GERNSHEIM, Friedrich (1839-1916) - Klaviertrios

Obra d'Eugen Gustav Dücker (1841-1916), pintor alemany.

- Recordatori de Friedrich Gernsheim -

En el dia de la commemoració del seu 100è aniversari de decés

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Parlem de Pintura...

Eugen Gustav Dücker (Arensburg, 10 de febrer de 1841 - Düsseldorf, 6 de desembre de 1916) va ser un pintor alemany. Es va formar a l'Acadèmia de Belles Arts de Sant Petersburg entre els anys 1858 i 1862. Més tard, el 1864, es va traslladar a Düsseldorf, ciutat on també va rebre formació i on va desenvolupar bona part de la seva carrera. El 1872 va substituir al pintor Oswald Achenbach com a professor de l'Acadèmia de Belles Arts de Düsseldorf, on hi va treballar durant 44 anys. Allà va tenir molts alumnes entre els quals van destacar Adelsteen Normann, Otto Modersohn, Fritz Overbeck, Edgar Meyer, Heinrich Petersen-Angeln i Oskar Hoffmann. Com a pintor va realitzar diversos paisatges en un estil romàntic. Va morir a Düsseldorf el desembre de 1916.

Font: En català: No disponible - En castellano: Eugen Gustav Dücker (1841-1916) - In english: Eugen Gustav Dücker (1841-1916) - Altres: Eugen Gustav Dücker (1841-1916)

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Parlem de Música...

Friedrich Gernsheim (Worms, 17 de juliol de 1839 - Berlin, 11 de setembre de 1916) va ser un pianista i compositor alemany. Es va formar inicialment al piano amb la seva mare per més tard estudiar amb Louis Liebe. El 1848 es va traslladar a Mainz on va estudiar amb Ernst Pauer. Un any més tard va viatjar a Frankfurt on, a banda de rebre formació, va fer la seva primera aparició pública com a pianista i violinista al Frankfurt Stadttheater (1850). El 1851 va viatjar a Leipzig on va estudiar dos anys al Conservatori amb Moscheles (piano), Hauptmann (teoria) i Ferdinand David (violí). El 1855 es va instal·lar a París on va estudiar piano amb Marmontel i on va conèixer Saint-Saëns i Rossini, entre altres. El 1861 va tornar a Alemanya on va dirigir dos cors i una orquestra a Saarbrücken abans d'accedir a un càrrec al Conservatori de Köln (1865). Allà va ser també director fins el 1874 any que es va traslladar a Rotterdam per dirigir la Maatschappij tot Bevordering van Toonkunst. El 1890 va acceptar un càrrec al Conservatori Stern de Berlin, on hi va romandre fins el 1897. Allà també va ser director d'un cor fins el 1904 i va donar classes magistrals de composició a l'Akademie der Künste. Va morir a Berlin el setembre de 1916.

OBRA:

Vocal:

Mixed vv, orch:
Nordische Sommernacht (H. Lingg), solo vv, op.21;
Agrippina (Lingg), A/Mez solo, op.45;
Der Zaubermantel (F. Dahn), solo vv, pf, op.55;
Ein Preislied (biblical), solo vv, op.58;
Der Nornen Wiegenlied (A. Matthäi), op.65;
Der Nibelungen Überfahrt (Matthäi), S and Bar solo, op.73;
Te Deum, with org, op.90;
Nänie (F. von Schiller), op.92, unpubd

Male vv, orch:
Wächterlied aus der Neujahrsnacht 1200, op.7;
Salamis (Lingg), op.10;
Römische Leichenfeier (Lingg), op.17;
Germania (E. Rittershaus), op.24;
Odins Meeresritt (Schreiber), Bar solo, op.48;
Das Grab im Busento (A. von Platen), op.52;
Phoebos Apollon (H. Allmers), solo vv, op.60

Other vocal:
works for mixed vv, pf/org, male vv unacc., female/children’s vv unacc.;
solo songs

Instrumental:

Orch:
Waldmeisters Brautfahrt, ov., op.13;
Pf Conc., c, op.16;
4 syms., g, op.32, E , op.46, c ‘Mirjam’, op.54, B , op.62;
2 vn concs., D, op.42, F, op.86;
Phantasiestück, vn, orch, op.33;
Vc Conc., e, op.78, Elohenu, vc, orch (Leipzig, 1882);
Zu einem Drama, sym. poem, op.82;
In memoriam, ein Klagegesang, str orch, org, op.91

Chbr:
Divertimento, fl, 2 vn, va, vc, db, E, op.53;
2 pf qnts, d, op.35, b, op.63;
2 str qnts, D, op.9, E , op.89;
3 pf qts, E , op.6, c, op.20, F, op.47;
5 str qts, c, op.25, a, op.31, F, op.51, e, op.66, A, op.83;
2 pf trios, F, op.28, B, op.37;
4 vn sonatas, c, op.4, C, op.50, F, op.64, G, op.85;
Introduction and Allegro appassionato, vn, pf, op.38;
Andante and Andantino, vn, pf, 1853, 1893, both unpubd;
2 vc sonatas, d, op.12, e, op.87, unpubd

Kbd:
various pf pieces, incl. Sonata, f, op.1, variations, prelude, suite, romance, fantasias, waltzes;
dance pieces, pf 4 hands;
org pieces, incl. Fantasia and Fugue, op.76, Prelude and Fugue, 1904, unpubd

Font: En català: Friedrich Gernsheim (1839-1916) - En castellano: No disponible - In english: Friedrich Gernsheim (1839-1916) - Altres: Friedrich Gernsheim (1839-1916)

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Parlem en veu pròpia o en veu d'altri...

Friedrich Gernsheim has achieved increasing visibility and thus audibility of late. Hyperion devoted a disc to a quartet of German composers’ cello works, spearheaded by Schumann but also including Dietrich, Volkman and Gernsheim [CDA 67583]. His Second Quartet has been recorded by the Mandelring Quartet on Audite 97.503. But the biggest venture devoted to him currently is the cycle of symphonies with the Rhineland Philharmonic and Siegfried Kohler on Arte Nova 74321636352 – performances I’ve yet to hear. And I’d certainly like to hear the Violin Concerto – which Cameo Classics has announced is on its recording schedule. Gernsheim certainly had all the training necessary. Born in Worms he studied with the virtuoso Ernst Pauer and then with a stellar trio in Leipzig  – Moscheles for piano, Hauptmann for theory and Ferdinand David for violin. This was followed by six years in Paris and then he took up a pedagogic appointment – a piano teacher – at Cologne Conservatory. Moves to Rotterdam and Berlin followed. He’s had the misfortune to fall somewhere been Bruch and Brahms stylistically and the corresponding neglect of his music has been disappointing, not least because he was admired by Brahms, if not necessarily by Bruch who accused him of flirting ‘too obviously…with the newest radicals.’ Not very radical though, as one sees things now.

The two trios are strong and impressive works. The first was written around 1872 and its rather halting introduction leads one to expect a dose of terse writing but in fact we soon encounter flowing Brahmsian lyricism with hints of Schumann’s chamber writing as well. There’s a yielding, lied-like conviction to his melodies that are at once approachable and warming, genial as well. The notes call the Scherzo ‘fiery’ but it occupies the mid ground between geniality and a more remote Trio, which offers a powerful contrast, sternly accented. Invariably perhaps the Largo is melancholic with a rich pizzicato-laced central panel and pliant piano chording. The finale is confident, sturdy and heroic but with lovely lyrical sediment embedded into the syntax. The Second Trio followed in 1879. It’s a rather bolder work but shares fluidity of utterance with the earlier F major. Turbulence and changeability are mapping points in the opening. The Scherzo is energetic but with Gernsheim’s trademark poetic limpidity on display as well. This time the slow movement is solemn with a fully heightened expressive range and a welcomingly pealing piano. His writing is less complex than Brahms’s but he is certainly in the older man’s orbit in these two works. His finale is a bold, confident one if ultimately lacks real distinction. These engaging performances reach strongly to the core of Gernsheim’s imaginative trio writing and they’re well recorded as well.

Jonathan Woolf (source/font: aquí)

Gaudiu i compartiu! 

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Informació addicional... 

INTERPRETS: Arensky Trio
RECICLASSICAT: GERNSHEIM, Friedrich (1839-1916)
JPC: Gernsheim - Klaviertrios

IMSLP: Friedrich Gernsheim (1839-1916)

CPDL: No disponible

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