Carl Maria von Weber Konzertstück f-moll für Klavier und Orchester, Op. 79

Carl Maria Friedrich Ernst von Weber

[(1821), by Caroline Bardua]

(18 or 19 November 1786 – 5 June 1826) was a German composer, conductor, pianist, guitarist, and critic, and was one of the first significant composers of the Romantic school(era). Best known for his operas, he was a crucial figure in the development of German Romantische Oper (German Romantic opera).[1]

Throughout his youth, his father, Franz Anton [de], relentlessly moved the family between Hamburg, Salzburg, Freiberg, Augsburg and Vienna. Consequently he studied with many teachers – his father, Johann Peter Heuschkel, Michael Haydn, Giovanni Valesi, Johann Nepomuk Kalcher and Georg Joseph Vogler – under whose supervision he composed four operas, none of which survive complete.[1] He had a modest output of non-operatic music, which includes two symphonies; a bassoon concerto; piano pieces such as Konzertstück in F minor and Invitation to the Dance; and many pieces that featured the clarinet, usually written for the virtuoso clarinetist Heinrich Baermann. His mature operas—Silvana (1810), Abu Hassan (1811), Der Freischütz (1821), Die drei Pintos (comp. 1820–21), Euryanthe (1823), Oberon (1826)—had a major impact on subsequent German composers including Marschner, Meyerbeer, and Wagner; his compositions for piano influenced those of Chopin and Liszt. His best known work, Der Freischütz, remains among the most significant German operas. 

 

Konzertstück f-moll für Klavier und Orchester, Op. 79

* 콘체르트슈튀크[Konzertstück]보통의 협주곡을 1악장의 자유로운 형식으로 간략하게 만든 협주곡

György Cziffra, piano György Cziffra jnr, conductor Orchestre National de l'Opera de Monte Carlo

 

 

Peter Rösel (piano), Staatskapelle Dresden, Herbert Blomstedt (conductor)

F minor:Larghetto affetuoso --- F minor:Allegro passionato --- C major:Tempo di marcia --- F major: Presto giocoso

 

The Konzertstück, Weber's last major virtuoso composition, is the one among his piano works which has been able to retain its position most decisively. In this piece, the rejection of the traditional form of the concerto is more obvious and more ahead of its time than in the Piano Concertos. The strict formal scheme is completely replaced by a freedom of conception with which Weber expresses his own creative will, striving towards the ambitions of later romanticism. The four contrasting `movements' of this Konzertstück merge into one. Apparently — at least as far as we know from Weber's pupil Julius Benedict — he demanded a new formal freedom dominated by a literary idea. It is said that while composing the Konzertstück Weber envisaged the story of a 'Knight' and a 'Lady of the Castle' combined with emotional visions of `grief', 'sorrow at separation', 'approach of the beloved', 'joyous greeting on his return'. In the end this poetic idea did not become a detailed programmatic concept, but it became a brilliant showpiece for the soloist, although it cannot be denied that, in common with many of Weber's instrumental works, it has a very obvious trend towards music-dramatic elements.” (from Album notes by Bernward Lamerz)