A little glimpse into Fanny Mendelssohnās quartet with @ossiansdreamensemble š
You can see 2 movements of it alongside other pieces by her, her brother and Robert Schumann in Youtube:)
Shot in beautiful @schlossweissenbrunn
#music #quartet #stringquartet #classicalmusic #gutstrings
Early music is an attitude! Nevermind if your piece was written in 1460, 1760 or 1930. Enjoy your piece anew, as if it was written yesterday, although you have been reading about it for months.
Here is a glimpse of our Schumann MƤrchenerzƤhlungen op. 132.
Happy Early Music Day!
Histoical Clarinet: Claudia Reyes Segovia
Viola: Anne Sophie van Riel
Fortepiano: Pau F. Benlloch
š½ļø@culiner_creative_circle
š°@schlossweissenbrunn full video in their YouTube channel!
#earlymusicday
Today 8pm: "Schlechtes Wetter" (bad weather) alert! Despite the sunshine here in WeiĆenbrunn today, we strongly advise: stay inside, make yourself comfortable and enjoy our concert film premiere on YouTube.
Link in bio
@ossiansdreamensemble
Reimagining Fanny in between Freidrich's landscapes and cozy salons full of unexplored possibilities.
Thanks @schlossweissenbrunn for the wonderful time!
"It was a dream", someone said, and indeed it was!
The 1st Prize at the International Van Wassenaer Competition at the Festival Oude Muziek in Utrecht still feels somehow untouchable. It was cool, it was fun, it was touching, the vibe was great and the colleagues were incredible.
Hopefully see you soon again, Utrecht! āØ
It is generally believed that improvisation as a cornerstone of a musicianās training and job faded gradually with the disappearance of basso continuo. But nothing is further from reality. Hummel writes in 1827: āI close by recommending free improvisation in general [ā¦] to all those for whom [music] is not merely a matter of entertainment [ā¦]. Even if a person plays with inspiration, but always from a written score, he or she will be much less nourished, broadened, and educated than through the frequent offering of all his or her powers in a free fantasy.ā
From all the forms that improvisation took during the XVIIIth and the XIXth Century in performing contexts, preluding was one of the most popular, to which a handful number of composers and theorists dedicated publications: Clementi, Corri, Czerny, Kalkbrenner, Hummel, von Henselt and, of course, Chopin, are just some examples that illustrate the importance of the practise. Czerny writes about it: "It is one of the accomplishments of a pianist, especially in private circles when performing solo pieces, not to begin immediately with the composition itself, but rather to prepare and attune the listeners through a suitable preludeāand, in doing so, to become acquainted in an appropriate manner with the characteristics of the perhaps unfamiliar fortepianoā, although he proposes shorter preludes when playing chamber music and no preludes at all in public concerto situations. And such practise was not alien to Schumann circle. In fact, manuscripts of notated preludes written by Clara Schumann for some of the FantasiestĆ¼cken op. 12 by Robert, which Clara often performed publicly, are conserved at the Staatsbibliothek zu Berlin (to be found in the second image).Goertzen, V. W. (1996).
Not everyone was happy with it, though. Mendelssohn reported feeling annoyed and finding improvisational practises āabsurdā, when asked about improvising on a given theme publicly. We love you, Felix, but improvising is so cool that we couldnāt stop doing it in our recording of the Schumann Quartet, op. 47.
We hope you enjoy it too!
š·Goertzen, V. W. (1996). By Way of Introduction: Preluding by 18th- and Early 19th-Century Pianists.
"My soul is often brightened with song; I remember the friends of my youth. But sleep descends in the sound of the harp! Pleasant dreams begin to rise! Ye sons of the chase stand far distant, nor disturb my rest. The bard of other times holds discourse with his fathers, the chiefs of the days of old! Sons of the chase, stand far distant! Disturb not the dreams of Ossian!"
We're Ossian's Dream, a historical informed ensemble focused on XVIIIth and XIXth century performance practice.
We're very excited to share, through music and its historical praxis, the romantic legacy, in every sense, that both Ossian and many others (his and hers) have left us.
Follow us for upcoming news!
@claudiareyes.clarinet@angel.fagott@jaumeguribat , violin
@annesvanriel , viola
@martin_egidi , cello
Pau FernƔndez, fortepiano
š· By @_lautenleon_
Starting this new year with my two lovely ladies! I thought it might be fun to share what weāve been up to. So here is some beautiful music to kick off 2025:
A lovely baroque program with Freiburger Barockorchester @freiburgerbarockorchester
šFreiburg im Breisgau 10.01.2025 20:00 Konzerthaus
š Berlin 13.01.2025 20:00 Philharmonie
š Stuttgart 14.01.2025 20:00 Liederhalle
The second ever concert with the Amalia Trio playing Schubert, Mozart and Ethel Smyth on gut strings with wonderful @moritzternedden and Moritz Kolb
š Uster 19.01.2025 17:00 Barockgarage
https://eventfrog.ch/de/p/klassik-opern/klassik/ineichen-s-barockgarage-streichtrio-auf-darmsaiten-7279598622332660212.html
Exciting project with Heidelberger KlangForum @klangforum playing Schuberts Gesang der Geister Ć¼ber den Wasser.
š Heidelberg 01.02.2025 17:00 UniversitƤt Heidelberg
And at last, Iām thrilled to share that Iām officially joining the Orchestra of the Age of Enlightenment this year! After an inspiring trial process over the past year, Iām incredibly grateful for this opportunity and excited to embark on this new musical journey.
@orchestraoftheageenlightenment
šø by my lovely&talented sister @riel.life
Now I know what it feels like to play all Beethoven Symphonies and his Mass in C in one week, what a joy to work with the Monteverdi Orchestra and Choir!
Happy to spend some quiet days on our tiny balcony with dear people till we do it all over again next week in Paris! See you there?
Such a pleasure to discover this repertoire with @annesvanriel ā¤ļø
CPE Bach for baroque viola and nyckelharpa!
Looking forward for more and moreāŗļø
#baroquemusic #baroquemusiclovers #nyckelharpa #classicalmusic #classicalmusiclover #concert #cpebach #zĆ¼rich #schaffhausen
![It is generally believed that improvisation as a cornerstone of a musicianās training and job faded gradually with the disappearance of basso continuo. But nothing is further from reality. Hummel writes in 1827: āI close by recommending free improvisation in general [ā¦] to all those for whom [music] is not merely a matter of entertainment [ā¦]. Even if a person plays with inspiration, but always from a written score, he or she will be much less nourished, broadened, and educated than through the frequent offering of all his or her powers in a free fantasy.āFrom all the forms that improvisation took during the XVIIIth and the XIXth Century in performing contexts, preluding was one of the most popular, to which a handful number of composers and theorists dedicated publications: Clementi, Corri, Czerny, Kalkbrenner, Hummel, von Henselt and, of course, Chopin, are just some examples that illustrate the importance of the practise. Czerny writes about it: "It is one of the accomplishments of a pianist, especially in private circles when performing solo pieces, not to begin immediately with the composition itself, but rather to prepare and attune the listeners through a suitable preludeāand, in doing so, to become acquainted in an appropriate manner with the characteristics of the perhaps unfamiliar fortepianoā, although he proposes shorter preludes when playing chamber music and no preludes at all in public concerto situations. And such practise was not alien to Schumann circle. In fact, manuscripts of notated preludes written by Clara Schumann for some of the FantasiestĆ¼cken op. 12 by Robert, which Clara often performed publicly, are conserved at the Staatsbibliothek zu Berlin (to be found in the second image).Goertzen, V. W. (1996).Not everyone was happy with it, though. Mendelssohn reported feeling annoyed and finding improvisational practises āabsurdā, when asked about improvising on a given theme publicly. We love you, Felix, but improvising is so cool that we couldnāt stop doing it in our recording of the Schumann Quartet, op. 47.We hope you enjoy it too! Goertzen, V. W. (1996). By Way of Introduction: Preluding by 18th- and Early 19th-Century Pianists.](https://sp1.picnob.com/p/pt_6733692312443757305449_0_623a96448cdb36e5762e34eda91664cd.jpg?o=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&h=b827e90d7558f6140d35f84fa124b790)
