★★★★✰
Raised within the influence of Königsberg University and social ideas shaped by university lectures by Immanuel Kant and first readings of 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.
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| E. T. A. Hoffmann – Die lustigen Musikanten (1984) |
The Singspiel "Die lustige Musikanten" (The Merry Musicians) is the composer's second work for stage. The first was the Singspiel "Die Maske," composed by Hoffmann in 1799 to his own libretto. Five years after The Mask, the 28-year-old composer composed 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 not yet known, 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.
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 sounds with pleasant and clear spectrum. 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 not enough rich catalogue of recordings of E. T. A. Hoffmann's music.