Name: Juan Crisóstomo Arriaga (1806-1826) - Sinfonía en re menor (c.1824) | Videos | Gan Jing World
Uploaded: 2023-01-27T05:00:00.000Z
Duration: 29 min 33 s
Description: Feliz cumpleaños Juan Crisóstomo Arriaga! 🎻🎁 Composer: Juan Crisóstomo Arriaga (1806-1826) Work: Sinfonía en re menor (c.1824) Performers: Orquesta Filarmoni... | Videos | Gan Jing World

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Feliz cumpleaños Juan Crisóstomo Arriaga! 🎻🎁

Composer: Juan Crisóstomo Arriaga (1806-1826)
Work: Sinfonía en re menor (c.1824)
Performers: Orquesta Filarmonia de España; Rafael Frühbeck de Burgos (1933-2014, director)

Sinfonía en re menor (c.1824)
1. Adagio, allegro vivace 0:00
2. Andante 10:16
3. Minuetto 19:23
4. Allegro con moto 24:27

Painting: Real Laboratorio de Piedras Duras del Buen Retiro - Vista de Bermeo (after 1783)
HD image: https://flic.kr/p/2odv23i

Further info: https://www.discogs.com/es/sell/release/10341464
Listen free: No available

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Juan Crisóstomo (Jacobo Antonio) de Arriaga y Balzola
(Bilbao, 27 January 1806 - Paris, bur. 17 January 1826)

Spanish composer. His father, Juan Simón Arriaga, had been organist, royal clerk and schoolteacher at Guernica, and had become associated with members of the Real Sociedad Bascongada de los Amigos del Pais, a society upholding the ideals of the Enlightenment, before moving to Bilbao in 1804 to become a merchant and shipowner. Arriaga's brother Ramón Prudencio, his senior by 14 years, played the violin and guitar. Both father and brother seem to have groomed the child for a musical career. They established contacts with musical amateurs and professionals, such as the aficionado José Luis Torres and José Sobejano, sometime organist and maestro de capilla at Santiago, Bilbao; with influential men of letters and musicians from Madrid court circles, such as the poet Alberto Lista and the violinist Francesco Maria Vaccari; and with the famous singer Manuel García. Reports on Arriaga's opera in the Spanish press presumably appeared on the initiative of his father and brother. The choice of texts for two patriotic hymns and the idea to set a Spanish opera also reflect the influence the family had on the boy. By September 1821 Arriaga had produced about 20 works, only some of which are now extant. According to his father, Arriaga wrote his first piece at the age of 11, and the autograph of 'Nada y mucho' seems to confirm this. Originally a trio for violins, the piece was revised by the addition of a bass and a text to the upper part. In 1818 he composed an overture (op.1) for nonet which, surprisingly, already shows many of the characteristic compositional strategies used in later works. In 1819 he wrote his opera 'Los esclavos felices', of which only the overture and fragments of several arias remain. 

The motets Stabat mater and O salutaris hostia were probably composed for the capilla. The texts of the patriotic hymns 'Ya luce en este hemisferio' and 'Cantabros nobles' fit the political situation of the trienio liberal (1820-23). In September 1821 Arriaga went abroad. He was introduced by García and Justo de Machado (the Spanish ambassador in Paris) to Cherubini, who was at that time one of the inspectors of the Paris Conservatoire. Arriaga was admitted to Fétis's newly created class of counterpoint and fugue and to the violin class of Pierre Baillot and his assistants. He won prizes for counterpoint and fugue in 1823 and 1824, and in the latter year Fétis made him teaching assistant. A symphony, showing the influence of Beethoven and uncannily reminiscent of Schubert's Fourth Symphony, was one of Arriaga's last works. Pedro Albéniz's letter to Arriaga's father and Fétis's report lead to the conclusion that Arriaga died from exhaustion and a pulmonary infection. After his death his belongings were sent to Bilbao and on the death of his father in 1836 his papers were divided between the five heirs. Arriaga's short career was heavily marked by a strong sense of competition. A dramatic impetus coupled with a flair for finding remarkably well-poised musical structures pervades all of his works, both vocal and instrumental. Melodies always seem to have come easily to him; a remarkable progression in the handling of accompaniment and orchestration can be seen. In his Parisian period Arriaga discovered a technique of continuous transformation of musical material. He was always fond of chromaticisms and used a chromatic idée fixe in most of his works from the very beginning. #ClassicalMusic