dilluns, 9 de novembre de 2015

STAMITZ, Carl Philipp (1745-1801) - Viola d'amore Concertos

Francesco Fidanza - Mediteranean view at daybreak
Obra de Francesco Fidanza (1747-1819), pintor italià (1)



- Recordatori de Carl Philipp Stamitz -
En el dia de la commemoració del seu 214è aniversari de decés



Parlem de Pintura...

Francesco Fidanza (Roma, 1747 - Milano, 4 de febrer de 1819) va ser un pintor italià, especialitzat principalment en paisatges i vistes marines. Es va formar a França amb els pintors francesos Claude Vernet i Charles-François Lacroix de Marseille la influència dels quals va ser molt evident en la seva posterior obra. A petició d'Eugène de Beauharnais, va pintar diverses vistes de ports italians. Fidenza va morir a Milà el febrer de 1819.

Font: En català: No disponible En castellano: No disponible In english: Francesco Fidanza (1747-1819) - Altres: Francesco Fidanza (1747-1819)



Parlem de Música...

Carl Philipp Stamitz (Mannheim, bap. 8 de maig de 1745 - Jena, 9 de novembre de 1801) va ser un violinista i compositor alemany. Fill de Johann Stamitz, es va formar amb el seu pare abans que aquest morís quan Carl tenia 11 anys. A partir d'aleshores va estudiar amb Christian Cannabich, Ignaz Holzbauer i F.X. Richter. El 1762 va entrar a formar part de l'orquestra de Mannheim, un càrrec que va mantenir fins el 1770 any en què va viatjar a París per a unir-se, possiblement el 1771, a la cort Louis de Noailles a París. Allà va coincidir amb el seu germà Anton Stamitz i ambdós van participar activament en els Concert Spirituel. La seva col·laboració es va fer tant estreta que es va fer difícil diferenciar l'autoria de les seves composicions d'aquella època. En aquells anys Carl va viatjar regularment a diverses ciutats europees tot estrenant, també, diverses simfonies. Es creu que en una data compresa entre el 1777 i el 1780 va viatjar a Londres, on sovint va col·laborar amb J.C. Bach, si bé no va perdre el seu càrrec musical amb el duc Louis de Noailles. Després del 1780 va viatjar a La Haia on va viure-hi aproximadament fins el 1784 i on va interpretar un mínim de 28 concerts amb ell mateix com a solista de viola. El 1785 va viatjar a Hamburg, després a Lübeck, el 1786 a Magdeburg, Leipzig i finalment Berlín on va interpretar, juntament amb J.A. Hiller, una versió de El Messies d'Händel a la catedral de la ciutat.

Aquell temps Stamitz va procurar un contracte amb el rei de Prussia sense l'èxit desitjat. El 1787 va obtenir un càrrec de Kapellmeister a la cort del príncep d'Hohenlohe-Schillingsfürst. Aquell mateix any va viatjar constantment interpretant concerts per a viola i violí indistintament. El 1789 va assolir el càrrec de director dels concerts de Liebhaber. L'any següent es va casar amb Maria Josepha Pilz (1764-1801) i es van establir a Greiz, ciutat on va assolir el càrrec de mestre de capella de la cort de Friedrich Franz I, el duc de Mecklenburg-Schwerin. Des d'allà va seguir enviant composicions, a canvi d'emoluments, al Rei de Prússia, al Príncep Orange, a la cort de Schwerin i a la cort d'Oettingen-Wallerstein. La primavera de 1795 Stamitz va viatjar a Mannheim on va rebre nombrosos encàrrecs entre ells una petició per treballar com a mestre de capella i docent a la Universitat de Jena. Allà s'hi va traslladar amb la seva família, i definitivament, el 28 de maig de 1795. Va seguir enviant composicions a diverses ciutats europees i es dóna el cas que una invitació russa a participar en un concert a Sant Petersburg va arribar pocs dies després de la seva mort, esdevinguda a Jena el novembre de 1801.

OBRA:

Instrumental:

Orch.:
Syms. [thematic catalogue of syms. and symphonies concertantes in DTB, iv, Jg.iii/1 (1902)]:
3 as op.2 (1768), lost, but nos.1 and 3 in MS in D-Bsb, Rtt;
6 as op.6 (1771) [also as opp.15, 16];
6 as op.9 (1772);
La chasse (1772) [with added movt, Rtt];
3 as op.15 (1776);
6 as op.13 (London, 1777) [also as op.16], 2 ed. in DTB, xv, Jg.viii/2 (1907);
3 as op.24 (The Hague, 1786);
3 as op.25 (The Hague, c1787);
4 in anthologies (Paris and Liège, 1773–6);
A Grand Overture (London, c1790);
13 further syms. in MS, incl. La promenade royale, 1772, Masquerade, c1781, Sinfonia a due cori, Grande ouverture: God Save the King (1791), A-KR, CZ-Pnm, D-Bsb, Rtt, Swl, WRtl, US-Wc;
?3 lost, incl. 1 advertised 1775

Symphonies concertantes (only solo insts indicated):
9 for 2 vn: 8 (1773–6), incl. no.9, ed. F. Kneusslin (Zürich, 1947), no.16, ed. F. Schroeder (Hamburg, 1959), 1 as op.18 no.2 (c1776) and 3 lost, plus 1 in D-Bsb;
1 for vn, vn/vc (1774);
8 for vn, vc (1773–5);
2 for vn, va: 1 in BFb, 1 lost;
1 for vn, hn, lost;
1 for ob/fl, bn (1778), arr. for cl, bn, Rtt, ed. J. Wojciechowski (Hamburg, 1954);
4 for ob, bn: no.21 (c1780);
1 in CZ-Pnm, ed. W. Martin (Monteux, 1989) and in The Symphony 1720–1740, ser. C, iv (New York, 1984), also arr. for vn, va, CH-Bu, ed. F. Kneusslin (Basle, 1968);
2 lost, but 1 extant in arr. for cl, bn, PL-WRu;
1 for cl, vn/cl (c1777), ed. W. Lebermann [for 2 cl] (Frankfurt, 1968);
1 for bn, hn (n.d.), lost;
2 for 2 vn, va: no.7 (1774), 1 as op.18 no.1 (c1776);
1 for vn, va, vc (1774–5);
1 for 2 vn, vc (1773);
1 for 2 vn, va, vc, ?1774, D-Rtt;
1 for vn, ob/vn, va, bn/vc, op.14 (?1776);
Echo symphony (Divertimento a 2 chori), ob/vn, vn, bn/vc, 2 hn, 1780, Bsb, DS, Rtt;
Concerto per 7 stromenti principali, fl, ob, cl, 2 hn, vn, vc, A-Wgm, D-Bsb, SWl;
2 further works, 1 for 2 fl, 1 for 2 ob, lost

Concs.:
15 for vn: 2 as op.12 (1774), 1 ed. M. Hochkofler (London, 1957);
1, A (1776);
nos.4, 5, 7 (1776–7);
4 in Mbs, 1 ed. D. Hellmann (Wiesbaden, 1971);
5 lost [6 others doubtful];
?3 for va: no.1 (1774), ed. K. Soldan (Leipzig, 1937);
no.2 (1774), lost, but extant in arr. for kbd, DO;
1 in Dlb [movts 1 and 3 also attrib. Giornovichi];
3 for va d’amore, A-Wgm, D-Bsb, SPlb [arr. from unknown original];
Sonata, va d’amore, orch, GB-Lbl;
?6 for vc: 1, C (1777), ed. P. Gradenwitz (Wiesbaden, 1965);
3 in D-Bsb, ed. in HM, lxxix, civ, cv (1951–3);
?2 lost;
8 for fl: 1, D (1775–7), ed. in EDM, 1st ser., li (1964);
1, E (1778–9);
1, G, op.29 (The Hague, n.d.), ed. in Concertino (Mainz, 1965);
1 in A-LA;
4 lost;
?1 for ob, PL-WRu, 1–3 others lost;
10 for cl: no.1 in 2 concertos (c1777) [no.2 by E. Eichner], ed. G. Balassa (Budapest and Zürich, 1970);
no.3 (c1777);
no.5 (c1780), ed. A. Badley (Wellington, 1999) [also for ob, D-HR, ed. J. Wojciechowski (Hamburg, 1963)];
no.6 (c1780);
1, E  (Berlin, 1793);
2 in A-Wn, ed. A. Badley (Wellington, 1999), 1 ed. J. Wojciechowski (Frankfurt, 1957), 1 ed. J. Michaels (Hamburg, 1958);
1 formerly in D-DS, ed. H. Boese (Leipzig, 1956);
1 in Rtt, ed. J. Wojciechowski (Hamburg, 1953);
1 in F-Pc, ed. G. Balassa (Mainz and Budapest, 1980);
?1 for basset-hn, D-BFb [1st movt also for bn, SWl];
?7 for bn: 2 in SWl [1 with same 1st movt as basset-hn conc.], 1 ed. J. Wojciechowski (Hamburg, 1956) and D.J. Rhodes (Barrhill, Ayrshire, 1997), 1 ed. D.J. Rhodes (Barrhill, Ayrshire, 1998–9);
5 lost, advertised 1778–84;
3 for hn: 1, E (c1782–4) [attrib. G. Punto, c1789, apparently based on works by Stamitz], ed. in Concertino (Mainz, 1968);
2 lost;
2 for pf: 1 in CZ-Pnm, D-LB, ed. G. Rhau (Wiesbaden, 1948);
1 (1779), lost;
2 for hp, lost

Other orch:
8 orch qts (all ed. A. Badley, Wellington, 1995):
6 as op.1 (1770);
2 in 6 quatuors (Strasbourg, 1774), 1 ed. in DTB, xxviii, Jg.xvi (1915)

Chbr.:
thematic catalogue in DTB, xxviii, Jg.xvi (1915)
Larger ens:
7 parties, 2 fl, 2 ob, 2 cl, 2 bn, 2 hn, Dlb;
6 minuets, 2 fl, 2 hn, 2 vn, b (London, c1777);
4 divertissements, 2 cl, 2 bn, 2 hn, op.21 (The Hague, n.d.), lost;
2 sextets, 2 hn, str, HR, SWl;
4 quintetti concertanti: 3 for ob/vn, 2 va, hn/vc, b as op.11 (c1775), 1 for str (c1775) [3 also pubd as str qnts, op.10;
incl. arrs. of 6 quatuors concertantes, op.12 (1774)], 3 ed. H. Winschermann and F. Buck (Hamburg, 1966);
12 sérénades, 2 fl, bn, 2 hn, op.28 (The Hague, 1786) [also arr. kbd as op.26 (The Hague, 1789)], ed. W. Lebermann (Hamburg, 1961);
5 str qnts, 1 qnt for harp, 2 hn, 2 va, lost;
19 works for 10 wind insts, 1795, 16 works for wind insts, perc, 1801, 16 marches for 12 wind insts, all lost

Qts:
6 for str qt or orch, op.1 (1770), ed. A. Badley (Wellington, 1995);
6 for cl, vn, va, b, op.8 (1773), 1 ed. in HM, cix (1954), 1 ed. in DTB, xxvii, Jg.xv (1914), 2 ed. K. Janetki (London, 1958);
6 quatuors (Strasbourg, 1774) [incl. 2 orch qts, 2 qts for fl/ob/cl/vn, vn, va, vc;
also as opp.4, 11, 14], ed. A. Badley (Wellington, 1995), 1 ed. in Concertino (Mainz, 1961), 1 ed. A. Ott (Munich, 1960);
6 quatuors concertantes, vn, 2 va, vc, op.12 (1774) [also as opp.2, 10, 15], no.6 ed. U. Drüner (Munich, 1978);
3 quartetti concertante, cl/vn, vn, va, b, op.12 (1775);
6 as op.19 (1779) [4 for cl, str, 2 for bn, str], no.1, E  (London, 1966), no.2 ed. D. Lasocki (London, 1971), no.3 ed. J. Kurtz (London, 1970), nos.5 and 6 ed. W. Waterhouse (London, 1967);
6 quatuors concertant, op.22 (1783);
1 for va d’amore, vn, va, vc [also for bn, str; anon.], D-SWl

Trios:
6 for 2 vn, b (1768), 1 ed. in DTB, xxviii, Jg.xvi (1915);
6 for 2 vn, b, op.2 (1770);
6 for 2 vn, b, op.7 (1777) [also as op.1];
6 sonates en trio, hpd, vn, b, op.15 (1776);
6 for fl/vn, vc, op.14 (London, c1780) [also as op.17], 1 ed. in NM, xxxiii (1928/R), 1 ed. in Collegium musicum, lxx (Leipzig, 1938);
6 for fl/vn, vn, vc (London, c1785);
2 for vn/fl, vn, vc, op.16 (London, c1785) (together with 4 earlier trios; also as op.21];
1 for fl/vn, vn, b, op.25 (Amsterdam, 1785) [together with 2 earlier trios];
6 divertissements ou airs, arr. fl, vn, b (The Hague, n.d.);
1 for fl, fl/vn, vc, D-Bsb, ed. F. Schnapp (Kassel, 1939);
1 for 2 vn, vc, A-Wgm;
1 for hn, vn, vc, CZ-Pnm, ed. in Diletto musicale, cxcvii (Vienna, 1970)

Duos:
30 for vn, va: 6 as op.10 (c1773) [also as opp.1, 8], 2 ed. in Diletto musicale, cviii, cxix (Vienna, 1964);
3 as op.12 (Amsterdam, 1777);
6 as op.19 (c1778) [also for vn, vc; also as op.18], ed. A. Ott (Munich, 1955);
6 as op.34 (London, c1785) [also as op.19];
6 as op.23 (The Hague, 1786) [also for 2 vn];
2 Duos (London, n.d.); Grand duo (Offenbach, c1803);
15 sonatas, vn, kbd: 6 as op.15 (London, c1778) [also as op.20], 3 as op.17 (c1778), 6 in D-Dlb;
6 fl/vn duets (London, ?1772);
6 Sonatas, vn/fl, vn (London, 1776);
6 vn duos (Amsterdam, c1778);
Sonata, kbd, va obbl (London, c1778) [also as op.6], ed. W. Lebermann (Mainz, 1969);
3 Duets, vc, vn/vc (London, c1780);
6 fl/vn duos, op.27 (The Hague, 1785), ed. in NM, lxii, clxxviii (1930, 1954);
6 va duos, Bsb, ed. W. Lebermann (Mainz, 1955);
Duo, va d’amore, vn/va, Bsb [also with orch conclusion], ed. K. Stumpf (Vienna, 1973);
Sonata, va d’amore, b, A-Wgm, ed. in DTB, xxviii, Jg.xvi (1915);
6 further vn duets, doubtful

Vocal secular:

Dramatic:
Der verliebte Vormund (Spl), before 1787, lost; Dardanus [Dardanens Sieg, oder Der Triumph der Liebe und Tugend] (grand op), c1800, lost

Other:
3 cants., solo vv, chorus, orch, music lost: Ein grosses allegorisches Stück (Nuremberg, 1787) [on the occasion of Blanchard’s balloon ascent];
Teutsche Gefühle am Schluss des kriegevollen Jahrs 1794 (C.L. Schübler);
Festgesang, 23 March 1801 [on the occasion of Tsar Aleksandr I’s accession];
4 ariettas or scenas, S, orch, A-Wgm, D-HR, SWl;
2 soprano arias with variations, lost

Vocal religiosa:

Mass, D, D-EB;

Font: En català: Carl Stamitz (1745-1801) En castellano: Carl Stamitz (1745-1801) In english: Carl Stamitz (1745-1801) Altres: Carl Stamitz (1745-1801)



Parlem en veu pròpia o en veu d'altri...

Bohemian family of musicians. The family can be traced back to Marburg an der Drau in Styria (now Maribor, Slovenia). From there Martin Stamitz emigrated to the Bohemian town of Pardubice, where his name is first recorded in 1665. About 1710 Martin’s son Antonin Ignác (1686–1765) moved to Německý Brod, where he was appointed organist and choirmaster of the Dean’s church and later became a wealthy landowner and town councillor. In 1714 he married Rosina (Rozyna) Böhm von Loisbach; the third of their 11 children, and the first to survive, was (1) Johann Stamitz. The spelling of the name in contemporary sources is extraordinarily erratic, the most common variants being Stamiz, Steinmetz, Steinmez, Stammiz, Stametz, Stammitz, Staimitz, Stamits and Stammetz. Every known signature by a member of the family uses the form Stamitz, even in documents in which the language and the forms of the first names are Czech. Stamitz composed nearly as many chamber as orchestral works, but his reputation as a composer derives principally from the latter. His over 50 symphonies, 38 symphonies concertantes and more than 60 concertos make him the most prolific orchestral composer from Mannheim. On the whole his compositions reflect his Mannheim heritage, as seen in their idiomatic treatment of the orchestra, dynamic effects, homophonic texture, contrasting thematic types and specific Mannheim melodic clichés. 

Yet his years in Paris and London fostered the bulk of his compositions – in particular the popular symphonie concertante – and such characteristics of his style as pervasive lyricism and ease of melodic flow (often bordering on the superficial) place his music in a more cosmopolitan context than that of Mannheim alone. Stamitz’s instrumentation is standard for the time, but exceptions to the norm do occur: the Masquerade Symphony (c1781) employs an expanded percussion section to simulate Turkish music, and there are two works for double orchestra. Unlike his father, over half of whose symphonies are in four movements, Stamitz adopted the three-movement Italian pattern (fast–slow–fast) in almost all his extant orchestral works: only four symphonies use a minuet and trio as third movement (two others are programmatic works with relatively free structure), and eight of the 28 surviving symphonies concertantes are in two movements, a plan common in this genre, rather than three. Stamitz wrote solo concertos for a wide range of instruments, including violin (15), clarinet (10), flute (8) and bassoon (7); many of these works are lost. His orchestral and chamber compositions for viola d’amore, an instrument with which he was especially identified, are historically important for their use of all seven strings, double and triple stops, left-hand pizzicato and harmonics.

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Informació addicional... 

INTÈRPRETS: Gunter Teuffel (viola d'amore); Heidelberg Symphony Orchestra; Thomas Fey
PRESTOCLASSICAL: STAMITZ, K. - Viola d'amore Concertos & Viola d'amore Sonata in E flat major
CPDL: No disponible
SPOTIFY: No disponible


















Tant si us ha agradat, com si no, opineu, és lliure i fàcil!

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  3. Hola Pau, podries renovar el link? Moltes gràcies.

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