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Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D

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Octet D. 803 for Strings, Clarinet, Bassoon and Horn Octet D Octet D. 803 for strings, clarinet, bassoon and horn Octet D. 72 for oboes, clarinets, bassoons and how Schubert Ensemble, Budapest Franz Schubert (1797 - 1828) Octets, D. 803 and D. 72 Franz Schubert was born in 1797, the son of a Vienna schoolmaster, and had his education as a chorister of the Imperial Chapel at the Staatskonvikt. At school and at home he had an active musical life, both as a player and as a composer, and when his voice broke and he was offered the means to continue his academic education, he decided, instead, to train as a teacher, thus being able to devote more time to music. By the age of eighteen he had joined his father in the schoolroom, while continuing to compose and to study with the old court composer Antonio Salieri. In 1816 he moved away from home, sharing rooms with a friend and the following years found him generally in the company of friends, with an occasional resumption of teaching, an advocation for which he had no great talent, at least in the classroom. Schubert's brief career continued in Vienna, and while there were occasional commissions and some of his works were published, there was never the opportunity of the kind of distinguished patronage that Beethoven had had and still enjoyed, nor the possibility of an official position in the musical establishment of the city. It was February 1828 before Schubert was able to have a concert devoted to his work, an event that proved both successful and profitable, but by the autumn his health had weakened, the consequence of a venereal infection contracted six years earlier. He died on 19th November. As a composer Schubert was both precocious and prolific. Over the years he wrote some five hundred songs and a quantity of piano and chamber music, with larger scale works for the theatre and for orchestra, although he never had a professional orchestra regularly available to him, as Haydn had had by the nature of his employment as a princely Kapellmeister, or as Beethoven had had through the good offices of his rich patrons. Schubert's Octet in F major, D. 803, was commissioned by Count Ferdinand Troyer, the steward of Beethoven's royal pupil and patron, the Archduke Rudolph, now Archbishop of Olmutz. The count was a competent amateur clarinettist and suggested that Schubert should write a companion piece to Beethoven's Septet, a model that he followed in the number of movements and in instrumentation, except for the addition of a second violin. Schubert's work is scored for string quintet, including a double bass, clarinet, bassoon and French horn, gnd was written in February and March 1824. It was first performed at the Count's residence, with the first violin part played by lgnaz Schuppanzigh, the leading violinist in Vienna, who was responsible for a second and public performance of the work in 1827. The first of the six movements of the work starts with a slow introduction, leading to a strongly rhythmic Allegro. The clarinet is entrusted with the principal theme of the second, slow movement, accompanied at first by the strings. The following movement, marked Allegro vivace, is in the mood of a scherzo, with a contrasting Trio, built on a walking cello foundation. The fourth movement, a theme and seven variations, is based on a love duet from Schubert's opera Die Freunde von Salamanka, Gelagert unter'm hellen Dach der Baume. The first variation of the C major theme is in triplet semiquavers, a rhythm used in the string accompaniment of the following variation. The second violin provides an even faster accompanying figure for the next variation, followed by a syncopated treatment of the material and an excursion into C minor, against the climbing plucked notes of cello and double bass. An F minor variation allows delicate interweaving of parts before the original key is re-established in conclusion. The fifth movement, a Minuet with an inspired folk-dance of a Trio, leads to a last movement with a slow introduction followed by a bright Allegro, its course momentarily interrupted before the coda by the return, in a form of enhanced drama, of the material of the introduction. The Minuet and Finale are the only movements of the Wind Octet, D. 83, to survive in complete form. The work was written in August 1813 for Schubert's schoolfriends and scored for two oboes, two clarinets, two French horns and two bassoons. The Minuet, in traditional form, has two contrasting Trios. The Finale, after a brief introduction, embarks on a rhythmic figure that assumes considerable importance as the movement proceeds. Schubert added a jocular note to the score, describing himself as Imperial Chinese Director of Music at the Court of Nanking. Franz Schu bert Oktette, D. 803 und D. 72 In der Zeit von etwa 1818 bis 1822 findet in Franz Schuberts kompositorischem Schaffen ein bemerkenswerter Wandel statt. Man konnte die Phase beinahe als die Verpuppung eines Talentes bezeichnen, das sich - wenn der Kokon zerreiOt - auf einer neuen Ebene des kunstlerischen Daseins zeigt. Bezeichnend fur jene Jahre sind eine Reihe symphonischer Entwurfe, von denen lediglich ein zweisatziges Werk in h-moll soweit fertiggestellt wird, daO man es als die "Unvollendete" auffuhren kann: andere Skizzen kommen kaum uber fixierte ldeen hinaus. (Immerhin ist es dem Musikwissenschaftler Brian Newbould gelungen, aus hinterlassenen Aufzeichnungen eine recht ansprechende E-dur-Symphonie herzurichten - aber das nur am Rande.) In Franz Schubert gart es. Er hat bis jetzt sechs Symphonien fertig - relativ knappe, weitgehend noch aus der Tonsprache der vorbeethovenschen Klassik schopfende Werke. Dazu kommen Buhnenwerke, Kammer- und Klaviermusik, kirchliche Kompositionen und vor allem ein schier unuberschaubarer Fundus an Klavierliedern. Jetzt scheint er am Scheidewege zu stehen,... Man sollte sich nun allerdings nicht vorstellen, daR Schubert in jenen Jahren der Neuorientierung die Hande in den SchoR gelegt und derweil auf die grot3e Inspiration gewartet hatte. Er arbeitet vielmehr systematisch - unter anderem mit Blick auf "die groOe Symphonie", wie er seinem Freund Kupelwieser schreibt. Den Sprung will er vollbringen hinuber in die wirklich groOen Dimensionen; eine Musik schwebt ihm vor, die sich die Leistungen des bewunderten Beethoven zu eigen machen soll, ohne freilich abzuschreiben oder zu imitieren. Wer Schuberts neunte Symphonie C-dur hort (NAXOS 8.550502) und die spaten Streichquartette, Klaviersonaten oder das riesenhafte Streichquintett kennt, kann beurteilen, daR dieser Sprung gelungen ist. Eine wichtige Vorbereitung fur die groOe Symphonie ist das OMett F-dur aus dem Jahre 1824. Mit rund einer Stunde Spieldauer ist diese Komposition ohne Frage ein groBdimensioniertesWerk und in seiner kombinierten Besetzung aus drei Blasern, Streichquartett und KontrabaO gewissermaOen eine Kammersymphonie. Doch die symphonische Anlage wird formal noch in Frage gestellt. Nach dem ausgedehntsn Kopfsatz und dem nicht weniger breit angelegten Adagio folgt - wie es sich gehort - ein Scherzo, an das sich der Regel nach das Finale anschlieOen sollte, Stattdessen setzt Schubert ein Thema mit sieben Variationen und uberdies ein Menuett (Allegretto), ehe dann ein wiederum groOer SchluOsatz den Kreisbogen rundet. So gerat das Oktett zwischen alle Fronten. Einerseits enthalt es unuberhorbare symphonische Qualitaten, andererseits knupft es an die vielsatzigen Rokoko-Unterhaltungsmusiken an, mit denen sich seinerzeit unter anderem ein Wolfgang Amadeus Mozart hervorgetan hatte. DaO es ein Werk des Umbruchs ist, erkennt man auRerdem an dem vorwiegend heiteren Charakter des musikalischen Materials und seiner - zum Beispiel im zweiten Satz - sehr tiefgrundigen Ausfuhrung: Die Schattenseiten sind auf dem Vormarsch. Und sie werden sich in den wenigen noch verbleibenden Jahren immer heftiger zu Worte melden. Wie weit sich Franz Schubert von den jugendlichen Geniestreichen und Talentproben entfernt hat, zeigt das zweisatzige Blaseroktett (Menuett und Finale) F-dur, das im August 1813 fur je zwei Oboen, Klarinetten, Horner und Fagotte entstand. Franz Schubert Octuors D. 72 et D. 803 (op. posth. 166) Trop neglige, le delicieux Octuor 0.72 n'a certes pas la portee d'oeuvres ulterieures mais possede un charme qui merite qu'on s'y attarde. Le jeune collegien Franz Peter Schubert, eleve au Stadtkonvikt royal et imperial de Vienne, etait plus preoccupe par la musique que les mathematiques lorsqu'il entreprit, en aoOt 1813, ce Menuet et Finale en fa majeur pour octuor a vent, 0.72. Si I'on excepte quelques aimables menuets dates de 1811, le compositeur utilisait la pour la premiere fois un ensemble instrumental limite aux vents (2 hautbois, 2 clarinettes, 2 cors, 2 bassons). II y trouva I'occasion de s'aguerrir dans le maniement souvent delicat de ces instruments, une experience qui ne lui fut sarement pas inutile lors de I'elaboration de sa Premiere Symphonie en re majeur, fin 1813. Onze ans passeront avant que Schubert ne revienne a I'octuor ... Que de changements en une decennie! En 1824, I'existence du musicien apparait on ne peut plus sombre. Sans illusions, il se definit, dans une lettre a un ami, comme "un homme dont les esperances les plus radieuses ont ete reduites a neant, pour qui le bonheur de I'amour et les joies de I'amitie ne sont, tout au plus, qu'une source de souffrances". Depuis 1823, la maladie - une syphilis probablement - le mine. Situation materielle plus que precaire, innombrables difficultes pour imposer sa musique; la tristesse et I'isolement seront, jusqu'a la disparition du compositeur en novembre 1828, le terreau d'ou naitront tant de chefs d'oeuvres. En fevrier 1824, le comte Ferdinand Troyer, clarinettiste amateur de niveau remarquable, passe commande a Schubert d'un octuor, destine a 6tre execute lors des concerts que I'aristocrate organise regulierement en sa demeure. En acceptant I'offre, le compositeur se soumet a certaines contraintes. Troyer demande en effet que I'oeuvre soit conye dans I'esprit du Septuor de Beethoven - le succes dont jouit I'oeuvre depuis sa publication en 1802 agace d'ailleurs beaucoup son auteur qui ne tire aucune gloire de cette partition..
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