Sanssouci

Most of the time we listen to music from the mid-18^th to late 18^th-century in Sanssouci. We listen to the sons of Bach, with their carefree peruke music, or to masterpieces from Haydn and Mozart.

But we have neglected the later bit of the classical period, which lasted until 1820-1830. Until now: today, we look at four compositions that all in their own way, carry something of the new era.

The most important style of this period was the so-called brilliant style, in which instrumental virtuosos were greatly admired. Piano and violin concerts often turned into shows where the soloist was presented with breathtakingly difficult runs and wasn’t shy of operaesque effects.

Patriarch of this style, pianist and composer Johann Nepomuk Hummel, was without a doubt the most famous composer in his time, and often considered Mozart’s successor. His piano concerts often last more than half an hour. To have enough time left for other composers, we’ve chosen a concertino of Hummel, literally “a small concert”.

The most spectacular representative of the brilliant style, is Niccolò Paganini. This Italian’s violin play reached an unprecedented level, which is perhaps still unequalled. People criticised him for it, saying his playing was only about showcasing these technical skills, but the critics forgot a few important things. First of all, Paganini’s virtuosity wasn’t just a matter of dexterity. His contributions led to a major advancement of violin playing, with countless new techniques. And secondly, his music has more to offer than just a demonstration of power. It is lyrical, striking and very catchy. He hasn’t been forgotten after 200 years – for good reason.

In contrast, we have John Field’s much calmer music. This Irish pianist preferred to show his sensitive side. His most important invention was the nocturne – a genre which would later make Chopin world-famous. Field turned out to be an important bridge in the transition from the classical period to the romantics.

The most important composer from this period remains Beethoven, though he is also the odd one out in a way. His work isn’t like any of his contemporaries in the brilliant style. Yet, he was still a composer that balanced on the threshold between ancien and nouveau régime, between nobility and bourgeois, and between artisan composer and artistic composer. The main audience didn’t always understand his music, but there were plenty of fans coming to the concert halls as soon as a new composition of Beethoven would be performed. In this programme, we will listen to his Fourth Symphony; now the least-played one, but at the time a big favourite of the audience.

Playlist

1. Johann Nepomuk Hummel – Concertino in G major, opus 73
2. Ludwig van Beethoven – Symphony nr. 4 in B flat major, opus 60
3. John Field – Nocturne no. 4 in A major
4. Niccolò Paganini – Variations on “Pria ch’io l’impegno” for violin and orchestra

Performing

1. Solamente Naturali Bratislava conducted by Didier Talpain; Allessandro Commellato (piano)
2. Concentus Musicus Wien conducted by Nikolaus Harnoncourt
3. Benjamin Frith (piano)
4. Orchestra della Svizzera Italiana conducted by Howard Griffiths; Manrico