Luigi Boccherini, born in Lucca, Italy, on February 19, 1743, traveled all over Europe before settling permanently in Spain shortly after his 25th birthday. From 1757 to 1765 he lived in Vienna, with sporadic getaways to his native Lucca. In 1767 he arrived in Paris, where despite his already widespread fame as a cellist, his stay did not last long. Thus, the following year he was already in Spain, where he lived, between Madrid and Ávila, until his death on May 28, 1805.
In Paris, he had formed a chamber group that included as violinist his friend Filippo Manfredi, a native of Lucca like him. It was with Filippo that he set off for Madrid, both encouraged by the fortunate panorama that the fanciful Spanish ambassador in France presented to them about musical life in Madrid, where the competition – it was true – was far inferior to what they had experienced in Paris, a city that had nevertheless given them a good welcome.
In Madrid
But Madrid's musical life only disappointed them. There was less competition, of course, but that was simply a reflection of the fact that the city was far from the usual circles of artists on the European continent. Nevertheless, and interestingly, Luigi Boccherini would live there for no less than 37 years, most of them in the service of his protector, the Infante Luis de Borbón, brother of Carlos III.
Luigi Boccherini (1743 - 1805)
In Avila
Removed from the court because of his morganatic marriage, Prince Luis left for Avila with his chamber musicians, including Boccherini. The maestro complained daily of his isolation from Madrid's musical circles and had no choice but to devote much of his time to composing chamber music, the only genre for which he had performers. From those years are some of his most interesting quintets, the most popular being Quintet in C major, where he, captivatingly, pours out his longing for the sounds of the streets of Madrid's nightlife.
"Musica notturna delle strade di Madrid" — Quintet for two violins, viola and two violoncellos, in C major
The work doubles the violoncellos and not the violas, in accordance with the maestro's favorite formation... of course, if he was a cellist.
The piece, written in the key of C major, has five movements. Two short interlude-like passages separate the first movement from the second, and the fourth from the last. Each movement represents a different scene, but they all share a structure that is not very "classical" or traditional, which makes the piece quite unusual, even for Boccherini himself, who initially refused to publish it because he believed that no one who was not from Madrid could understand it.
Movements I 00Le campane dell'Ave Maria (call to the faithful to pray the Ave Maria)
II01:20Minuetto dei Ciechi (Minuet of the Blind, contains the author's indication for the cellists to place the instrument on their knees and "strum" them as if they were guitars).
III03:21Il Rosario
IV07:55Passacalle (piece also known as "Los Manolos", in allusion to popular pedestrians)
V10:16Ritirata (the soldiers retire to their barracks, having finished their night vigil).
The audio-only version, but with period instruments, is by the chamber ensemble Le Concert des Nations, conducted by Jordi Savall.
Since the death of the "Bach of London", Johann Christian Bach, in 1782, the music of Franz Joseph Haydn in that city had been progressively increasing to the point where "it was difficult to find a concert that did not include a piece by him", according to a historian of the time.
Therefore, numerous efforts had been made to arrange a visit of the illustrious composer, which always met with Haydn's refusal. The maestro did not want for anything in the world to bother his patron Nikolaus Esterhazy, whom he served for more than thirty years, as kapellmeister, even if it was in the court of a remote palace isolated in the Hungarian countryside.
A new patron But with Nikolaus's death in 1790, the master's responsibilities were relieved. Nikolaus was succeeded by his son Anton, a prince with little interest in the arts. Anton got rid of most of the musicians, although he kept Haydn in his post, even increasing his pension, without asking for anything special in return. Faced with the new scenario, Haydn took the opportunity to leave for Vienna as soon as he could. Soon after, the Bonn-born violinist Johann Peter Solomon, who was making a career in London as a concert organizer and clamored for Haydn's competition, came to his house in Vienna. The maestro could not refuse: the conditions were magnificent. Thus, at age 58, Haydn left his native country for the first time. On January 1, 1791, he crossed the Channel and saw the ocean for the first time.
Joseph Haydn (1732 - 1809), painting from 1792
In London The stay in London resulted in a series of resounding successes, from the professional and financial points of view. The visit had to be repeated two years later. Fruit of those two stays are the so-called "London Symphonies", twelve in all, which represent the pinnacle of the maestro's symphonic creation. Among them are several of the most popular ones born from his pen. For example, the symphony "The Surprise" (No. 94), the "Military" (No. 100), and the so-called "The Clock" (No. 101), the latter two belonging to the second London series, that is, the fruit of the second trip, in the years 1794-95.
Symphony No 101, in D major, Hob 1:101, "The Clock" (Hob, after Antony van Hoboken, the author of the catalog). The popular title comes from the quavers of the slow movement, Andante, which follow one after the other with the regularity of a clock. Its premiere took place in London on March 3, 1794, as part of a series of concerts of Haydn's works organized, of course, by his colleague and friend Solomon. The work was applauded with the usual enthusiasm reserved for the works of the "tireless, marvelous and sublime Haydn", as a London newspaper called him on the occasion.
Its movements are four, as usual for a symphony:
00 Adagio - Presto
08:42 Andante
16:23 Minuetto - Allegretto
23:53 Vivace
The performance is by the Orquesta Sinfónica de Galicia, conducted by Richard Egarr.
The second trip to Vienna of Leopold Mozart and his son Wolfgang Amadeus Mozart was as fruitless as the first one. Accompanying their patron Prince-Archbishop Colloredo they arrived there in the summer of 1773 and visited professors and musicians of the court. Even the empress was kind enough to receive them, but getting a place at the imperial court was not possible. The meager fruits were already beginning to become habitual for the Mozart family. This is how Leopold describes it in a letter to his wife: "... Her Majesty the Empress was very kind to us, but that was all."
Back in Salzburg Despite all this, Leopold and Wolfgang resumed life in Salzburg as if nothing had happened. Better yet, they made some important decisions: they moved to a larger, more comfortable house in the new part of town. As a consequence, their friendships rose in rank; after all, they had just completed a visit to the court in Vienna, where they had been greeted by the empress.
In Munich
These months of familiar peace in the region resulted in an essential series of compositions. Among them stand out the five piano sonatas, K. 279 to K. 283, although some scholars date these compositions to the following year, 1775, during the three months that the young 19-year-old maestro stayed in Munich, on the occasion of the premiere of his opera buffa La Finta Giardiniera, a work composed at the request of the court, obtaining with it, by the way, a formidable success.
At this point, the master had a wealth of creative experience. Nevertheless, this first group of piano pieces is the first major attempt that the young Mozart undertook in the genre of piano sonatas, for which he would compose a total of twenty-five works.
Sonata No. 2 in F major, K. 280 - Movements
Haydn's influence is clear, especially in the outer movements. The second movement is the most Mozartian, a tender and melancholic melody in F minor, stretching for almost ten minutes. As a curious note, of all Mozart's sonatas, it is the only slow movement written in a minor key.
The movements are three, organized in the typical Italian manner: fast-slow-fast. 00 Allegro assai
07:09 Adagio
16:50 Presto
The performance is by the French artist Mathilde Handelsman.
The mother of the Brazilian composer Heitor Villa-Lobos was a skilled pianist but did not agree with the idea that her little child should devote himself to music as a professional. And his father, also a talented amateur, died before Heitor was ten years old. So it had to be an aunt, Zizinha Monteiro, who exerted the decisive influence on the future composer's youthful training.
Family evenings Zizinha, also a pianist and fervent admirer of Bach and a passionate enthusiast of the Well-Tempered Clavier, used to organize in her house every Saturday real family concerts, greeted with enthusiasm by neighbors and friends. It was in this atmosphere that the child Villa-Lobos met JS Bach, whom he would later call "the universal folkloric spring", and to whom, as a mature man, he would pay homage with his famous Bachianas Brasileiras.
Heitor Villa-Lobos (1887 - 1959)
The nine Bachianas Brasileiras
As the title suggests, the nine Bachianas, composed between 1930 and 1945, are inspired by Johann Sebastian Bach in a novel blend with the composer's Brazilian heritage.
It is a set of uniquely varied works, both in their formal aspect and in their instrumental arrangement.
Thus, there are works for eight cellos (No. 1, dedicated to Pau Casals), chamber orchestra (No. 2), and flute and bassoon (No. 6), among other ensembles.
Bachiana No 5
The most famous of them is the Bachiana No. 5, composed for voice and eight cellos, and whose origin is dated between 1938 and 1945. The piece consists of two movements, the Aria (Cantilena) and the Dance (O Martelo). The singer Victoria de Los Angeles in the 1960s recorded a performance of the Cantilena which is legendary today and has made the piece undeniably popular to this day.
Following, a rendition by the Puerto Rican soprano Ana Maria Martínez, accompanied by soloists of the Berlin Philharmonic, conducted by Gustavo Dudamel.
In the theme's repetition, the soloist must sing "a bocca chiusa", that is, with her mouth closed, as if she were mumbling or humming. The hard part will be, forced to do so, to do that with the last note.
Bettina von Arnim, née Brentano, was a somewhat fanciful writer who had the good fortune to meet Beethoven and Goethe, as well as many other artists of the time. As she told – twenty years after the facts – she was the one who conceived the encounter of both universal artists in the small thermal city of Teplice, in July of 1812, when Beethoven spent the summer there to follow the treatments prescribed by his doctors. She also is who narrates the famous incident, when Beethoven and Goethe met the archduke Rodolfo and the empress, during a walk.
The incident According to Bettina, Beethoven, who was twenty years younger than the elder Goethe, whispered in Goethe's ear as they passed the imperial princes: keep walking, take my arm, they are the ones who have to give us the step, not the other way around. But the poet respectfully stepped aside and took off his hat. Beethoven, on the other hand, continued his march unperturbed, without answering the greeting of the imperial family. After a while, he stopped to wait for Goethe. When he had him at his side, he said: "I have waited for you because I have great respect for you, and I admire your work, but it seems to me that you show too much esteem for these people". Bettina does not say what Goethe would have replied.
Johann Wolfgang von Goethe (1749 - 1832)
Goethe's impression Nothing was said at the time, we suppose, but Goethe did have an impression of the encounter, though not a very encouraging one. In a later letter to his "musical assistant", Carl Zelter, he described Beethoven as "a surly and hostile personality who, although he is not wrong in saying that the world is detestable, does not make the slightest effort to make it more livable or bearable...". However, in a letter to his wife around the same time, he expresses that Beethoven's talent had impressed him, for he had never before seen "a more concentrated, more energetic, and more profound artist."
"Egmont", incidental music In contrast to other opportunities, musical assistant Zelter had no objections when Goethe decided to send Beethoven his tragedy "Egmont" in 1809 for the Bonn master to write the incidental music. Beethoven saw in it one more opportunity for glory and applied himself to the work with zeal. Very respectful, almost flattering, he thus wrote to Goethe announcing that he had already completed the commission.
"You will soon receive my music for Egmont, this wonderful drama which I read and felt and set to music with you warmly in mind. I am anxious to know what you think of it. Even censure will be beneficial to me and to my art, and will be as welcome as unreserved praise."
It is clear that Beethoven admired "unreservedly" the "greatest German poet", in his own words.
The drama Goethe's work is about freedom. And it was this that excited Beethoven, who had already ventured into the subject with his opera Fidelio. The story of Egmont (a real character) takes place during the Spanish Inquisition's persecution of the Flemish people in the mid-16th century. Egmont is a Catholic count who is eventually killed even though the rebellion ends successfully.
Overture and nine scenes The first performance of Goethe's drama with music by Beethoven took place on June 15, 1810. The complete work consists of nine scenes plus the overture, which opens in a somber mood, sostenuto ma non-troppo, depicting darkness and oppression. The subsequent allegro brings to mind the heroism of the struggle. Finally, the piece concludes in a triumphant and celebratory mood.
The rendition is by the Gewandhaus Orchestra, led by the German conductor Kurt Masur.
