Calendarul muzical al zilei - 28 iulie 2017

[altmariusclassic]

Publicat: vineri, 28 Iulie 2017 , ora 16.13 
 

• Comemorăm 276 de ani de la trecerea în nefiinţă a compozitorului Antonio Vivaldi (4 martie 1678 - 28 iulie 1741) şi 267 de ani de la cea a compozitorului Johann Sebastian Bach (21 martie 1685 - 28 iulie 1750)

• Acum 179 de ani s-a stins din viaţă compozitorul Bernhard Henrik Crussel (15 octombrie 1775 - 28 iulie 1838)

• Se împlinesc 89 de ani de la naşterea compozitorului Adrian Raţiu (28 iulie 1928 - 3 noiembrie 2005)

• Dirijorul Riccardo Mutti împlineşte astăzi 76 de ani (1941), iar pianistul Pierre-Alain Volondat 55 de ani (1962)

• Pianistul Horia Mihail îşi aniversează cei 46 de ani (1971)

• Au trecut 12 ani de la moartea compozitorului George Sbârcea (23 martie 1914 - 28 iulie 2005)

Picture: Johan Gustaf Sandberg - Midsommardans på Säfstaholm 1825

Bernhard Henrik Crusell (15 October 1775 – 28 July 1838) was a Swedish-Finnish clarinetist, composer and translator, "the most significant and internationally best-known Finnish-born classical composer and indeed, — the outstanding Finnish composer before Sibelius".

Work: Clarinet Concerto No.1 in E flat-major, Op.1 (c. 1811)

Mov.I: Allegro 00:00
Mov.II: Adagio 10:42
Mov.III: Rondo: Allegretto 14:40

Clarinet: Per Billman

Orchestra: Uppsala Kammarorkester

Conductor: Gérard Korsten

The first of Crusell's three clarinet concertos, the Concerto in E flat major, Opus 1, dedicated to Count Gustav Trolle-Bonde, is thought to have been written at some time between 1803 and 1805 and was published in Leipzig in 1811.

The work opens with the expected orchestral exposition, after which the soloist enters with a characteristically embellished version of the first subject, leading, in writing that displays the range and possibilities of the clarinet, to the second subject, now in the expected key of B flat major. The material is developed and returns in recapitulation. The A flat major slow movement allows the clarinet a brief aria, to be followed by the lively final Rondo, which again finds room for virtuoso display in scales, arpeggios and figuration that exploits the contrasted registers of the solo instrument