BRISTOW, George Frederick (1825-1898) - Symphony No. 2 (1858)

Obra de Leo von Klenze (1784-1864), pintor alemany.

- Recordatori de George Frederick Bristow -

En el dia de la celebració del seu 191è aniversari de naixement

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Parlem de Pintura...

Leo von Klenze (Schladen, 29 de febrer de 1784 - München, 27 de gener de de 1864) va ser un arquitecte, pintor i escriptor alemany. Es va formar inicialment amb Fontaine i Percier a París. Posteriorment, va visitar Itàlia, on va estudiar l'obra de Palladio, i Anglaterra, on va assimilar les primeres obres del classicisme romàntic. En aquell temps, en el regne de Baviera va existir un gran interès per l'art rococó i el rei Lluís I va afavorir la transformació neoclàssica de la seva capital, Munich, per modernitzar-la. Aquesta tasca es va encarregar a Von Klenze qui va realitzar les seves obres més importants, com la Pinacoteca i Gliptoteca, edificis de proporcions monumentals, anant més enllà de les propostes de Durand, similar als models de museus i biblioteques que es van plantejar a França, amb grans galeries i il·luminació central i tancant els costats d'una gran plaça. Però Von Klenze no només va ser un arquitecte famós sinó també un destacat pintor i dibuixant. Les seves obres, principalment vistes urbanes, va representar edificis antics i clàssics molts dels quals van servir de models per als seus propis projectes arquitectònics. Von Klenze va morir a Munich el gener de 1864.

Font: En català: No disponible - En castellano: Leo von Klenze (1784-1864) - In english: Leo von Klenze (1784-1864) - Altres: Leo von Klenze (1784-1864) 

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Parlem de Música...

George Frederick Bristow (Brooklyn, 19 de desembre de 1825 - New York, 13 de desembre de 1898) va ser un director, professor i compositor nord-americà. Fill del director i clarinetista William Richard Bristow (1803-1867), es va formar en piano amb el seu pare. Més tard va rebre classes d'Henry Christian Timm en piano, de George Macfarren en harmonia, contrapunt i orquestració i d'Ole Bull en violí. Amb 13 anys va iniciar la seva carrera professional com a violinista amb l'orquestra de l'Olympic Theatre. El 1843 es va unir com a violinista de la New York Philharmonic en un càrrec que va mantenir fins el 1879. Durant la dècada del 1850 es va dedicar de ple a la seva carrera com a intèrpret participant en diverses orquestres tot i que també va treballar ocasionalment com a organista d'església. Com a director, va dirigir grups corals com la New York Harmonic Society (1851-1863) i la Mendelssohn Society (1867-1871). També va ser director coral a diverses esglésies de Nova York. Va desenvolupar també una important labor pedagògica sent autor de diverses obres en aquest sentit contribuint en l'evolució dels estudis musicals de Nova York. Com a compositor va ser molt prolífic, especialment en música religiosa. Va viure la major part de la seva vida a Nova York, ciutat on va morir el desembre de 1898.

OBRA:

(selective list)

Vocal secular:

Stage:
Rip Van Winkle (op, 3, J.H. Wainwright, after W. Irving), op.22, 1852–5;
New York, Niblo’s Garden, 27 Sept 1855; rev. 1878–82 (J.W. Shannon), vs pubd (1882/R)
King of the Mountains (op, M.A. Cooney), op.80, 1894, inc.

Choral:
Ode, S, female vv, orch [op.29], ?1856
The Pioneer (H.C. Watson), cant., solo vv, SATB, orch, op.49, ?1872 [orig. intended as prol. to Arcadian Symphonie: see orchestral]
The Great Republic, Ode to the American Union (W.O. Bourne), solo vv, SATB, orch, op.47, vs pubd (1880)
Niagara Symphony, solo vv, SATB, orch, op.62, 1893
The Bold Bad Baron, male vv, ?1896
Call John, SATB
Ode Written for G. S., 1v, SATB, kbd (kbd part inc.)

Songs for 1 voice, piano, unless otherwise stated:
Thine eye hath seen the spot, ?1846, inc., part quoted in W.T. Upton: Art-Song in America (Boston, 1930/R1969 with suppl. 1938);
The Welcome Back (Boston, 1848);
I would I were a favorite flower, in The Message Bird: a Literary and Musical Journal (1 Dec 1849);
The opening day (W.H. Carew), glee, SATB, pf, in The Message Bird (15 Feb 1850);
The dawn is breaking o'er us, ?1852;
Spring time is coming (Wainwright) (Springfield, MA, 1852);
The Abode of Music (M. Marseilles), canzonet, op.31, 1855
The Cantilena: a Collection of Songs, Duets, Trios and Quartetts (1861) [130 works];
Keep step with the music of the Union, unison vv, orch, 1862, vs in The Centennial School Singer, ed. G.H. Curtis and W.O. Bourne (1876);
Lily Song (1869);
A Song of the Hearth and Home (W.P. Durfee) (1869);
Only a little shoe (A.D.T. Cone) (1884);
Woman's Love, ?1887;
The ghost came bobbing up (Shannon);
When morning's bright sun, 1v, orch

Vocal religiosa:

Daniel (orat, W.A. Hardenbrook), solo vv, SATB, orch, op.42, 1866, lib. pubd (1867)

SATB, organ, unless otherwise stated:
To the Lord our God (sentence), S, A, T, B, op.15, 1850
I will arise (sentence) [op.23], ?1853
Morning Service (TeD, Jub, Ky), E , op.19 (1855), TeD separately pubd (1888)
Gloria Patri, Praise to God, solo vv, SATB, orch, op.31, vs pubd as op.33 (Boston, 1860)
Evening Service (Bonum est, Benedic anima mea), op.36 (1865)
Christ our Passover (Easter Anthem), op.39, ?1866
The Lord is in his holy temple (sentence), S, A, T, B, org, op.40, ?1866; rev. 1891 (inc.)
c130 hymns, chants, ?1867
4 Offertories, op.48, ?1870
Morning Service (TeD, Bs), op.51, ?1873; TeD pubd (1873)
Easy Morning Service, F [op.58], ?1881
There is joy today, SATB, pf, in Tonic Sol-Fa Advocate (Nov 1882)
Holy Night, SATB, pf, in Tonic Sol-Fa Advocate (Nov 1884)
Evening Service, G [op.56], 1885
Mass, C, solo vv, SATB, orch, op.57, 1885
Christmas Anthem (Light flashing into the darkness) (J. Elmendorf), op.73, 1887
O bells of Easter morning, SATB, pf, in Tonic Sol-Fa Advocate(March 1887)
Where the holly boughs are waving, SATB, pf, in Tonic Sol-Fa Advocate(Nov 1887)
Easter Anthem, solo vv, SATB, org [op.77], ?1894
Except the Lord build the house, S, A, chorus, org [op.79], ?1894
Sweet is the prayer [after pf study by S. Heller], op.81, ?1894
Come ye that love the Saviour's name [after H. Praher]
I heard a voice from heaven, S, A, T, B, org
Oh that the salvation of Israel, SATB, pf/org
O Lord, thy mercy, my sure hope, SATB [op.76] (sketch)
There's rest for all in heav'n, 1v, pf

Instrumental:

Orch:
Ov., E , op.3, 1845;
Sinfonia, E , op.10, 1848;
Captain Raynor's Quickstep, 1849;
Serenade Waltz, 1849; Waltz, ?1849;
La cracovian, vn, orch, op.13, 1850 [rev. of Duetto concertante, vn, pf, op.1, 1844];
Jullien Sinfonia, d, op.24, ?1853;
Winter's Tale, ov., op.30, 1856;
Symphonie, f , op.26, 1858;
Columbus, ov., op.32, 1861;
Arcadian Symphonie, op.50, 1872;
Fantasie cromatica con fuga [arr. of J.S. Bach], op.53, 1879;
Jibbenainosay, ov., op.64, ?1889

Chbr:
Duetto concertante, vn, pf, op.1, 1844 [rev. as La cracovian, vn, orch, op.13, 1850];
Fantasie Zampa, vn, pf, op.17, 1844;
Duo no.2, g, vn, va, 1845;
Duo no.3, G, vn, va, op.8, 1845;
Quartetto, str, F, op.1, ?1849;
Quartetto, str, g, op.2, 1849;
Violin Sonata, G, op.12, ?1849;
Friendship, vn, pf, op.25, ?1855;
The Judge, march, pf, perc, op.60, ?1886

Pf:
Rory O'Moore, variations (1842);
Grand waltz de bravura, op.6 (1845);
Grand duo … sur … La fille du régiment, pf 4 hands, op.7, 1845;
Septour, pf duet, op.16, 1846;
Dream of the Ocean [arr. of J. Gungl] (1849);
Duo La fille du régiment, 2 pf, op.5, 1849;
Andante et polonaise, op.18, ?1850 (n.d.);
A Life on the Ocean Wave, op.21, ?1852;
Souvenir de Mount Vernon, op.29 (1861);
Eroica, op.38, ?1865;
Raindrops, op.43, ?1867
La vivandière, op.51, ?1884;
Dreamland, op.59, ?1885;
Saltarello [op.61], ?1886;
March, op.69, ?1887;
Marche-caprice, op.51 (1890);
School March, op.63 (Boston, 1893);
Impromptu [op.76], ?1894 (inc.);
Plantation Pleasures, op.82, ?1894;
Plantation Memories no.2, op.83, ?1895;
Plantation Memories no.3, ?1895;
March Columbus (inc.);
A Walk Around (inc.); arrs., transcrs.

Org:
[53] Interludes, in Melodia sacra: a Complete Collection of Church Music, ed. B.F. Baker, A.N. Johnson, and J. Osgood (Boston, 1852);
Pot pourri, op.28, 1856;
Impromptu Voluntaries, op.45, pubd as 6 Pieces (1883);
6 Easy Voluntaries, op.72, in George F. Bristow's New and Improved Method for the Reed or Cabinet Organ (1887)

Obres pedagògiques:

with F.H. Nash: Cantata, or Teacher of Singing (1866, enlarged 2/1868)
George F. Bristow's New and Improved Method for the Reed or Cabinet Organ (1887)
Bristow's Two-Part Vocal Exercises, op.75 (1890–95)

Font: En català: George Frederick Bristow (1825-1898) - En castellano: No disponible - In english: George Frederick Bristow (1825-1898) - Altres: George Frederick Bristow (1825-1898)

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

This release from the English Chandos label, Barber: Symphony No. 2/Adagio for Strings combines Samuel Barber's neglected, and at one point withdrawn, Symphony No. 2 with an equally neglected American nineteenth century symphony written by a composer not even on the fringes of the middleweight repertoire radar screen, George Frederick Bristow. The combination of these two disparate figures is both imaginative and in some ways mutually beneficial; Barber, the Romantic, trying to take baby steps into a modern idiom not wholly comfortable to him, and Bristow, the classicist, trying to come to grips with the extended forms of his age. Barber's second symphony is still relatively unknown to the public at large, having lost so much ground in the two decades when it was out of circulation. This recording by Neeme Järvi and the Detroit Symphony Orchestra is easily the best this poor symphony has ever had. Järvi makes the case that this once "lost" work is not only good, but great music; an American World War II symphony easily worthy of standing alongside similar works, such as George Antheil's Symphony No. 4 or Aaron Copland's Symphony No. 3. While one might cynically surmise that the purpose her of Barber's famous Adagio for Strings is just to provide a "hit" on this disc, Järvi's reading of the piece is something special; it is treated as a continuous, ascending line from the first note to the big climax, and it is quite effective. Listening to Bristow's 1858 Symphony in F sharp minor, one begs the question: how original does an American symphony need to be in order to be considered "good?" The conclusion of Bristow's first movement seems a little too quickly arrived at, and the middle section of his scherzo, "The Butterfly's Frolic," seems a tad repetitive; other small flaws may become apparent with careful listening. Yet Bristow's Symphony in F sharp minor is very musical, well made, and imaginative, and it comes from the dark ages of American concert music. This Chandos recording is so good it makes you want to hear Bristow's other four symphonies.

Uncle Dave Lewis (source/font: aquí)

Gaudiu i compartiu! 

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Informació addicional... 

INTERPRETS: Detroit Symphony Orchestra; Neeme Järvi (conductor)
CHANDOS: BARBER & BRISTOW - Symphonies

IMSLP: George Frederick Bristow (1825-1898)

CPDL: George Frederick Bristow (1825-1898)

SPOTIFY: BARBER & BRISTOW - Symphonies



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