(原创)Wagenseil为竖琴、小提琴及大提琴所作的协奏曲

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Georg Chiristoph Wagenseil 1715-1777
Concertos For Harp Two Violins and Cello
Rachel Talitman-Harp
Sylvie Bagara, Marie-Danielle Turner- Violins
Emmanuel Tondus- Cello

Concerto No.1
Allegro        3.56
Largo        3.00
Tempo di Minuetto        3.29
Concerto No.2
Allegro        3.25
Andante        3.05
Tempo di Minuetto        3.24
Concerto No.3
Allegro         6.01
Andante        5.00
Tempo di Minuetto        4.40
Concerto No.5
Allegro Mderato        5.16
Andante        5.14
Allegro        3.42
Concerto No.6
Vivace        5.31
Larghetto        6.52
Tempo di Minuetto 3.37

Austrian composer, his father and grandfather were officials in the Imperil Court in Vienna. His musical training seems initially to have been the sort of instruction every higher class person got in the course of education, but when he was a teenager he started to compose and received more advanced keyboard instruction from the organist at St. Michaels Church in Vienna. He became a favorite pupil of the Vienna court’s Kapellmeister, Johann Joseph Fux for theory, harpsichord, cembalo and composition. At the same time he studied with Matteo Palotta and Gottlieb Muffat. After three years, Fux enthusiastically recommended him and Wagenseil obtained the post of composer to the court and kept that job until he died. Wagenseil was nominated the Viennese imperial court Kapellmeister. He was court composer from 178 as well as organist to Empress Marie Therese(1741-1750) and keyboard master to the imperial archduchesses. Among his keyboard students was Marie-Antoinette who played the harp. Wagenseil was a composer of transition between the baroque and the classical Viennese style. At the same time he was also a virtuoso keyboard player. Among his students was Johann Baptist Schenk, later Beethoven’s teacher. Schenk writes that Wagenseil used as his eaching method Bach’s Well Tempered Clavier, Xave Dusek, Leopold Hoffmann and Josef Anton Stepan were his students as well. Wagenseil also wrote also a theoretic treaty etitled Rudieta panduristae order Geig-Fundamenta (Augsburg 1751).
Although today Wagenseil is mostly forgotten, he was very famous in his lifetime. Haydn and Mozart were familiar with his compositions. In 1762, when Mozart was six years old and played at the Schonbrunn Court, he played Wagenseil’s piano concerto, and insisted that Wagenseil himself will turn the pages for him.
Wagenseil hardly travelled outside Vienna. He made only two short trip to Italy, to Venice and to Mila. In 1745 and later, in 1779, his first opera Ariodante was performed in Venice Wagenseil was the first Austria composer whose music was performed and well known in Paris, by his music edition (twenty nine publications from 1755 till 1781) and in concerts (at least nine auditions in Concert Spirituel between 1759 to 1781). He composed a mass in a traditional baroque style as well as operas, sonatas, concertos, symphonies, chamber music and keyboard pieces. He rises to this title of the preclassical Austrian school that in 1760, the young Mozart and Haydn will be inspired. From 1764 he was replaced as a keyboard teacher at Court by Matthaus Schloger and later by his students Joseph Anton Stepan and Leopold Hofmann. Wagenseil died in Vienna where he had lived all his life.
Most of his concertos are chamber music. The harp concertos with the accompaniment of two violins and cello are written in three movements: the first one is fast (Allegro or Vivace), followed by a slow second movement (Andante or Larghetto), and a third movement in Tempo di Minuetto. These concertos represent beautifully the rococo being aristocratic, refined and at the same time demanding great virtuosity.

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