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.

Schneiderhan plays Mendelssohn and Bruch

Early Romanticism was the time of consolidating stylistic adjustments established by Mozart and Beethoven. One of the greatest composers of this era was Felix Mendelssohn who was often compared to Mozart since he was recognized as a child prodigy and in his early output strongly connected to Mozart’s style. In his childhood he wrote 12 String Symphonies and many other works. In later works, especially oratorios and choral compositions he was also searching for an inspiration in Bach’s musical ideas. He was active in many fields of music, teacher, conductor, performing artist, thus he was able to compose virtually in every form and for any kind of cast. This was pure romantic idea to connect forms and performing stuff in unusual manner. Mendelssohn’s Lieder Ohne Worte (Songs without Words), the great cycle of lyrical miniatures for solo piano became the source of inspiration for many romantic composers. 

The most famous symphonic work by Felix Mendelssohn is Violin Concerto E Minor, Op. 64. This is not the only concerto for violin by this composer. In 1951 Yehudi Menuhin rediscovered Concerto for Violin and String Orchestra D Minor written between 1821 and 1823, when composer was 12 to 14 years old. This virtuoso concerto sometimes is indicating as No 1. In Mendelssohn’s works one can find a whole series of concertos as well as numerous pieces in romantic forms, capriccios and concertinos for solo instrument and orchestra. Violin Concerto E-Minor is the last Mendelssohn’s orchestral composition and one of the best implementations of violin concerto form. There are many creative ideas composer followed writing this work. One is leading role of soloist in opening of the work and moving virtuoso cadenza before the recapitulation. To avoid applause between concert movements Mendelssohn abandon interruptions by connecting first two parts with single bassoon note developing into accompaniment for solo violin theme of Andante and third part starting attacca after fanfare-like short introduction. These are most visible novelties from formal classical point of view. Melody and harmonics of Mendelssohn’s Violin Concerto are full of new qualities and brilliant ideas.

Mendelssohn and Bruch played by Wolfgang Schneiderhan (1958)

One of many standard records of Felix Mendelssohn’s Violin Concerto E Minor and Max Bruch’s Violin Concerto No 1 in G Minor Op. 26 is album published in 1958 album of Deutsche Grammophon Gesellschaft (LPEM 19124) featuring Wolfgang Schneiderhan, violinist from Wienna who was active in DGG productions mainly in fifties. Album was joint edition of two 10-inch recordings published in fifties by the same label. Mendelssohn’s Concerto was recorded with Radio-Symphonie-Orchester Berlin conducted by Ferenc Fricsay and Bruch’s Concerto in G Minor was recorded with Bamberger Symphoniker under baton of Ferdinand Leitner. These recordings were the benchmark for performances in forthcoming years. Republished on 12-inch album these recordings were enough successful to have second DGG edition in 1961 and third license pressing by Heliodor label.
These mono recordings have a clear and deeply colorful sound.  Thanks to very good, perfectly trained orchestras and great conductors. Fricsay put the emphasis on classical phrasing energy and this is what let him to create almost transparent construction of Mendelssohn’s symphonism. Leitner is more emotional, trying to build some visions based on strong emotional contrasts. Considering technology of recording orchestra in these years, tutti sound surprisingly fresh. Both accompaniments are serving as good foundation for soloist. Wolfgang Schneiderhan was the kind of virtuoso towards to achieve technical perfection without breaking the rules or breaking conformity of style. His phrase is light and almost free of emotionalism, like he was trying to say there can be no more emotions than in notes alone. This is what makes his recordings maybe too much academic, but students don’t have doubts about its quality.