What Are You Listening To Now?

[Sorrano]

Bernhard Henrik Crusell (1775-1838).

Self-taught clarinetist, Crusell became one of the most celebrated and highly paid personalities in Swedish musical life in the early 19th century. He was recognized as one of the great clarinet virtuosi of his day and he introduced Mozart's clarinet concerto to Swedish audiences. He studied composition under Joachim Eggert (1779-1813) and completed 3 clarinet concerti and many chamber works that featured the clarinet.

Thanks for the information! I wondered if he and Eggert had crossed paths. Was he influenced at all by Beethoven or vice versa?

[Hofrat]

Crusell had two strikes against him. First, his instrument of choice: the clarinet. It was a relatively new innovation with very little repertoire. Second, his city of choice: Stockholm. Scandinavia was not in the mainstream of European music. It is hard to see how Beethoven could influence Crusell when it came to clarinet music seeing that Beethoven did not write much for the instrument. And visa versa, it is hard to see how Crusell could influence Beethoven. Beethoven may have heard of Crusell by reputation but I doubt if Beethoven heard or read Crusell's music.

[Sorrano]

Crusell had two strikes against him. First, his instrument of choice: the clarinet. It was a relatively new innovation with very little repertoire. Second, his city of choice: Stockholm. Scandinavia was not in the mainstream of European music. It is hard to see how Beethoven could influence Crusell when it came to clarinet music seeing that Beethoven did not write much for the instrument. And visa versa, it is hard to see how Crusell could influence Beethoven. Beethoven may have heard of Crusell by reputation but I doubt if Beethoven heard or read Crusell's music.

Would not Beethoven's fame have reached Scandinavia? Didn't Eggert admire Beethoven? Maybe I am remembering things wrong. But I do see your point in regards to the clarinet; I hadn't thought of it as being new to (at least) the symphonic orchestra or as a solo instrument in a concerto.

[Hofrat]

Yes, Eggert championed Beethoven, and in 1808 Eggert conducted the Swedish premieres of Beethoven's 1st and 2nd symphonies. Beethoven's quintet for piano and strings (opus 16) was a favorite piece in Sweden in Eggert's time as was the Septet (opus 20). But that was about all. The Swedish music establishment preferred the French school over the German school, and Eggert was in the minority. It is amazing that Haydn's "Seasons" and Mozart's "Magic Flute" were performed there during Eggert's lifetime (in 1810 and 1812 respectively). "Eroica" would be premiered in Stockholm in 1817, 4 years after Eggert's death. Beethoven's 9th would premiere in Norway in 1871.

I think I asked on this forum the question: "Just how much of Beethoven's music was heard during his lifetime outside of Vienna?" Even with Beethoven having publishers outside of Austria, Rossini will write in 1822 that he only heard some of Beethoven's quartets and piano music. As for orchestral music, only in his 1822 visit to Vienna did Rossini hear a Beethoven symphony ("Eroica")!! And we must remember that Beethoven did not set foot in Paris, London, or Rome, the music capitals of Europe. Just how well known was his music in Europe at that time?

[Peter]

I think I asked on this forum the question: "Just how much of Beethoven's music was heard during his lifetime outside of Vienna?" Even with Beethoven having publishers outside of Austria, Rossini will write in 1822 that he only heard some of Beethoven's quartets and piano music. As for orchestral music, only in his 1822 visit to Vienna did Rossini hear a Beethoven symphony ("Eroica")!! And we must remember that Beethoven did not set foot in Paris, London, or Rome, the music capitals of Europe. Just how well known was his music in Europe at that time?

Interesting topic and one that also deserves its own thread which I've started!

[Hofrat]

As I mentioned before, the Swedish Court Orchestra preferred the French school, especially after Bernadotte of France became king of Sweden in 1810. As a matter of fact, shortly after Bernadotte's accession, Eggert was compelled to step down from his position as kapellmeister of the Swedish Court Orchestra in favor of another. Very little influence is held by an ex-kapellmeister and his pupil in composition.

[Quijote]

With reference to Hofrat's "emancipation" of the 'cello (see elsewhere on this forum), I've been listening to JS Bach's cantata Christ lag in Todens Banden (BWV 4, c. 1707), where the 'cello plays rather a leading role (though of course only supporting the voices). Apart from that, this work makes me think of death.

As a 'cellist I have played this work, of course. I have never felt "emancipated" in playing it, just fully integrated into the whole.

[Joy]

Last night on 'Performance Today' was Beethoven's Piano Concerto No. 1 in C, Op. 15 with pianist Stephen Kovacevich and the St. Paul Chamber Orchestra with conductor Joseph Swensen. What a beautiful piece and beautifully played especially the 2nd movement was played with sensitivity and just exquisite.

[Quijote]

Once again, John Cage's seminal work entitled 4'33". It is a "silent" piece of music, if silence is ever possible. Makes you think, doesn't it. (Should there be a question mark here?)

[PDG]

Each to his own, Phil! I'm listening to The Beatles' Norwegian Wood!

I once had a girl, or should I say, she once had me?...

[Quijote]

Each to his own, Phil! I'm listening to The Beatles' Norwegian Wood!

I once had a girl, or should I say, she once had me?...

Yes, profound words from Johnny, eh?

[PDG]

Well, Phil, I must say that I am genuinely impressed by your pop music knowledge. You're right - Lennon wrote that lyric about a clandestine affair.

[Quijote]

Well, Phil, I must say that I am genuinely impressed by your pop music knowledge. You're right - Lennon wrote that lyric about a clandestine affair.

You would be surprised at my pop knowledge, PDG ! Want to test me?

[PDG]

Yes. Severely...

[Quijote]

Yes. Severely...

Pussy !