Franz Ignaz Danzi:Cello Concerto in E-minor

Franz Ignaz Danzi (15 June 1763 – 13 April 1826) was a German cellist, composer and conductor, the son of the Italian cellist Innocenz Danzi (1730–1798) and brother of the noted singer Franzeska Danzi. Danzi lived at a significant time in the history of European music. His career, spanning the transition from the late Classical to the early Romantic styles, coincided with the origin of much of the music that lives in our concert halls and is familiar to contemporary classical-music audiences. As a young man he knew Wolfgang Amadeus Mozart, whom he revered; he was a contemporary of Ludwig van Beethoven, about whom he — like many of his generation — had strong but mixed feelings; and he was a mentor for the young Carl Maria von Weber, whose music he respected and promoted.

[1763. 6. 15 독일 바덴 슈베칭겐~ 1826. 4. 13 카를스루에(63세). 이탈리아계 독일의 음악가.  모차르트보다 7년 늦게, 베토벤보다는 7년 빠르게 태어났다.

 

Cello Concerto in E-minor (17/18)

https://youtu.be/cdRiPXyr_ck

Picture: Albert Ludovici - Fantasia in White

 

Mov.I: Allegro 00:00 Mov.II: Larghetto 15:14 Mov.III: Allegretto 20:08

Cellist: Thomas Blees Orchestra: Berlin Symphony Orchestra Conductor: Carl-August Bünte

 

https://youtu.be/NQC8vzR_XXo

Aurélien Pascal (cello), Munich Chamber Orchestra, Howard Griffiths (conductor)

I. Allegro – 0:00 II. Larghetto – 13:31 III. Allegretto – 17:51

 

„Danzi's E minor Cello Concerto shifts from minor to major in the orchestral introduction. The scoring between strings and overhead winds bears an uncanny resemblance to Chopin's First Piano Concerto in the very same key. The soloist introduces a long cantabile melody with embellishments and a key change to G major, which is varied with string arpeggios and high notes, and then broken off for a brief bridge passage and a repetition of the subject. Danzi uses his orchestra for telling dramatic touches. During one central tutti he pulls back momentarily to bring about a key change into C major, returns to E minor for some thematic elaboration before switching again, this time to E Major, for a transposition of the cello line an octave higher. He then tricks us, pretending he is about to put this complex key sequence into reverse, but ends the movement in the major. In the Larghetto C major central movement Danzi looks forward to the Romantic age, using generously-spaced chord harmonies in upper and lower strings to a cantabile bass. This brings a most satisfying balance to the long legato line of the melody, and by moving into a rising progression of chords he is able to focus anew on the solo part. The order of keys in the Allegretto finale is E , E minor, G major. The theme - a dotted figure - spans an interval of a third for the cello and a fifth for the orchestra. The second subject is a straightforward romantic tune for the cello in F major, which is quickly brushed aside by an E minor/major reply neatly incorporating the tail end of the second subject, before the cellist climbs once more for the dramatic close.” (by Bill & Gill Newman to the album Weber, Danzi, Stamitz – Works for cello & orchestra)