@classicalmusic
@womencomposers

#DoraPejačević 1885 – 1923

#PianoConcerto in G Minor, Op.33 (1913)

1 Allegro Moderato
2: Adagio Con Estro Poetico
3 Allegro Con Fuoco

#OliverTriendl #Piano
#BrandenburgischesStaatsorchesterFrankfurt
#HowardGriffiths

#musik #music #musique #musica #classicalmusic #womencomposers #Pejačević

https://www.youtube.com/watch?v=gksu3M3mrRA

Wilma von Webenau did not follow in the footsteps of teacher Arnold Schoenberg

The respectable German label Hänssler Classic devoted an album to three chamber music pieces by Wilma von Webenau (1875-1953), the first female student of Arnold Schoenberg. She had Ukrainian roots: her grandmother Julie von Webenau hailed from Lviv, then an important city in the Habsburg double monarchy. Grandma was also a composer and had studied with Franz Xaver Mozart, Mozart’s son, who was chapel master in Lviv for a time.

Wilma von Webenau herself was born in Constantinople, the daughter of the Habsburg ambassador. She grew up in Vienna, where she received piano lessons from Cäcilie von Frank, who also provided extensive artistic training. Von Webenau gave some public performances in the late 19th, which were favourably reviewed in local newspapers. In 1899, she gave some successful recitals in London.

Schoenberg’s first private pupil

Frank’s flat was an important meeting place for the Viennese music world. Here Von Webenau probably got to know Arnold Schönberg and, as far as is known, she became his first private pupil. From 1898 to 1902, she took harmony and composition lessons with him, and when he moved to Berlin in 1900, she followed him. She also lived in Munich for several years, but returned to Vienna, where she earned a living as a music and piano teacher and became a member of the Club der Wiener Musikerinnen. 

How much Schönberg appreciated her is illustrated by the fact that he included her music in his first student concert in 1907, alongside works by Alban Berg and Anton Webern. But unlike her two colleagues, Von Webenau did not follow their teacher down the path of atonality and, later, twelve-tone music. Her music stays firmly rooted in the late-Romantic tradition and always stays true to the traditional theory of harmony.

Energy

Like the Piano Quartet in E minor third, with which the CD opens. The first movement has enormous energy, with the instruments seemingly wanting to outdo each other in contrapuntal ingenuity. Swaying lines from the strings are coloured and circled by passionate runs and chords from the piano. The second movement has a more sedate character, opening with an intimate melody from the viola, after which the remaining strings and piano blend into the argument and weave a beautiful tapestry of romantic themes.

The scherzo is a playful allegro in a rocking three-quarter time and is performed with infectious joy of playing by violinist Nina Karmon, viola player Stefan Fehland, cellist Alexander Hülshoff and pianist Oliver Triendl. The piano introduces the concluding allegro con brio with a lyrical rising theme, which is taken over and varied by the strings.

Faintly impressionist

The subsequent Sonata for Cello and Piano appeared in print in 1949, two years before Schoenberg’s death. It opens with a rising theme in the cello, which is answered by short chords from the piano. After this, a colourful fabric unfolds in which pianist and cellist interchange now intimate, then rather more rhythmic motifs.

The second movement has a more sedate, almost impressionistic character, while in the third and final movement, the piano sets short chords against the cello’s kitschy pizzicati. Notable is the abrupt ending, which lingers in the air like a question mark: the expected keynote does not come.

The Seven Miniatures for violin and piano are short gems, in which Von Webenau’s flair for lyricism, sparkling melody and spirited rhythm comes to full bloom. Despite some intonation problems, the album, simply called Wilma von Webenau, is a fine tribute to this composer who was forgotten until recently.

#AlexanderHülshoff #ArnoldSchoenberg #NinaKarmon #OliverTriendl #StefanFehland #WilmaVonWebenau

Aktuell in der HörBar: Heinrich Hofmann / Kammermusik

Ein gänzlich Unbekannter ist Heinrich Hofmann (1842–1902) nicht. Immerhin ist jetzt ein drittes Album mit seiner Musik erschienen: Nach seiner Frithjof-Sinfonie op. 20 aus dem Jahre 1874, mit der sich Hofmann einen lebenslangen Erfolg sichert

https://hoerbar.nmz.de/2024/08/heinrich-hofmann-kammermusik/
#EMusik #Romantik #HeinrichHofmann #StefanFehlandt #WenSinnYang #OliverTriendl #NinaKarmon #HnsslerClassicsLabel #GeorgArzberger

@classicalmusic
@womencomposers

#DoraPejačević 1885 – 1923

#CelloSonata in E minor, Op. 35

I. Allegro moderato
II. Scherzo: Allegro
III. Adagio sostenuto
IV. Allegro comodo

#ChristianPoltéra #Cello
#OliverTriendl #Piano

#musik #music #musique #musica #classicalmusic #womencomposers #Pejačević

https://www.youtube.com/watch?v=-chTjgzSkQs