List of Undiscovered Beauties

[Melodia]

I don't think it is quite plausible for someone to give Mozart credit for the ingenious Sinfonia Concertante for Winds and not himself.

Oh no, it happened a LOT in those days, especially to Haydn. More famous composer = more money for the publisher.

I'm not a musicologist enough to really know for sure, but certainly the SC sounds Mozart enough for me.

[steltz]

I don't think it is quite plausible for someone to give Mozart credit for the ingenious Sinfonia Concertante for Winds and not himself.

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In order to understand this, you have to understand that the concept of copyright and beyond-lifetime royalty payments that support a composer and his family is -- well, not quite 20th C, but just about. In the 18th century, if your family was hungry and you weren't famous enough to make lots of sales under your own name, you would quite happily put Haydn's or Mozart's name on your work, because that's how you fed yourself. The Haydn oboe concerto wasn't written by Haydn, though we don't know yet who did write it.

In the clarinet repertoire, the famous Wagner Adagio was by Baermann, and this list goes on and on and on. Some truly horrible music by "Mozart" are some (I will qualify that, since I haven't heard all of them) of the Cassations, but then, they weren't really by Mozart. I remember a very mediocre piece by CPE Bach that Grove's listed as "spurious", and probably written by one of his lesser brothers.

Vivaldi's Il Pastor Fido was written by Nicolas Chedeville. We could probably start another list for famous frauds.

My sentence on the beautiful slow movement wasn't clear (typing too fast). I mean the string Sinfonia Concertante -- I find that movement absolutely sublime.

[Melodia]

In the clarinet repertoire, the famous Wagner Adagio was by Baermann, and this list goes on and on and on.

I do believe this was a simple misattribution, rather than any sort of "have a more famous composer's name on it". It is, after all, part of a larger work, and Baermann himself was a quite famous virtuoso (not to mention his father). Plus it was written when Wagner would have been 16 or something like that.

[steltz]

Possibly, and these are the stories that musicologists spend years ferreting out.

By the way, I think the Adagio (part of a Quintet) was by the father, Heinrich, not the son, Carl.

[allegroamabile]

I second what Stelz just said. The son, Carl Baermann was more into pedagogue.

[Melodia]

By the way, I think the Adagio (part of a Quintet) was by the father, Heinrich, not the son, Carl.

Ah, I tend to forget who was who. Carl wrote a fantastic set of etudes, though, that certainly apply for this topic. Relatively well known by clarinetists. There's even a recording with piano accompaniment (and if anyone else actually has this, did it come with linar notes? Mine didn't).

[Lyle Neff]

I second what Stelz just said. The son, Carl Baermann was more into pedagogue.

I think you mean "pedagogy."

[allegroamabile]

And then we have the Cyrille Rose 32 and 40, boy do I dislike them.......

I just realized that a pedogogue is a dull teacher, oops.

[steltz]

Sorry to be a pedagogue, but there are some basic tone quality and interpretation concepts that the Rose Etudes teach, which is why they are used by so many teachers.

[allegroamabile]

That's why I uploaded the Rose 40 to IMSLP.

[Lyle Neff]

Let's not confuse the word "pedagogue" with the word "pedant."

[KGill]

Maurice Duruflé: Prélude, Recitatif, et Variations for flute, viola, and piano, Op.3 (written 1928 and first published 1929). This piece is one of the really great things that came out of the French Impressionist school- nothing is overdone (bitonality, whole-tone scales, Gregorian chant, a few jazz chords, and some fairly straight Romantic tonality with major sixths added). It's a real shame that this was the only work he wrote in his entire long life that wasn't for choir and/or organ.

[steltz]

Ooooh, the Duruflé is wonderful, and that reminded me of Pierné's Sonata da Camera, for a similar instrumentation, flute, cello piano.

[allegroamabile]

I going to have to add Dvorak's Mass in D major to this list. Does anyone on this forum know that work?

[tickle88]

I assume that you clarinetists (What a lovely instrument!) are familiar with the Concerto and the 5 Bagatelles by Gerald Finzi. And pianists should get (from Boosey) his Eclogue for piano and strings. Most of his songs are still under copyright (again Boosey--expensive but worth it) but the cycle A Young Man's Exhortation (tenor and piano) is available from Masters Music (cheap and very much worth more). One of the songs (texts by Thomas Hardy) called The Comet at Yell'ham has an amazing musical description of the comet (Halley's?) in the piano part: a single line in the high treble is joined by a second, just below it, in a distant key; the effect is cold, distant, metallic, mystical. As the voice enters the piano part lowers, becomes warmer, more tonal. There is a long silence after the first quatrain--the comet disappearing behind the sun? The second quatrain reflects that the comet will return. "in long years hence," to shine again on Yell'ham, "But not on that fair form of thine". The piano reverses its solitary course, climbs back into the opening treble, and disappears--"quasi niente", one of Finzi's favorite dynamic indications. A masterpiece in two pages. Incidentally, there are no bar lines. Go for it, tenors!