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8.223356 - Romantic Wind Music
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Franz Schubert (1797- 1828) Wind Octet in F Major, D

Franz Schubert (1797-1828)

Wind Octet in F Major, D. 72

 

Carl Maria von Weber (1786-1826)

Adagio & Rondo for two clarinets, two French horns & two bassoons

 

Franz Lachner (1803-1890)

Octet in B Flat Major, Op. 156

 

Schubert's F major Octet survives only in fragmentary form, augmented for practical use by the Franciscan musicologist Father Reinhard van Hoorickx with the addition of a first and second movement, later revised by Christopher Weait for his 1982 edition. Bars 90 to 189, from the development section of the first movement, survive, and from this bars 10 to 89 were restored. The first nine bars were added, drawing on other passages in the movement and the section marked "Trompeten" in the Collected Edition version of the Piano Duet Fantasia, D. 1. The second movement is an arrangement of a sketch on the obverse of the autograph of Der Graf von Habsburg, D. 990, which bears the title Kaiser Maximilian auf der Martinswand in Tirol, 1490. This sketch is scored for piano, but was thought by Father van Hoorickx to be characteristeic of a composition for wind instruments. This was later found to be a sketch for a song, published in 1853 by Ferdinand Schubert as his own work. Christopher Weait adds that fragments of a second minuet survive, presumably, because of the key and scoring, intended as part of the F major Octet. He found few changes necessary in the first movement devised by Father van Hoorickx, but made more substantial changes in the second movement. The third and fourth movements remain in their original form.

 

The Octet was started by Schubert some time in or before 1813, the year in which he left the Kaiserlich-Königliches Stadtkonvikt, where he had been a pupil, and at a time when he was still taking lessons from the Court Composer Salieri. The same year brought his father's remarriage, after the death of the composer's mother in 1812, and the composition of music for the family string quartet.

 

The autograph of the Wind Sextet, bearing the stamp of the manuscript collector Charles Malherbe, survives in the Paris Bibliothèque Nationale. It carries the signature of Weber and the date for the Rondo of 24th June 1808, in Ludwigsburg. The Adagio is dated 6th July of the same year. The Rondo reappeared later in an abridged form as part of the incidental music for the tragedy Henry IV in 1818 and again in 1825 as a pas de cinq for the Berlin performance of the opera Euryanthe.

 

In 1808 Weber found himself in the employrnent of Duke Ludwig of Württemberg, entrusted with the control of the impecunious Duke's finances and an unpopular emissary to the King, the Duke's brother and son-in-law of George III of England, when money was needed. Weber was joined by his father in 1809 and was dismissed into ignominious and perpetual exile from the kingdom after the latter had misappropriated money entrusted to Weber in the pursuance of his duties. Departure from Ludwigsburg allowed him to enjoy a much more successful musical career than might otherwise have been the case had he remained a courtier. The Adagio and Rondo show all Weber's assured ability in handling wind instruments in an idiom that was fully his own, to be exemplified two years later in his work for the clarinettist Baermann.

 

Franz Lachner was born in 1803 at Rain-am-Lech, one of a family of musicians. In 1823 he was appointed organist at the Lutheran church in Vienna, where he became a member of Schubert's circle of friends, his presence recorded by the artist Moritz von Schwind in various sketches. In 1827 Lachner became assistant conductor at the Kärntnertor Theater and two years later was appointed chief conductor. In 1836, after a brief period of two years at Mannheim, he moved to Munich where he was ernployed for the next thirty years, from 1852 as Generalmusikdirektor, his reign only coming to an end with the advent of Wagner, to whom Lachner lent generous early assistance. He was a prolific composer and enjoyed considerable respect in his life-time, while his earlier work is thoroughly characteristic of Schubert's Vienna.

 

Lachner's B flat Wind Octet, Op. 156, was issued in Leipzig in 1850 in its present form and as a piano duet. Its sonata-form first movement leads to te tranquil French horn opening of the Adagio. The Scherzo allows the flute an element of virtuosity, abetted by the bassoon, and the Octet ends with a Finale that has its own more pensive moments.

 

Germen Wind Soloists

 

The German Wind Soloists have been playing together since 1980. Formed by principal players from the Berlin and Munich Philharmonic Orchestras and the Radio Orchestras of these cities, among others, they have won themselves a very considerable reputation with a repertoire that includes the Harmoniemusik for wind octet of the classical period, extending through romantic repertoire to the contemporary. The ensemble appears frequently on the concert platform throughout Europe and has undertaken tours to both China and Japan.

 

Jeen-Cleude Gérard, flute

 

The flautist Jean-Claude Gérard studied in Paris and was principal flute in the Paris Opéra Orchestra and the Hamburg Philharmonic Orchestra. In 1987 he was appointed professor of the flute in Hanover and since 1989 has occupied a similar position at the Stuttgart Musikhochschule.

 

Menfred Clement, oboe

 

Manfred Clement, principal oboist in the Bavarian Radio Symphony Orchestra, studied in Dresden and was formerly a principal in the Leipzig Gewandhaus Orchestra and the Bavarian State Orchestra.

 

Günther Pessin, oboe

 

Günther Passin had his musical training in Leipzig and in Detmold and is principal oboist in the Berlin Radio Symphony Orchestra and professor at the Munich Musikhochschule.

 

Ulf Rodenhäuser, clarinet

 

In 1973 Ulf Rodenhäuser was appointed a principal clarinettist in the Berlin Philharmonic Orchestra and from 1983 until 1987 served as principal clarinettist in the Bavarian Radio Symphony Orchestra. He studied in Nuremberg and in Munich and since 1980 has been on the teaching staff of the Stuttgart Musikhochschule.

 

Wolfgang Teschner, clarinet

 

Wolfgang Teschner studied in Stuttgart and in Detmold and is a principal clarinettist in the Bamberg Symphony Orchestra.

 

Wolfgang Gaag, French horn

 

A principal of the Munich Philharmonic Orchestra and since 1983 a professor at the Stuttgart Musikhochschule, the horn-player Wolfgang Gaag studied in Berlin and served subsequently in the Bamberg Symphony Orchestra and the Stuttgart Radio Symphony Orchestra.

 

Alois Schlemer, horn

 

The horn-player Alois Schlemer studied in Munich and has since 1986 been a member of the Munich Philharmonic Orchestra.

 

Eberhard Marschall, bassoon

 

Eberhard Marschall has served as principal bassoonist in the Bavarian Radio Orchestra since 1984. After study in Hanover he was appointed principal bassoonist in the Bamberg Symphony Orchestra.

 

Klaus Thunemann, bassoon

 

Until 1978 Klaus Thunemann was principal bassoonist in the North West German Radio Symphony Orchestra in Hamburg. Since then he has been professor of the bassoon at the Hanover Musikhochschule.


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