E. T. A. Hoffmann – Die lustigen Musikanten

THE 250th ANNIVERSARY OF E. T. A. HOFFMANN’S BIRTH

★★★★✰

   Writer, jurist, and... forgotten composer – E.T.A. Hoffmann chased musical genius his entire life, leaving behind a trail of lost scores and revolutionary ideas that shaped early Romanticism. Through the exploration of his fascinating musical biography and the Warsaw mystery of his missing sheet music, attention is drawn to an exceptional album release that has saved his work from obscurity.
   E.T.A. Hoffmann was born on January 24, 1776, in Königsberg. The capital of East Prussia was a port city with rich traditions dating back to the times of the state of the Teutonic Order and its affiliation with the Hansa. From its founding in 1255, thanks to external security and vibrant trade relations, the city of Königsberg quickly achieved a prominent position among the centers of European civilization. This city with its famous Castle and Albertina University became the place where Ernst Theodor Amadeus Hoffmann was born and raised.
   Shaped by his time at Königsberg University, the lectures of Immanuel Kant, and the Sturm und Drang poets, the future composer viewed the world from a universalist perspective. Cultural diversity was a natural state of mind, and questions of identity did not occupy his attention. He focused rather on individual freedom and the creative calling of individuals. As a writer, he opened new creative perspectives, paving the way for fantasy literature. As a composer, he created in the style of his era, although despite technical adherence to the models of the classical Viennese School, his compositions reveal some signs of the emerging Romanticism. Stage works are particularly important from this point of view, and the fantasy opera Undine (composed in 1816) should be considered the first romantic opera.

E. T. A. Hoffmann – Die lustigen Musikanten (1984)

   The Singspiel Die lustigen Musikanten (The Merry Musicians) is the composer's second work for stage. The first was the Singspiel Die Maske, written by Hoffmann in 1799 to his own libretto. Five years after The Mask, the 28-year-old composer created music for a two-act play by Clemens von Brentano. The premiere, prepared by a theatre company in Warsaw led by Wojciech Bogusławski, took place on April 5, 1805. The composer was still unknown, and the play, despite favorable reviews, had a very short run. Four years later Hoffmann hoped to re-stage his Singspiel in Bamberg, but he discovered that the orchestral parts had disappeared. They were discovered in Warsaw several years after the composer's death.
   The premiere recording of excerpts from this work was published in 1984 by Schwann Musica Mundi in Germany. The selection includes three instrumental pieces: Overture, Interlude (Zwischenaktmusik), and Prelude to Act II, as well as eight pieces: arias, duets, and ensembles featuring the principal performers. Sopranos Verena Schweizer (Fabiola) and Judith Schmidt (Azelle), bass Klaus Lang (Piast), and tenor Thomas Schulze (Ramiro) provided a solid interpretation of the text and a balanced performance of the score. Four soloists perfectly fit this short version of Hoffmann’s composition. Radio-Symphonie-Orchester Berlin conducted by Lothar Zagrosek delivers a pleasant and clear sound balance. The recording made on August 23-25, 1983 at Jesus-Christus-Kirche in Berlin and pressed in direct metal mastering technology gives readable and clear sound. This recording is an important addition to the still limited catalogue of recordings of E. T. A. Hoffmann's music.

E. T. A. Hoffmann – Symphony E-flat Major

   The romantic era was starting more as the intellectual movement of disappointment with the ideas of the Enlightenment than a new artistic style. In music the pre-romantic period was still strongly based on traditional harmonics and fixed in classical era forms, and yet some story concepts and content ideas were completely different. The new era came first as a revolt in literature. One of prominent artists of this era was E. T. A. Hoffmann. His original names were Ernst Theodor Wilhelm, but he changed third name into Amadeus because of his deep dedication to musical genius of Wolfgang Amadeus Mozart. Although he felt primarily to be musician, he was one of most influential writers of romantic era. He was active mainly as an author of stories with strong imaginary impact, sometimes considered as pioneering of the genre of fantasy and horror. Under influence of his works were Edgar Allan Poe, Howard Phillips Lovecraft and many others.
   Born 1776 in Königsberg, E. T. A. Hoffmann was person of many talents and vast horizons. He was working as a lawyer, publishing writer and active as a musician, music critic and composer. He was competent violinist, harpist and pianist, what reflected in a number of chamber works, but despite his hopes he never became a conductor. He composed dances, Große Fantasie and five sonatas for piano, Grand Trio, Harfenquintet, some canzoni, religious works as Messa d-moll (1805) and Miserere b-moll (1809), Symphony E-flat major (1806). His most valued oeuvres are the numerous works for stage, especially Undine which clearly influenced the development of German romantic opera. While working in Warsaw, he initiated the Music Society organizing concerts from 1805. He was also known for his sympathy with cats.

E. T. A. Hoffmann – Symphony E-flat Major (1984)

   As a composer E. T. A. Hoffmann was strongly influenced by Viennese school. He was focused on music created by W. A. Mozart. Probably all stylistic similarities to works of twenty years older composer were Hoffmann’s deliberate choice. His musical beliefs, just like his contemporaries were limited by classical idea of balance between emotional and intellectual content of musical work. And Mozart was perfect embodiment of this idea. E. T. A. Hoffmann wrote his only symphony probably in time he was working as government official Płock or in Warsaw. Symphony was finished in 1806 and few times placed in concert programs of Musical Society. Original features of this work were irregularities of periodic structures and emphatic meanings augmenting emotional content of the work. His symphonic music is written efficiently and economically. It uses any means of expression and proves talent and skills of the composer.
   First recording of E. T. A. Hoffmann’s Symphony take place in Berliner Jesus-Christus-Kirche 160 years after composers death in August 1982 with Radio-Symphonie-Orchester Berlin under the baton of Lothar Zagrosek. It has been published together with symphonic fragments from operas by Schwann – Musica Mundi (42 097 6). The opera overtures on side two are, three fragments of Die lustigen Musikanten (The Merry Musicians) – Overture I, Interlude and Overture II. There is also Overture from Undine recorded in February 1982 by the same orchestra conducted by Roland Bader. Sound is perfect, renditions inspired with best romantic visions, edition made on professional level. Four stars for the promise of the restoration of the position corresponding to the value of this music.