducted by Charles Lamoureux. Fauré's Pavane influenced Claude Debussy's passepied in Suite bergamasque and Maurice Ravel's Pavane pour une infante défunte, composed while Ravel was still studying under Fauré at the Paris Conservatoire.

Cracow Young Philharmonic conducted by Tomasz Chmiel.

Alexander Scriabin, Piano Concerto, Op. 20
    
The Piano Concerto in F sharp minor, Op. 20, is an early piece by the Russian composer Alexander Scriabin, written in 1896 when he was 24 years old. It stands out as his only concerto and is often overlooked but considered a gem in classical music. Unlike the grandeur of Tchaikovsky or Rachmaninov, or the flashy virtuosity of Liszt, Scriabin's concerto is refined and introspective, with delicate piano passages that express deeply personal emotions.

The first movement follows a classical structure but is adorned with romantic flourishes, featuring three main themes in the exposition. Its conclusion, reminiscent of Mahler's emotional depth, is particularly remarkable. The central Andante, in the bright key of F sharp major, presents five variations on a chorale-like theme, showcasing different moods and characters. The finale adopts a sonata-rondo form, with a brief development section based on earlier themes and a lengthy conclusion. While less harmonically complex than the first movement, it still evokes powerful emotions, with shifts between F sharp minor and A major and a poignant ending that leaves a lasting impression.

Royal Scottish National Orchestra in Royal Concert Hall, Glasgow
Conductor: Kellen Gray; Soloist: Edyta Mydlowska

Maurice Ravel, Sonatine in F-sharp minor

Maurice Ravel composed the Sonatina between 1903 and 1905 for a competition organized by a magazine that no longer exists. Ravel was the only one chosen for this competition. The term "sonatina" doesn't indicate the difficulty level but rather Ravel's preference for a classical style.

The Sonatina comprises three movements. The first movement follows a sonatina structure, rich with lovely melodies. The second movement starts with a Mozart-like irregular sectional layout, while the third movement is rhythmic, featuring occasional modulations.

Judith Valerie Engel, piano

Dmitri Shostakovich, String Quartet No. 7

Shostakovich was known for his chamber music compositions, and he established his unique approach to chamber music early in his career. Among his chamber works, the String Quartet No. 7, composed in 1960, stands out as the shortest, lasting about 13 minutes. It features a four-movement structure, although the "fourth" movement is not treated as separate, making it effectively a three-movement piece. Additionally, there are no breaks between movements; they are connected seamlessly with attacca notation by Shostakovich.

The first movement, Allegretto, begins with a descending line by the first violin, setting the tone in F♯ minor. This movement showcases a dialogue between two contrasting characters, emphasized through rhythmic patterns. The secondary theme shifts the tonal focus to E♭ minor before returning to F♯ minor in the recapitulation. The movement concludes with a major tonality, adding an expressive touch.

The second movement, Lento, starts with arpeggiation on the second violin, followed by entries from the other instruments. Shostakovich lightens the textures here compared to the outer movements, and performers are instructed to use mutes on their instruments.

The third movement, marked Allegro – Allegretto, begins forcefully, with the viola introducing a theme that develops into a fugue across all instruments. This section transitions into an Allegretto, reminiscent of a waltz, with recurring themes from the first movement interwoven. The quartet concludes with a pizzicato on the cello leading to an F♯ major triad.

Jerusalem Quartet

Best Harp Concertos

The harp is an ancient instrument with origins in the antiquity of many civilizations, and the modern orchestral harp is the culmination of a long evolution in form and technology. The ultimate form is the pedal harp (also called the "concert harp" and used by all major orchestras today), a large, modern harp that typically has 47 strings with seven strings per octave, giving a range of six and a half octaves. The double-action pedal system was first patented by Sebastien Erard in London in 1801 and 1802. Earlier pedal harps had a single-action mechanism that produced only sharp notes, the first of which was made in 1720. The pedals change the pitch of the strings, so the pedal harp can easily play works written in any key. This is particularly important in the harmonically complex music of the Romantic period and the classical music of the 20th century. The 47 strings of varying lengths (7 to 150 cm) are diatonically tuned, and the harp usually has seven pedals, one for each root note. The pedals are connected by metal rods or ropes in the harp's column to a pulling mechanism which, with the help of small forks, allows the length of the vibrating part of the strings to be shortened during playing and their tuning to be raised by half a tone or a whole tone.

Due to standardization, double pedal harps reach a height of up to 1.80 meters and a weight of up to 50 kilograms, which can be less depending on the design and materials used. The tension of the strings has increased considerably with the development of the concert harp and requires extensive training of the harpist. The pedal harp is played with the fingertips of the first four fingers (thumb, index, middle, and ring). The little fingers are not used because they are too short to reach the correct position without distorting the position of the other fingers. Plucking with varying degrees of force creates dynamics (loudness and softness). Different plucking techniques can also produce different tones and sounds. Depending on the position of the fingers, different tones can be produced: a full sound in the middle of the string and a nasal, guitar-like sound at the very bottom.

There are several schools of pedal harp technique. The largest are the various French schools. The traditional French school has the player's right arm resting lightly on the harp, with the wrist sometimes only moving the hand away from the string. The left arm moves more freely. There are also specific Russian, Viennese, and other schools throughout Europe.

The harp found its early orchestral use as a solo instrument in concertos by Baroque and Classical composers (Handel, Mozart, Boieldieu, Albrechtsberger, Dussek, Spohr) and in the opera houses of London, Paris, and Berlin. Hector Berlioz began to use it in symphonic music, but he found performances frustrating in countries like Germany, which had few harps or sufficiently skilled harpists. Franz Liszt pioneered the use of the harp in his orchestral music. The French and Russian Romantic composers, in particular, expanded its symphonic use. In opera, Italian composers used it regularly, and Puccini was a particular master of its expressive and coloristic use. Debussy can be said to have put the harp on the map with his many works that use one or more harps.


Here are my favorite harp concertos:

(1) Handel, Harp Concerto in B-flat (1736)

Handel's harp concerto, later bundled with his organ concertos, was originally written for harp to evoke the ancient sound of the lyre in his Alexander’s Feast. Handel's compositions follow a fast-slow-fast outline, an emerging style that later became the norm of the Classical era. After a brief orchestral introduction, the harp takes center stage in the first movement. In the second movement, in minor, the orchestra intervenes only periodically between the harp's reveries. As the pace of the second movement slows, the third movement sets out to resolve the accumulated harmonic tension with an abundance of fifths.

Sarah Ridy: Triple Harp, Barrocade Ensemble

(2) Mozart Concerto for Flute Harp and Orchestra in C major, K 299 (1778)

Mozart's Flute & Harp Concerto is also authentic: it was written specifically for a father and daughter who played these instruments. It is the second of three double concertos that Mozart wrote. It is also the composer's only work to feature a harp. The piece is part of the standard repertoire for both instruments.

Mozart's third stay in Paris, from March 23 to September 26, 1778, was the low point of a nearly year-and-a-half-long journey through Germany and France, undertaken with his mother in an unsuccessful search for a position as a conductor. Apart from his mother's death on July 3, the surviving letters from this period testify to failed performance attempts (only a few works were performed publicly), personal setbacks, and unpaid lessons and composition commissions. Beginning in March or April, Mozart met Adrien-Louis Bonnières de Souastre, Count de Guines, and his daughter, to whom he gave composition lessons.

During Mozart's time, the harp was the fashionable instrument of French high society, with Paris at its center. In addition, thanks to Marie-Antoinette's preference for the harp, the previously male-dominated world of the harp was increasingly conquered by women, which was also reflected in the aesthetics of the compositions.

The flute part clearly shows that it was written for an amateur flutist. Of course, the piece should not be underestimated: even these "simple" passages - like all Mozart's works - must be played elegantly and fluently. In many places, the harp part sounds more like a piano arrangement: Mozart avoids the glissandi and full chords typical of the instrument. However, these "harp effects" are used in the cadenzas. This is one of the most difficult harp concertos. This difficulty does not lie in the virtuosity, but rather in the fact that the voice is very poorly placed. Nevertheless, the concerto is popular because it allows one to demonstrate one's technical strengths, and there are few other concerti for the harp in classical music.

With impeccable classicism, the Double Concerto has the orchestra expose the thematic material while leaving the soloists to their dialogues. After the first joyful movement, Mozart reduces the orchestra to the strings, while also dividing the violas for a silkier texture. The final rondo, tempo di gavotta, a popular Parisian court dance of the time, ends with a cadenza and coda like the previous movements.

Zubin Mehta - conductor; Julia Rovinsky - Harp; Guy Eshed - Flute

(3) Dittersdorf, Harp Concerto in A (1779)

Vienna-born Karl Dittersdorf (1739-1799) spent the first half of his life as a touring violin virtuoso, and the second half as composer and music director at various aristocratic courts. He is one of the main representatives of the Vienna Classical era, and knew Haydn and Mozart personally; hearing their compositions greatly changed his own, initially Italianate style. The attractive Concerto for Harp and Orchestra in A major is a transcription by Dittersdorf himself of one of his five harpsichord concertos. The concerto is a favorite of concerto-starved harpists the world over, and like similar concertos it laid the foundation for contemporaries and slightly later composers to embrace the harp for its own characteristics.

Solist: Rosa Díaz Cotán; Conductor: Daniel Stratievsky; Neubrandenburger Philharmonie

(4) Krumpholtz: Harp Concerto in F major Op.9 No.6 (1782)

Krumpholz was a Bohemian composer and harpist, so this is another authentic concerto. Based in Paris, he was the first composer of the emerging concert harp repertoire to play the instrument himself. He also played a key role in the technological development of the harp. His compositions naturally reflect his mastery of the instrument in more idiomatic and adventurous writing. In Paris and Metz, he worked with harp makers Jean Henri Naderman, his son François Joseph Naderman, and Sébastien Érard to improve the harp's construction. Krumpholz composed 52 sonatas, 6 concertos and many preludes and variations for the harp. The Concerto Op 9 No 6 was dedicated to his pupil Anne-Marie Stekler, whom he married in 1783 and who was to perform it at the Concert Spirituel. The work was highly successful and became Krumpholtz's most popular concerto. Whereas many pianoforte concertos were transcribed for harp, here the opposite happened, as this work was transposed for the pianoforte!

Jana Boušková, Harp; Prague Chamber Phiharmonic Orchestra; Jiri Belohlavek, Conductor

(5) Boieldieu, Harp Concerto in C Major (1801)

François-Adrien Boieldieu (1775 - 1834) was primarily an opera composer, often called "the French Mozart." In 1798 he was appointed professor of piano at the Paris Conservatory. Boieldieu's Concerto in C is one of the finest works in the harp repertoire. The harp's role is one of constant virtuosity. The orchestration is rich, and the work as a whole indicates a theatrical rather than a symphonic temperament. This preference for the lyrical repertoire perhaps explains the abundance of ornamentation and the burst of trills that emerge from his concerto in a delicate virtuosity.

Nadja Dornik; Orchestra Art Ensemble of the Ministry of Defense Stanislav Binicki, Conductor : Pavle Medakovic

https://youtu.be/HSjyMY9pIsA?si=VT15NjjBFLCVb2vU

(6) Louis Spohr´s Concertante Nr.1 for harp, violin and orchestra (1806) 

The fact that Louis Spohr's wife was a harpist encouraged the composer to devote much of his considerable talent to music for that instrument. No other Romantic composer showed such a penchant for new instrumental combinations: a concerto for string quartet and orchestra, a symphony for two orchestras, double quartets for two string quartets, important works for clarinet and, above all, numerous works for harp. The many works Spohr wrote between 1805 and 1811 for his wife, the famous harpist Dorette Scheidler, represent the most important contribution of the 19th century to the repertoire of this quintessential "romantic" instrument. Spohr himself was a violinist, so this concerto, with its unusual combination of instruments, was written to be played together. The masterful instrumentation is particularly astonishing.

Elsa Claveria, Violin Rosa Díaz Cotán, Harp Sebastian Tewinkel, Conductor Neubrandenburger Philharmonie

(7) Parish-Alvars: Concertino for Two Harps in D minor, Op. 91 (1845)

Elias Parish Alvars (1808-1849) enjoyed an international reputation as a harp virtuoso. He was one of the first to successfully exploit the new possibilities of the double pedal harp and set standards in the development of modern playing techniques on this instrument. Parish Alvars composed especially for his instrument, including four concertos for harp and orchestra, a concertino for two harps and orchestra, and numerous fantasies, variations, transcriptions, and etude works. His style is influenced by contemporary Italian opera, but also by Felix Mendelssohn. The present Concertino also exists in a version for harp and piano.

Patrizia Tassini & Nicoletta Sanzin, harp KOMORNI ORKESTER NOVA Ivan Marinović, conductor

(8) Carl Reinecke: Harp Concerto in E minor, Op. 182 (1884)

Carl Reinecke (1824-1910) was a German composer, conductor and pianist who was also an important pedagogue. Among his many students were Grieg, Bruch, Janacek, Albeniz, Sinding, Svendsen, Reznicek, Delius, Arthur Sullivan, and George Chadwick, to name a few. He eventually rose to the position of director of the Leipzig Conservatory and also served as conductor of the Leipzig Gewandhaus Orchestra. He composed in virtually every genre, from opera to orchestral and chamber music. Although his Harp Concerto is in a minor key, it is cheerful and purposeful - Reinecke understood the instrument very well. It is a charming and melodious concerto, romantic and robust in spirit.

Anneleen Lenaerts with the Flanders Symphony Orchestra conducted by Jan Latham-Koenig

(9) Pierné: Concertstück for harp and orchestra Op. 39 (1901)

Gabriel Pierné (1863-1937) was a French composer, conductor, and organist known for his contributions to late Romantic and early 20th century music. Pierné is known as a composer of symphonic works, chamber music, songs, and musical theater. His symphonic works include a piano concerto and the present concerto for harp and orchestra. Pierné's concerto has a very atmospheric, "once upon a time" opening with voluminous arpeggios and delicately drawn themes. It then features a beautifully romantic, broad main melody that is worked out in a lush and sumptuous manner.

Marie-Pierre LANGLAMET, harpe
Orchestre de Picardie, Orchestre National en Région Hauts-de-France
Direction Laurent Petitgirard

(10) Zabel, Harp Concerto in C minor Op 35 (1904 or earlier)

Albert Heinrich Zabel (1834-1910) was a German composer and harp virtuoso. At the age of eleven, Albert Zabel embarked on a concert tour that took him to the United States, England, and Russia. A scholarship from Giacomo Meyerbeer enabled him to study harp with Louis Grimm at the Royal Institute for Church Music in Berlin. Several tours with Josef Gung'l and his orchestra took him to Russia, England and the United States. From 1848 to 1851 he was a soloist at the Berlin Opera. In 1855 he was appointed principal harpist of the Imperial Ballet in St. Petersburg. When the Conservatory was founded in 1862, Anton Rubinstein hired him as professor of harp. Zabel wrote numerous works for the harp, including the present concerto. As a teacher, he was one of the pioneers of the Russian school, which is still famous today. He died in his adopted city in 1910. His three-movement Harp Concerto of 1904 is extremely interesting, moving between sublime and soulful ballet music.

Viktor Hartobanu with the orchestra of the Stella Vorarlberg Privathochschule für Musik in Feldkirch, Austria.

(11) Debussy: Danse sacrée et danse profane (1904)

Claude Debussy's "Danse sacrée et danse profane" is a captivating work for harp and strings that reflects the composer's fascination with non-traditional scales and the exoticism characteristic of his Impressionist style.

The title translates as "Sacred Dance and Profane Dance," and the composition is divided into two distinct sections. The "Danse sacrée" begins with a solemn and reverent atmosphere, evoking a ceremonial quality. The melodic lines of the harp intertwine with the string orchestra, creating a sense of ritual beauty.

Following the sacred section, the "Danse profane" contrasts with a more vibrant, playful energy. This movement incorporates dance-like rhythms and showcases the virtuosic capabilities of the harp. The interaction between harp and strings maintains a delicate balance, illustrating Debussy's mastery of blending textures and timbres.

The Oslo Philharmonic with harp soloist Birgitte Volan Håvik and chief conductor Klaus Mäkelä

(12) Saint-Saëns, Morceau de concert, Op.154 (1918)

The "Morceau de concert" by Camille Saint-Saëns (1835-1921) is a single-movement work that showcases the composer's melodic inventiveness and mastery of orchestration. The piece is characterized by its expressive and lyrical qualities, allowing the harp to shine both melodically and virtuosically. Saint-Saëns, who was an accomplished pianist and a lover of exotic instruments, often incorporated the harp into his compositions. The first main theme is wistful and evocative, almost like a Vaughan Williams tune with its folksy feel and wind orchestration, and before the upbeat, if slightly understated, finale, the sparkling scherzo section plays to the harp's filigree strengths.

The National Symphony Orchestra of Uzbekistan.
Zlata Kryachkova / harp /
Tigran Shiganyan / conductor

(13) Gliere, Concerto for Harp and Orchestra in E flat major (1938)

Reinhold Glière (1875-1956) was a Russian composer and conductor known for his contributions to late romantic and early 20th century music. Born in Kiev, Ukraine, he studied at the Moscow Conservatory under such notable composers as Sergei Taneyev and Anton Arensky. Glière's extensive body of work includes symphonies, ballets, operas, chamber music, and concertos. One of Gliere's most notable works is the Concerto for Harp and Orchestra, composed in 1938. This concerto is a romantic and lyrical work that demonstrates Glière's melodic craftsmanship and skillful orchestration. Glière explores the rich tonal palette of the harp, showcasing both its melodic and virtuosic qualities. The concerto is in three movements: Allegro moderato, Andante, and Allegro giocoso. This is a lively and engaging concerto.

Moscow City Symphony "Russian Philharmonic"; Conductor -- Sergey Tararin; Soloist -- Elizaveta Bushueva (harp)

(14) Rota, Harp Concerto (1946)

The Italian composer Nino Rota (1911–1979) was best known for his prolific work in film scoring. Rota's collaboration with film director Federico Fellini brought him widespread recognition. He composed scores for many of Fellini's iconic films, including "La Strada," "Nights of Cabiria," "La Dolce Vita," and "8½." Rota's music played a crucial role in enhancing the emotional depth and atmosphere of these films. In addition to his work with Fellini, Rota collaborated with other renowned directors, such as Luchino Visconti ("The Leopard") and Francis Ford Coppola ("The Godfather" trilogy). His compositions are characterized by melodic richness, a blend of traditional and modern elements, and a strong connection to the visual narrative of the films.

Beyond film, Nino Rota also composed symphonies, operas, chamber music, and ballets. Nino Rota's Harp Concerto was composed in 1946. Rota combines orchestral color with the harp's unique timbre, creating a captivating dialogue between the soloist and the ensemble. Rota's Harp Concerto typically follows the traditional three-movement structure found in many concertos. A very refined work, full of melodic charm.

Orchestra degli allievi del Conservatorio di musica "Arrigo Boito" di Parma
con la partecipazione di allievi del Conservatorio di Mantova, ISSM di Reggio Emilia e della University of Georgia (Hugh Hodgson School of Music)
Agnese Contadini, arpa
Alberto Martelli, direttore

(15) Ginastera, Harp Concerto (1956)

Alberto Ginastera (1916-1983) was an Argentine composer considered one of the leading figures in 20th-century classical music. Ginastera's compositions reflect a blend of traditional Argentine folk elements and avant-garde techniques. His early works were influenced by the rhythms and melodies of Argentine folk music, incorporating elements such as the use of indigenous instruments and rhythms. As he evolved as a composer, Ginastera embraced various modernist and atonal styles, contributing significantly to the development of contemporary classical music.

Ginastera's compositions span a variety of genres, including orchestral works, chamber music, ballets, and operas. His Harp Concerto is a fascinating fusion of folk-inspired nationalism and various modernist tendencies. The three-movement concerto is based on a fast-slow-fast scheme, with an extended cadenza in the final movement. The outer movements are upbeat and colorful, with sonorous harmonies wrapped in seductive rhythms. The slow central movement is a ravishing nocturnal soundscape worthy of Bartók's "Night Music."

Emily Hoile | Cornelius Meister | WDR Symphony Orchestra

Best Symphonies and Concertos

Best "Theme and Variations" Music

1. Violin Sonata Op 5 No 12 "La Folia" by Corelli (1700)

"La Folia" (Folly or Madness) is one of the oldest European musical themes, originating as a dance in the mid or late fifteenth century throughout the Iberian Peninsula. Over the course of three centuries, more than 150 composers have used it in their works. Jean-Baptiste Lully in 1672, Arcangelo Corelli in 1700, Marin Marais in 1701, Alessandro Scarlatti in 1710, Antonio Vivaldi in his Opus 1 no. 12 of 1705, Francesco Geminiani in his Concerto Grosso no. 12 (which was actually part of a collection of direct transcriptions of Corelli's violin sonatas), George Frideric Handel in the Sarabande of his Keyboard Suite in D Minor of 1727, and Johann Sebastian Bach in his Peasants' Cantata of 1742 are considered to have brilliantly emphasized this repeating theme and its variations, to name just a few. The flexibility of the theme to incorporate and adapt features of new musical styles is amazing, and may have been essential to its longevity. On top of that it fits to a variety of instruments on which it can be played in a most natural way.

Listen to:  The Four Nations Ensemble, Olivier Brault violin

2. Goldberg Variations by Bach (1741)

The work consists of 30 variations, beginning with a single aria. After an hour of transforming the music with different time signatures, textures, and harmonies, the beautiful first aria returns - as the listener has then heard the melody transformed in countless ways, the simplicity of the original music is nothing short of mesmerizing.

The following legend has been attached to the Goldberg Variations. Count Hermann Karl von Keyserlinck was having trouble sleeping and asked Bach for some pleasant music to pass the time, to be played by Keyserlinck's harpsichord prodigy, Johann Gottlieb Goldberg. But Bach probably had himself in mind, rather than the thirteen-year-old pupil of his son Wilhelm Friedemann, when he composed what is considered to be the best constructed and most expressive set of variations of the Baroque era. The name "Goldberg Variations" did not come from Bach himself. He called it an "Aria with variations for emotional relief." The work was published as the fourth part of Bach's encyclopedic Clavier-Übung.

Listen to: Jean Rondeau for All of Bach

 

3. Twelve Variations on "Ah! vous dirai-je, Maman!" by Mozart (1782)

"Ah! vous dirai-je, maman" is a popular French children's song, although the origin of the melody is an anonymous pastoral (love) song dating from 1740, with children's lyrics added only later. Since its composition in the 18th century, the melody has been applied to numerous lyrics in several languages – the English song "Twinkle, Twinkle, Little Star" is one such example. It was adapted in Twelve Variations on "Ah vous dirai-je, Maman" by Wolfgang Amadeus Mozart.

Listen to: Alberto Lodoletti, piano

4. Andante and Variations in F minor by Haydn (1793)

Haydn's Variations in F minor (Hob. XVII:6), written in 1793, is one of the composer's last piano works, along with the three London sonatas. Arranged as a double set of variations, it is one of Haydn's most popular piano pieces, and its emotionally expressive character and virtuosic conclusion have made it a staple of the pianist's repertoire. Joseph Haydn uses two themes as the basis for the variations. This means that the work belongs to the type of double variations. The first theme is in the key of F minor and the second in the key of F major. At the beginning, Haydn presents the themes one after the other. He then varies them twice, alternating each time. The variations end with the first ending in F major, after which a large coda also in F major concludes the piece.

Listen to: Davide Scarabottolo

5. Diabelli Variations by Beethoven (1823)

The 33 Variations on a Waltz by A. Diabelli op. 120 in C major, completed in 1823, are Ludwig van Beethoven's last major piano work. With a playing time of approximately 45-60 minutes, the Diabelli Variations, dedicated to Antonie Brentano, mark the culmination of Beethoven's work on variations and are among his most important, extensive and complex contributions to this art form.

At the beginning of 1819, the Viennese music publisher and composer Anton Diabelli had a curious business idea: he invited a number of well-known contemporary composers from all over Austria and Bohemia to write a variation on a waltz theme of his own, which would then be published as an anthology by his music publishing company. Fifty musicians responded to Diabelli's call, including Carl Czerny, Johann Nepomuk Hummel, Ignaz Moscheles, Conradin Kreutzer, Franz Xaver Mozart, Franz Schubert, and the young Franz Liszt.

Beethoven was also supposed to contribute a piece, but he was neither enthusiastic about the idea of the collaborative project nor about the compositional quality of the Diabelli theme. He told the publisher that he would be happy to work on the theme alone for 40 ducats. Diabelli even offered him twice as much if he wrote more than seven variations, but Beethoven did much more - in 1823, he delivered a complete cycle with "33 variations". Diabelli was so enthusiastic about Beethoven's work that he had his cycle of variations published separately.

Listen to: Daviid Korevaar

 

6. Le Festin d’Ésope (Aesop’s Feast) by Alkan (1857)

Le festin d'Ésope (Aesop's Feast) is the last étude in the series Douze études dans tous les tons mineurs (Twelve Studies in All Minor Keys), Op. 39, published in 1857. It is a work of twenty-five variations based on an original theme in E minor. The technical skills required in the variations are a summation of the preceding études. The work requires exceptional virtuosity, with extremely fast overlapping octaves, fast scales with left-hand accompaniment, enormous leaps, fast octave chords, tremolos, double octaves, and trills.

Regarding the title: according to legend, Xanthus asked his slave Aesop to prepare a feast with all kinds of food. At the feast, however, all the guests were served tongue, which, Aesop explained, contained every kind of human knowledge and emotion. This story itself can be interpreted as a parable of the variation form.

Listen to: Yeol Eum Son

 

7. Variations on a Theme by Haydn by Brahms (1873)

The opening of Brahms' Haydn Variation is an exact transcription from an Esterhaza manuscript of woodwind pieces attributed to Haydn (though not actually by him!). As the variation progresses, the "Haydn character" diminishes and the "Brahms character" increases. But the contrapuntal pastiche of earlier times remains with us to the end, with a typical Brahmsian delight in the Baroque rhythmic play known as the hemiola. The final movement is a Passacaglia. These highly innovative variations were Brahms's final training ground before the publication of his First Symphony, and their success in 1873 must have encouraged him to feel that he could finally risk the big step from the more sheltered works of the brilliant chamber composer into the arena of public music.

Listen to: Blomstedt | Concertgebouworkest


 

 

8. Symphonic Variations for orchestra by Dvořák (1877)

Antonín Dvořák's Symphonic Variations on the Theme "I am a Fiddler" for Orchestra, Op. 78, were written in 1877. They are played fairly frequently, much like Johannes Brahms's Variations on a Theme by Haydn and Edward Elgar's Enigma Variations. The work is said to have been a response to a friend's challenge to write variations on a theme that seemed impossible for that purpose. Dvořák chose the third of his series of three songs for unaccompanied male voices, which is in ternary form, with phrase lengths of 7, 6, and 7 bars. Far from being impossible as a subject for variations, the theme proved to be exceptionally well suited for this purpose.

Listen to: The Portland Youth Philharmonic Orchestra, conducted by David Hattner

 

9. Symphonic Variations by Parry (1897)

Hubert Parry's inventive set of 27 symphonic variations was much admired by Tovey, Joachim and Elgar. It is an effective orchestral tour de force, comparable to Brahms's Haydn Variations. The symphonic structure implied in the sonata-like divisions of tempo and key gave Parry the opportunity to explore and expand his technical resources. The result is a minor classic.

Argovia philharmonic, Douglas Bostock, conductor

 

10. “Enigma” Variations by Elgar (1899)

Variations on an Original Theme for Orchestra, Op. 36 (Enigma), better known as the Enigma Variations, is an orchestral work consisting of a musical theme and fourteen variations composed by Edward Elgar in 1898-1899. It is one of Elgar's best-known large-scale works, not only because of the music, but also because of the mystery surrounding it. Elgar dedicated the piece to "my friends depicted in it", a reference to the fact that each variation is a musical portrait of someone from his circle of friends (and including his dog!).

With this work, Elgar not only made his breakthrough as a composer, but also put British music back on the international map after several centuries.

The work consists of a theme followed by 14 variations. The variations are derived from melodic, harmonic and rhythmic elements of the theme. The last part is not actually a variation, but a finale in which Elgar repeated two variations: variation numbers 9 and 1, dedicated to his friend Jaeger and his wife Alice respectively. Elgar did this because he owed them both a great deal, both as an artist and as a person. This finale was also given a variation number because Elgar did not want to end with the unlucky number 13.

Elgar's musical portraits depict their subjects on two different levels, as was common in painted portraiture at the time. In addition to a general musical impression of the sitter's personality, several variations contain musical references to a specific character trait or event, such as Dorabella's stutter, Winifred Norbury's laugh, and the conversation during the walk with Jaeger.

Listen to: Radio Filharmonisch Orkest, Stanislav Kochanovsky, conductor

 

 

11. Variations for Orchestra by Steinberg (1906)

Maximilian Steinberg's Variations for Large Orchestra, Op. 2, reflect the influence of the great composers whose works he studied in St. Petersburg: Borodin, Tchaikovsky, Rimsky, and Glazunov. Dating from 1905, the Variations are based on a popular theme from the Russian repertoire of the kind Glinka used in his Kamarinskaya. This type of piece was something of a rite of passage that even the young Shostakovich could not avoid. Steinberg's Variations show the composer's talent as well as his respect for the great composers, in his case especially his teacher Rimsky, to whom the work is dedicated. The sinuous melody has a special Russian charm. The work as a whole illustrates all the rules of the genre, with a gradual transformation of the theme, a varied use of orchestral color, rhythmic variations alternating with melodic ones, and a final peroration.

https://youtu.be/NIU2WlsxLLs?si=yq4NOn8x4iAo71oj
 

 

12. Variations on a Nursery Tune for piano and orchestra by Dohnányi (1914)

After a dramatic introduction, the theme – Twinkle, Twinkle, Little Star – is introduced, followed by eleven variations on it, including a waltz and a more serious passacaglia.

Dohnányi alludes to many different works, or composers' distinctive compositional styles, in the piece. For instance, variation 8 suggests the march from the second movement of Tchaikovsky's "Little Russian" Symphony. Debussy is alluded to, with the ethereal harmonies of the 11th variation. Dohnányi pokes fun at nearly every composer his audience of 1914 would have been familiar with.

The work made Dohnányi famous, particularly in England and North America.

For another discussion of this piece, see my article "Best Piano Concertos from the Twentieth Century: Part One (1904-1932)".

Listen to: Filharmóniai Társaság conducted by Dénes István with Fejes Krisztina, piano

13. Variations and Fugue on a Theme by Mozart by Reger (1914)

The Variations and Fugue on a Theme by Mozart Op. 132 uses the theme from the 1st movement of Mozart's Sonata No. 11 in A major KV 331 and is one of Reger's best-known and most popular works. The theme goes through a total of 8 variations and ultimately forms the basis for the final fugue.

Composed between May and July 1914 in Berchtesgaden and Meiningen, it was premiered on January 8, 1915 in Wiesbaden by the municipal spa orchestra under the direction of the composer. The theme is presented first by the woodwinds, then by the strings and finally together. The fugue adopts the original key of A major and the original 6/8 time, starting in the strings. Flute and oboe present a second fugal theme, so that after the second fugue has been played, the movement develops into an increasingly intense double fugue as it progresses. The climax is the combination of both fugue themes with the resumption of the Mozart theme in the trumpets, which brings the work to a majestic end with a full orchestra.

Listen to: hr-Sinfonieorchester ∙ Peter Eötvös:

14. Rhapsody on a Theme of Paganini for piano and orchestra by Rachmaninoff (1934)

This work is discussed in my "Best Piano Concertos of the Twentieth Century Part Two", so I refer to that article.

Listen to: Anna Fedorova [piano] and the Philharmonie Südwestfalen, Gerard Oskamp [conductor]

 

15. Variations on a Theme by Hindemith by Walton (1963)

Variations on a Theme by Hindemith is an orchestral piece in eleven continuous sections, first performed in 1963. It is a tribute to Walton's friend and fellow composer Paul Hindemith. William Walton's friendship with Paul Hindemith dated from 1923 when the two had met at the Salzburg Festival. In 1929 Hindemith did Walton a great service when he played the solo part in the premiere of the latter's Viola Concerto, stepping in at short notice to replace the intended soloist, Lionel Tertis. From the mid-1950s Walton contemplated a work to salute his friend, and a suitable opportunity arose in 1962, with a commission from the Royal Philharmonic Society in London for an orchestral work to celebrate its 150th anniversary. Walton chose to write a set of variations on a theme from Hindemith's 1940 Cello Concerto, and dedicated the work to the Hindemiths – Paul and his wife, Gertrud. The theme is from the opening of the slow movement of the Hindemith Cello Concerto, a slow lyrical passage marked Ruhig bewegt. Unusually for a set of variations, the theme is not a short individual melody but 36 consecutive bars – "not a tune, nor even a theme, but a paragraph". Hindemith was delighted with the Variations, and called the work "a half-hour of sheer enjoyment", and Walton said to Benjamin Britten in 1964 that he thought the piece one of his best. The musical scholar Christopher Palmer has called the piece "perhaps the finest of all Walton's post-war orchestral works", the composer's biographer Michael Kennedy ranks it as one of Walton's finest works of any period of his career, and in 2017 the critic Robert Matthew-Walker called it "arguably Walton's most refined masterpiece."

https://youtu.be/sF-XRHkppRs?si=QF4_y__25-i21Z3d



See for another take on "Theme and Variations" music: 10 ESSENTIAL “THEME and VARIATIONS” Pieces for BEGINNERS by Dave Hurwitz of Classics Today:

[This article incorporates some text from the relevant English, Dutch and German Wikipedia articles, as well as from the liner notes of the relevant CDs]

Alan Hovhaness Best Music

Hovhaness: "Blending Eastern and Western culture"

Alan Hovhaness (1911 - 2000) was an American composer who wrote the large number of 467 compositions, including 67 symphonies, 22 concertos, 2 ballets and more than 100 works for chamber ensembles, and 7 operas.

Hovhaness, born Alan Vaness Chakmakjian, was the son of an Armenian chemistry teacher and a mother of Scottish descent. He began composing at an early age, reportedly from the age of four. He studied at the New England Conservatory in the 1930s; piano with Adelaide Proctor and Heinrich Gebhard, composition with Frederick Converse. In 1942 Hovhaness won a scholarship to study at Tanglewood, but left after a week of disappointment. Shortly thereafter, he came into contact with the Greek painter (he himself called him a spiritual teacher) Hermon di Giovanno, who advised him to return to his origins, in this case the liturgical music of Armenia. Because of his interest in Eastern music, philosophy and religion, Hovhaness became dissatisfied with his youth work, which he mostly destroyed. He organized an amateur orchestra and began to perform his new style of music, including such works as Celestial Fantasy, Three Armenian Rhapsodies, and the Saint Vartan Symphony.

After teaching composition at the Boston Conservatory from 1948 to 1951, he moved to New York, where he composed for radio, television, and the theater, including three scores for Martha Graham. In 1956, Leopold Stokowski, who had conducted the Symphony No. 1 "Exile" in 1942 and 1943, commissioned the Symphony No. 2 "Mysterious Mountain". Stokowski became a champion of Hovhaness and conducted many of his works in the following years.

[Hovhaness seen working on a manuscript, c. 1970-79]

During the summers of 1956 and 1959, Hovhaness taught composition at the University of Rochester's Eastman School of Music, and fellow composer Howard Hanson conducted a number of his works. In 1959, Hovhaness received a Fulbright Research Scholar Grant to study music in Madras, India, where he also composed for South Indian instruments. In 1960 he went to Tokyo, where the Nippon Philharmonic performed his Symphony No. 3. In 1962, Hovhaness returned to Japan on a Rockefeller Fellowship to study the ancient Gagaku music. In Korea he studied similar ancient music.

In 1963, Andre Kostelanetz conducted many of Hovhaness' works and commissioned several, including Symphony No. 19 "Vishnu," And God Created Great Whales, and Rubaiyat. After serving as composer-in-residence with the Seattle Symphony in 1967, Hovhaness moved to Seattle in 1972 for the rest of his life. In 1983, the C.F. Peters Corporation commissioned Symphony No. 50, "Mount St. Helen's".

Alan Hovhaness has been married six times. With his first wife, Martha Mott Davis, he had his daughter and only child, Jean Nandi. His last wife, Hinako Fujihara, his muse and a coloratura soprano by profession, who lovingly cared for him until his death, was about 25 years younger.

Believing atonal music to be unnatural, Hovhaness eschewed the serialism that prevailed in intellectual musical circles and instead followed his own path. Although his music often contained dissonance, it was always within the context of (often modal) tonality. Influenced by Sibelius early in his career, Hovhaness maintained long melodic lines and transparent harmonies in his music. By the 1940s, he had absorbed his Armenian musical heritage along with Renaissance and Baroque fugues, canons, and arias; medieval and Greek modes; Byzantine polyphony; and Indian, Japanese, and Korean classical music. These many influences never obscured his own voice. He did not ignore contemporary trends, using prepared and quarter-tone piano as well as contrasting rhythms. His early experiments with aleatoric music, which he called "oriental spirit murmur," foreshadowed John Cage's fascination with chance in music. But above all, Alan Hovhaness strove to communicate beauty through his music.

Hovhaness's work has many Asian influences, not because he is the son of an Armenian, but because of his travels to India, Japan, and South Korea. The composer was deeply interested in religion and mysticism. Hovhaness was a Buddhist, which is expressed in his work through mysterious yet serene melodic lines. Hovhaness was also influenced by medieval and Renaissance music, and sometimes applied Bach's formal theory, especially his polyphony.

Hovhaness himself says that his work is mainly inspired by nature, especially the mountains. Hovhaness was not an innovative pioneer like his contemporaries Stravinsky and Schoenberg. His music is melodious and lilting in nature and was appreciated by many during his lifetime. Hovhaness's work is relatively easy to perform. Like Olivier Messiaen, Hovhaness has tried to combine the mystical and the secular, the Eastern and the Western, the ancient and the modern in his very personal music.

Hovhaness' two most recorded works, and among the most rewarding, are his Symphony No. 2 "Mysterious Mountain" op. 132, with lush, sweeping melodies like an Oriental-tinged Sibelius, and Prayer of St. Gregory for trumpet and strings (or organ) op. 62.

Symphonies

Alan Hovhaness's catalog of symphonies is numbered up to 67, but 75 is closer to the mark if suppressed early works and an unnumbered chamber symphony are included. It was Hovhaness's longevity that allowed him the time to compose so many, the last 43 of which were written after his 60th birthday.  There is a parallel here with the prolific English symphonist Havergal Brian, who composed some 28 of his 32 symphonies after the same birthday.

But if we look at the number of Hovhaness's symphonies as a percentage of his total surviving output (about 500 works), we see that he did not specialize in this genre any more than other 20th-century symphonists: 67 symphonies represent about 13% of his output; compare this, for example, with Miaskovsky's twenty-seven (26%). The difference is that Hovhaness had an irreverent attitude toward contemporary notions of the modern symphony - he almost never wrote in sonata form, but for him the term "symphony" simply encompassed any multi-movement or substantial orchestral piece. His symphonic movements are not inherently different from the other music he wrote. Further evidence of Hovhaness's somewhat loose conception of the term "symphony" is that many of his symphonies acquired their designation quite arbitrarily, several years after their composition, while others are clearly solo concertos in all but name (e.g., No. 36 for flute and strings). Still other works betray a genuinely symphonic conception and yet escape the designation "symphony," such as the admirably crafted Concerto No. 7 for Orchestra.

Hovhaness's most famous symphony, the Symphony No. 2, "Mysterious Mountain," is discussed in my article "Best Symphonies of the Twentieth Century, Part Three" on this blog so I will skip it here.

Symphony No 1 "Exile" (1936)

The earliest "official" Hovhaness symphony was premiered in England in 1939 by the BBC Orchestra under Leslie Howard. The conductor heaped praise on Hovhaness, declaring his First Symphony "powerful, virile and musically very solid. It was also the work that won the composer the admiration and support of Leopold Stokowski, who introduced the symphony to the American public in 1942 and later commissioned Symphony No. 2, "Mysterious Mountain.

The "Exile" of the title alludes to the plight of the many Armenians (including Hovhaness's paternal family) who were either uprooted or killed before and after World War I, and moods of both anguish and heroism permeate the outer movements. Nevertheless, the work is dedicated to the English philosopher and writer Francis Bacon, the composer's literary hero.

The original titles of the three movements were Lament, Conflict and Triumph, reflecting the plight of the exiled Armenians. In 1970, the composer replaced the central "Conflict" movement with a new Grazioso movement and retitled the outer movements with non-programmatic tempo markings, somewhat diluting the symphony's original political connotations.

It is easy to hear Oriental influences in the rich melodic arcs, and a connection to ancient civilizations in the modal tonalities. That the composer's compassion and prayers for the liberation of the persecuted were intense is perhaps most dramatically characterized in the startling fanfares, fugues and chorale of the final movement.

https://youtu.be/2ITnukC88fg?si=TBbrV-4cIIJw3pxU

Symphony No 6 "Celestial Gate" (1959)

A painting by the Greek mystic painter Hermon di Giovanno was Hovhaness' inspiration for this symphony. Such paintings adorned the walls of Hovhaness's apartments for most of his life. In the early 1940s, di Giovanno had introduced Hovhaness to the ancient worlds of Greece, Egypt, and India, and had encouraged the composer to further study his Armenian heritage. Hovhaness described di Giovanno as "my spiritual teacher who opened the door to the spiritual dimension. Perhaps this is the "Celestial Gate" of the title, rather than the title of a specific painting.

As Lou Harrison noted, Hovhaness was "one of the greatest melodists of the 20th century," and this symphony certainly exemplifies Hovhaness' gift for beautiful melodic writing. It is not surprising, then, that after Mysterious Mountain, Celestial Gate is the most frequently recorded symphony.

The symphony is in one movement and scored for chamber orchestra. After a brief introduction setting the mood of the work, one of the main features of the piece, an extended melody of great beauty, appears on the clarinet over a viola countermelody; the string accompaniment includes scalic pizzicato motifs that come to the fore in a later dance-like section. A number of solo instruments play this material at various times throughout the symphony. There is also a fugal development of the first phase of the theme. The work, which began in the depths of the lower strings and bassoon, ends with 'floating' high tessitura con sordini violin clusters, taking the listener from our mundane world to an ethereal world of serenity, even bliss. It is as if a new dimension is revealed to us as we finally pass through the heavenly gate.

https://youtu.be/Aq-tMlz_Wvg?si=8mwbKKRFFDWmEyyo

Symphony No 19 "Vishnu" (1966)

The Vishnu Symphony is one of the most original orchestral works of the 20th century and deserves to be widely known. From the unsettling low brass growl of the opening, it is clear that this is a work of astonishing invention. It is certainly his boldest work in terms of exploring the limitless sonorities afforded by his 'senza misura' aleatoric technique, which had come a very long way from the hushed pizzicato murmurs of 1944's Lousadzak. Yet the composer's facility with what he called "controlled chaos" makes it sound completely at home in this adulatory hymn to the universe, where its purpose is to portray mystery, grandeur, and cosmic energy. The aspect of the Hindu god Vishnu with which this tone poem is primarily concerned is related to his most ancient character as a sun god, depicting him as "protector and preserver of life."

Originally conceived as a cosmic tone poem entitled "To Vishnu", the work is cast in one continuous movement as "an unfolding giant melody of adoration to the immensity and sublimity of limitless stellar universes". The form is completely free, consisting of a broad melodic line interrupted by preludes and interludes composed of a chaos of controlled sounds, never reaching aleatoric music. Its structure, according to its author, is inspired by the classical Japanese concept of Jo-Ha-Kyu, roughly translated as "beginning, pause, rapid", which essentially means that all actions or efforts should begin slowly, accelerate and then end quickly.

https://youtu.be/AMFjiunPyq4?si=5LKIoaFQZvMCrCte

Concertos

Hovhaness wrote 22 concertos for various solo instruments. One of the most famous is his piano concerto, Lousadzak ("Coming of Light," 1944), but as I have already introduced that in my "Best Piano Concertos of the Twentieth Century Part Two," I will skip it here.

Concerto for Horn and String Orchestra "Artik" (1948)

Composed in 1948 for Hovhanes' students at the Boston Conservatory of Music. The concerto is named after a 7th-century octagonal Armenian church with a central dome and four semi-domes. It consists of eight short movements (I. Alleluia, II. Ballata, III. Laude, IV. Canzona: To a mountain range, V. Processional, VI. Canon, VII. Aria, VIII. Intonazione) and suggests the spiritual form of a mass with long melismatic melodic lines and motet-like responses. All melodies are original.

https://youtu.be/fFrHR1H-RVs?si=vJeBjUaMqOMTaXf-

Orchestral

Prayer of Saint Gregory for trumpet and strings (1946)

The Prayer of St. Gregory op. 62b, an intermezzo from the opera Etchmiadzin with the trumpet's prayer over plaintive, hymn-like strings, is a moving spiritual piece that has already become a staple of the trumpet repertoire. It is a quietly sinuous trumpet psalm over a bed of strings - an oriental extension of the Tallis fantasia.

Listen to: David Krauss with Gerard Schwarz and the Metropolitan Opera Orchestra:

Fantasy on Japanese Wood Prints, for xylophone and orchestra (1964)

This is one of the better known works resulting from Hovhaness's contact with Japan and its culture. A single-movement concerto for xylophone, Hovhaness uses Western instruments in unconventional ways to create impressions of traditional Japanese instrumental techniques. In addition, his melodies are heavily influenced by the modalities found in traditional Japanese music. Hovhaness did not attempt to create a direct musical equivalent of ukiyo-e prints, but rather intended this piece to be a reflection of the delicacy, charm, and vitality characteristic of Japanese printmaking, as well as a reflection of his own love for Japan.

Listen to Unites States Marine Band with SSgt Gerald Novak, xylophone soloist:

Mountains and Rivers Without End (1968)

A chamber symphony in all but name, and not part of the composer's numbered canon. The work was inspired by a Korean scroll, a landscape painting, and was certainly influenced by the composer's time (in the 1960s) under the tutelage of the Gagaku musician Masatoro Togi. The music is rich: dancing angels suggested by high singing violins and pizzicati, gliding horn, flute and English horn, rolling trombone roulades, bells, the Oriental ornithological serenade of flute and high woodwinds, a labyrinth of Messiaenian complexity, a paradisaical cloud of birdsong and impressionistic harp and horn parts. It all ends in pealing ecstasy.

https://youtu.be/0-ItucYZqps?si=pR1-5T2Bhelawz_l

And God Created Great Whales, for taped whale sounds and orchestra (1970)

One of Hovhaness's most famous works, mixing the taped sounds of the "song" of various whale species with a mystical score evoking the wash and depth of an imagined eastern sea. There are some conceptual parallels here with the taped birdsong in Einojuhani Rautavaara's Cantus Arcticus. This is a powerful amalgam and is made extremely moving by the counterpoint between the whale song and Hovhaness's inspired music. It contains one of Hovhaness's most inspired melodies towards the end.

Listen to: YOSA Philharmonic, Troy Peters, Music Director:

Rubaiyat of Omar Khayyam for speaker, accordion, and orchestra (1975)

In The Rubaiyat, a narrator intones stanzas from the Fitzgerald translation while the orchestra provides an oriental background that enhances the poems. Hovhaness, with his fascination for Eastern music and motifs, brings joy to a reading of Khayyam's poetry. An accordion is used in the orchestra, making truly beautiful and exotic sounds. You will never find a better contrast between what most people think of when they hear the words "accordion music" and what is heard here. Hovhaness does an admirable job of capturing the poetry's mixture of youthful exuberance coupled with the inevitability of mortality.

https://youtu.be/FeDwYOni_eQ?si=BDYefisxAe791UCo

Chamber

String Quartet No 1 "Jupiter" (1936)

Among the highlights of Hovhaness's chamber music output is his String Quartet No. 1 "Jupiter" op. 8, an early and lush work. Interestingly, Hovhaness's quartets were written to be played in his home with his friends. Even in the quartets, Hovhaness' music inhabits a distinctive sound world, with strong, simple, modal harmonies mixed with elements from the composer's Armenian heritage and the Far East. But Hovhaness also loved the music of Bach, as evidenced by his heavy use of fugues here. In other words, Hovhaness' contrapuntal skills are very much on display in this first quartet. The opening "Prelude" and the second movement (an impressive quadruple fugue) were reworked for full orchestra in the 1950s into the popular Prelude and Quadruple Fugue. The prelude has a jaunty, interesting oriental-sounding melody, while the second movement is stylistically more strictly fugal, before a zigzagging theme builds to an urgent and busy conclusion. The slow 3rd movement is tenderly elegiac. The work concludes with a lively fugal finale that is also used in the second movement of the Mysterious Mountain Symphony.

https://youtu.be/3nMsyIniZfk?si=Hzbpwai6eoI90w_G

Sonata for ryuteki and sho (flute and organ, 1968)

As the title suggests, this sonata is Japanese in inspiration, the result of Hovhaness's study of Japanese court music called gagaku (which itself originated in China in the 8th century). The ryuteki (literally "dragon flute") is a Japanese transverse flute (fue) made of bamboo. It is one of the three types of flutes used in gagaku. The sound of the ryuteki is said to represent dragons ascending into the sky. The sho is a free-reed instrument descended from the Chinese sheng of the Tang Dynasty, although the sho tends to be smaller than its contemporary sheng relatives. It consists of 17 slender bamboo pipes, each with a metal-free reed attached to its base. Two of the pipes are silent, although research suggests that they were used in some music during the Heian period. It is speculated that they were kept as part of the instrument to maintain the symmetrical shape. The sound of the instrument is said to imitate the call of a phoenix. Inspired by these exotic instruments, Hovhaness subjects their modern Western counterparts to a unique treatment: in the five short movements, the organ plays only chordal clusters in the upper register, while the flute is given melodic lines influenced by Japanese gagaku modes.

https://youtu.be/GqVRQ_hqwFU?si=0LP8v_4nygPhzTIp

Piano

Fred the Cat (piano sonata) (1977)

The Sonata "Fred the Cat" was written for music writer Jurgen Gothe, who commissioned the work after the death of his pet. Hovhaness happens to be another cat lover who has written other pieces influenced by cats. The sonata is a heartfelt work that again dissects the oriental accented and the hymn-like. The first movement, "Give a cat a twig and he takes a tree," is very lyrical and in ABA form. There are also many rhythmic ostinatos. The second movement, "Purr Dance," is a short and lively movement in AB form: Part A is in the style of Armenian dance music and Part B is a short jhala, Indian bell-like music. The third movement, "Fred the Cat and Distant Mountain," is also in AB form: the A section contains hymn-like material, and the B section is choral, with a bass part that moves in steps. The whole movement is religious in spirit. The final movement, "Fred the Cat flies to heaven," is in ABA form and features expressive melodic lines in the right hand against rhythmic ostinati in the left. All of the melodic phrases have a Far Eastern flavor. At the same time, this movement is reminiscent of sentimental folk art.

https://youtu.be/X1aoCVpmHV0?si=YFn1qj_0KIAIPfP7