Night Music, Music for a Viennese Salon Steven Zohn eight-keyed fl, Rebecca Harris vln, Marika Holmqvist vln, Daniel Elyar vla, Rebecca Humphrey Diederich vc, Heather Miller Lardin violone Avie 2423, 2020 (1 CD: 66 minutes).
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引用次数: 0
Abstract
The recently released album Music for a Viennese Salon by the chamber ensemble Night Music transports listeners to one of Vienna’s leading musical salons during the late eighteenth and early nineteenth centuries. The host of the musical gathering is Fanny von Arnstein (1758–1818), a Jewish salonnière, notable amateur keyboardist and singer, music patron, and founder of Vienna’s Gesellschaft der Musikfreunde. According to Steven Zohn’s liner notes for the album, this imagined performance in Arnstein’s salon took place in 1801, two decades after Arnstein began hosting her salon (p. 4). During her nearly 40-year tenure as a salonnière, Arnstein became one of the best-known salon hosts in Viennese society. This album, then, offers a glimpse into the musical activities of a central figure in the city’s musical identity and ongoing legacy. The musical portion of this 1801 salon gathering includes three multi-movement works for chamber ensemble. Joseph Martin Kraus’s Quintet in D for Flute and Strings (VB188; 1799) begins the concert with three movements (I. Allegro Moderato, II. Largo, III. Finale: con brio). The next work attendees hear is Carl Ditters von Dittersdorf’s Duetto in E flat (Kr219) for viola and violone (I. Allegro, II. Menuetto I, III. Adagio, IV. Menuetto II, V. Andante [Tema con variazioni]). Johann Peter Salomon’s 1801 arrangement of Joseph Haydn’s Symphony No. 94 in G major ‘Surprise’ (Hob1:94) serves as the finale to the evening’s performance (I. Adagio – Vivace assai, II. Andante, III. Minuetto, IV. Allegro di molto). Arnstein’s salon was active in twomain periods – one beginning in 1780 and the second in 1803; this album thus emulates the musical performances that took place in the earlier salon. Lauded for its elaborate style and long guest lists, Arnstein’s salon gatherings during this earlier period were originally modelled on the grand French salons of the eighteenth century, like many other late eighteenthcentury salons in Germany and Austria. During the two decades of her earlier salon, Arnstein established a reputation for herself as one of the only successful Jewish salonnières in Vienna, a city in which religious freedom for the Jewish population had only been legally granted in 1781.
室内乐团Night Music最近发行的专辑《维也纳沙龙的音乐》将听众带到了18世纪末和19世纪初维也纳领先的音乐沙龙之一。音乐聚会的主持人是芬妮·冯·阿恩斯坦(1758-1818),一位犹太沙龙,著名的业余键盘手和歌手,音乐赞助人,维也纳音乐节的创始人。根据史蒂文·佐恩(Steven Zohn)为这张专辑所写的线性笔记,这场想象中的在阿恩斯坦沙龙的表演发生在1801年,也就是阿恩斯坦开始主持她的沙龙20年后(第4页)。在她近40年的沙龙生涯中,Arnstein成为维也纳社会最知名的沙龙主持人之一。因此,这张专辑让我们得以一窥这座城市音乐身份和持续遗产中一位核心人物的音乐活动。这场1801年沙龙聚会的音乐部分包括三首室内合奏的多乐章作品。约瑟夫·马丁·克劳斯(Joseph Martin Kraus)的长笛与弦乐D五重奏(VB188;1799)以三个乐章开始了音乐会(一、中快板、二、拉戈、三、终曲:con brio)。与会者听到的下一个作品是卡尔·迪特尔斯·冯·迪特尔斯多夫为中提琴和中提琴创作的《E大调二重奏》(Kr219)(I.快板,II.梅纽托I,III.柔板,IV.梅纽托II,V.Andante[Tema con variazioni])。约翰·彼得·所罗门1801年编曲的约瑟夫·海顿G大调第94号交响曲《惊奇》(Hob1:94)是当晚演出的压轴曲(I.柔板-阿赛万岁,II.行板,III.米努埃托,IV.莫托快板)。阿恩斯坦的沙龙活跃在两个主要时期——一个始于1780年,第二个始于1803年;因此,这张专辑模仿了早期沙龙的音乐表演。Arnstein早期的沙龙聚会以其精致的风格和长长的宾客名单而闻名,最初是以18世纪的法国大沙龙为原型的,就像德国和奥地利的许多其他18世纪末的沙龙一样。在她早期沙龙的20年里,Arnstein作为维也纳唯一成功的犹太沙龙之一,为自己树立了声誉。1781年,在维也纳,犹太人的宗教自由才被合法授予。