Consone Quartet Vidéos
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2024-06-13
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Beethoven William Russell Hanover Band Consone Quartet 2020
Celebrating 250 years since Beethoven's birth, The Hanover Band conclude our own 40th anniversary celebrations in 2020 with a unique online festival of Beethoven's symphonic and chamber music. The Consone Quartet were recorded at Arundel Town Hall, performing to a small socially distanced audience. Beethoven symphonies 1 to 8 were recorded at Stationers' Hall, London, with The Hanover Band playing in a Covid-19 safe formation. “An imaginative city salute to Beethoven’s 250th birthday”. Lord Mayor of London, Alderman William Russell Watch a new performance premiered every week, from 23rd September to 16th December 2020, here on The Hanover Band's YouTube channel! Please visit (http•••) for more information and to make a donation to help us continue our work.
Beethoven Louis Spohr Hanover Band Consone Quartet 1811 1812 1813 1814 2020
Beethoven 250 | Symphony Series 07: THE HANOVER BAND - BEETHOVEN Symphony No. 7 in A Major Op.92 The Hanover Band plays Beethoven’s Symphony No. 7 as part of their Beethoven 250 celebrations at Stationer’s Hall. (http•••) (http•••) (http•••) Beethoven’s Seventh Symphony was composed between the years 1811 and 1812. It received its first public performance on 8 December 1813 together with the ‘Battle’ Symphony at a benefit concert in aid of Austrian and Bavarian troops wounded at the battle of Hanau. Louis Spohr recalls a later performance of the Seventh Symphony given in the Redoutensaal in Vienna on 29 November 1814: “The concert organised by his friends enjoyed a most brilliant success. The new compositions were exceptionally well received, particularly the Symphony in A major, the wonderful second movement was encored and also made upon me a deep and lasting impression. The execution was a complete masterpiece, in spite of the uncertain and frequently laughable direction of Beethoven”. Beethoven’s hearing by this time had failed him, he could no longer hear the music. At a rehearsal of the Symphony he managed to plough through, however, he was ten to twelve bars in front of the orchestra at the end of the Symphony. The poor man was astonished when he expected the orchestra to be playing fortissimo that it was only pianissimo. “He looked around him in affright, and only recovered himself when at length the long expected forte began, and was audible to himself”. Spohr’s reminiscences give us a dramatic insight into Beethoven’s manner of conducting. Beethoven had accustomed himself to indicate expression to the orchestra by all manner of singular bodily movements. So often as a sforzando occurred, he tore his arms, which he had previously crossed upon his breast, with great vehemence asunder. At piano he crouched down lower and lower as he desired the degree of softness. If a crescendo then entered, he gradually rose again and at the entrance of the forte jumped into the air. Sometimes, too, he unconsciously shouted to strengthen the forte”. / BEETHOVEN 250 - An online festival of Beethoven’s Symphonic and Chamber Music brought to you by The Hanover Band & Consone Quartet. Recorded during these unprecedented times at Stationers’ Hall in the City of London and the orchestra’s home in Arundel in West Sussex, during August and September 2020, the series celebrates the Orchestra’s 40th Anniversary year and Beethoven’s 250th Birthday. Watch a new performance premiered every week, from Wednesday 23rd September to 16th December 2020, on our website or on The Hanover Band's YouTube channel. For further information and to make a donation to help us continue our work, please visit (http•••) /
Beethoven Haydn Wranitzky Conti Hanover Band Consone Quartet 1795 1800 2020
Beethoven 250 | Symphony Series 01: THE HANOVER BAND - BEETHOVEN Symphony No. 1 in C major, Op.21 The Hanover Band plays Beethoven’s Symphony No. 1 as part of their Beethoven 250 celebrations at Stationer’s Hall. (http•••) (http•••) (http•••) 'Dear Beethoven: You are going to Vienna in fulfilment of your long-frustrated wishes. The Genius of Mozart is still mourning and weeping over the death of her pupil. She found a refuge but no occupation with the inexhaustible Haydn; through him she wishes once more to form a union with another. With the help of assiduous labour you shall receive Mozart’s spirit from Haydn’s hands. Your true friend, Waldstein.' It has often been remarked that Beethoven in fact received Haydn’s own spirit. Haydn was too busy a composer to be a very thorough teacher and too individual a musician to teach counterpoint with dry academic zeal. But by example and precept he instilled in Beethoven the characteristics which were to ensure his continuing development of the Viennese School. Having heard Haydn’s great London Symphonies when they were introduced to Vienna in 1795-6 Beethoven started a symphony of his own - in C major. This however was abandoned in mid-flow and it wasn’t until 1800 that he finally wrote his First Symphony, which is also in C. The Symphony suffered a scrappy first performance at Beethoven’s first Benefit Concert - at Vienna’s Burgtheater on April 2nd, 1800. The musicians were giving their services and obviously felt they should have a say in the choice of a leader. Beethoven had asked Wranitzky to lead, but the players wanted Conti, who was more definite in matters of direction, or Schuppanzig, who was not only the best violinist-director in Vienna but was fat and amiable. But Wranitzky it was, and there were arguments which cut into rehearsal time. ‘The shortcomings of this orchestra,’ wrote the Vienna critic on the Allgemeine Musikalische Zeitung ‘were therefore even more evident, especially since Beethoven ‘s composition is hard to play’. The reviewer conceded the new Symphony’s good points but took exception to its adventurous orchestration: ‘… a symphony of his composition was performed, which revealed much art, novelty and wealth of ideas. But there was too much use of the wind instruments so that it sounded more like a wind band than an orchestra.’ / BEETHOVEN 250 - An online festival of Beethoven’s Symphonic and Chamber Music brought to you by The Hanover Band & Consone Quartet. Recorded during these unprecedented times at Stationers’ Hall in the City of London and the orchestra’s home in Arundel in West Sussex, during August and September 2020, the series celebrates the Orchestra’s 40th Anniversary year and Beethoven’s 250th Birthday. Watch a new performance premiered every week, from Wednesday 23rd September to 16th December 2020, on our website or on The Hanover Band's YouTube channel. For further information and to make a donation to help us continue our work, please visit (http•••) /
Beethoven Mansion Sir Mark Elder Sophie Bevan Ed Lyon Darren Jeffery Ferdinand Ries Neate George Smart Schott Hanover Band Consone Quartet Kärntnertortheater 1822 1824 1825 1826 1827 2020
Beethoven 250 | Symphony Series 09: THE HANOVER BAND - BEETHOVEN Symphony No. 9 in D minor, Op.125 ‘Choral’ The Hanover Band plays Beethoven’s Symphony No. 9 as the culmination of their Beethoven 250 celebrations at Mansion House in the City of London. Premiering on the 250th anniversary of Beethoven’s birth, 16th December 2020. (http•••) (http•••) (http•••) Conductor: Sir Mark Elder Leader: Jorge Jimenez Soprano: Sophie Bevan Alto: Madeleine Shaw Tenor: Ed Lyon Bass: Darren Jeffery with The Hanover Band Chorus Beethoven accepted the commission to write a new symphony for the Philharmonic Society of London; in a letter he wrote to Ferdinand Ries on 20 December 1822, ‘Even though the fee to be paid by the English cannot be compared with the fees paid by other nations’. The work was completed by February 1824 and, according to Beethoven’s correspondence, the copying of the parts and several scores was in progress by April 1824. The Ninth Symphony was first performed at a benefit concert in Vienna at the Kärntnertortheater on 7 May 1824 and repeated on 23 May 1824, receiving a tumultuous reception. The score was sent to Mr Neate of the Philharmonic Society, London, in December 1824. Beethoven gave some hints on rehearsal: ‘You must have limited rehearsals, perhaps four parts at a time; for this is the only way to study such a work well; above all the choruses must be well practised!’ He also mentioned that there were still some errors in the score. The Symphony was first performed in England at a Philharmonic Society concert on 21 March 1825, which was held at the New Argyll Rooms and was conducted by Sir George Smart. He was very anxious about the performance and had previously urged the Society to induce Beethoven to come to London to conduct the work himself. In the event, the composer’s deteriorating health prevented his coming and Smart had to do the best he could. He wrote, ‘I candidly own that I do not understand his [Beethoven’s] meaning as to the style of the Recitative for the Basses–perhaps it should be played faster’. Similar discussions about the complexity of the work must have taken place, as they still do today. The Symphony was published by Schott of Mainz in August 1826, with a dedication to Friedrich Wilhelm III, King of Prussia. On 18 March 1827, just eight days before his death, Beethoven sent a letter (in Schindler’s hand) thanking the Philharmonic Society for their generous donation of £100 which they had sent in order that it might ‘be applied to his comforts and necessities during his illness’. He enclosed in this letter a list of metronome markings relating to the Ninth Symphony. / BEETHOVEN 250 - An online festival of Beethoven’s Symphonic and Chamber Music brought to you by The Hanover Band & Consone Quartet. For further information and to make a donation to help us continue our work, please visit (http•••) /