Heino Eller (1887–1970) was born in Tartu, Estonia where he took private lessons in violin and music theory. In 1907 he entered the Saint Petersburg Conservatory, graduating in 1920. He was well regarded as a professor of music theory and composition both in Tartu and at the Tallinn Conservatory. Eller is considered a founder of Estonian symphonic and chamber music. His sound is described as a blend of rugged Nordic lyricism and folk melodies. His compositional style incorporated traditional elements and folk tunes but was also inspired by musical ideas of the 20th century. It particularly influenced the writing of Grieg, Chopin, and Sibelius. A music prize of 15,000 Kroon (CAD$ 1375) bearing Eller’s name is awarded annually and honours a young Estonian composer or performer of his music. His oeuvre includes symphonies, symphonic pieces, a violin concerto, string quartets, piano sonatas, violin sonatas and many smaller works, mainly for piano. Eller wrote Five Pieces for String Orchestra in 1953. Romance is characterized by tempo changes and includes a brief violin solo at its conclusion. The two light-hearted Dances are played almost as one. Lullaby presents muted phrases that encompass alternating time signatures. Its inaugural C minor sounds develop into harmonies in the key of D flat. Homeland Melody is full of warmth that evolves into heartfelt exclamation towards the end.
Franz Schubert (1797–1828) wrote his Rondo for solo violin and string quartet in 1816. Standing as a one-movement work, its well-defined sections are combined with elements of sonata form. The design outline is A-B-tutti, A-C-tutti, A-B-tutti. There is lightness and joy expressed throughout. The recurring main section, with contrasting episodes interspersed between its repetitions, is easy to follow. The composer has employed structural models of Viennese Classicism by using the layout of an Adagio introduction followed by an Allegro. The melodic and harmonic touches are distinctively Schubertian. The two dancelike themes, dramatic moments, key changes and virtuosic passages combine in a satisfying whole.
Near the end of his long life, Franz Liszt (1811–1886) moved away from the flamboyant style of his youth. Having retired from his career as a piano virtuoso, he no longer wrote pieces designed to show off his skill. Instead, his music became leaner, often dark, and experimental in its treatment of harmony. It also frequently incorporated religious themes. Although not strictly a priest, Liszt had a recognized ministry as an abbé in the Roman Catholic Church. Over the course of his career, he wrote three collections of intensely personal piano pieces with extra-musical themes known as Les Années de pèlerinage (The Years of Pilgrimage). The beautiful Angelus! Prayer to the Guardian Angels opens the third collection. Composed in 1877, it is dedicated to his granddaughter. Originally written for piano or harmonium, Angelus was arranged for string quartet in 1882. It is written in 6/8 time, in the key of E. The piece begins with the sound of the Angelus bell trembling in the air. This leads to the presentation of a sombre melody that gradually builds with spiritual undertones. The trembling bell returns as a coda. The Angelus prayer, commemorating the Incarnation, is recited in churches and monasteries. Parishioners are summoned to prayer by the bell.
Niels W. Gade (1817–1890) was a violinist with considerable talent. His very name recalls the violin with its G, D, A and E strings! He joined the highly acclaimed Royal Orchestra in Copenhagen at the age of 17. He studied composition with Andreas Berggreen, who was an editor of a collection of Danish musical folklore. These lessons instilled his life-long interest in this genre. Gade conducted concerts at the Gewandhaus alongside Mendelssohn and taught at the music conservatory. He is noted for enriching European art with the musical colours and folklore of his land. His music is marked by typically northern themes and images of Scandinavian nature and traditions. Gade earned his place in history primarily as the founding father of the national movement in Danish classical music. Novelletten for String Orchestra was written in 1874. The orchestral writing is in six parts with divided violins and cellos. The form of the movements is relatively free. There are several themes, not developed in a symphonic manner but which provide the imagery of a trouble-free existence. The first movement contains reminders of Mendelssohn’s compositional style. The Scherzo is played at a moderate tempo and contains a well-defined march. The gentle Andantino presents sonorous melodic material and the final movement, with its recurring passages of fugal writing, is rigorous. The composer conducted the première in 1875.
Sources: Janet E. Bedell, David Berg, Jane Vial Jaffe, James Keller, Bradford Robinson, Manashir Yakubov, Memim Encyclopedia, Wikipedia
Franz Schubert (1797–1828) wrote his Rondo for solo violin and string quartet in 1816. Standing as a one-movement work, its well-defined sections are combined with elements of sonata form. The design outline is A-B-tutti, A-C-tutti, A-B-tutti. There is lightness and joy expressed throughout. The recurring main section, with contrasting episodes interspersed between its repetitions, is easy to follow. The composer has employed structural models of Viennese Classicism by using the layout of an Adagio introduction followed by an Allegro. The melodic and harmonic touches are distinctively Schubertian. The two dancelike themes, dramatic moments, key changes and virtuosic passages combine in a satisfying whole.
Near the end of his long life, Franz Liszt (1811–1886) moved away from the flamboyant style of his youth. Having retired from his career as a piano virtuoso, he no longer wrote pieces designed to show off his skill. Instead, his music became leaner, often dark, and experimental in its treatment of harmony. It also frequently incorporated religious themes. Although not strictly a priest, Liszt had a recognized ministry as an abbé in the Roman Catholic Church. Over the course of his career, he wrote three collections of intensely personal piano pieces with extra-musical themes known as Les Années de pèlerinage (The Years of Pilgrimage). The beautiful Angelus! Prayer to the Guardian Angels opens the third collection. Composed in 1877, it is dedicated to his granddaughter. Originally written for piano or harmonium, Angelus was arranged for string quartet in 1882. It is written in 6/8 time, in the key of E. The piece begins with the sound of the Angelus bell trembling in the air. This leads to the presentation of a sombre melody that gradually builds with spiritual undertones. The trembling bell returns as a coda. The Angelus prayer, commemorating the Incarnation, is recited in churches and monasteries. Parishioners are summoned to prayer by the bell.
Niels W. Gade (1817–1890) was a violinist with considerable talent. His very name recalls the violin with its G, D, A and E strings! He joined the highly acclaimed Royal Orchestra in Copenhagen at the age of 17. He studied composition with Andreas Berggreen, who was an editor of a collection of Danish musical folklore. These lessons instilled his life-long interest in this genre. Gade conducted concerts at the Gewandhaus alongside Mendelssohn and taught at the music conservatory. He is noted for enriching European art with the musical colours and folklore of his land. His music is marked by typically northern themes and images of Scandinavian nature and traditions. Gade earned his place in history primarily as the founding father of the national movement in Danish classical music. Novelletten for String Orchestra was written in 1874. The orchestral writing is in six parts with divided violins and cellos. The form of the movements is relatively free. There are several themes, not developed in a symphonic manner but which provide the imagery of a trouble-free existence. The first movement contains reminders of Mendelssohn’s compositional style. The Scherzo is played at a moderate tempo and contains a well-defined march. The gentle Andantino presents sonorous melodic material and the final movement, with its recurring passages of fugal writing, is rigorous. The composer conducted the première in 1875.
Sources: Janet E. Bedell, David Berg, Jane Vial Jaffe, James Keller, Bradford Robinson, Manashir Yakubov, Memim Encyclopedia, Wikipedia