Complete Arriaga digitized music scores



http://www.bilbao.net/Bibliotecas/jsp/arriaga/pwebia04.jsp?idioma=i&puntomenu=L68&tema=l68&subtema=10&home=si

Title V. 300p
3 Études ou Capriches (c. 1819) 2,4 Mb
Agar dans le désert (c. 1825) 21 Mb
Air d'Oedipe (c. 1825) 6,2 Mb
Air de l'Opera de Medée (c. 1825) 6,4 Mb
Audi Benigne (¿1817-1921?) 205 Kb
Canon Perpétuel (1822-1825) 204 Kb
Dúo de Ma tante Aurore (c. 1825) 6,2 Mb
Herminie: Cantate (c. 1825) 17,4 Mb
Himno Cántabros nobles (c. 1819) 280 Kb
Himno Ya luce en este hemisferio (c. 1819) 1,5 Mb
Los esclavos felices: ópera. Obertura (1819) 9 Mb
Los esclavos felices: ópera. Obertura (1819) Fragmentos 538 Kb
Los esclavos felices: ópera. Obertura (1819) Copia manuscrita por M. Serrano (1889) 14,5 Mb
Marcha militar (c. 1820) 1,6 Mb
Nada y mucho (1817) 2 Mb
O Salutaris (c. 1823) Bilbao: C. G. Röder, 1907 14 Mb
O Salutaris (c. 1823) Copia manuscrita ¿por M. Serrano? (c. 1889) 2,2 Mb
Obertura, op. 20 (1821) 5,3 Mb
Romance (c. 1822) Madrid: Calcografía de Bartolomé Wimbs, 1826. 2 Mb
Sinfonía en fa menor (1818). Madrid: Asociación Española de Compositores de Música, 1920. 148 Mb
Stabat Mater (anterior a 1821) Bilbao: C. G. Röder, [s.a.] 48 Mb
Symphonie à grande orchestre (c. 1824) 54 Mb
Tema variado en cuarteto (c. 1820) 2,6 Mb
Trois quatours: pour deux violons, alto et violoncelle (c. 1823) Copia manuscrita posterior a 1826 23 Mb
Trois quatuors: pour deux violons, alto et violoncelle (c. 1823) Edición princeps (c. 1824) 20 Mb
Variaciones para Violín sobre el tema de la Húngara con Acompañamiento de Bajo ad libitum (1821) 1,7 Mb
Variaciones sobre el tema de la Húngara en cuarteto (1822) 1,6 Mb


And his biography from Wikipedia, the free encyclopedia:
Juan Crisóstomo Jacobo Antonio de Arriaga y Balzola

Juan Crisóstomo Arriaga
Born January 27, 1806(1806-01-27)
Bilbao, Basque Country
Died January 17, 1826 (aged 19)
Paris, France
Occupation Composer

Juan Crisóstomo Jacobo Antonio de Arriaga y Balzola (January 27, 1806January 17, 1826) was a Basque composer. He was nicknamed the "Basque Mozart" after he died, because, like Wolfgang Amadeus Mozart, he was also a child prodigy and an accomplished composer who died young.

Life

Juan Crisóstomo Arriaga was born in Bilbao, [Basque Country] on what would have been Mozart's fiftieth birthday. His father and older brother first taught him music. He then studied the violin under Pierre Baillot, and counterpoint and harmony under François-Joseph Fétis at the Paris Conservatoire. He was so talented that he soon became a teaching assistant in Fétis's class. He died in Paris at the age of nineteen, of a lung ailment, or exhaustion, perhaps both.

Music

The amount of music by Arriaga which has survived to the present day is quite small, reflecting his early death. It includes:

  • Opera: Arriaga wrote an opera, Los esclavos felices ("The Happy Slaves"), in 1820 when he was thirteen. It was successfully produced in Bilbao. Unfortunately, only the overture and some fragments survived.
  • Symphony: Arriaga composed a Symphony in D—which uses D major and D minor so equally as to not actually be in either key.
  • String quartets: Arriaga wrote three sparkling and idiomatic string quartets at the age of eighteen. These fine string quartets were the only works published during his lifetime.
  • Other works: In addition to the aforementioned major works, Arriaga also wrote the following:
    • An octet (Nada y Mucho)
    • Pieces of church music (A Mass (lost), Stabat Mater, Salve Regina, Et vitam venturi saeculi (lost)), cantatas (Agar, Erminia, All' Aurora, Patria, La Hungara)
    • Instrumental compositions (a nonet, Tres Estudios de Caracter for piano, and numerous Romances).

Stature


The Teatro Arriaga in Bilbao is one of the centers of the August city festivals

Arriaga's music is "elegant and accomplished and notable for its harmonic warmth" (New Grove Concise Dictionary of Music). There is nothing characteristically Spanish in Arriaga's music. Rather it is international (European) music from the formative period between the late classical music of Mozart to the early Romanticism of the young Beethoven.

A public theatre in his home city of Bilbao carries his name.

Youtube orchestra makes its debut

At least 90 musicians from more than 30 different countries have given their first performance in the YouTube Symphony Orchestra in New York.

The video-sharing website held a contest that allowed anyone, anywhere to upload a clip of themselves playing. A selection went to a popular vote.
The winners were flown in to play at Carnegie Hall - one of the most prestigious venues in the world.

Colombian trombonist John Wilson Gonzalez said it had been "marvellous".
"It was unimaginable that I could get to play in Carnegie Hall, a mythical theatre where only the great musicians play," he told the news agency AFP.
The musicians came from as far away as Australia and South Korea and were aged between 15 and 55.

Some had never left their home countries before, let alone played in such a high-profile venue - and they had just three days to practise before Wednesday evening's concert.

They performed an extensive programme that included works by Bach, Mozart, Villa Lobos, Wagner, Tchaikovsky, Lou Harrison, John Cage, and a specially written piece called Internet Symphony No 1, Eroica, by Chinese composer Tan Dun.

'Astonished'
The orchestra is led by San Francisco Symphony Orchestra music director Michael Tilson Thomas.

The YouTube Symphony Orchestra rehearsing in New Yorkl, 14 April 2009
Musicians were selected in a vote by YouTube viewers

"We're going to give a terrific show at CarnegieHall that will have some very new and different things about it, both in the way it sounds and the way it looks," he said ahead of the performance.

"But really the most important part of this is how the world out there on the internet will be experiencing that and that will be developing over time as more edits and more uploads take place."

Over 3,000 posted audition videos, and 200 finalists were selected before YouTube viewers voted for the winners.

Cellist Pierre Charles, a 27-year-old student from Paris, said that during rehearsals "the sound was right straight away."

"I was astonished because I thought it would take a lot longer to get ready," he said.

Some of the other musicians said they hoped the concert would help classical music reach a wider audience, including more young people.

"It's not as exciting as [music video game] Guitar Hero or [rock band] VanHalen, so whatever we can do to make classical music and acoustic live music more prominent is a good thing," said Jonathan Brummel, a professional trombone player from California.

http://news.bbc.co.uk/2/hi/americas/8001253.stm

Hidden clue to composer's passion

Renoir was among the artists who depicted Parisian socialite Misia Sert

The French composer, Maurice Ravel may have left a hidden message - a woman's name - inside his work.

A sequence of three notes occurring repeatedly through his work spells out the name of a famous Parisian socialite says Ravel expert David Lamaze.
He argues that the notes, E, B, A in musical notation, or "Mi-Si-La" in the French doh-re-mi scale, refer to Misia Sert, a close friend of Ravel's.
Well known in art circles, she was painted by Renoir and Toulouse-Lautrec.
Ravel never married, but Misia was married three times. Ravel composed someof his work while staying on a boat belonging to Misia and her second husband.

It has never been done before. To take one person and to place them at the centre of a life-long work
Professor David Lamaze, Conservatoire de Rennes

"It has never been done before. To take one person and to place them at thec entre of a life-long work," says Professor Lamaze of the Conservatoire de Rennes, who is working on a book about Ravel and Misia.
Professor Lamaze believes Ravel was romantically inspired by Misia. "To put the feeling of love at the very central point of the creation without us knowing it. That is typical of Ravel, I think."

Secretive

Maurice Ravel. Original Artwork: By Elliott & Fry.
Ravel was intensely private about both his work and his love life

Ravel was notoriously secretive about all aspects of his life, from his compositional process to his private life, which has led to speculation that he may have been gay.

The Mi-Si-La motif appears, in particular, at crucial phases of Ravel's work La Valse, says David Lamaze.

At the beginning, in depicting a man and woman dancing a Viennese Waltz, he entwines Mi-Si-La with A and E - thought to denote Ravel.
Initially planned in 1906 as a tribute to the waltzes of Johann Strauss, La Valse became a much darker work when he completed it in 1920, following his experiences serving in the World War I and the death of his mother.

http://news.bbc.co.uk/2/hi/entertainment/7968024.stm

'Lost' music instrument recreated

Lituus being played (EPSRC)
The Lituus is a straight horn measuring 2.4m with a flared end

New software has enabled researchers to recreate a long forgotten musical instrument called the Lituus.

The 2.4m (8ft)-long trumpet-like instrument was played in Ancient Rome but fell out of use some 300 years ago.

Bach's motet (a choral musical composition) "O Jesu Christ, meins lebenslicht" was one of the last pieces of music written for the Lituus.

Now, for the first time, this 18th Century composition has been played as it should have been heard.

Researchers from the Engineering and Physical Sciences Research Council (EPSRC) andthe University of Edinburgh collaborated on the study.

Performed by the Schola Cantorum Basiliensis (SCB) the Lituus produced a piercing trumpet-like sound interleaving with the vocals.

Until now, no one had a clear idea of what this instrument looked or sounded like.

But researchers at Edinburgh University developed a system that enabled them to design the Lituus from the best guesses of its shape and range of notes.

The result was a 2.4m (8ft) -long thin straight horn, with a flared bell at the end.

Hard to play

It is an unwieldy instrument with a limited tonal range that is hard toplay. But played well, it gives Bach's motet a haunting feel that couldn't be reproduced by modern instruments.

The software was originally developed by a PhD student Dr Alistair Braden to improve the design of modern brass instruments.

But Dr Braden and his supervisor Professor Murray Campbell, were approached by a Swiss-based music conservatoire specialising in early music, the Schola Cantorum Basiliensis, to help them recreate the Lituus - eventhough no one alive today has heard, played or even seen a picture of this forgotten instrument.

SCB gave the Edinburgh team their expert thoughts on what the Lituus may have been like in terms of the notes it produced, its tonal quality and how it might have been played.

They also provided cross-section diagrams of instruments they believed to be similar to the Lituus.


Lituus being played (EPSRC)
The reconstruction could have been manufactured in Bach's time

"The software used this data to design an elegant, usable instrument with the required acoustic and tonal qualities," says Professor Campbell.

"The key was to ensure that the design we generated would not only sound right but look right as well."

Headded: "Crucially, the final design produced by the software could havebeen made by a manufacturer in Bach's time without too muchdifficulty."

SCB has now used Edinburgh's designs to build two identical examples of the long-lost instrument.

Both were used in an experimental performance of "O Jesu Christ, meins lebens licht" in Switzerland earlier this year.

Written by Bach in the 1730s, it is thought that this is now the only piece of music in existence that specifies the use of the Lituus - and has almost certainly not been performed using this instrument since Bach'stime.

"Sophisticated computer modelling software has a huge role to play in the way we make music in the future," comments Professor Campbell.

The software also opens up the possibility that brass instruments could be customised more closely to the needs of individual players in the future - catering more closely for the differing needs of jazz, classical and other players all over the world.

http://news.bbc.co.uk/2/hi/science/nature/8075223.stm

Experts 'rebuild' composer's face



Bach reconstruction (picture: University of Dundee/Bachhaus Eisenach)
The team scanned a cast of Bach's skull to build this picture
The face of Johann Sebastian Bach has been recreated by experts at Dundee University more than 250 years after the German composer's death.

It is believed that only one portrait he sat for still exists.
However, forensic artists at the university built up a picture of his appearance using a bronze cast of his skull and documents from the time. 

The face will go on display at the Bachhaus museum in Bach's hometown of Eisenach next month.


'Accurate picture'
 
Dr Caroline Wilkinson, from the Centre for Forensic and Medical Art, explained how they worked out the composer's features. 

"We carried out a laser scan of the skull which allowed us to recreate the musculature and skin of the face on our computer system," she said. 

"By assessing the bone structure we can determine facial morphology and produce an accurate picture of his facial appearance." 

The team then used an existing portrait of Bach, and documents which described how his eye problems caused swollen eyelids, to start texturing the face. 

Dr Wilkinson said: "This is really the most complete face that can be built from the available reliable information. 

"As far as we can ascertain, this is how Bach would have looked." 

Director of the Bachhaus Eisenach, Joerg Hansen, said: "People are interested in what he looked like, they have busts of Bach on the piano. 

Traditional Bach
The traditional image of Johann Sebastian Bach
"It's always this old man with a wig type of image we have in mind when we hear the name or think of how he looked.
"I think it is interesting for fans to have something else, a real person." 

Mr Hansen told the BBC Scotland news website that some people had suggested the face looks Scottish, although he believes it has the features of those you meet in Eisenach. 

"It's very dynamic, as if he's going to come up with something. That is, I think, quite fitting," he said. 

"He has this furrow over the nose, which makes him look, maybe, a bit angry, or easy to anger.
"Caroline Wilkinson actually explained to me that had nothing to do with the character at all, it's determined by the skull. 

"If you have that type of skull you have to furrow over the nose. 

"But I also think he looks interesting." 

http://news.bbc.co.uk/2/hi/uk_news/scotland/tayside_and_central/7270795.stm

How Handel played the markets

A chance discovery in a ledger at the Bank of England suggests the composer Handel may have been a smart financial operator.

By Peter Day
BBC News

George Frideric Handel
Handel's investments meant he did not need a wealthy patron

I am a bit old now for scoops, but I seem to have run into one the other day, deep behind the scenes at the Bank of England.

BBC Radio 3 asked me to take part in the extensive commemoration of the 250th anniversary of the death of the great Anglo-German composer, George Frideric Handel.

They wanted to know about Handel's money and how he made it, ending up with a fortune (maybe £3m in today's money) in financial times no less tumultuous than our own day.

Interesting, and a programme rather different from my normal output on In Business and Global Business.

For one thing, no carbon footprint was required. All the locations were within bicycling distance for me and the producer Paul Frankl. I naturally agreed.

There is, of course, a torrent of wonderful music, but really rather few recollections of Handel the person.

Born in Germany, he ended up spending most of his life in London after his employer in Hanover became George I in 1714.

And there is a tantalising suggestion by Handel's biographer, Jonathan Keates, that he may have come to London in 1710 and settled in 1712 to spy out the land for the eventual Hanoverian successor to Queen Anne.


Entrepreneur

But delved into, the money story is a fascinating one. Handel seems to have been among the very first modern musicians not to rely on patronage of court or cathedral for his main income.

Instead, he was an entrepreneurial promoter, risking his own money on operas and oratorios. His fortunes waxed and waned with the popularity of the genres and the fashions of the time.

Eventually, oratorios made him a rich man. But he also did quite a lot of investing, and some records survive of his investments in the newly emerging financial markets.

Opening page of the overture to Serse by Handel, displayed in the Handel House Museum in central London
Handel was a wizard with music notes and banknotes alike

He invested in the original South Sea Company stock in 1716, when it was still fashionable, but he appears to have got out unscathed.

His name has disappeared from the list of investors by the time the company blew up in 1720, a burst bubble caused by a frenzy of speculation on British government stock.

The fledgling Bank of England stepped in to refloat the South Sea annuities, thus supporting the credit of the government, but also no doubt enhancing the developing reputation of the Bank itself, which had only been founded a few decades earlier in 1694.

The Bank of England insisted that investors living in London had to appear in person at the bank.

Handel had installed himself in a new, fresh part of London, Brook Street in Mayfair, with wide streets to turn carriages in and bordering on the rural idyll of Hyde Park.

It was also, crucially, west of the older part of London, so didn't suffer from the smoke and smell that was beginning to overwhelm London.

This meant that he had to travel some distance to Threadneedle Street, the old medieval part of London that must have seemed a world apart and, by comparison, must have seemed quite scary - and, given that he was often appearing and leaving with great amounts of cash, must have been quite dangerous.

We can speculate about him visiting Garraways Coffee House, where he may have met with his broker and discussed whether to move into 3% annuities.


Archived secrets

In pursuit of the facts, my producer Paul Frankl and I arrived early one morning at the Bank of England Museum.

We were escorted deep into the archives. They are a programme on their own, the shelves lined with trophies gifted to the bank on many anniversaries, wonderful pictures of the (wonderful) early premises.

There are outdated machines to weigh sacks of guineas and presses to squeeze out a copy of a letter in the days before carbon paper, let alone e-mail.

And then there are the ledgers, decade after decade of them, an extraordinary record of the days when absolutely anybody (with money) could bank at the B of E.

The archivist John Keyworth had fetched down some sample ledgers containing some of Handel's transactions, all signed with his distinctive hand. As impressive to me as a musical manuscript. But it got better.

John had got out one ledger containing a 1725 signature - earlier than the 1728 accounts written about at length by the great Handel financial expert, Ellen Harris. She holds the (slightly unlikely) post of Professor of Music at the hi-tech Massachusetts Institute of Technology.

But then I happened to point at another page, with several South Sea Company annuity transactions bearing more Handel signatures dated even earlier: 1723.


'Eye on the prize'

Professor Harris became very excited when she heard what we had found. After all, 1723 was only three years after the burst of the South Sea Bubble and this was the credit crunch crisis of its day. Many prominent people lost huge investments, including the Master of the Mint, Sir Isaac Newton.

And here he is in the Bank of England records, back in the market only three years after the bust, doing some short term in-and-outing of the annuities now backed by the Bank of England, part of the Bank's effective rescue for London's fledgling stock market.

Professor Harris was excited by this, because it appears to show that Handel had the wealth and the confidence to make substantial stock market investments at the same time as he was setting up house in Mayfair. He lived there for the rest of his long life, leasing not buying, as was the cautious habit of the age.

She told me it was an extraordinary discovery. "I had thought that Handel had not been able to invest in the 1720s, so to discover now that he was also investing in 1723 is really very big news. I am enormously excited."

"That he jumped right back in [to South Sea annuities] is an amazing piece of information. The man apparently always had his eye on the prize."

And all because I happened to peer at a ledger page laid out for me by the Bank of England archivist. Think what other scoops lie lurking in the records.

They await the scrutiny of distinguished scholars of music and financial history, as well as bumbling amateurs such as me.


Handel's investments appear in an exhibition at the Bank of England museum, Musical Notes and Banknotes from 14 April.

http://news.bbc.co.uk/2/hi/business/7992395.stm

Lost Bach score found in Japan

Johann Sebastian Bach
Bach was a prolific composer
A lost musical score by German composer Johann Sebastian Bach has been found in Japan, scholars have revealed.

The 1728 composition, called "Wedding Cantata BWV 216," was found among the papers of Japanese pianist Chieko Hara, who died in Japan in 2001 aged 86.

The work, written for the wedding of a daughter of a German customs official, was missing for 80 years.

Professors at the Kunitachi College of Music in Tokyo say they may release copies for future performances.

'Invaluable material'

The eight-page handwritten composition contains soprano and alto parts with notes and lyrics written in German, Professor Tadashi Isoyama said.

It is not clear how Hara obtained the manuscript - its last known owner was a descendant of German composer Felix Mendelssohn.

However, researchers believe Hara may have obtained it from her husband - Spanish cellist Gaspar Cassado, who knew Mendelssohn's descendant.

Born in Eisenach, Germany in 1685, Bach is acknowledged as one of the world's most prolific composers and as a master of the baroque music style.

"This is invaluable material that will lead to greater understanding of Bach," Professor Isoyama told French news agency AFP.

http://news.bbc.co.uk/2/hi/europe/3596027.stm

New Bach manuscripts found

Signature of J S Bach on original handwritten music script found in Weimar
Experts say the composer's script was quite distinctive
Researchers in Germany say they have unearthed two previously unknown manuscripts written by Johann Sebastian Bach when he was a teenage organist.

The handwritten manuscripts, dating from about 1700, are copies of organ music composed by Dietrich Buxtehude and Johann Adam Reinken.

At the time Bach was 15 - and these are the oldest known manuscripts by him.

They were among archives taken from a library in Weimar, east Germany, which was ravaged by a fire two years ago.

The Bach manuscripts survived because they were stored in the building's vault.

The fire at the Duchess Anna Amalia Library, part of a 16th-Century palace, destroyed about 50,000 books.

Bach's life illuminated

According to Bach experts Michael Maul and Peter Wollny from the Bach-Archiv foundation in Leipzig, the manuscripts shed new light on the career of the young Bach.

They confirm that he was a student of the organist Georg Boehm in the north German city of Lueneburg.

The researchers say the latest find is more significant than the discovery last year of a previously unknown vocal piece by Bach, which was also among the papers removed from the library.

Bach's script was quite distinctive, the researchers said, although there was some similarity to Boehm's.

The organ works that Bach copied were chorale fantasias called Nun freut euch lieben Christen gmein (Be joyful ye Christians) and An den Wasserfluessen Babylons (By the waters of Babylon).

The Bach Archiv foundation said that "technically highly demanding, these organ works document the extraordinary virtuoso skills of the young Bach as well as his efforts to master the most ambitious and complex pieces of the entire organ repertoire"


http://news.bbc.co.uk/2/hi/entertainment/5303252.stm

'New Mozart work' gets premiere

Performance of new work attributed to Mozart, 29 Dec 06
Mozart's vast output may have just got a bit bigger
A recently discovered 18th-Century keyboard work believed to be one of the earliest by Wolfgang Amadeus Mozart has been performed in Austria.

The piece - about two minutes long - was played by Florian Birsak on a harpsichord in the Salzburg Residenz.

The discovery came in the 250th anniversary year of Mozart's birth, which was marked by festivities in his homeland and Mozart concerts worldwide.

Experts think Mozart wrote the piece when he was aged between six and 10.

It bears the title Allegro di Wolfgango Mozart and was contained in a volume of anonymous manuscripts given to Salzburg Archdiocese archivist Ernst Hintermaier, Austrian media report.

The reports did not name the person who donated them.

Mozart (1756-1791) was a child prodigy. He composed his first symphony before the age of 10 and his first successful opera by the age of 12.

Before his early death he had created hundreds of solo and orchestral pieces, inspiring the likes of Beethoven and Wagner.

http://news.bbc.co.uk/2/hi/europe/6216719.stm

Mozart's music diary goes online

Image of Mozart's musical diary, British Library
The diary holds details of 145 of Mozart's compositions
Net users are getting a chance to enjoy some of Mozart's most rarely performed compositions.

A digital version of Mozart's musical diary is being put online by the British Library to help celebrate 250 years since the composer's birth.

The digitised diary lets people click on and hear music from the opening bars of many of the works it mentions.

One featured composition is "Little March in D" that, the library says, has almost never been performed.


Sound browsing

From 12 January visitors to the British Library site will be able to browse a hi-tech version of Mozart's Verzeichnis aller meiner Werke (Catalogue of all my Works).

Mozart filled in pages in the Catalogue between February 1784 and his death in December 1791. In total it contains details of 145 of the composer's works.

On the left hand side of each double-page spread Mozart wrote about five compositions and entered the date each was finished; the title and which instruments should be used to play it. Often also included were the names of singers who performed it, where it was composed and who commissioned the work.

On the right-hand side of each double page was written the opening bars of the work. For its version the British Library recruited members of the Royal College of Music to perform the introductory bars so visitors can hear what each featured composition sounds like.

Close-up of Mozart's musical diary, British Library
Users can zoom in or click on the notes to hear the music
"By turning the pages of this fascinating manuscript online, users will be able to follow the path of Mozart's life in his final years through the entries in his own 'musical diary' and marvel at the outpouring of sublime music produced in such a short space of time," said Dr Rupert Ridgewell, British Library music curator.

Mozart wrote entries for everything he composed which means that the Catalogue features the opening music from many lost works such as "Little March in D".

The online version features 30 pages and 75 musical introductions to some of Mozart's most widely-known works such as the Marriage of Figaro, Eine kleine Nachtmusik and The Magic Flute.

The range of works in the Catalogue shows Mozart's versatility as it includes entries for operas, piano music, chamber music, concertos, cantatas and vocal canons.

The work has been put online as part of an exhibition called "Mozart's Musical Diary" which runs until 10 April in the Library's John Ritblat Gallery.

In total 15 books and manuscripts now form the British Library's Turning the Pages collection. Works on show include The Luttrell Psalter, The Lindisfarne Gospels and Lewis Caroll's Alice's Adventures Under Ground.

http://news.bbc.co.uk/2/hi/technology/4602542.stm

Schubert parties in the Alps

The mountain setting for Austria's Schubertiade
The Alps provide the backdrop for Austria's Schubertiade
In an Austrian village amid majestic Alpine scenery where distant cowbells are usually the only sound, the curtain has gone up on one of the world's most unusual classical music festivals.

Five minutes before the start of each concert, two horn players stand outside the concert hall, built in the mountain chalet style, and play a short duet.

This is the signal for those who have been strolling through the green meadows around the beamed concert hall - constructed entirely of wood from local forests - to take their seats.

The duet was composed by Viennese maestro Franz Schubert - as is most of the music and particularly the songs, or lieder, played at the Schubertiade festival.

Music lovers from more than 30 countries gather here in the village of Schwarzenberg each year between May and September for four cycles of concerts at the modern, acoustically perfect concert hall.

Schubert died aged just 31 in 1828, leaving a huge body of songs and other musical compositions - most of which were only published after his death.

Schubert horn players
Music lovers gather in the village of Schwarzenberg
During the last few years of his life, he organised impromptu private performances with friends that became known as Schubertiade, or Schubert parties.

Now in its 30th year, the modern Schubertiade allows some of Europe's greatest singers, soloists and chamber groups to perform Schubert's works in almost ideal conditions.

In the interval, the audience can take their coffee or sip a glass of wine outside and enjoy the scenery. It is a stunning contrast to any urban music centre.

English tenor Ian Bostridge opened this year's festival with a group of friends from London, including composer Thomas Ades and the Belcea quartet, who are frequent performers at London's Wigmore Hall.

The mainly German-speaking audience gave an enthusiastic reception to their performances of Schubert and some English 20th Century music.

Schwarzenberg concert hall
The concert hall is built entirely of wood from local forests
They included works by Benjamin Britten and a haunting setting of Ralph Vaughan Williams' On Wenlock Edge - one of the great works of European song repertory.

Bostridge told me this series of concerts was combining "the best of old friends and the challenge of new acquaintances".

The Schubertiade festival is the brainchild of Gerd Nachbauer, an Austrian Schubert lover, who began it in nearby Hohenems in 1976.

The first season consisted of only nine concerts and attracted fewer than 3,000 people.

Main attractions

Last year, there were 99 concerts and more than 50,000 people travelled to this remote mountain area for the festival.

Mr Nachbauer told me that from October 2005, he is planning a series of winter concerts in Hohenems as well.

Since 1991, the Schubertiade has financed itself entirely from ticket sales.

One of this summer's main attractions will be a series of masterclasses given by one of the most famous and influential lieder artists of the 20th Century, Dietrich Fischer-Dieskau, who turns 80 this month.

Majestic setting

Dieskau has recorded almost the entire repertory of German lieder. The pianist Alfred Brendel will also be giving performances.

For me, the chance to enjoy Schubert's incomparable music in the setting that inspired the composer on his walks in the Austrian countryside has been an experience I shall not easily forget.

One morning, I watched mountain trout swimming in a nearby torrent.

And the same evening, I listened to Schubert's song Die Forelle - describing that very scene.

http://news.bbc.co.uk/2/hi/entertainment/4575179.stm

The two recently discovered portraits of Mozart





















Click to enlarge