Hidden treasures - Jean-Baptiste Krumpholtz - Concerto for Harp & Orchestra (1778) - II. Andante

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: The present upload is something of an appendix to the first two postings of Krumpholtz that were published a short while ago, as I have finally decided to post the wonderfully dark variations of the fifth concerto, a piece of true elegance and yet unusually intense torment. In terms of structure, the piece is straightforward, containing a simple theme and six variations divided by a repeated orchestral gust, while the tempo, taken from the opening andante to a brisk allegro agitato, remains constant throughout. However, both the melodic material and the musical gestures Krumpholtz employs are quite remarkable. The main theme, stated first by solo harp, is a charming, forlorn minuet of rare sincerity, lightly decorated with trills (0:35-0:38) and brief ornamental figures (0:32). The melody is marked as "Ah ma tendre musette", though, sadly, I have not been able to discern the origins of the theme which seems to have been adapted by Krumpholtz from another composer; however, the character of the music suggests an ominous song of farewell or, perhaps, a dark love song. The most curious characteristic of the following variations is the fact that their title is actually a bit misleading. Only three of the movements - the third (2:24), the fifth (3:42) and the sixth (4:21) - are actually proper variations on the theme, while the remaining sections center on a virtually unchanged main theme, played by gentle strings in the first "variation" (1:04), a suitably plangent flute in the second (1:43) with the clarinet echoing the final measure of each statement (1:54 & 2:04) and, finally, the whole orchestra in the fifth (3:03), while the harp engages in a generously ornamented counterpoint, progressively developing in intensity and dexterity. This combination creates an atmosphere of growing desperation, only heightened by the similarly morbid wind transitional movement. In the variations proper, just as in the statement of the theme itself, however, the harp is the sole player (save for a brief wind phrase (2:33) which quickly dissipates into the air), transforming the main melody into sequences of agitated ornamental lines, culminating in a thrilling episode where the soloist states both the main line and the high-lying counterpoint (3:42), a veritable rope-balancing demonstration which, however, only seems to underline the suggested feeling of dread. The tremulous coda, the harp joined by the orchestra in the final moments, prepares for a gallant allegro which, however, seems juvenile in comparison with the variations, thus, I decided to limit the upload to the latter. All in all, a tantalizing tableau for solo harp.

Score: Sadly, no sheet music for the present piece is available online at the present moment, though I will continue the search.

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:

• harp
• variations
• coloratura
• classic

[Schtofenbach]

This is one of my mostely beloved music pieces.

[xAmandine]

Beautiful! thank you Kirill

[fayz44awad]

thanks. very beautiful indeed.

[AlanTab]

beautiful!

[Teonareine]

Amazing ! I know and I listened to other parts of the wonderful work : II. Romanza and II. Adagio. Thanks !

Teona.