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Mertz/Sor - Romantic Serenade: Duos by Sor & Mertz

Mertz/Sor - Romantic Serenade: Duos by Sor & Mertz

Mertz/Sor - Romantic Serenade: Duos by Sor & Mertz 0
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Base SKU: 666449672927
UPC: 666449672927

Mertz/Sor - Romantic Serenades (CD NEW)


Label: Cd Baby.Com/Indys
Format: CD
Release Date: 13 Jul 2010
No. of Discs: 1

All our items are brand new. Our customer service is multilingual for your convenience and we offer Royal Mail Freepost Service available for qualifying returns.

Album Tracks

1. Am Grabe der Geliebten - Johann Kaspar Mertz (1806-1856) 1-3
2. Mazurka
3. Unrühe
4. Introduction - Fernando Sor (1778-1839) 4-8. Fantaisie, Op 54 bis
5. Theme
6. Variation 1
7. Variation 2
8. Allegro dans le genre Espagñol
9. Vespergang - Johann Kaspar Mertz (1806-1856) 9-10
10. Trauermarsch (Funeral March)
11. Cantabile (Introduction) -Fernando Sor (1778-1839) 11-16. L'Encouragement (Fantaisie),Op 34
12. Theme
13. Variation 1
14. Variation 2
15. Variation 3
16. Valse
17. Ich Denke Dein -Johann Kaspar Mertz (1806-1856) 17-18
18. Barcarole

Fernando Sor and Johann Kaspar Mertz, two of the most eminent nineteenth century virtuosi, not only revitalised the solo repertoire but also developed the possibilities of music for two guitars. Over recent decades the guitar duo has become a well established favourite in the concert hall, with a formidable array of contemporary compositions to choose from. But the lyrical grandeur of the early masters still sets standards of musical integration and expressiveness which have never been surpassed. Johann Kaspar Mertz, a virtuoso performer on both guitar and flute, was born in Pressburg (now Bratislava, Slovakia). He moved to Vienna in 1840 and made his concert debut at the Court Theatre of the Empress Carolina Augusta. In subsequent years, Mertz toured Moravia, Poland and Russia, gave concerts in Berlin and Dresden, and also played at the court of Ludwig of Bavaria. Shortly after his death from a heart ailment at the age of fifty, Mertz was posthumously awarded the first prize for his composition Concertino at the Brussels Competition of 1856. From the 1840s onwards Mertz performed on various types of guitar, including eight and ten stringed instruments. His prolific compositions include didactic and easy pieces, concert works, pieces for two guitars or guitar and piano, and fantasies based on famous operatic themes. Nikolai Makaroff (1810-1890), the eminent Russian guitarist, described his playing as 'marked by force, sweep, sensitivity, precision, expression and assurance' and praised his skill with 'every secret and effect of the guitar'. Despite his output of over one hundred compositions, Mertz was neglected by guitarists for many decades, a revival of interest in his music being achieved with Simon Wynberg's ten volume edition of his works. Johann Kaspar Mertz's guitar duos were written for the regular guitar and the terz-guitar (an instrument of a higher pitch than the classical guitar). Thus his duets, in the absence of a terz-guitar, can nowadays be performed by placing a capotasto (a device for raising the pitch), on the third fret of the first guitar. The result is a lucid transparency of sound and fascinating tone colours. Mertz was fond of picturesque titles, often establishing the atmosphere for his works as if offering a song without words. Simon Wynberg remarks that the composer wrote a number of NSnien Trauerlieder (Funeral Laments) for guitar duo. Am Grabe der Geliebten (At the Grave of the Beloved), the first of these, is characteristic of Mertz's romantic expressiveness. Marked Adagio, in the key of C minor, and in three-four time, the piece presents a poignant opening theme replete with sweeping triplets, descending chromatic runs, dotted rhythms, and dramatic dynamics. At one point the music imitates bells, the word 'Cloches' having been written above the score. The charming Mazurka consists of an opening dance (itself divided into three episodes), and ?a contrasting Trio. Unruhe (Restlessness), played Allegro molto in six-eight, sets it's compelling melody over an arpeggio accompaniment. A middle section, pi lento, offers a new melody and stately chords over the groundswell of a similar accompaniment. The piece concludes with a coda featuring fortissimo chords before the quiet ending. Vespergang (Going to Vespers), moderato assai, begins with straight chords, four to a bar, evoking the walk to the church. An Adagio religioso central episode creates the atmosphere of the vespers themselves before the return to the first theme, extended by some serene final moments. Ich Denke Dein (I Think of You), con dolore (with sorrow), is the second Funeral Lament, this time in C major and again with a three-four rhythm. After a hymn-like opening of sixteen bars, the work continues with an aria of the same length. A middle section, marked tristamente (sadly), in two places, expressed mainly through intricate triplet figurations, leads on to a recapitulation of the opening, and a coda of great intensity. Trauermarsch (Funeral March), in D minor, the third Funeral Lament, is structured in eight bar sections, full

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Company Name AllYourMusic
Shop Name AllYourMusic
Shop Address CD LISTENING BAR INC, 17822 GILLETTE AVE, IRVINE, CA 92614
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