Der geheime Zauberbund (German Edition)

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He was already considered an esteemed musician in Graz, becoming an honorary member of the Styrian Music Society in and also celebrated successes as a conductor in Vienna, where he had been regularly spending the concert season since In he became the chairman of the conservatory. As a conductor and an ardent admirer of Beethoven, he advocated the promotion of his work.

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Practically every concert he conducted contained a piece by the Master, including several first performances. His veneration and the implied high aspiration are likely to have led to Lannoy composing less himself after the mid ies. From until , Lannoy composed the group of pieces which would especially become the source of his success and contemporary fame: evening-filling melodramas accompanied by orchestra.

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These pieces were played well beyond Austria until and even after his death. Lannoy carried one of the black coffin ribbons at Beethovens funeral, along with Schubert, Hummel and others. Following the year , the liberally inclined Lannoy no longer composed at all. In his final years he would return more often to Graz from his country estate in Wildhaus.

At the moment there are two pieces by Lannoy availabe on CD: the Quintet for wind instruments and piano in the Beethoven-orchestration and the Trio op. A cpo -recording of the same piece in original orchestration is out of stock. Ebooks and Manuals

The secondary theme exists in a canonical construct, which is expanded to a fourfold canon in the reprise. The development condenses split-offs of the motifs to perpetually new, rugged, even glaring harmonic poignancies.

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The second movement, beginning with a theme in a simple, song-like manner whose wandering rhythm is reminiscent of Schubert, is short but concise and includes one of the few clear references to Beethoven: the c-minor outburst in the midsection with its truly Schubert-like deviation in d-flat minor and one particular vaguely drifting passage, appropriating the theme of the song towards a diminished seventh chord, leaving the safe ground of tonality. And he suspends one of the most astonishing closes to a movement in all of music history: the scraps of theme in the solo-flute which lead into nothingness.

A nigh slapstick moment occurs when, at the end of the Trio, the timpani and trumpets make three attempts to sway the rest of the orchestra towards the Da Capo, with only the third attempt finally being successful. The last movement is essentially a Haydn-Finale projected about a quarter-century into its own future. The attitude of the piece, its esprit, the technical virtuosity ever slightly sophisticated like Strawinsky, are reminiscent of the forefather of the symphony.

Eduard de Lannoy

The sources at my disposal were the autograph score P and one set of parts apparently written by two copyists, presumably neither of which was Lannoy. Apparently, during this process the copying was done only once from the autograph score itself and then - in part by another copyist6 — from the section leaders scores. In the concert master part, several dynamic indications are repeated with a thick red pen often repeating ff as f, which however simply seems represent a reminder that the section is loud at all and not a reduction, seeing as many — especially quiet — dynamics are repeated literally as well ; a number of reminders have been entered as well.

At two particular places, markings have been entered on the left border in order to be able to better distinguish between similar beginnings to the lines, also at the beginning of the Scherzo-part in order to ease the jump over the unusually long bracket 1, as well as an immediately following counting of equal bars. The metronome indications are entered into P in pencil.

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There is also a bar count in pencil, which accidentally jumps to from I have attempted, in cases of unclear legibility, to pre-empt the decision of the performer as little as possible, for example by approximation. Seeing as excessive use of these indications is characteristic of other pieces by Lannoy as well, the indications in the parts have been adopted. It is revelatory to comprehend, that in the understanding of the time there was essentially no difference - an accent basically counted for the whole note or group not just for the beginning. Bernanos judd fall 2 historia al-rawi os henrik iv stefano lente vita carmin johannes bernard max 3 launen.

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