How good to find an in-depth look into the works of this great master. I have a sense that he is a bit of a "musician's musician", and perhaps has not been able to get the sort of exposure he deserves.
Prof. Rapchak, this was a wonderful lesson. You are right - when I heard Schmidt's "Intermezzo" in my childhood, something happened. Later on I discovered the symphonies and for years I hoped they'd become part of the repertoire. Finally something seems to happen. I always felt Schmidt's music was somehow glowing from within...sometimes on the verge of collapse, but strictly held together by his masterful counterpoint and his harmonic command. It's as he wants to make you feel the beauty of a melody by wreathing it into all possible/beautiful harmonic progressions. Your explanation and your joy was so lovely to see. How can someone not love the Hungarian variation of the 2nd. Another favourite part is the woodwind fugue at the beginning of the 3rd movement...and when he superimposes all the themes and the variation in the finale without landing in chaos and/or bombast...wow. Thank you for that - it was most instructive and now I'm looking forward to your analysis of the Fourth!
I have always felt a kinship between the music of Franz Schmidt and - much later in the 20th century - that of John Coltrane (Schmidt's harmony also anticipates that of Bill Evans). As an improvisor, Coltrane liked to extract every melodic possibility out of the harmonic progressions he employed, and like Schmidt, whom he is unlikely to have heard (given the cultural politics of immediately postwar America), he often arrays his music around augmented-triad or diminished-seventh axes (Schmidt does both - simultaneously! - in the scherzo of the Fourth Symphony).
Wonderful video and explanation of Schmidt's methods. He has long been a favorite composer of mine - ever since Zubin Mehta's recording of the 4th symphony came out. Why Schmidt's music is still so rarely played is something I don't understand. In a music world where the complex symphonies of Mahler and Bruckner are so widely accepted, you'd think Schmidt would fit right in. But that's not the case.
We get into a little bit of that, or at least the origins of the disparity in success as it began in Schmidt's lifetime, in the next episode covering the 4th Symphony. It's coming out next week, so be sure to look for it.
Really enjoyed this video! You've articulated some of the aspects of Schmidt's gorgeous and idiosyncratic style that have long caught my ear. I'm looking forward to your video on his Fourth Symphony -- a staggering masterpiece if you ask me. Part of my appreciation of that work has stemmed from the availability of a fine piano arrangement on IMSLP. You really get a sense of Schmidt's total contrapuntal control--and how it's an inextricable element of his harmonic ingenuity--when feeling your way through his music with your fingers. Especially the "slow movement," my god.
If you're already familiar with Schmidt's 4th, you'll probably be pleased with what's coming up in our next episode. We've tried to put together a reasonably concise but detailed look at how the solitary opening theme permeates the whole work, as well as the intricacies that each movement has to offer, and some over-arching connections to Schmidt's life.
Didn't even know about Schmidt. Looking forward to checking these symphonies out. I just "discovered" Carl Nielsen like 5 days ago. So I've got a lot to look into. Listen into. But did hear Brahms 3rd symph, 4th movement for a while today. But i dont want to wear that one out
Really enjoyed this video...The internezzo from Notre Dame was the only piece of his I've heard with any regularity...but you've piqued my interest in him now for sure...can't wait for more!!!
Schmidt's music is almost too good to be true, like a lemon meringue pie or ripe raspberries, and that seems to be why it is oddly neglected. I have been captivated lately by his quintet in A for clarinet and piano left hand (reference the recording on the Centaur label), which is one of the greatest chamber pieces of such great length, five movements of about an hour in duration. It inhabits the ecstatic, filigreed place in low Earth orbit that Rapchak characterizes. When Schmidt presented it to brother Wittgenstein, the muse of left-handed pianism, the patron was not as enthusiastic as Schmidt had hoped. Everyone just needs to drop their inhibitions and surrender to Schmidt.
I had not previously heard that Wittgenstein was displeased with the work (which was the last that Schmidt completed before his death at 64); Wittgenstein had thought very highly indeed of the other commissioned works he received from Schmidt (the Concertante Variations on a Theme of Beethoven, the Piano Concerto and the Quintets in G major and B flat major). All of these works are masterpieces, and the A major Quintet is certainly no exception.
Schmidt has been my favorite composer for a long time. I think the 2d symphony is his best work. The 4th also amazing and based on only one theme! How many people have a favorite, and have heard only two compositions in more than 50 years of concert attendance? That would be me. Thankfully, the recording business has done well in spite of several disappointments. Also surprising is that I have attempted to interest others in FS music, but unsuccessfully; and these are musical sophisticats...
At last! The 2d symphony in the Digital Concert Hall from the Berliner Philharmoniker with outstanding Fabio Luisi (I could not believe my ears because his MDR CD to me was totally unconvincing en sounding badly) It is also MY most treasured symphony and the last work I want to hear before I leave this world….
I always felt that Schmidt was really an organist at heart, like Elgar. And I have often wondered about his connections, if any, to Reger. But the frequent use of pedal tones, and some of this unconventional orchestration choices (blending instruments in an odd way) seem deliberately imitative of organ stops, rather than the other way around (where organ stops designs try to imitate orchestral instruments), have felt like clues that he thinks like an organist.
@@joelfenner The comparisons with Reger are misleading (being based on a superficial understanding of both these great composers), and Schmidt - who somewhat anticipated the Orgelbewegung - did not, unlike Reger, conceive his organ works for the Romantic organ. Schmidt, who was an orchestral cellist with the Vienna Philharmonic/Court Opera for many years (Mahler had him play all the solo passages whenever he conducted, even though Schmidt was not the official Principal), was an extraordinarily skilful orchestrator. His chamber works also deserve very close attention.
If you like the Music of Franz Schmidt (which is extraordinary).....you might enjoy the recent release of the complete symphonies on the Accentus Label: ruclips.net/video/PKs7wQbKmVI/видео.html "... landmark release" "Jonathan Berman, à propos de Franz Schmidt", Jean Pierre Tribot, Crescendo Magazine, Nov 2023 “[…] None of the [previous recordings] has managed to delve with total success into Schmidt's elusive universe, so dependent on the Viennese or Wiener Klangstil sound style......... This is perhaps the most convincing approach to the composer's musical universe. .........This is evident in the vital thrust of the First, the fluidity of the Second's variations, the elegant contrapuntal warp of the Third (the composer's favourite) and the emotional catharsis of the Fourth, to which he adds an exquisite showcases the symphonic richness of the opera Notre Dame.” Scherzo, Pablo L. Rodríguez, 30th November 2023
Such a great explanation of Schmidt's genius harmonic language! I adore his works and recorded some of his organ pieces. Even in a relatively simple piece like this: ruclips.net/video/X53FQAXu16Y/видео.html you will hear his unique harmonies and counterpoint. Beside the symphonies, his Chaconne ruclips.net/video/r9d5r2tJwCU/видео.html shows some amazing advanced harmonic language in a LONG piece on just one theme. So much to enjoy! Thank you for your explanation!
The chamber works - the two string quartets (in A major and G major), the Piano Quintet in G major and the two Quintets for piano (left-hand), clarinet and string trio (in B flat major and A major respectively) - also demand some love!
Wow, I'm blown away by his evocative harmonies. I'm excited to have another composer to binge-listen. Excellent lecture!
Thank you for this introduction to Franz Schmidt - I'm only just discovering his music for the first time.
How good to find an in-depth look into the works of this great master. I have a sense that he is a bit of a "musician's musician", and perhaps has not been able to get the sort of exposure he deserves.
Prof. Rapchak, this was a wonderful lesson. You are right - when I heard Schmidt's "Intermezzo" in my childhood, something happened. Later on I discovered the symphonies and for years I hoped they'd become part of the repertoire. Finally something seems to happen. I always felt Schmidt's music was somehow glowing from within...sometimes on the verge of collapse, but strictly held together by his masterful counterpoint and his harmonic command. It's as he wants to make you feel the beauty of a melody by wreathing it into all possible/beautiful harmonic progressions. Your explanation and your joy was so lovely to see. How can someone not love the Hungarian variation of the 2nd. Another favourite part is the woodwind fugue at the beginning of the 3rd movement...and when he superimposes all the themes and the variation in the finale without landing in chaos and/or bombast...wow. Thank you for that - it was most instructive and now I'm looking forward to your analysis of the Fourth!
I have always felt a kinship between the music of Franz Schmidt and - much later in the 20th century - that of John Coltrane (Schmidt's harmony also anticipates that of Bill Evans). As an improvisor, Coltrane liked to extract every melodic possibility out of the harmonic progressions he employed, and like Schmidt, whom he is unlikely to have heard (given the cultural politics of immediately postwar America), he often arrays his music around augmented-triad or diminished-seventh axes (Schmidt does both - simultaneously! - in the scherzo of the Fourth Symphony).
This is a great video!! Thank you!! I'm getting so much juice from this orange!! ❤
Wonderful video and explanation of Schmidt's methods. He has long been a favorite composer of mine - ever since Zubin Mehta's recording of the 4th symphony came out. Why Schmidt's music is still so rarely played is something I don't understand. In a music world where the complex symphonies of Mahler and Bruckner are so widely accepted, you'd think Schmidt would fit right in. But that's not the case.
We get into a little bit of that, or at least the origins of the disparity in success as it began in Schmidt's lifetime, in the next episode covering the 4th Symphony. It's coming out next week, so be sure to look for it.
I always have time for an inspirational talk on Franz Schmidt. Such wonderful music. He is to Austria what Elgar is to Britain.
Really enjoyed this video! You've articulated some of the aspects of Schmidt's gorgeous and idiosyncratic style that have long caught my ear. I'm looking forward to your video on his Fourth Symphony -- a staggering masterpiece if you ask me. Part of my appreciation of that work has stemmed from the availability of a fine piano arrangement on IMSLP. You really get a sense of Schmidt's total contrapuntal control--and how it's an inextricable element of his harmonic ingenuity--when feeling your way through his music with your fingers. Especially the "slow movement," my god.
If you're already familiar with Schmidt's 4th, you'll probably be pleased with what's coming up in our next episode. We've tried to put together a reasonably concise but detailed look at how the solitary opening theme permeates the whole work, as well as the intricacies that each movement has to offer, and some over-arching connections to Schmidt's life.
Interesting! Thank you.
Didn't even know about Schmidt. Looking forward to checking these symphonies out. I just "discovered" Carl Nielsen like 5 days ago. So I've got a lot to look into. Listen into. But did hear Brahms 3rd symph, 4th movement for a while today. But i dont want to wear that one out
Really enjoyed this video...The internezzo from Notre Dame was the only piece of his I've heard with any regularity...but you've piqued my interest in him now for sure...can't wait for more!!!
Wait till you see what happens in the 4th Symphony. Our episode covering that will be released next Monday, so be sure to look for it.
Schmidt's music is almost too good to be true, like a lemon meringue pie or ripe raspberries, and that seems to be why it is oddly neglected. I have been captivated lately by his quintet in A for clarinet and piano left hand (reference the recording on the Centaur label), which is one of the greatest chamber pieces of such great length, five movements of about an hour in duration. It inhabits the ecstatic, filigreed place in low Earth orbit that Rapchak characterizes. When Schmidt presented it to brother Wittgenstein, the muse of left-handed pianism, the patron was not as enthusiastic as Schmidt had hoped. Everyone just needs to drop their inhibitions and surrender to Schmidt.
I had not previously heard that Wittgenstein was displeased with the work (which was the last that Schmidt completed before his death at 64); Wittgenstein had thought very highly indeed of the other commissioned works he received from Schmidt (the Concertante Variations on a Theme of Beethoven, the Piano Concerto and the Quintets in G major and B flat major).
All of these works are masterpieces, and the A major Quintet is certainly no exception.
Schmidt has been my favorite composer for a long time. I think the 2d symphony is his best work. The 4th also amazing and based on only one theme! How many people have a favorite, and have heard only two compositions in more than 50 years of concert attendance? That would be me. Thankfully, the recording business has done well in spite of several disappointments. Also surprising is that I have attempted to interest others in FS music, but unsuccessfully; and these are musical sophisticats...
At last! The 2d symphony in the Digital Concert Hall from the Berliner Philharmoniker with outstanding Fabio Luisi (I could not believe my ears because his MDR CD to me was totally unconvincing en sounding badly) It is also MY most treasured symphony and the last work I want to hear before I leave this world….
His organ works are also very amazing which are worth listening!
I always felt that Schmidt was really an organist at heart, like Elgar. And I have often wondered about his connections, if any, to Reger. But the frequent use of pedal tones, and some of this unconventional orchestration choices (blending instruments in an odd way) seem deliberately imitative of organ stops, rather than the other way around (where organ stops designs try to imitate orchestral instruments), have felt like clues that he thinks like an organist.
@@joelfenner The comparisons with Reger are misleading (being based on a superficial understanding of both these great composers), and Schmidt - who somewhat anticipated the Orgelbewegung - did not, unlike Reger, conceive his organ works for the Romantic organ.
Schmidt, who was an orchestral cellist with the Vienna Philharmonic/Court Opera for many years (Mahler had him play all the solo passages whenever he conducted, even though Schmidt was not the official Principal), was an extraordinarily skilful orchestrator. His chamber works also deserve very close attention.
A brilliant and sympathetic presentation of this great composer. Schmidt is surely the King of the Harmony Guys!
If you like the Music of Franz Schmidt (which is extraordinary).....you might enjoy the recent release of the complete symphonies on the Accentus Label:
ruclips.net/video/PKs7wQbKmVI/видео.html
"... landmark release"
"Jonathan Berman, à propos de Franz Schmidt", Jean Pierre Tribot, Crescendo Magazine, Nov 2023
“[…] None of the [previous recordings] has managed to delve with total success into Schmidt's elusive universe, so dependent on the Viennese or Wiener Klangstil sound style......... This is perhaps the most convincing approach to the composer's musical universe. .........This is evident in the vital thrust of the First, the fluidity of the Second's variations, the elegant contrapuntal warp of the Third (the composer's favourite) and the emotional catharsis of the Fourth, to which he adds an exquisite showcases the symphonic richness of the opera Notre Dame.”
Scherzo, Pablo L. Rodríguez, 30th November 2023
Such a great explanation of Schmidt's genius harmonic language! I adore his works and recorded some of his organ pieces. Even in a relatively simple piece like this: ruclips.net/video/X53FQAXu16Y/видео.html you will hear his unique harmonies and counterpoint. Beside the symphonies, his Chaconne ruclips.net/video/r9d5r2tJwCU/видео.html shows some amazing advanced harmonic language in a LONG piece on just one theme. So much to enjoy! Thank you for your explanation!
The chamber works - the two string quartets (in A major and G major), the Piano Quintet in G major and the two Quintets for piano (left-hand), clarinet and string trio (in B flat major and A major respectively) - also demand some love!