François Joseph Gossec - Symphonie à 17 parties in F-major (1809)

[@frauncisshakespeare438]

Romaticlassicaroque all in one. Excellent piece by M. Gossec.

[@davidmack9842]

My wife and I attended the performance of this piece by the Boston Symphony Orchestra last night. Neither of us were familiar with the composer or his music, but we both loved this symphony. Thank you very much for posting this!

[@bertrandevin4764]

Très belle œuvre de ce compositeur classique méconnu.

[@abdul7591]

I still have this old LP. I received a copy of free of charge by the Belgian consulate in New York. It was quite extraordinary.

[@gcrenier]

Agree a sweet treat tonight, rarely being played much in concert halls, I have a special appreciation for this music, being a former concert pianist and it being an even more special, as this is gift from my daughters who will be going tonight as well. :)

[@jinnycello]

4th mvmt Part I P 21: 50 - Fughetto T 22:08 After PAC in I, Do-Re-mi theme from horn appears, that dominates the whole piece snare-drum motive in the string (neighbouring figure) S1 22:33 After standing on the dominant, HC in FM acts as a pivot to secondary key, V. Military orchestration: with a beat-marking snare-drum motive in the string accompanying virtuoso arpeggios by the clarinets in dialogues and duet with oboes and flutes S2 23:00 Final phrase of S1 and into S2 March idiom seen in the last phrase of S1 the steady rhythm of regular phrases, and the hypermetric accents of drumrolls associated with gestures of both the parade ground and the ballroom-of marching and dancing-owing to the close musical relationship of march and contredanse 2/4meter, duplet or triplet pulse, sharply articulated phrases and sections, repeated sections,and the associated spectacle of bodies ordered into patterns of coordinated motion. Movement associated with Celebrating victory “Evoking masses of humanity in synchronized motion and deliberately drew audiences into an illusion of soical unity and unified voice” S1 new theme in Fonte K 23:18 Do-Re-mi + Trill Ascending fifth seq. Outlines Do-Re-Mi schema General Pause at the end before the recap K3 23:47 final closing phrase cadential material followed by a grand pause Part II P 23:52 in CM! (dominant) New stuff deriving from K 24:09 T or transition? (deriving from S Material) S replaced by new passage with fanaroli bass functioning as New S

[@johnkiunke5617]

This is an outstanding piece of music!

[@gardnersmith3580]

Many thanks. RH 64.

[@gerardbegni2806]

Gossec had a very long carreer. Think that his prodigious requiem was written before Mozart's. This symphony dates from his last years. Many influences can be fond in it, in spite of the true personal character of Gossec. The most significant is Haydn, who was played in Paris with great success.

[@ewaldsteyn469]

Can clearly hear that this fine symphony is from his last years Just listen to his other symphonies to hear how he has grown in his symphonic compositions. His earlier symphonies are already very fine works, but clearly still in the classical mode. Quite different though from the Classical German symphonies of the Bachs and Abel. Also much different from the Austrians (Haydn & Mozart) with a clearly French character to it. Simply wonderfull classical symphonies. But this later symphony has clearly entered the world of the Romantic symphony. Just great to hear how thus Fench master adopted to the changes of his time.

[@brianknapp8645]

Parts of this symphony sound like an early romantic symphony while other parts sound almost baroque.

[@jacksongrant15]

I agree. The beginning of the fast section of movement 1 has a Handelian character, a bit, and then we here bits of Haydn or even a later Italian opera composer.

[@HenkVeenstra666]

Well he lived both in the baroque,classical and romantic era.

[@barrymalkin9031]

It sounds like Baroque as reinvented by Beethoven.

[@Wherrimy]

Not surprising, giving his age. Between his fairly profficient requiem, written in 1760, and this, written in 1809, was almost half a century

[@CivilWarBuff82]

He knew Rameau personally

[@glsigalos]

A bit like Mozart or Haydn, don't you think ? I'll be hearing this work being played by the BSO at Boston Symphony Hall on January 8th, 2016 - should be a great program. Gossec's compositions are only rarely played in concert.

[@hanzhang99]

+George Sigalos I'll do the same. Don't even know the composer

[@seniorosity68]

Yes, this symphony does sound a bit like Mozart or Franz Joseph Haydn and his younger brother Johann Michael Haydn but let's not forget Johann Christian Bach (1735-1782) and perhaps even early-Beethoven plus William Boyce, Luigi Boccherini and yes, even Antonio Salieri plus many other 18th and early-19th century composers who may have done their share of influencing here.

[@petersturmey2789]

George, You are exactly right. This guy's dates span late baroque, Classical and here late Haydn and early Beethoven. I wonder how much Gossec and Haydn interacted with one another directly and indirectly in Paris. This symphony has elements of early romanticism (expanded scale and orchestra, slow introduction to first mvt, bolder harmony) and classical and even baroque textures (fughetto etc.) There are so many great composers beyond the three B's. We should all try to learn more about them and their often wonderful music. Peter

[@gemeni0]

Что то вместо larghetto lentetto и скучновatto.

[@fabiograssi670]

Stilistically quite incoherent. I doubt the baroque passages stem from a deep rethinking like in Beethoven's op. 124 and Brahms' middle section of 2nd mov. of his 2nd piano concert.