By popular demand....
Friedrich Robert Volkmann (6 April 1815 – 30 October 1883) was a German composer.
Life
He was born in Lommatzsch, Saxony, Germany. His father was a music director for a church, so he trained his son in music to prepare him as a successor. Thus Volkmann learned to play the organ and the piano with his father, as well as violin and cello, and by age 12 he was playing the cello part in String Quartets by Haydn, Mozart and Beethoven. In 1832 Robert Volkmann entered the Freiberg Gymnasium for the purpose of becoming a teacher. There he studied music with Anacker, who encouraged him to devote himself to music more fully. From there he went on to Leipzig in 1836 to study with Carl Friedrich Becker. In Leipzig he met Robert Schumann, who encouraged him in his studies. They met again several times after that.
When he finished his studies, he began working as voice teacher at a music school in Prague. He did not stay there long, and in 1841 he moved to Budapest where he was employed as a piano teacher and a reporter for the Allgemeine Wiener Musik-Zeitung. He composed in virtual obscurity until 1852, when his Piano Trio in B-flat minor caught the ears of Franz Liszt and Hans von Bülow, who proceeded to play it several times all over Europe. In 1854 Volkmann moved to Vienna, only to return to Budapest in 1858.
Thanks to the publisher Gustav Heckenast, who in 1857 bought the rights to publish all Volkmann's works in exchange for regular income regardless of sales, Volkmann was able to fully dedicate himself to composition, until Heckenast closed down his Budapest publishing house in the early 1870s.
While visiting Vienna in 1864, Volkmann became acquainted with Johannes Brahms, and they became close friends. In letters they addressed each other as "lieber Freund" ("dear friend").
In the 1870s Volkmann began winding down his life, composing very little. From 1875 until his death, Volkmann was professor of harmony and counterpoint at the National Academy of Music in Budapest. (Franz Liszt was the director there). Volkmann died in Budapest on 30 October 1883.
Compositions
Piano
Six Fantasy Pictures, Op. 1
Dythyrambe and Toccata, Op. 4
Souvenir de Maróth, Op. 6
Nocturne, Op. 8
Piano Sonata in C minor, Op. 12
Buch der Lieder, Op. 17
Deutsche Tanzweisen, Op. 18
Cavatine, Op. 19/1
Barcarole, Op. 19/2
Ungarische Lieder, Op. 20
Visegrád, 12 musikalische Dichtungen (12 Musical Poems), Op. 21
Der Schwur (The Oath)
Waffentanz (Sword-Dance)
Beim Bankett (At the Banquet)
Minne (Love)
Blumenstück (Flower-Garden)
Brautlied (Wedding Song)
Die Wahrsagerin (The Sybil)
Pastorale
Das Lied can Helden (Song of Heroes)
Der Page (The Page)
Soliman
Am Salomonsthurm - Elegie (At Salomon's Tower - Elegy)
4 Marches, Op. 22
Wanderskizzen, Op. 23
Fantasia, Op. 25a
Intermezzo, Op. 25b
Variations on a Theme by Handel, Op. 26
Lieder der Grossmutter, Op. 27
3 Improvisations, Op. 36
Au tombeau du Comte Széchenyi – Fantaisie, Op. 41
Ballade, Op. 51/1
Scherzetto, Op. 51/2
Variationes Humoris Causa
Variations on the Rheinweinlied
Capricietto
Piano, four hands
Ungarische Skizzen for piano, four hands, Op. 24
Lieder der Großmutter for piano, four hands, Op. 27
2 pianos
'In der Mühle' , Op. 11/1
'Der Postillon' , Op. 11/2
'Die Russen kommen' , Op. 11/3
'Auf dem See' , Op. 11/4
'Der Kuckuck und der Weihnachtsmann' , Op. 11/5
'Der Schäfer' , Op. 11/6
7 ungarische Skizzen (7 Hungarian Sketches)
Zum Empfange
Das Fischermädchen
Ernster Gang
Junges Blut
In der Kapelle
Ritterstück
Unter der Linde
Die Tageszeiten, Op. 39
3 Marches, Op. 40
Rondino and March Caprice, Op. 55
Sonatina for 2 Pianos, Op. 57
Chamber music
Romance in E major for Violin and Piano, Op. 7
Chant du Troubadour, Op. 10
Allegretto capriccioso for Violin and Piano, Op. 15
Rhapsody for Violin and Piano, Op. 31
Sonatina No. 1 for Violin and Piano, Op. 60
Sonatina No. 2 for Violin and Piano, Op. 61
Capriccio for Cello and Piano, Op. 74
Piano Trio No. 1 in F major, Op. 3
Piano Trio No. 2 in B flat minor, Op. 5
String Quartet No. 1 in A minor, Op. 9
String Quartet No. 2 in G minor, Op. 14
String Quartet No. 3 in G major, Op. 34
String Quartet No. 4 in E minor, Op. 35
String Quartet No. 5 in F minor, Op. 37
String Quartet No. 6 in E flat major, Op. 43
Trio for Viola, Cello and Piano, Op. 76
Andante mit Variationen for Three Cellos
Romanza for Trumpet, Horn and Euphonium
Orchestra
Symphony No. 1 in D minor, Op. 44
Symphony No. 2 in B flat major, Op. 53
Konzertstück for piano and orchestra, Op. 42
Cello Concerto in A minor, Op. 33
An die Nacht, Fantasiestück for Viola and Orchestra, Op. 45
Fest-Ouvertüre for Orchestra, Op. 50
Serenade No. 1 in C for String Orchestra, Op. 62
Serenade No. 2 in F, Op. 63
Richard III, Overture for Orchestra, Op. 68
Serenade No. 3 in D for String Orchestra, Op. 69
Overture in C major for Orchestra
Choral Music
Mass No. 1 in D major, Op. 28
Mass No. 2 in A flat major, Op. 29
6 Songs, Op. 30
Offertorium: Osanna domino Deo, Op. 47
3 Songs, Op. 48
2 Songs, Op. 58
Weihnachtslied, Op. 59
Altdeutscher Hymnus, Op. 64
Kirchenarie, Op. 65
2 Songs, Op. 70
3 Hochzeitslieder, Op. 71
2 Works, Op. 75
Ich Halte Ihr Die Augen Zu
Abendlied
Lieder
5 Songs, Op. 2
3 Gedichte, Op. 13
3 Songs, Op. 16
3 Songs, Op. 32
3 Songs, Op. 38
Songs, Op. 36
Sappho, Op. 49
3 Songs, Op. 52
Vom Hirtenknaben, Op. 56/1
Erinnerung, Op. 56/2
3 Songs, Op. 66
6 Duets, Op. 67
3 Songs, Op. 72
An die Nacht
Quite a lot of Volkmann's music has been recorded. For me his best music is to be found in his 1st Symphony, which clearly influenced Borodin's 2nd (compare the opening pages!) It is a fine score, vital, propulsive and full of memorable music - absolutely worthy of revival today. For audio excerpts, follow this link (tracks 2 -5 for the Symphony):
http://www.jpc.de/jpcng/SESSIONID/14b4acb310a945e850299f20f7bd5e58/cpo/detail/-/art/Robert-Volkmann-1815-1883-S%E4mtliche-Orchesterwerke/hnum/6019596 (http://www.jpc.de/jpcng/SESSIONID/14b4acb310a945e850299f20f7bd5e58/cpo/detail/-/art/Robert-Volkmann-1815-1883-S%E4mtliche-Orchesterwerke/hnum/6019596)
You are right, Alan, the 1st is a remarkable work - even if I risk to rouse uproar: I prefer it to any Draeseke symphony. But I like the 2nd, too. It is lighter in mood and structure but nonetheless truly inspired music.
Is there any evidence, that Borodin actually KNEW the Volkmann 1st? Of course, it sounds as if he did but it would be nice to know if he really did!
BTW, the cpo cover states to present the complete orchestral works. That's wrong - as a glance at your worklist shows. Strange that they didn't consider a modern recording of the Konzertstück for piano op 42. The old one, from LP I think, clearly shows its age...
Volkmann's Symphony No.1 was given its Russian premiere in Moscow in 1864, so it's entirely possible that Borodin knew the work...
For me, Volkmann is not as original a composer as Draeseke, but then he really belongs to the previous generation. A better comparison would be with his contemporary Rufinatscha and here again I think Rufinatscha is ahead of Volkmann in originality (the former reaches his symphonic maturity in the 1840s with his 5th Symphony). Nevertheless, I think that Volkmann 1 is a very fine piece and ought to be in the concert repertoire today.
Tchaikovsky definitely did know at least one of the Volkmann symphonies and it is believed to have influenced either his own first or second symphony?... (hrm. at least if memory serves. Until I can confirm that should remove "definitely" there!)... but Tchaikovsky does mention playing through one of Volkmann's serenades (at the piano? with string orchestra? not sure.) in a letter May 21/June 2 1878 to von Meck. (This from an early edition of Tchaikovsky's letters available online.)
Quote from: Alan Howe on Saturday 22 October 2011, 22:40
Volkmann's Symphony No.1 was given its Russian premiere in Moscow in 1864, so it's entirely possible that Borodin knew the work...
Ah, fine! Borodin copied from Volkmann, de Boeck copied from Borodin, now we have to find the one who copied from de Boeck! ;) ;D
(Yes, I remember having read a review by Tchaikovsky.)
I first heard of Volkmann in the back-page catalog of an International Music publication (maybe a Bach cello suite transcribed for viola) where it mentioned several of his string serenades available from them; I knew Tchaikovsky's well from a recording (and was later to try to play it in a small string ensemble), so this caught my eye particularly, though it was awhile before I heard any of his music, I think.
Volkmann clearly inspired a lot of music!
Seriously, though, he was a very fine composer and should be much better known today.
I'm listening to the CPO set of Volkmann's orchestral works, and absolutely love what I'm hearing!
8)
I'm very glad. Volkmann's best music should certainly be re-admitted to the modern-day concert repertoire.
And his chamber music, the string quartets and piano trios, are really superb. I strongly recommend these magnificent works (all from cpo). You'll love it!
Seconded! Volkmann was the first vaguely 'unsung' composer I encountered 15 or so years ago. And it was the desire to acquire recordings of every single work by Volkmann that got me into the habit of devising all kinds of flimsy excuses to go visiting sometimes very distant record shops (all now closed down) and scouring every inch of shelf and grubbing around in deletions bins. Heavens, wonder how many hours in my life has been devoted to the task!
But, yes, Volkmann was a terrific find - and how sad it is that I've never seen his music - orchestral or chamber - included within a concert programme in the UK. There are some composers who seem destined to have an existence solely within a domestic record player or CD player, and that is a considerable shame. It is no more than an impression, but I always think that in the late 19th and early 20th centuries with far fewer concerts and orchestras there was in fact a far greater variety in works performed. True or false?
It seems the last time a Volkmann work was programmed at the Proms was 1904 (and only one other time, in 1899- the Serenade No.3 both times, according to the Proms Archive site). Still, something may have been performed elsewhere more recently, will check I think... Bachtrack.com doesn't turn up anything anywhere this year but that's hardly complete.
It sure sounds like Borodin was influenced by Volkmann. Until I picked up this CPO recording the only experience I had with Volkmann was the Overture to Richard III on the Battle Music Naxos recording. I've listened to the 1st Symphony all day and haven't even gotten to the other CD in the set. It is a wonderful work worthy of being performed. People would really like it.
Tom :)
Ah, I find a PDF from a group that gave what they call the "London "premiere""- second pair of quotes theirs - of Volkmann's B-flat minor trio back in 1995... (search on e.g. Google for Volkmann 1995 trio, or something like that. The group seems to be called The Chamber Music Society...
I'm surprised that Naxos hasn't recorded him other than on the battle music CD.
Tom
Well, hopefully that's a "yet".
His first symphony is top drawer in my book.
Tom
I've spent the morning comparing the Richard III overtures on the cpo and naxos labels. As far as I know the Battle Music CD is still available through classicsonline.
Tom
I really enjoy Volkmann's music, especially the two symphonies. They have a drama, sweep and concision that is almost unequalled in mid-romantic music. Unlike some of his contemporaries, Volkmann never settled for "pleasantness" alone in his music; there's plenty of substance to be found in it.
An excellent summary of Volkmann's strengths, if I may say so.
Quote from: Mark Thomas on Sunday 08 September 2013, 17:22
An excellent summary of Volkmann's strengths, if I may say so.
Thank you, Mark! :)
LateRomantic75, do you recognize a similarity between Volkmann and Goldmark? I do.
Can you explain in what way you think they are similar, Peter?
Quote from: Peter1953 on Sunday 08 September 2013, 19:50
LateRomantic75, do you recognize a similarity between Volkmann and Goldmark? I do.
Hmmmm.....Goldmark's music is generally less high-strung than Volkmann's, but they both show considerable melodic and structural talent. Also, there are folksy elements in some of Goldmark's works (most obviously in the
Rustic Wedding Symphony) that aren't found in Volkmann's music. On the topic of Goldmark, I found a lot of orchestral works of his (mainly overtures) on YouTube that aren't available commercially. They're all lovely works. :)
I'd say Volkmann's music falls in that interesting gap between Schumann and Brahms - alongside Raff, Dietrich, Goetz, Reinecke, etc. Goldmark is really half a generation later, with all that that implies for the development of his musical style.
Quote from: LateRomantic75 on Sunday 08 September 2013, 21:13
Quote from: Peter1953 on Sunday 08 September 2013, 19:50
LateRomantic75, do you recognize a similarity between Volkmann and Goldmark? I do.
Hmmmm.....Goldmark's music is generally less high-strung than Volkmann's, but they both show considerable melodic and structural talent. Also, there are folksy elements in some of Goldmark's works (most obviously in the Rustic Wedding Symphony) that aren't found in Volkmann's music. On the topic of Goldmark, I found a lot of orchestral works of his (mainly overtures) on YouTube that aren't available commercially. They're all lovely works. :)
A lot of those overtures on YT are probably downloaded from our Archives. :D
I've really been completely won over by his first symphony and the Richard III overture even though it is somewhat of a patchwork work. I'm fond of many of these overtures such as Hamlet Fantasy.
Tom
https://sdtom.wordpress.com/2015/03/14/richard-iii-overture-op-68volkmann/ (https://sdtom.wordpress.com/2015/03/14/richard-iii-overture-op-68volkmann/)
A short review of Richard III
Tom :)
I have been listening to some of Volkmann's piano music and piano duets. They are effectively salon music, but if you like salon music (as I do) they are very good, and I expect, very commercial in their day.
Have a listen to the Swedish Dances. A fairly short work (7+) each one is based on a province.
Tom :)
Since Goldmark is mentioned: I also allow myself to intrude with an out-of-theme subject to say that a splendid recording of 4 of his Overtures was pusblished by Hungaroton in 1985.
And about Volkmann: I adore his two Symphonies; that cpo recording including 2 Overtures and his Cello Concerto is also remarkable. And I like this music without always being in need to compare it without other contemporaries ;)
@eschiss1: Rubinstein, in his review of Tchaikovsky's Cantata "Kradosti" ("To Joy") writes: ... I will say only that Messrs. Reintahler and Volkmann would rejoice unutterably at this cantata, and would exclaim ecstatically: "our numbers have been increased!" (See: David Brown, Tchaikovsky, Vol.1).
QuoteAnd I like this music without always being in need to compare it without other contemporaries
Quite right!
QuoteSince Goldmark is mentioned: I also allow myself to intrude with an out-of-theme subject to say that a splendid recording of 4 of his Overtures was pusblished by Hungaroton in 1985
Thanks! I've duly ordered a copy.
I love Volkmann's music and I eagerly bought the CPO set of "Complete orchestral music", but was disappointed to find that it was NOT the complete orchestral music. The Konzertstuck for piano and orchestra was missing. This is a lovely piece, once available on Vox/Turnabout. That performance was OK, but we really do need a modern recording of this piece.
Dear Gareth, the Konzertstuck might eventually appear on the Hyperion RPC series.
Reading this thread, I thought I must get the set of the orchestral music; then I thought, "Surely I have it already?". A quick search of the shelves and there it was, unplayed for a long while. So having listened now to the first symphony, I am inclined to agree with the praise bestowed on it by the other posters here.
As to the opening, there is no question in my mind but that Borodin lifted it. How interesting! You never see mention of it in notes on Borodin's 2nd, nor is it pointed out in the notes on the Volkmann.
The influence on Tchaikovsky is also clear. The slow movement sometimes sounds as if it is going to wander off into the Pathetique.
There wasn't much written about Volkmann's string quartets here. Having listened to Nos. 2 and 5, I found them beautiful and enjoyable music in the most parts. The finale of No. 2 seems me a little problematic: It's not a bad conclusion, but though it is the longest movement of the work, its episodic structure and the Coda in modo brillante (which is too short and has only a superficial connection to the rest of the movement) make it a somewhat lightweight piece. But the previous movements are very fine. No. 5 is surely one of the most original string quartets written in the middle of the 19th century. It's fascinating, how Volkmann develops the permanently pulsating first movement from a simple semiquaver figure and how he varies the material of the second group everytime it appears. Similar variation procedures dominate the second movement. The third movement starts as a Scherzo with Trio, but then, after an Andante Intermezzo, develops into a furious Coda, which concludes the whole work. The third movement has on its way turned from a Scherzo into a Finale. This quartet makes me a striking impression.
Don't forget Volkmanns 200th birthday on 6th April!
Thanks for that post. Must get my copies out and have a proper listen...
Has anyone heard a Russian recording conducted by Rozdesvensky of the Richard III overture? I was told that it is outstanding.
Tom :)
The Rozhdestvensky performance of the Richard III Overture can be heard here:
https://www.youtube.com/watch?v=WGOPwVQr_r0 (https://www.youtube.com/watch?v=WGOPwVQr_r0)
It can also be heard in a Brilliant Classics 2009 (10) CD set - see e.g. http://www.worldcat.org/title/gennady-rozhdestvensky-edition/oclc/708263722 (http://www.worldcat.org/title/gennady-rozhdestvensky-edition/oclc/708263722). Of interest if one has access to a library with the set in its possession, anyways (Brown, Stanford, or another.)
Quote from: eschiss1 on Monday 30 March 2015, 13:03
It can also be heard in a Brilliant Classics 2009 (10) CD set - see e.g. http://www.worldcat.org/title/gennady-rozhdestvensky-edition/oclc/708263722 (http://www.worldcat.org/title/gennady-rozhdestvensky-edition/oclc/708263722). Of interest if one has access to a library with the set in its possession, anyways (Brown, Stanford, or another.)
I'm considering this but the cost is $40.00 for the 10 CD set. I did listen to the recording I was asking about and I was very impressed but also found three more versions to listen to on youtube.
Thanks for the info
Tom :)
Are we saying that the Rozhd. version of the Richard III Overture is superior to the Albert version on CPO?
I think of the three recordings the Rozhd. is the best
Tom :)
Any reasons, please?
Having taken into account the inferior audio from you tube I have the feeling that Rozhd. and the orchestra had a definite fondness for this work and the conducting and playing certainly conveyed that feeling. I could feel how exuberant they were. I only wish there was a way to get that one CD as I have many Shostakovitch recordings in my collection which takes up several CD's.
Tom :)
Interesting. I often feel that Rozhd. gets unwarranted short shrift from reviewers. I don't understand why you mention Shostakovich, Tom, but we must not get side-tracked! ;)
Any more recordings of Volkmann on the horizon, anyone?
I made mention of Shostakovich because to get the Richard III disc would mean the purchase of a 10 CD set which includes a fair amount of Shostakovich material. How do others on the forum feel about the different recordings?
Tom
Ah, sorry Tom, I missed that!
I need to make myself clearer sometimes
Tom :)
I know of no new commercial recordings of Volkmann on the way, but I see some new performances (not CD/LP/etc.-rips, but live performances from the last year-or-so) of works of his on YouTube, e.g. his 2nd serenade (https://www.youtube.com/watch?v=nC2CUWPWNRI) (from a Dutch television station? TVSoest?);
his cello concerto (https://www.youtube.com/watch?v=0i_decNJaEg) (Hila Karni, cello, Max Pommer, Hamburg Camerata).
His Schlummerlied Op.76 does form a small part of a 2013 concert given at Westmont College here (https://www.youtube.com/watch?v=MCeSxuYPFlE) (by a trio of viola, cello and piano, in that part of the concert).
Finally I have found a place, where some people are talking about Volkmann, who is my topic in my dissertation. :)
Welcome, Mazurka! Do tell us about your dissertation...
Volkmann's Symphony no. 1 is being played by the West Mendip Orchestra at Uphill, Weston-super-Mare, on Friday 22nd March. I'm in Exeter so could get there. No idea what the orchestra is like or how they came to choose this work. The similarity of the opening, which I've just listened to on YouTube, to the start of Borodin 2 has already been mentioned.
Details of the concert here:
https://west-mendip-orchestra.org.uk/
I attended the West Mendip Orchestra's concert on Friday and the Volkmann symphony seemed to be well received by the audience. Members of the orchestra I spoke to enjoyed playing it. The conductor liked to choose unusual works and was aware of Christopher Fifield's book on the German symphony, so perhaps he'll come up with one of the other works reviewed on this forum.
Good news - and an encouraging report. Thanks very much for posting this.