Cell 14

Öffentliche Konzerte und Hausmusik. Bürgerliches Musikleben im 19. und 20. Jahrhundert.

Carl Maria von Weber (1786–1826)

Concerto for piano and orchestra Nr. 1 in C major Allegro, Adagio, Presto
1810

Nikolai Demidenko, piano, Scottish Chamber Orchestra , dir. Sir Charles Mackerras

P/C 1995; Hyperion CDA 66729

Shortly before he [Weber] got married, he spent a few days in Basel in 1811 which, thanks to the friendly reception by some bourgeois families, were very pleasant. For one of his concerts Madame Burckhardt lent him her beautiful piano. According to Weber's own words, people were fantastic and wanted to keep him 'by devil's force'.

WilheJm Merian. Basels MusikJetien lm XIX Jahrhundert , Basel 1920, p. 9.

Louis Spohr (1784–1859)

Concertante Nr. 1 in G major for violin, harp and orchestra Allegro, Adagio, Rondo-Allegro
1806

Hans Heinz Schneeberger, violin, Ursula Holliger, harp, English Chamber Orchestra, dir. Peter Lukas Graf

P/C 1987; Clav 50 208

A few years after Weber, in 1816, the composer and conductor Louis Spohr came to Basel to give a concert with his wife, a well-known harpist.

Wilhelm Marian, Basels Musikleben im XIX Jahrhundert Basel 1920, p. 11.

It is quite possible, that this Concertante was played on that occasion.

Franz Liszt (1811–1886)

Reminiscences de Don Juan, G 418 1841

Leonid Brumberg, piano

P/C no indications; DIGITAL CDA-18610

In the last concert which, just like the second took place in the Municipal Theater (July 11 (1845]), Liszt played, amongst other items, the Don Juan Fantasy, a piano concerto, the Invitation to the Dance by Weber and 'un air dans les montagnes, nocturne pastorale ...' ...

Wilhelm Merian, Basels Musikleben im XIX Jahrhundert, Basel 1920, p. 71.

Robert Schumann (1810–1856)

Forest Scenes op. 82

1. Eintritt. Nicht zu schnell
2. Jäger auf der Lauer. Höchst lebhaft
3. Einsame Blumen. Einfach sehr zart
4. Verrufene Stelle. Ziemlich langsam
5. Freundliche Landschaft. Schnell
6. Herberge. Massig
7. Vogel als Prophet. Langsam, sehr zart
8. Jagdlied. Rasch, kräftig
9. Abschied. Nicht zu schnell

1848/49

Maria Joao Pires, piano
P/C 1994; DG 437 538-2
On July 24 1851, Clara Schumann played Forest Scenes at Mr. Heusler's house.

Wilhelm Merian, Basels Musikleben im XIX Jahrhundert, Basel 1920, p. 69.

Johannes Brahms (1833–1897)

Piano quartet Nr. 2 in A major, op. 26
Allegro non troppo, Poco Adagio, Scherzo (poco Allegro) Trio, Finale {Allegro)
1861/62

Rudolf Serkin, piano, Adolf Busch, violin, Paul Doktor, viola,
Hermann Busch, violoncello
(Recording 21 09 1932)

P/C 1993; EMI 7 .64702.2

In November (1865) Brahms was already back in Basel; on the 19th he gave a public concert in the upper hall of the casino which was a great success and very well attended. Again he played the quartet in A major, together with Abel, Fischer and Kahnt,...
Wilhelm Merian, Basels Musikleben im XIX Jahrhundert, Basel 1920, p. 103.

The recording with the Busch-quartet shows an additional aspect of Basel music-life. The growing anti-Semitism forced the musicians to leave Germany in 1927. They found refuge in Riehen and performed at that time regularly in Basel. In 1935 Adolf Busch was given the citizenship of Riehen. In 1939, they emigrated to the United States of America.

Hans Huber (1852–1921)
Symphony Nr. 5 in F major, with violin solo (Der Geiger von Gmund)
Allegretto tranquillo (pastorale),
Adagio ma non troppo (Thema mit fünf Variationen), Allegro-Andante-Im Tempo eines Marsches,
Andante marciale-Allegro appassionato-Tranquillo-Allegro appassionato 1906
Hans-Heinz Schneeberger, violin, Stuttgarter Philharmoniker, dir. Jörg-Peter Weigele
P/C 1998; Sterling CDS-1027-2
Hans Huber moved to Basel in 1877. In 1889 he started teaching at the Music-School, becoming its director in 1896, a position he held until 1918. Under his direction, the conservatory was founded. The fifth symphony was played for the first time on February 11 1906 in Basel.

Hermann Suter (1870-1926) was a student of Hans Huber; from 1918 to 1921 he took over the direction of the conservatory.
Among his most famous compositions are Le Laudi after texts by St. Francis of Assisi and the music for Albert Oeri's festival for the 400th celebration of the union between Riehen and Basel (1923) with the Wettstein-March (see room 16).
As a conductor he conducted from1902 on the Allgemelne Musikgesellschaft and the Basler

Bela Bartok (1881–1945)

Music for Strings, Percussion and Celesta, Sz 106

Andante tranquillo, Allegro , Adagio, Allegro molto 1936

Chicago Symphony Orchestra , dir. Pierre Boulez
P/C 1996; Deutsche Grammophon 447 747-2
The concerto is dedicated to the conductor Paul Sacher (1906–1999) and to his Chamber Orchestra of Basel. It was composed in 1936 and was played for the first time on January 21 1937 in Basel.
It is not by chance that this is a recording with Pierre Boulez. He was a friend of Paul Sacher and taught at the Music Academy of Basel.

Heinz Holliger (geb. 1939)

Beiseit (selection): Nr. 1 bis 7
From Twelve Lieder after poems by Robert Walser

Beiseit, Schnee, Bangen, Wie immer, Trug, Zu philosophisch, Abend 1990/91

David James, countertenor, Elmar Schmid, clarinet, Teodoro Anzellotti, accordion, Johannes Nied, double-bass, dir. Heinz Holliger

P/C 1995; ECM New Series 1540 447 391-2

HeinzHolliger has been living in Basel since the early 1960s. Many of his compositions were first performed in Basel; he is also a well-known oboist and conductor.
Beiseit, named after the first song of the cycle, is dedicated to Gyiirgy Kurtag_

Jean-Jacques Dunki (born in 1948)

'Kammerstuck IV' for flute, clarinet, horn, violin, viola and violoncello
Three movements without title 1996

Ensemble Opera nova, dir. Jean-Jacques Dunki
P/C 1999; Musikszene Schweiz MGB CTS-M 63
Jean-Jacques Dunki teaches at the Music Academy of the city of Basel
The "Kammerstuck IV" was finished for the end of the year 1996. It had been commissioned by the office of the President of the city of Zurich. It is dedicated to Dunki·s friends in the Ensemble Opera nova, as thanks for their musical collaboration.

Object Description

In 1803 a committee was set up to organize the renewal of the concert series. In 1805, the 28-year old violinist Johannes Tollmann from Mannheim was named concert master.He succeeded in making the formerly mediocre orchestra perform at a more acceptable level. He greatly influenced the musical life of Basel. He died in 1829.The so-called Concert Society was founded in 1826, the same year in which the municipal casino was built. The musicians who performed in public concerts also played in private homes and participated in soirees for small select audiences. Carl Maria von Weber, Louis Spohr, Franz Liszt, Robert and Clara Schumann and Johannes Brahms were among the prominent musicians who performed in Basel.The 19th and early 20th century witnessed the founding of important institutions which devoted themselves to organizing concerts and setting up music schools:the Basler Gesangverein (Basel Choral Society),1824; and in 1827 the Men's Choir (in 1853 it became the Basler Liedertafel); the Allgemeine Musikgesellschaft, 1876; the Basel Bach Choir, in 1911; and in 1926 the Chamber Orchestra of Basel (which was disbanded in 1986). Theatrical performances have been given in Basel since 1843.The Music School was established in 1867, and in 1905 it was expanded to include courses for the training of professional musicians (Conservatory). In 1956 the Music School, the Conservatory and the Schola Cantorum Basiliensis (institute for the study and performance of early music founded by Paul Sacher in 1933), were combined to form the Music Academy of Basel. Today the courses for the training of professional musicians have been accorded university level status. The University of Basel has had a Chair for Musicology since 1900.

 
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