Hidden treasures - Jean-Baptiste Krumpholtz - Concerto for Harp & Orchestra (1777) - II. Adagio

Painting: "Smugglers at night" by Ivan Aivazovsky.

History (based on materials from the Grove Dictionary of Music): Jean-Baptiste Krumpholtz (1747-1790) was initially planning to become a horn player before ultimately choosing to study harp. Returning to Prague in 1771 after a long stay in France and Flanders, he greatly impressed the violinist Pichl and pianist Dusek who promptly sent him to Vienna with recommendations to Haydn who took him on as a composition pupil and as solo harpist in the retinue of Count Esterhazy. In 1776 Krumpholtz undertook a long concert tour of Europe, performing in Leipzig on a "harpe organisée", gradually becoming the most acclaimed harp virtuoso of the late 18th century. He is no less important for his efforts to perfect the harp: in 1785 the Parisian firm of Naderman built an instrument to Krumpholtz's specification with 24 strings, eight of which were metal, and with an eighth pedal that opened five shutters in the resonator. Other improvements by him were incorporated after his death into the Erard harp at the beginning of the 19th century, the prototype of the modern double-action harp. After his death a harp method, said to have been written by him for a German baroness, was published by J.M. Plane as "Principes pour la harpe" in 1800. Krumpholtz's concertos, sonatas and variations for harp, which appeared in Paris from about 1775 (many were later reprinted in London), became staples of the repertory and are still highly respected.

Music: A romantic equivalent of Krumpholtz would have to be Paganini whose violin concertos feature many of the same merits and, indeed, the virtually unchanged basic structure (allegro - andante - rondo) that can be found in the pieces of his predecessor. Krumpholtz can also be traced as an important influence on early nineteenth century harp composers, especially Boieldieu whose concert in C owns more than a little to his predecessor's 5th concerto. Krumpholtz's music is undeniably naive (his early sonatas prove to be a bit bland) and lacking in wit, and, just as in the case of Paganini's violin concertos, some sections are extremely long-winded. However, one would be hard-pressed to deny the obvious expertise and surprising melodic ease of the harpist's music. Highlights include a handsome set of dark variations in the 5th concerto and the enchanting and elegantly scored romanza in the 6th concerto (posted separately). The focus of the present upload is the extended adagio of the 4th concerto. Lasting almost thirteen minutes, the movement focuses more on sustaining an atmosphere of complete gentility, rather than showy pyrotechnics. Indeed, the music is unfailingly handsome. A long, dramatic orchestral prelude which highlights some of the melodies that later appear in the harp line (in the present case, it is cut), a simple, unstrained harp melody, almost devoid of any extraneous embellishments, begins, highlighting the beautiful contrasts between the instrument's higher and lower reaches. The orchestra functions merely as a commentator, appearing in short gusts that provide a suitably ominous gesture, somewhat akin to a hushed wind. However, a remarkable modulation to major soon occurs (1:25), whereupon the original lament is transformed into a warm serenade, gently sprinkled with graceful ornamental figures and trills, in contrast to the opening's darker nature. Sustained string lines serve as a light background to the harp's sincere outpouring. A charming coda leads into a slightly restrained orchestral tempo di mezzo (3:20). We then return to the main theme melody (5:08), retaining the warmth of the second half of the preceding section, overflowing into a blissful "duet" (5:34) for the harp, passing through a gorgeous low line, and the strings, playing enchanting sustained lines. And yet, once again, an ornamental passage gives way to a modulation, this time back to minor (6:12). The original sombre atmosphere returns and is sustained until the end of the piece, though with a dance-like elegance gracing the harp's line as an echo of the major episodes. A brief cadenza (8:39) moves us to a return to the opening orchestral prelude which gains a march-like quality, in the manner of a funeral march. The piece can be seen as a striking image of the passage of time during a single day with the slightly menacing end of the night transforming with the arrival of the sun to a fresh morning. And yet, the night, coming all too quick after a relaxed afternoon, ultimately reigns supreme. A genuine but most welcome surprise.

Recording: The 1996-1997 Clarton recording presents winning renditions of all six concertos from the talented Jana Bouskova, the clear Prague Chamber Philharmonic Orchestra and the competent Jiri Belohlavek.

Hope you'll enjoy =).

Category:

Music

Tags:

• classic
• romantic
• krumpholtz
• harp

[SCarleTT123star]

molta nostalgia..

[SCarleTT123star]

<3 bella..

[paulamorais1989]

A Trip to Heaven; these transcendental and immaculate experiences...

[paulamorais1989]

My dear God, How I love this Channel!!!

[Schtofenbach]

The painting is not seen, but the music is beautiful.

[KyrieEleison46]

Beautiful. ♫ ♥

[alexwestra92]

magnifique



[EricStylianou]

Helt nydelig! Thank you for sharing the wonderful piece of art.

[darylfs]

Ringrazio molto! Thank you very much for sharing these treasures.

[nahatsu2]

This is just SO beautiful it brings a wonderful serenity into the room: thank you very much!