orchestersatz – English Translation – Keybot Dictionary

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Denn die im Herbst 1816 entstandene B-Dur-Symphonie des 19-jährigen Schuberts gehört zu jenen Jugendsymphonien, in denen der Komponist dem überlieferten Formmodell Haydns und Mozarts folgt. Die tändelnde Leichtigkeit der Themen, das muntere Dialogisieren der instrumentalen Gruppen und der transparente Orchestersatz besitzen unüberhörbar mozartschen Charakter.
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Beginnings and endings – this could be the theme of this concert with Bernard Haitink: The 19-year-old Schubert’s B-flat major Symphony, composed in the autumn of 1816, belongs to his youthful symphonies in which the composer follows the traditional form model of Haydn and Mozart. The playful lightness of the themes, the cheerful dialogue between instrumental groups and the transparent orchestration clearly display a Mozartean character. But the often surprising harmonic progressions already reveal Schubert’s Romantic sound aesthetic.
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setzen. « Seine Fähigkeiten im Orchestersatz hatte Brahms zu diesem Zeitpunkt längst an anderen musikalischen Gattungen erprobt. Nach der 1858 komponierten, zwei Jahre später im Druck erschienenen Serenade D-Dur op. 11 stellt die gleichzeitig in Angriff genommene A-Dur-Serenade op. 16 Brahms’ zweiten Versuch dar, ein mehrsätziges Orchesterwerk zu schreiben, ohne den direkten Vergleich mit der übermächtigen Figur Beethovens riskieren zu müssen.
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One can hardly imagine an orchestra concert that does without violins completely. Sir Simon Rattle, however, has put together just such a programme, guaranteeing an interesting listening experience. Johannes Brahms believed he heard the symphonic composer Beethoven “marching behind him like a giant”. In 1862, for instance, he wrote to his friend, violinist Joseph Joachim: “After ‘Symphonies by J.B.’ you may for the time being place a ?” By this time, Brahms had long since honed his skills in orchestral setting with other musical genres. After the Serenade in D major op. 11, composed in 1858 and printed two years later, the A major Serenade op. 16, which he worked on at the same time, constitutes Brahms’s second attempt to write an orchestral work of several movements without having to risk direct comparison with the overwhelming figure of Beethoven. These two contributions to the genre by Brahms have little in common, however, with serenades of the old mould. This is evident not only in their playing time, expanded to symphonic proportions, but also in the large orchestra; the instrumentation for the A major Serenade is particularly out of the ordinary as it dispenses with violins. Brahms attained in this way a romantic dark sonority – despite using a piccolo flute in the last of the five movements.