As a late-ish convert to the (Franz) Lachner cause, especially the symphonies (i.e. mainly Nos. 5 and 8 on MP), I wonder whether any friends would care to give me their reactions to his music?
Calling John White: what would you say, John, makes Lachner so special?
Hello Everyone, My pulse quickened to see "Franz Lachner" in the headline!I'm grateful you chose him. I'll never forget my first impression of him: One evening the radio emitted the enchanted, atmospheric opening of his 5th symphony. Truly, I was transfixed.This was music for "me".I personally, emotionally, and aurally identified deeply with it instantly.Subsequently, much of his music resonated deeply as well. Scholastically, I KNOW that his music lacks the "sacred fire" which imbues His close friend Schuberts music, but it breathes the same air.They are "in the same room" together.If Schuberts music is a dazzling cobalt blue in color, and Lachners is a more pastel hue, like aqua, aren't they both achingly beautiful colors? Why wouldn't we need and be thrilled by both of them, have a deserved place in a palette for them both?For me, and, I hope, others, he has enough melodic fecundity, romantic coloring to his harmony, and passion to elicit enjoyment, interest, and admiration. We were so tragically deprived of Schubert.Why can't we enjoy Lachner as a very pleasant, meaningful extension or relative?As with Spohr, let's not let "Biedermeier" be a pejorative. If Schuberts fragrance is faded because he was cut short, I say we inhale deeply of Lachner(AND his brothers Ignaz and vincenz)! There is so much music to be mined from the depths. I'm so disappointed that many projects of his music have been suspended. @ least we know that as long as we are united in this cause, hope is possible. We've seen (and induced) it before! To this end, I have to reveal that Mr. White is an unsung hero of mine, for his indefatigable sanctioning of Franz Lachner. I hope he gets to hear his beloved Lachners music more than I hope I get to hear it myself.If he does, I hope much of the attribution of that coming to pass goes to him. What can we do, most vitally and practically, to hasten this? It's a wonderful time to be one of "us"! (Look what's coming to us from Chandos in 2011!) Also, Albion, Thank you so much for the extravagant donation of music you've given all of us!I'll remember the opening pages of this year by the new gifts of music you gave us.I think " Paradise and the Peri" has been especially special to me! Let's rally around John White beneath Lachners banner.Let's amass the vast intellect and resources of all of you in his cause. Who feels the same?!
What an inspiring post - thanks so much. Any more from anyone else?
Hi Alan,
I second EarlyRomantic's post, for many of the same reasons. While Franz Lachner can be long-winded, particularly in the 5th symphony (I prefer his more taut last symphony in g minor), I find that he combines two facets that I look for in a composer: melody and inventiveness/capacity for structure and development. I only have 10 of his chamber pieces, 3 of his orchestral suites, the Requiem, and 3 of his 8 symphonies (all that are available I believe), but what I've heard leaves me interested in hearing more.
Cheers,
Balapoel
Slightly offtopic - BSB recently uploaded a symphonic movement of his and I wonder if anyone knows his symphonies well enough to be able to tell me whether this Andante they've scanned and uploaded from his manuscripts - Here (http://daten.digitale-sammlungen.de/~db/0005/bsb00056426/images/) - is perhaps an early draft in full score of a movement that turned up later in one of the 8 symphonies? It's in D major clearly, it's not from symphony 1, 5 or 8 I'm pretty sure, indeed unless Lachner wrote his andantes in distant keys from the main keys of symphonies (eg a D major andante in an E major symphony like sym. 4 or an E-flat major symphony like sym.1) there's only so many symphonies of his that it actually could belong to - like sym. 2, 3, 6 or 7 (pretty sure it's not from sym. 5 either...). But if it is from one of those at all, which one? (It -could- be from the unpublished sym. 4, of course, too, despite the key.) Bayer Library Munich estimates 1836 suggesting sym. 6 (again, if it belongs to a contemporaneous symphony at all)- which would be a bit weird since sym. 6 is itself in D major, but (1) the Andante might have changed key before it entered the symphony (in which case too all bets are off as to what symphony it's in :) - it might have changed tempo indication too and only comparing the score and details will do, not just 'andante/D major') // (2) having a slow movement in the same key as the symphony is not unknown anyway...
ah well. anyway. wanted to upload this to imslp maybe but as part of the larger piece it later became a part of, not as 'unidentified symphonic movement', if I could. :)
very much like the Franz Paul Lachner I've heard. and Ignaz too...
Eric
Many thanks, folks, for your embarrassingly kind words. After all, I'm only an old fogie whose been banging on for years about an obscure composer who is probably practically hardly known to anyone outside this forum and no doubt the people in charge of music at the BBC will say rightly so. I'm sure they will say "why bother with the likes of the Lachner brothers when we've got Beethoven, Tchaikovsky and many more up to date composers like Schoenberg and Stockhausen?"
I first came across Franz Lachner's 1st Symphony back in the late 80's as a sort of fill up to a Marco Polo CD of Spohr's 2nd symphony. At the time, I found it rather run of the mill apart from the fugal nature of the scherzo.
The outer movements reminded me somewhat of Weber, but that was all. Then the bombshell came when Marco Polo issued a CD of No 5. So majestic, I could hardly believe it was by the same composer--- the only previous symphony I could really compare it with was Beethoven's 9th!
In my opinion most of the generation of symphonists that followed Beethoven merely built on the first four symphonies as their models but Lachner boldly marched off into "Ninth Symphony territory". However Lachner produced a new symphonic sound of his own
with colourful orchestration, employing particularly the brass and woodwind sections to great effect. Furthermore, he appears to be a master of counterpoint---that course of lessons with Simon Sechter certainly paid off! Oddly enough, none of his good friend Schubert's symphonic style seems to have rubbed off onto him. However, Franz Lachner's string quartet in A Op. 76 sounds to me like pure late Schubert from beginning to end.
Of course, I could ramble on ad nauseam about the Lachner brothers and their music, but I shall try to sum up by suggesting that Franz Lachner forms the missing link between Beethoven/Schubert and Bruckner/Brahms in the 2 halves of the 19th Century, most of which he and his 2 two younger siblings lived through. For more details about the Lachner family and their music, I suggest you contact Dr Harald Johannes Mann from their home town of Rain am Lech, who appears to be the leading authority on the subject. It would be nice if a German scholar on this forum could produce for us an English translation of his book on the Lachners. How about it Alan? :)
P.S. From what our conductor friend, Chris, who has studied the score, says, if this stray slow movement contains a double fugue, it is probably from No 6. Anyway, I'd be interested to know how to download it please.
I'm grateful to you, John. I noticed your advocacy of Franz Lachner, and decided to give him a go (so to speak). Previously I had only heard the early Septet in E flat major of 1824 - which I thought a fine work but perhaps hardly sufficient to set the world on fire.
So I sought out the Marco Polo recording of Symphony 5. What a very grand and majestic work, with some lovely things in it. Thank you - without your enthusiasm for the work I doubt if I would ever have heard it, and it is far too good a piece to miss!
But you now get me into expensive habits, for I have decided that I'd be a far happier man if I managed to get hold of the Rodin Quartet performances of the string quartets! Alas, those Amanti CDs seem hard to obtain, and are also unduly expensive. Would I regret the expense?
Peter
Quote from: John H White on Thursday 20 January 2011, 22:34
P.S. From what our conductor friend, Chris, who has studied the score, says, if this stray slow movement contains a double fugue, it is probably from No 6. Anyway, I'd be interested to know how to download it please.
go to this URL (http://daten.digitale-sammlungen.de/~db/0005/bsb00056426/images/).
use the arrow keys ( >, < ., +5, +10...) to find out where you want to start and end your download, if desired- not necessarily at page 1/last of the score...
on the top right of the screen click 'PDF-Download' (you can do this on about 12 different scores on the BSB/MDZ digitization site in a 24-hour period, or so.)
Enter the bounding pages in Erstes bild and Letztes bild if you want a subset of the score rather than the whole thing.
Click Ja to agree to the site's terms.
Click Weiter.
A link will form to a PDF - can link on this and download it. It may produce a warning (in Google Chrome for instance) because its suffix is not PDF (it does create a PDF file, though). No need to worry. Click away.
It's 36 pages (plus a page from BSB) in a slow-movement sonata form; I'll check later about the double-fugue...
Eric
Quote from: John H White on Thursday 20 January 2011, 22:34
P.S. From what our conductor friend, Chris, who has studied the score, says, if this stray slow movement contains a double fugue, it is probably from No 6. Anyway, I'd be interested to know how to download it please.
Hrm.
Page 16, rehearsal letter D. That definitely looks like a fugue, theme on the main theme of the movement, starting in the brass(?), and extending a bit, too. Not sure whether it's a fugue on two subjects or just a more typical fugue with a countersubject from here, though...
Not an easy manuscript (I've seen several worse) - wonder what the published score of no.6, whether or not this is or is related to the slow movement of no.6, looks like... be good to have that work recorded. I say this though I think I've heard only nos. two of Lachner's symphonies so far, I think (5 and 8) and those once each.
The 4th and 6th orchestral suites are digitized in full score online, btw (at hathitrust.org and no.4 also at IMSLP, no.6 mostly so. Will finish that soon, have been sidetracked.)
Eric
Many thanks for your kind replies, Peter and Eric.
Peter, I personally find the quartets of Ignaz Lachner more melodious and more "old fashioned" in style, harking back more towards Haydn and Mozart, whilst those of big brother Franz tend to be more adventurous and romantic in style. I think one of my all time favourite recordings is the 2 CD set of Ignaz Lachner's 6 trios for piano, violin & viola issued at "enormous expense" by the Swiss Claves record company. However before you lash out any hard earned cash on any of these recordings, providing your computer has a reasonably good sound card, you could go to the Noteworthy Scriptorium, pick up a free copy of Noteworthy Viewer free ware and download some of my transcriptions of Lachner chamber works into Noteworthy score writing software.
Sorry I can't remember the URL off hand but you can either Google for it or go via the Noteworthy web site at www.noteworthysoftware.com.
Couldn't resist Lachners Fifth Symphony after reading this. Downloaded the MP3 from Amazon & got £2 off as a special promotion! Now listening on headphones.
also, the 6 Ignaz Lachner piano trios seem to all be in score/parts here (http://imslp.org/wiki/Category:Lachner,_Ignaz) ?
Eric
Eric, before I realised that you had given me the correct URL, I Googled for "BSB" and got a variety of results varying from British Standards Board to Back Street Boys! :) I found what I thought I wanted via Wikipedia and even found "Sinfonie Nr. 6, D-Dur, darius Andante, Autor/Hrsg: Lachner, Franz Paul, Jahr: [ca 1837]" but my lack of knowledge of German couldn't get me any further. Anyway, I finally clicked on what I realised was your link and followed your instructions to download the whole item. On printing it out, I found the handwritten manuscript a bit difficult to read in places but the biggest stumbling block came on the last page where what appeared to be some sort of colour TV test chart card was lying across the bottom, completely obscuring 5 bars of the Cellos and Basses. My lack of German has not enabled me to complain to those concerned at the library. Does your last page also suffer from this problem?
that last page is a copy- with territory markers- of the real last page, which occurs a few pages before. they almost always do that... you should be able to find the real last page by going in one page back, I hope. My copy is 36 pages long - I cut off after that page (in some PDFs from BSB I save after a certain page but this one starts with the right page) and ends one page ( < ...) in from the territory-marker-close - so PDF-saving from pages 1 to 36 should do it. Sorry, way-off-topic. Ob Franz Lachner and the forum, BSB has -lots- of Lachner scanned in already (go to
http://www.digital-collections.de/index.html?c=suchen&l=en (http://www.digital-collections.de/index.html?c=suchen&l=en)
and type Lachner into that search box...)
Many thanks Eric. You've been most helpful.
Sorry to trouble you once again Eric, but I cannot make out what key the horns are in on this manuscript score of what appears to be the Andante from Franz Lachner's 6th symphony. No doubt, had he written it in the 20th Century, he would have used valve horns in F, but I suspect that, back in the 1830s, only natural horns with interchangeable crooks for various keys were available. If that were so, then the D crook would seem to be the obvious choice. However, the upper stave appears to me to be in D and the lower one either in E or C? :-\
I'm asking this, as I'm trying to copy this score out into Sibelius software, from which I hope eventually to get a fairly realistic play back.
do you mean on the first page? Corni in D/Corni in C...
Many thanks Eric; you've confirmed what I suspected on that first page.
Cheers,
John.
It took me a while before posting my opinion, because it's based upon only one work, which is symphony 5. And I admire John so much for his continuing advocacy of Franz Lachner.
I will put it like this: I think my opinion of the "Passionata" would be more mild if this symphony didn't feature so many repeated melodies, especially in movements 2 & 3. To my ears the tunes are a bit predictable. You know when which tunes will be repeated. And as a simple listener I think the symphony is rather long-winded. I wonder how the jury of the Wiener Gesellschaft der Musikfreunde would judge Lachner's work if it lasted 30-40 minutes instead of an hour. And I'm also intrigued by Robert Schumann's criticism (according to the booklet notes) that symphony 6 is twice as good.
Please don't think that Lachner's Preis-Symphonie doesn't give you a pleasant hour, but IMHO (and not more than that) this symphony is not really an exciting listening experience.
I don't have other works by Franz Lachner. Is his 8th different? Other recommendations?
The Lachner work I have heard most often so far I think, is a reconstruction on Marco Polo of a divertimento-like septet, coupled with Robert Fuchs' clarinet quintet, all played by the Ensemble Villa Musica in their pre-MDG days. The septet quotes a major Schubert work in the introduction to the first movement (... I think. Trying to remember which was written first), has quite a lot of good things to be said for it.
The 8th is much shorter (at approx. 46 minutes). It's a fine work...
There's a couple of people on this forum who may be able to answer this for me. When helping to prepare a still incomplete list of Lachner's compositions (http://en.wikipedia.org/wiki/List_of_compositions_by_Franz_Lachner) on en-Wikipedia, I found a source which claimed that the unpublished and without-opus-number 4th symphony of 1834 is in E(-natural) major, and wrote as much. (source was Hall's "Chronology of Western Classical Music" - too much of an omnibus, in retrospect, to be a source, I think!) I see now that Klassika (http://www.klassika.info/Komponisten/Lachner/Symphonie/1834_01/index.html) gives the key of the 4th symphony as F major. So... who's right :) Anything more to be said about it?
I might be able to help your list. I have a database of all Franz Lachner's opus numbers except:
4-13, 15-19, 21, 24, 38, 42, 46-47, 53, 55, 67-69, 72-73, 90, 124-127, 131, 137, 144, 147-148, 151, 153, 157-169, 164, 171, 174, 182-183, 188-189
Any help filling in the gaps would be appreciated.
According to my sources, including the online Grove's (and two earlier editions) the symphonies are:
Symphony 1 in Eb , Op. 32 (1828) -recorded
Symphony 2 in F, Op. 44 (1833)
Symphony 3 in d minor, Op. 41 (1834)
Symphony 4 in E (natural) (1834)
Symphony 5 in c minor, Op. 52 (1835) -recorded
Symphony 6 in D, Op. 56 (1837)
Symphony 7 in d minor, Op. 58 (1839)
Symphony 8 in g minor, Op. 100 (1851) -recorded
Balapoel
the list, some of it better sourced than other parts, is over here (http://en.wikipedia.org/wiki/List_of_compositions_by_Franz_Lachner) - any sourced improvement is much appreciated of course. Thank you!
I've taken a look - and can fill in some of the gaps. I've never dealt with Wiki, so I'll just add them here, if anyone doesn't mind.
Year is composition or publication, if the year of composition isn't known. Some of the detailed song lists are from http://hofmeister.rhul.ac.uk.
-
Balapoel
Op. 2, piano sonata in f# minor (1825)
Op. 3, Momento capriccioso in a minor for piano 4-hands (1824)
Op. 23, Morgenhymne. Chor f. Sopran, Alt, Tenor u. Bass m. willk. Begl. d. Pfte oder d. Physharmonica
Op. 27, 4 songs: Neuer Frühling. Wanderers Gebet. Ihr Traum. Fragen. Op. 27, (Herz, mein Herz, sie nicht beklommen – Du bist, o Herr mein Stern! – Ich kann es nicht fassen – Du fragst ob ich dich liebe)
Op. 28, Waldvöglein. Gedicht v. Vogl, f. Sopran oder Tenor. Op. 28. (Das Vöglein hat ein schönes Loos.)
Op. 31, Die 4 Menschenalter. Cantate von Seidl. Vollständiger Clavier-Auszug mit Singstimmen. Op. 31
Op. 33, Sangerfährt (Bard's Journey), 16 songs to texts by Heinrich Heine (1833)
Op. 34, Der Ball auf dem Kirchhofe. Nachts in der Cajüte. War ich zu Haus. 3 Gedichte f. eine Singstimme mit Pfte. u. Vclle (oder Flöte, Violine, Horn)
Op. 35, 12 deutsche Gesänge. Op. 35 . 1stes Heft, (An meinem Herzen, – Vöglein, hüpfet im Haine, – Vöglein, einsam in dem Bauer, – Der Liebe Schmerzen weinen, – Die Nacht sinkt hin, – Ruhe, süss Liebchen, im Schatten.) 2tes Heft, (Die Mühle, die dreht ihre Flügel, – Wach' auf zur Liebe, – Ich sass bei jener Linde, – Ich weiss nicht, was soll es bedeuten, – Uns're Quelle kömmt im Schatten, – Hab' oft im Kreise der Lieben.)
Op. 36, 3 deutsche Gesänge (probably 3 deutsche Gesänge. [mislabeled] Op. 56, (Siehst du am Abend die Wolken zieh'n – Dicht in Blättern eingeschlossen – Wenn ich einst von jenem Schlummer.)
Op. 37, Des Sängers Feierstunden. Ein Cyclus von Liedern. Op. 37 . No. 1, Leichter Sinn. (Heiter, froh und sorgenlos) 20 Xr. No. 2, Lob der Weiber. (Ström' aus mein Lied.) No. 3, Eine Liebe. (Nun einen Mai gibt's im Leben) à 30 Xr. No. 4, Die Sterbende. (Mutter! mein blasses Gesicht.) No. 5, Das wandernde Glöckchen. (Schon wares vom Baume die Blätter gesunken.) No. 6, An Hertha. (Wenn ich dir in's klare Auge.) No. 7, Ihr Name. (Ich grub in Gold) à 20 Xr. No. 8, Abend. (Herrlich steigt der Abend nieder) 30 Xr. No. 9, Lied des Gärtners. (Lasst euch pflücken, lichte Blümlein,) 15 Xr. No. 10, Einsiedlers Grab. (Die Grab hat mir gegraben,)
Op. 40, Der Sternenkranz, f. 4 Männerstimmen. Op. 40. (Was darf sich wohl.) (1835)
Op. 45, Moses (oratorio) (1833)
Op. 48, Deutsche Gesänge f. 2 Singstimmen m. Begl. d. Pfte. Op. 48. (So wahr die Sonne scheinet – Liebste, was kann uns denn scheiden? – O Liebe, die Triebe) (1836)
Op. 49, 6 Deutsche Gesänge mit Begleitung des Piano Forte ... Op. 49. (No. 1. Die Ilse, von Heine. No. 2. Eine alte Geschichte, von Heine. No. 3. Ihr Schattenbild, ... Heine. No. 6. Ständchen, von Rellstab.) (1830)
Op. 50, Ständehen (song?)
Op. 51, 2 geistliche Gesänge m. Orgel oder Pfte. Op. 51, (Du bist erblasst – Noch kommt sie nicht die Sonne) (1837)
Op. 54, 6 deutsche Gesänge für Bariton oder Alt. Op. 54. 1stes Heft. (Es reden und träumen die Menschen so viel – Einsam wandl' ich meine Wege – Mir träumte traurig schaute der Mond.) (1837)
Op. 56, Laute Liebe, f. eine Singst. m. Begl. d. Pfte u. Vclle (od. Horn.) (1837)
Op. 58 (same as Symphony 7), Erhörung, f. eine Singst. m. Begl. d. Pfte u. Vclle (od. Horn.) (1839)
Op. 59, Frauenliebe und Leben
Op. 60, Der Sturm, f. 4 Männerstimmen m. willkührlicher Begl. d. Pfte. (1839)
Op. 61, 3 Gesänge von L. Koch, f. 2 Soprane, Tenor u. Bass. (Beim Sonnenaufgange. Der Kirchhof. Abschied der Auswanderer.) (1860)
Op. 62, Introduction und Fuge in d minor für Piano- forte zu vier Händen (1835)
Op. 63, 3 Lieder: 1 Vöglein mein Bote! Lied, aus Op. 63. (Vöglein flieg' fort); 2 Dir allein! Lied, aus Op. 76. (Möchte jedem gern die Stelle zeigen); 3 Kehr' ein bei mir! aus Op. 77. (Du bist die Ruh').
Op. 64, 3 Gesäage f. 4 Männerstimmen. Cah. 1. Op. 64 (Was macht der Lenz? – So sanft wie auf den Zweigen – Wenn wir am frühen Morgen). (1842)
Op. 65, 3 Gesänge f. vier Männerst. Part. u. St . 8. Köln, P.J. Tonger Mk 2,50. No. 1. Trinkspruch: ,,Wann der Trunk am besten schmeckt". Mk 1. – 2. Schlummerlied: ,,Holder Schlummer, steige nieder". Mk 1. – 3. Ständchen: ,,Lasst die Nachtigallen klagen".
Op. 66, 3 Gesänge f. vier Männerst. (No. 1. Die Liebe: ,,Ihr fraget, was die Liebe sei". No. 2. Mailied: ,,Du bist uns treu, geliebter Mai". No. 3. Ständchen: ,,Schläfst du Holde?")
Op. 70, 3 Lieder für eine Singstimme mit Begleitung des Pianoforte ... 70tes Werk. No. 1. Der Himmel. No. 2. Die Quellen. No. 3. Das Echo (Wanting) (1840)
Op. 71, 3 Lieder f. 4 Männerstimmen. Op. 71. (Vier Elemente rufen die Welt – Tausend Augen blitzen – Es schläft, wohl unter Hecken).
Op. 77 (also string quartet No. 3 in Eb; probably mislabeled opus), Frühling und Liebe. Morgenlied. Lätare. 3 Gesänge f. 3 Soprane m. Begl. d. Pfte. Op. 77. Partitur u. Stimmen. (Im Rosenbusch die Liebe schlief – Die Sterne sind erblichen – Wir bringen einen Maien hier)
Op. 78, 3 Gesänge Op. 78. Ich muss hinaus. Die kleine Maria (Wie die Blum' in ihrer Dolde) Die Schiffahrt (Das waren mir selige Tage) (1845)
Op. 79, 4 Gesänge für 4 Männerstimmen. Op. 79. Partitur und Stimmen . (Die Rheinländer Heft 8. 9.) 8. Mainz, Schott. Heft 1, Im Winter. Hund und Katzen (Was ist die Erde, seit der Frühling schied – Mauskätzchen gab ein grosses Fest). 1 Fl. 12 Xr. – 2, In's Weinhass. Der verlegene Wirth (le's Weinhaus treibt mich dies und das – Herr Wirth, ein Gläschen Wein) (1845)
Op. 80, 3 Gesänge f. 3 Sopranstimmen m. Begl. d. Pfte. Op. 80. 3tes Heft. Klavierausz. u. Singst. (Mondscheinnacht. Abendlied. Frühlings-Lied.) (1847)
Op. 80, 3 Gesänge f. 3 Sopranstimmen mit Begl. d. Pfte. Op. 80. 2tes Heft. Part. u. Stimmen. Im Winter. Hexenlied. Frühlings-Ankunft (Was ist die Erde – Die Schwalbe fliegt – Nach diesen trüben Tagen) (1845)
Op. 81, 4 Lieder. Op. 81. (Errathene Liebe. Wiegenlied. Tief Blick in Blick. Einsam verlassen sein.) (1847)
Op. 81, 7 Lieder. Op. 81. Zwölf Freier. Die Waise (Der Frühling kehret wieder). Die Quelle (Arme Quelle). Sie weiss es nicht. Der blinde Leiermann (Nicht Staub, nicht Wind). Zwischen Mond und Sonne (Ich sah dem Glanz der Sonne). Wanderlied (Was lange nun). (1845)
Op. 82, Seit ich ihn gesehen. Lied v. Chamisso, f. eine Singstimme m. Begl. d. Pfte u. obl. Clarinette (oder Violoncelle) (1846)
Op. 83, 6 Kinderlieder von Hoffmann v. Fallersleben. Op. 83. 8vo. (Paukenschlägerlied. Der Abendstern. Sonntag. Wettstreit. Steckenpferdreiterlein. Biene.) (1846)
Op. 84, 7 Lieder f. Bass (od. Alt.) Op. 84. (Im Walde. Reue. Seemann. Gute Nacht. Herr Schmied, beschlagt mir mein Rösslein. Muth. Das treue Ross.) (1847)
Op. 85, Der 63ste Psalm für 4 Frauenstimmen m. Pfte (od. Harfe.) Klavier-Ausz. u. Stimmen. Op. 85 (1847)
Op. 86, 3 Gedichte von F. Rückert, f. 2 Singstimmen m. Pftebegl. (Tanzlied. Abendfeier.) Ich liebe dich, weil ich dich lieben muss.) (1847)
Op. 87, Rondo for piano trio
Op. 88, Sommer, Herbst, Winter, Frühling. 4 Gedichte von L. Koch, f. 2 Soprane, Tenor und Bass. Op. 88. (1847)
Op. 89, Kriegers Gebet: ,,Du bist, o Herr, mein Stern," f. vierstimmigen Männerchor u. vollst. Militair-Musik. Op. 89. (1847)
Op. 93, 2 Gedichte von Dräxler-Manfred f. vierstimmigen Männerchor u. Harmonic- (od. Pfte-) Begl. Op. 93. No. 1, 2 . 8vo. Mainz, Schott. No. 1, Der sechste März. Partitur und Klavierauszug nebst Singstimm. (1 Fl. 12 Xr.) Instrumentalstimm. (1 Fl. 12 Xr.) – 2, Das Lied von der Freibeit. (1848)
Op. 94, 3 Gedichte von Hoffmann v. Fallersleben, f. 4 Männerstimmen. Op. 94. Part. u. St. (Morgenlied. Liebe. Stöpselzieher.) (1849)
Op. 95, Fünf leichte Stücke f. Pfte zu 4 Hdn
Op. 95, 6 Kinderlieder v. Hoffmann v. Fallersleben. 2tes Heft. Op. 95. (Nur eine kleine Geige. Der Stieglitz. Wiegenlied. Mauskätzchen. Beim Schneeballen. Frühlingsbotschaft. (1848)
Op. 96, 6 Duetten f. 2 Singstimmen m. Pfte. Op. 97. Heft 1, 2. Mainz, Schott à 1 Flr. 12 Xr. Heft 1, Die Kinder auf dem Wasser. Des Frühlings Ruf. Gute Nacht. – 2, Mailied. Im Walde. Ihr lieben Vöglein singt.
Op. 97, 6 Duetten f. 2 Singstimmen m. Pfte. Op. 97. Heft 1, 2. Mainz, Schott à 1 Flr. 12 Xr. Heft 1, Die Kinder auf dem Wasser. Des Frühlings Ruf. Gute Nacht. – 2, Mailied. Im Walde. Ihr lieben Vöglein singt.
Op. 98, 6 Kinderlieder. 3te Lief. Op. 98 (Der Täubchen Tod. An den Mond. Des Schmetterlings Sterbelied. Mückentanz. Mein Apfelbaum. Du kriegst ihn nicht) (1854)
Op. 99, 3 Canon f. 3 Soprane m. Pfte. 4te Samml. d. Terzetten. No. 1, Wer nie sein Brod in Thränen ass. No. 2, Wonne der Wehmuth. No. 3, Frühlingsgebet. (1855)
Op. 101, 3 Lieder v. Geibel. (Des Müden Abendlied. Die junge Nonne. Schmetterling.) (1856)
Op. 102, 3 Psalmen f. 2 Chöre. (Die Erde ist des Herrn. Herr wer wird wohnen. Gott sei uns gnädig.) (1856)
Op. 103, Festchor zu Mozart's Säcularfeier, f. Männerstimmen mit Harmoniebegleitung. Partitur. Clavierauszug u. Singstimmen (1857)
Op. 104, Siegesgesang aus ,,Hermannschlacht" von Klopstock, f. vierstimm. Männerchor mit Blasinstrumenten. Partitur mit beigefügter Pftebegl . (1857)
Op. 105, 3 Gesänge f. 3 Frauenstimmen. (Gute Nacht. Libellentanz. Abendfeier.) (1857)
Op. 105, 2 Gesänge f. 3 Frauenst. arranged with Orchestra (Libellentanz: ,,Wir Libellen hüpfen". Abendfeier: ,,Ave Maria".) (1874)
Op. 106, 6 Duetten f. Sopran u. Alt mit Pfte. (Gespielen. An den Mai Des Vögleins Tod. Im Walde. Der Bettler. Weihnachtsfreude) (1857)
Op. 107, 4 Gedichte von L. Kech, f. 2 Soprane, Tenor u. Bass. No. 1, Morgen. No. 2, Mittag. No. 3, Abend. No. 4, Nacht. Part. u. St . (1858)
Op. 108, 3 Quartetten f. 4 Frauenstimmen. Part. u. St . 8, Mainz, Schott. No. 1, Die Sonne ist erschienen. (1860)
Op. 109, 6 lieder ohne Worte for piano (1856)
Op. 110, 12 Gesänge f. Sopran, Alt, Tenor u. Bass. 8. Winterthur, Rieter-Biedermann. Heft 1, Frühlingslied (Tief im grünen). Ein geistlich Abendlied. Frühlingslied (Alle Vögel sind schon da). Wanderlied. Part. u. Stimmen (20 Ngr.) 1 Rt. – 2, Die drei Zauberstimmen. Auf der Wanderung. Frühlingsglaube. Hund und Katzen. Part. u. Stimmen (25 Ngr.) 1 Rt. 5 Ngr. – 3, Abendfeier. Kirmesslied. Gebet. Erntelied. (1859)
Op. 111, 12 Lieder f. Sopran (od. Ten.). Heft 1–3. Mainz, Schott à 1 Fl. 21 Xr. Heft 1, Im Wald, im hellen Sonnenschein. Kornblumen flecht' ich dir zum Kranz. Das reizende Mädchen. Neue Liebe. – 2, Gudruns Klage. Meiden. Die Lilien glühn in Düften. Mir erblüht im Gemüth – 3, Klinge mein Pandero. Feierabend. Höchstes Leben. Der arme Taugenichts. (1860)
Op. 112, Sturmesmythe, von Lenau. Männerchor mit Orchester- Begleitung ... Opus 112
Op. 114, 3 Chöre f. 4 Männerst. (Canon. Abendfeier. Raum dem Lenze.) (1863)
Op. 116, 4 Lieder v. Hoffmann v. Fallersleben. (Heimliche Liebe. Frohe Lieder will ich singen. Libellentanz. Könnt' ich meine Seele tauchen.) (1863)
Op. 119, 3 Gedichte von L. Koch f. S., A., T. u. 2. B. No. 1, Ruhen. 1 Fl. No. 2, Träumen. 1 Fl. 12 Xr. No. 3, Erwachen. (1865)
Op. 123, Festlied v. W. Müller f. 4stimm. Männerchor u. Harmonie-(od. Pfte-)
Op. 128, 3 Lieder (Tanzlied. Wanderers Nachtlied. Beim Feste) f. Männerst. Part. u. St (1867)
Op. 132, Ave Maria f. S. u. kl. Chor m. 2 Viol., Vla, Vcllo u. Cb (od. Org.). (1870)
Op. 133, Ave Maria f. A. m. 2 Violen, 2 Vcllo u. Cb. (od. Org.) (1869)
Op. 134, 6 Lieder f. A. (Die stille Wasserrose. Frühling. Er ist's. Ein Stündlein wohl vor Tag. Lebewohl. Das verlassene Mägdlein.) (1869)
Op. 136, Choral works; No. 2, An die Nacht, f. 4 Männerst.
Op. 143, Fest-Marsch für Blechinstrumente [4 Trompeten, Althorn, 4 Hörner, 3 Posaunen, Tuba und Bombardon. Pauken, 4 kleine Trommeln, grosse Trommel und Becken]. (1873)
Op. 149, Gebet: ,,Herr, den ich tief im Herzen trage" f. S. u. A. m. Harm. od. Org
Op. 152, 6 Lieder (Frohe Lieder will ich singen-Es rauben Gedanken den Schlaf mir. Im Herbste: Seid gegrüsst mit Frühlingswonne. Frühlingsglaube: Die linden Lüfte sind erwacht. Abendwolken: Wolken seh' ich abendwärts. Leicht in dem Herzen.) (1872)
Op. 160, Elegy in c minor for 5 cellos (3 movements)
Op. 161, Der 30. Psalm für Sopran m. Begl. d. Orch. und beigefügtem Auszug für Pfte od. Orgel. Part. u. Orchesterstimmen (1873)
Op. 162, Ave Maria, für Sopran solo und Chor mit Begleitung von zwei Violinen, Viola, Violoncello und Bass. Op. 162 (1873?)
Op. 163, Der 26. Psalm (,,Richte mich, o Ewiger!"), für eine Bassstimme mit Bgl. des Orchesters oder Pianoforte oder Orgel. (1873)
Op. 165, Macte Imperator. Ausgabe f. Männerchor (1874)
Op. 166, Abend-Elegie (,,Leise verrauscht des Tages Klingen"), für Tenor, Violine und Orgel oder Harmonium oder Pfte. (1874)
Op. 167, 3 Chöre für Männerstimme. Op. 167 (1874)
Op. 168, Stabat mater f. 2 Frauenst. m. Violen, Vcelli u. Cb. (od. Org. od. Physharmonika.) (1875)
Op. 169, 9 Gesänge f. S., A., T. u. B. No. 1. Abendlied: ,,Der Abend sinkt" Mk 1. No. 2 Liederlust: ,,Es giebt noch auf Erden" Mk 1. No. 3. Um Mitternacht: ,,Gelassen stieg die Nacht an's Land Mk 1. No. 4. Des Erühlings Rnf: ,,Wacht auf! wacht auf! ihr Thäler" Mk 1. No. 5. Gebet: ,,Herr, Herr, den ich tief im Herzen trage" Mk 1,80. No. 6. Nord oder Süd Mk 1. No. 7. Kirmesslied: ,,Frisch Clarinett u. Hackebrett" Mk 1. No. 8. Abendfeier in Venedig: ,,Ave Maria!" Mk 1,80 No. 9. Fastnacht-Willkomm: ,,Munter getanzt, fröhlich gezecht" (1875)
Op. 172, Sechs Klavierstücke. (1876)
Op. 178, 4 Gesänge f. drei Frauenst. m. Pfte. 8. München, Aibl. Heft 1. No. 1. Lerchenlied: ,,Hoch im blauen Himmelsrund". No. 2. Abendfrieden: ,,Die Vögel auf den Zweigen". Klavier-Auszug u. Singst . (Mk 1.) Mk 2. – 2. No. 3. ,,Lasst uns fröblich singen". No 4. Der 64. Psalm: ,,Lehre, Ewiger! mich deine Wege". (1877)
Op. 179, Hornesklänge. Männerchor m. 1 Tromp., 4 Hörnern u. 2 Fag. (1877)
Op. 180, Martini Kirchweihe: ,,O heiliger Martine". Chor f. Männerst. u. Bar.-Solo. (1877)
Op. 181, Kriegsgesang. Chor f. Männerst. u. Orch., f. Pfte zu 4 Hdn arr. v. J.N. Cavallo. (1877)
Op. 184, 4 Gesänge f. 2 Frauenst. m. Pfte. (No. 1. ,,Horch, die Abendglocken klingen". No. 2. Vergangenheit: ,,Hesperus, der blasse Funken". No. 3. Kurze Freude: ,,Muck und die Fliege verheirathen sich". No. 4. Die Fischerkinder: ,,Sie pflückten sich Wasserrosen". (1879)
Op. 185, 4 Gesänge (Gedichte von F. Dahn) für Sopran, Alt, Tenor und Bass. Op. 185 (1879)
Op. 186, 4 Gesänge f. S., A., T. u. B. 2. Heft. (No. 1. Leichenbegängniss: ,,Wir wollen die Braut begraben". No. 2. Gesang der Gemeinde: ,,Gott, segne dein Volk". No. 3. Lebenslust: ,,Wir summen u. weben". No. 4. Kriegslied: ,,Wie lieblich winkt der Mondenschein hinein".) (1880)
Op. 187, 6 Gesänge für vier Frauenstimmen. Op. 187 (1880)
Op. 191, songs or choral pieces. Op. 191. No. 3. Was man stehlen kann u. was nicht: ,,Gold und Silber und Juwelen"
Op. 192, 3 Soloquartette f. Männerst, Op. 191. No. 1. Er ist's: ,,Frühling lässt sein blaues Band". No. 20. Lachner, Franz, Op. 191. No. 2. Sternennacht: ,,Es lächeln und nicken". No. 21. Lachner, Franz, Op. 191. No. 3. Was man stehlen kann u. was nicht: ,,Gold und Silber und Juwelen".
Without Opus number (or at least none that I could find a link)
Die Bürgschaft, opera (1828)
Alidia, opera (1839)
Benvenuto Cellini, Opera (1849)
3 lieder ohne Worte for Harp (1856)
Fantasie in f minor for Horn and Piano (1825)
Nonet in F (1875)
Piano Trio No. 1 in E (1828)
Piano Trio No. 2 in c minor (1829)
Trio in Bb for piano, clarinet and horn (1830)
Septet in Eb (1824)
Wind Quintet No. 1 in F (1823)
Wind Quintet No. 2 in Eb (1827)
Andante in Ab for Blechblaser (1833)
Lanassa, incidental music (1830)
Catharina Cornaro, Königin von Cypern. Grosse tragische Oper in 4 Akten, opera (1841)
König Oedipus, ballet
Flute Concerto in d minor (1832)
Harp Concerto No. 1 in c minor (1828)
Harp Concerto No. 2 in d minor (1833)
Ouverture zur Cantate: Die vier Menschenalter, einger. f. do. von J. v. Blumenthal (1835)
Symphony No. 4 in E (1834)
Fugue in F for organ
Fugue in e minor for organ
Prelude and Fugue in b minor for organ
Prelude and Fugue in e minor for organ
Fantasia in Ab for piano 4-hands
Piano Sonata in a minor (1824)
15th Psalm, choral
Der 134ste Psalm f. 2 Sopr., 2 Alt, 2 Tenore u. 2 Bässe. (1843)
Der 120ste Psalm. Chor f. 2 Sopran- u. Altstimmen. (O sieh unverwandt.) (1844)
Beim Sonnenaufgange. Der Kirchhof. Abschied der Auswanderer. 3 Gesänge f. 2 Sopr. Ten. u. Bass. (Du nah'st – Seht, der Mond – Heimathsland) (1842)
Deutsche Gesänge f. 2 Singstimmen m. Begl. d. Pfte. Op. 48. (So wahr die Sonne scheinet – Liebste, was kann uns denn scheiden? – O Liebe, die Triebe). (1836)
2 Romanzen aus der Oper: Alidia (Von fernem Meeresstrande – Nimmer will es mir tagen) (1842)
Das Lied von der Liebsten (Ich will meine Seele tauchen) (1837)
Der Sänger am Rhein. Deutsche Lieder (Ach wär' mein Leid so ferne – Da steh'n sie rings und sehn – Vöglein ohne Ruh und Rast – Wenn ich in deine Augen sehe – Mir träumte von einem Königskind – Die Lotosblume ängstigt sich) (1835)
Der Soldatenstand. (Die Welt ist gross)., song (1834)
Deutsche Lieder (nos 1-12). No. 1, Herbst (Es rauschen die Winde) 30 Xr. No. 2, Verlangen (Ich weiss im grünen Walde) 20 Xr. No. 3, Bewusstsein (Ich sass im Grünen) 45 Xr. No. 4, Der Ball auf dem Kirchhofe (Die Jungfrau schläft in der Kammer) 30 Xr. No. 5, Nachts in der Cajüte (Das Meer hat seine Perlen) 30 Xr. No. 6, Wär' ich zu Haus (Der Sturm speilt auf zum Tanze) 30 Xr. No. 7, Frauen-Liebe (An meinem Herzen) 30 Xr. No. 8, Die freien Sänger (Vöglein hüpfet im Haine) 20 Xr. No. 9, Die gefangenen Sänger (Vöglein einsam iu dem Bauer) 15 Xr. No. 10, Nachtigall (Der Liebe Schmerzen weinen) 30 Xr. No. 11, Lied von der Nacht (Die Nacht sinkt hin) 15 Xr. No. 12, Schlummerlied (Ruhe süss Liebchen im Schatten) (1843)
Deutsche Lieder (nos 13-21) No. 13, Die Müllerin (Die Mühle die dreht ihre Flügel) 20 Xr. No. 14, Morgenständchen (Wach' auf zur Liebe) 20 Xr. No. 15, Die Zufriedenen (Ich sass hei jener Linde) 20 Xr. No. 16, Die Lore Ley v. Heine (Ich weiss nicht, was es soll bedeuten) 30 Xr. No. 17, Die Quelle v. Chamisso (Uns're Quelle kömmt im Schattes) 20 Xr. No. 18, Frisch gesungen von Chamisso (Hab' oft im Kreise der Lieben) 20 Xr. No. 19, Mitternacht (Wie dunkle Träume) 30 Xr. No. 20, Lauf der Welt (An jedem Abend geh' ich aus) 30 Xr. No. 21, Die Räthsel (Deine weichen Lilienfinger) (1843)
Die Grillen. Lied. (Ich sass und schrieb im Grase.), song (1840)
Die Schifffahrt (Das waren mir selige Tage), song (1845)
Fern und Nahe (Weste säuseln deinen Namen)., song (1837)
Ich muss hinaus., song (1845)
lch wandelte unter den Bäumen. Gedicht v. Heine, song (1842)
Leichter Sinn, (Heiter, froh und sorgenlos), song (1838)
Lied des Minnesängers. (O Waldes Grün, verborgnes Thal.), song (1838)
Ständchen. (Leise flehen meine Lieder)., song (1837)
Waldklänge. No. 1, Waldvöglein (Das Vöglein hat ein schönes Loos) f. eine Singstimme m. Pfte und Horn (oder Vclle) 45 Xr. No. 2, Waldwärts (Waldwärts geht mein Pfad) f. eine Singstimme m. Pfte u. Horn (oder Vclle) 1 Fl. No. 3, Jetzt ist alles gut (Frühling ist gekommen) f. eine Singstimme m. Pfte u. Violine., songs (1834)
Zigeunerlied v. Göthe f. B.-Solo u. Chor m. Pfte. Klav.-Ausz. u. Singst ., song (1868)
Very few concertante works, I notice. And interesting choice of instruments for the few I see. There are particular dearths of works for flute and harp from this period in the repertory. If there are MS available they might be worth dusting off.
Thanks! Much of interest there. Didn't know or had forgotten he wrote 2 harp concertos, though I think I recalled about one. Besides the Monatsberichte, what are your sources for the list? (I sometimes find the Musiksammlung (http://aleph.onb.ac.at/F?func=file&file_name=login&local_base=MUS) catalog at onb.ac.at - where the HMB scans are webhosted (http://onb.ac.at/sammlungen/musik/16615.htm), at that! - useful too.)
Hello Gentlemen,Have been so happily excited to see this topic live a lasting, full life!Early, I exhorted its readers to summon the whole of their heart and mind to ascertain what we could purposefully, practically do to vivify the Lachner brothers.That you surely have! Generally, Franz seems to be liked, enjoyed, and admired enough for this to have an inception.After the erudition and effort of Balapoel, I was interested to see That Jim and Eric picked up on the harp concertos. Jim's right about the scarcity of those from the Romantic Age, and about the greater rarity of exhumation of those few. Not seen on this admirable list, I guess because it was not one of the original gaps needing to be filled, are 2 concertos for bassoon that I long ago read Lachner had composed. Concerted works for harp and bassoon- the originality of instrumental choices adds even further to Lachners appeal! Do any readers know of a release entitled, loosely, "Early Romantic German Opera Arias"? Included were Lortzing, Spohr, Conradin Kreutzer, and, yes, Lachner.Jansug Kakhidze led the Tbilisi Orchestra, and soprano Cornelia Much. Lachner was represented by an excerpt from the mentioned-in-this-threads-listopera, "Alidia".It is introduced by a harp obbligato saturated with the essence of early romanticism.I know the Bel Canto Italians were there first, but Lachner keeps a beautiful entity fresh and breathing with life. If this is an example of what he could do with the harp....! I once read, also, that the harp held an important place in Lachners dramatic scores. ( Oh, the Operas and Incidental Music!)In 1829, a notice in the Wiener Zeitung reviewed a performance of the 1st concerto by Munich harpist Krings-Eichthal, perhaps for whom it was written. She had a high reputation in Munich and beyond at the time. I read that the other concerto, in D minor, is authenticated by a manuscript in the Munich State Library. While the topic here is, of course, Lachner, a small subtopic is the Romantic literature for the harp with orchestra( or did I just make it a subtopic?!)Allow me a few lines of going a little out of orbit. I love the harp, and, just as Jim said, there are so few Romantic works for it, inundated by the ubiquitous violin and piano(NOT a bad thing), unless something valuable and expressive is neglected. I've long wished for a resuscitation of forgotten Romantic harp concertos. Parish-Alvars has at least one still unrecorded, in E minor. I have a lovely concerto from the Consulate Era by Pierre Dalvimare on LP by champion- of- the-forgotten, Marielle Nordmann. Nicholas Bochsa wrote four. The one in D minor has the fragrance of Chopin from well before Chopin( did it work the other way around?). I've never understood the neglect by Britain of their own John Thomas, Welsh hapist to Queen Victoria. All that I've heard of his is so melodic, lyrical, and elegant. Two concertos by him, I think.Charles Oberthur, a German resident in England much of his life, even produced a work featuring his instrument the harp onthe poignant subject of Lady Jane Grey. Ferdinand Hummel, director of the Berlin Theater, penned a Grand Fantasy for harp& orchestra in 1884. Just a few years ago, Xavier de Maistre recorded Zabels beautiful C minor harp concerto from the end of the 19th Century. Nicolai Wilms' wonderful Nonet for strings was noticed here just a short time ago. He wrote a Konzertstucke for harp and orchestra just after 1900 that was performed often. I know that there have been numerous wishes among readers here for more Romantic concertos for piano, violin, cello, occasionally horn or trombone.Does this extend to the harp, too? Especially when much of this repertoire is British or British-derived, it is baffling, and disappointing, that labels like Chandos or Hyperion have not pursued it. Any suggestions? Are you, forum members interested in this music? To be more topical, I certainly, deeply desire to hear Lachners essays in the form. I seem to remember finding evidence of a recording of one of Lachners harp concertos once, on a label entitled Musica Bavarica. As I said at the outset, thanks for the appreciation for Franz Lachner. I'm no John White, but I am an adoring distant cousin. I hope that this thread continues for a long time, and that it even kisses Lachner awake in some real way after over a century of sleep.
My primary sources are:
Groves online edition (current)
Grove's Dictionary, 3rd edition (1939)
Grove's Dictionary (1908)
http://hofmeister.rhul.ac.uk
http://www.recmusic.org/
--
Balapoel
Quote from: Balapoel on Saturday 05 February 2011, 03:24
http://hofmeister.rhul.ac.uk
Unfortunately this site, with its database of searchable text transcriptions of
Hofmeisters Monatsberichte from 1829 to 1901, seems to be down possibly permanently. The scans it linked to, at ONB (http://onb.ac.at/sammlungen/musik/16615.htm), from 1829 to 1947 more or less, are still there but untranscribed and unsearchable. (I do sometimes spend my free time reading them anyway and linking to them from IMSLP workpages, compiling information about lesser-known works, etc. I'm a dork. ... and proud of it mind...) Google Books has some of these too, some of them searchable, but mostly for US people... anyhow, very useful resource if used carefully, for finding out when a work was probably first published, among other things.
Yes, I agree - one should be careful - particularly since later editions are listed, sometimes without appropriate notation. Also, I've found errors with opus assignments. But, on the plus side, there is normally detailed information on song-lists and first-lines, notably absent from Grove's, for the most part.
I have relatively complete databases of about 560 unsungs, if any are interested. I try to have these whenever I buy CDs, so as to avoid duplication and aid exploration of their works.
Quote from: Balapoel on Saturday 05 February 2011, 19:21
Yes, I agree - one should be careful - particularly since later editions are listed, sometimes without appropriate notation. Also, I've found errors with opus assignments. But, on the plus side, there is normally detailed information on song-lists and first-lines, notably absent from Grove's, for the most part.
I believe- perhaps inaccurately though???... that
Hofmeisters Monatsberichte was closer to the 'music received by us this month' section of a music magazine than a Grove's worklist which goes some way to me anyway towards explaining some of the differences - for good
and ill :) Having so much contemporary evidence of what music was being published from 1829 to 1947, is to a certain frame of mind (... mine for instance, and yours if I gather right :) ) - ... is without price (and practically free, too- yay libraries!), for all that, agreed, one must always understand one's sources and use them well and carefully, whatever they are, apologies for banality.
(Sorry- babbling. Carry on. Re the databases you mention - on IMSLP especially (even moreso than on en-Wikipedia) we are trying to compile worklists for composers with works with out-of-copyright works published (works the site can host) (or who arranged or edited such works), I think, based off Hofmeisters and any other sufficiently reliable sources available (Pazdirek, Groves, etc.) Started on a semi-sort-of-worklist of Samuel de Lange jr. yesterday, for instance. Yes, indeed, I think we would be interested though I can only speak for myself...
Regarding de Lange, I have (I think) almost all of his works listed (except Opp 3, 5, 9, 11). If you think our crowd will be interested, I can start a series of lists of composers to share what I've uncovered.
Edit> I see you mean Samuel, I thought you meant Daniël. I have the symphony and Requiem by the latter, but I don't have any information on his father yet.
-Balapoel
Quote from: Balapoel on Sunday 06 February 2011, 17:52
Edit> I see you mean Samuel, I thought you meant Daniël. I have the symphony and Requiem by the latter, but I don't have any information on his father yet.
-Balapoel
Daniel's father is Samuel de Lange sr. (1811-1884) Samuel de Lange jr. (1840-1911) and Daniel were brothers. Didn't know Samuel de Lange Sr. wrote a symphony (oh. re-reading in my turn, you meant Daniel. right! ok.), actually... mostly that he wrote a whole lot of organ and liturgical music; his sons composed a lot more in the concert forms (and also in liturgical music- Samuel Jr. wrote psalm settings, oratorios and cantatas, 5 organ sonatas at least, 3 string quartets, a piano quintet, 2 piano trios, a cello sonata, 4 violin sonatas, among other works...)
Dear Balapoel and Eric, this is going far off-topic, I'm afraid. There is a thread on Daniël de Lange, including a link to a special website.
I would love to read a comment on Franz Lachner's Symphony 1.
Good news! JPC are now offering the previously deleted recordings of Lachner's 5th and 8th symphonies at 7.99 Euros each. I found that out when I went to spend my 80th birthday 5 euro gift voucher from them. Of course, there is a 5.99 Euro shipping charge to the UK, but this appears to be a flat rate for any size of order.
I've just ordered Lachner's 8th, and... the Liszt piano box . I'm a lucky person, because jpc doesn't charge shipment costs to the Netherlands the next few days...
John, can you please tell me more about Lachners 1st? I see it offered at Amazon. And... happy birthday to you!
And although late (quite characteristic of me!) I also send greetings for an 80th birthday to one through whom I have discovered Lachner. And I hope many more recommendations will be made before the 100th birthday. With warm best wishes to you,
Peter
Yes, happy birthday John! Maybe achieving your hundredth would call for a performance of your Vectis Symphony by the Berlin Philharmonic?
Many, many happy returns, John. And sincere thanks for introducing me to Spohr and F. Lachner. I'm in your debt...
Many thanks gentlemen for your kind greetings. I'm now recovering from the large bruise I got when I took a tumble on an unexpectedly steep descent during my celebration sponsored 66 mile cycle ride round the Isle of Wight on Tuesday.
Of course Lachner's 1st symphony is a much more modest affair than his later ones, but it does include a fugal element in the scherzo and, in my opinion, is well worth hearing.
I've uploaded the floating manuscript Andante I found on the BSB server to IMSLP for easier perusing - if someone who knows the 6th symphony wants to compare its slow movement and this andante and can inform me whether the latter might be, say, a draft for the slow movement of the former (I don't know- I know only the bare details of the 6th symphony...) - then i'd appreciate :) The link at IMSLP , copyright-admin-block passed now, is Andante_in_D_major (http://imslp.org/wiki/Andante_in_D_major_(Lachner,_Franz_Paul)).
Eric
BTW according to BSB-library (they've digitized just the libretto, so far) there's another Festlied, from 1844 rather than 1867, for another festival apparently and to words of the same L. Koch (L.=... well, I'll work it out... maybe viaf.org will help) rather than Müller as with op.123 - I wonder how many w/o Op. works (besides the half-dozen or so I already know about) there are to add to the list? Fairly prolific fellow here; not on a Milhaud, Villa-Lobos or Busch level, but prolific. :) Good stuff from what I've heard so far. (Busch would be Dennis Busch, born 1947, composer of ... a whole lot. Very little recorded. Haven't heard any of it. Very little published. See the New York Public Library Catalog at Catnyp (http://catnyp.nypl.org) since he's deposited a lot of it at ASCAP (I think) and so they list it.)
Eric
according to AMZ, June 23 1838, the Andante of Lachner's 6th symphony is not in D major but in B (H dur). It's still possible of course that
(i) the scanned-in Andante manuscript is a draft for the andante that eventuated.
(ii) the AMZ people made a mistake here
(iii) the Google books scanner did
but if the andante of the 6th is in B major I feel a bit April fooled nonetheless :)
(as in, I asked several people in a position to tell me, who either have seen the 6th symphony score or spoke with people who have, and not a one so much as mentioned this slight, but key, difference ;) )
Lachner again surpises me with a for me new discovery - his Requiem! What beautiful gems can be found here! Please listen to these tracks :
https://youtu.be/5wOB5G0f6rw
https://youtu.be/5Aki76u6f2c
https://youtu.be/1XdMkkaSQaM
https://youtu.be/bDUT2a2u9x8 (!!! Sanctus !!)
I was hoping that someone would get round to his Requiem.
Definitely one of my Desert Island discs!
I have the cpo recording of Lachner's "Catharina Cornaro", which I find an excellent work - also thanks to Maestro Ralf Weikert's committed interpretation.
Yes, mikehopf, I too I am of your opinion: The Requiem is great; the 2006 Carus CD recording is very recommendable!
Not to forget Lachner's six string quartets. They were all recorded in good performances by the Rodin-Quartett several years ago (as it was the case with the complete string quartets of Ignaz and Vinzenz Lachner). I think of these quartets as masterworks of a late vienesse classical style, following more the tradition of Mozart than of Beethoven. They are excellently written, with many fine contrapuntal episodes and ingenious use of traditional harmony. The great chamber music expert Wilhelm Altmann did severe injustice to these beautiful works when he thought them (in 1929) not worthy to be played in concert. I think the contrary is right: There is not one weak movement in all of the six quartets, and they would make a great addition to the concert repertoire of 19th century chamber music.
I don't know his quartets yet, but I fully adore this string quintet- marvellous!!
I'm very taken with Franz Lachner's string quartets which are of consistently interesting quality to my ears. Unfortunately a lot of his music came out on what I call hodge podge albums in the LP era and even the CD era seems to have passed him by with only scattered recordings. Is there even a set of symphonies anywhere yet?
The complete string quartets were released on Amati, but I don't know if that set, or their set of Ignaz Lachner's quartets, is still available. His quartets are interesting enough to be recorded again at -least- once ;)!
Yes at least the SQts are available but I can't see any indication of a symphonic canon available just a few scattered recordings. I may be missing something of course. I find him to be a very significant composer, just below someone like Raff who to me should be mainstream repertoire.
it seems to me with the releases of recordings of more of the unavailable symphonies by cpo and other labels over the last few years that there is an attempt to fill in the gaps, though not yet to create a single cycle under a single conductor and label; that is not unheard of- the first consistent cycle often comes out rather awhile after the first cycle of a composer's works in a medium if the latter and former are issued at all.
Thanks for the reply. So is there a heterogeneous complete set of the symphonies or is even that a "work in progress"?
I know of no commercial recordings of #s 2, 4 or 7 yet, but there are recordings across various labels of the others. There are synthesized recordings of nos.2 and 4 (available here I think but also on YouTube). No.7 is an interesting case that's been discussed on this forum- ah. See this thread (https://www.unsungcomposers.com/forum/index.php/topic,7908.0.html) (but the "Easyupload" link to a version of part of the 7th symphony no longer works, unfortunately.)
Thank you very much for the updated info. Oh well, maybe future generations of listeners will hear more of these unsungs in the year 2525.
Also... ! ... Amati, according to Presto, is reissuing at least one of the Rodin quartet recordings soon (the first volume of Ignaz Lachner's quartets, but I presume the Franz Lachner series can't be far behind.)
The lack of printed scores and parts for symphonies 2, 4 and 7 is probably the main reason why no complete cycle has appeared yet. Only ms full scores for these works are available at the moment. As result of making the synthesized "recordings" myself I have no objection to supplying the musicxml files to a party/company dedicated enough to finish editing them.
Quote from: tpaloj on Wednesday 17 July 2024, 07:25The lack of printed scores and parts for symphonies 2, 4 and 7 is probably the main reason why no complete cycle has appeared yet.
I certainly appreciate and understand the labor hours involved in editing and preparing music manuscripts. However, there are quite a few unsungs whose main works are at least ready for performance. So it seems that for whatever reason Franz Lachner has dwelt in obscurity even relative to others. This is doubly surprising given the Bachian music genes of the Lachners and the high standard of his compositions.