And so to another fine composer...
Robert Fuchs (15 February 1847 – 19 February 1927) was an Austrian composer and music teacher. As Professor of music theory at the Vienna Conservatory, Fuchs taught many notable composers, while he was himself a highly regarded composer in his lifetime.
Biography
He was born in Frauental an der Laßnitz in Styria in 1847 as the youngest of thirteen children. He studied at the Vienna Conservatory with Felix Otto Dessoff and Joseph Hellmesberger among others. He eventually secured a teaching position there and was appointed Professor of music theory in 1875. He retained the position until 1912. He died in Vienna at the age of eighty.
He was the brother of Johann Nepomuk Fuchs, who was also a composer and conductor, primarily of operas.
Robert Fuchs taught many notable composers, including George Enescu, Gustav Mahler, Hugo Wolf, Jean Sibelius, Alexander von Zemlinsky, Erich Korngold, Franz Schmidt, Franz Schreker, Richard Heuberger, Robert Stolz, Leo Fall, Petar Krstic, Erkki Melartin, and Leo Ascher.
Notability
"Unfailingly tuneful and enjoyable, Robert Fuchs's piano trios are an easily accessible way to get to know a composer whom Brahms greatly admired," noted the magazine Gramophone. "In his time Fuchs was very highly regarded, with one critic famously pointing to Fuchsisms in Mahler's Second Symphony."
That his compositions did not become better known was largely because he did little to promote them, living a quiet life in Vienna and refusing to arrange concerts, even when the opportunity arose, in other cities. He certainly had his admirers, among them Brahms, who almost never praised the works of other composers. But with regard to Fuchs, Brahms wrote, "Fuchs is a splendid musician, everything is so fine and so skillful, so charmingly invented, that one is always pleased." Rarely, if ever, did another composer receive this kind of an accolade from Brahms. Famous contemporary conductors, including Arthur Nikisch, Felix Weingartner and Hans Richter, championed his works when they had the opportunity but with few exceptions, it was his chamber music which was considered his finest work.
In his lifetime, his best known works were his five serenades; their popularity was so great that Fuchs acquired the nickname "Serenaden-Fuchs" (roughly, "Serenading Fox").
Johannes Moser and Paul Rivinius recorded his Sonata No.2 in E♭ Minor, Op. 83 for Violoncello and Piano in 2006 for Hanssler Classic.
List of compositions
Orchestral
Symphony No.1 in C major, Op.37
Symphony No.2 in E♭ major, Op.45
Symphony No.3 in E major, Op.79
Serenade for string orchestra No.1 in D major, Op.9 (The American Symphony Orchestra gave the US premiere of the Serenade No. 1 (1874) on November 15, 2009.
Serenade for string orchestra No.2 in C major, Op.14
Serenade for string orchestra No.3 in E minor, Op.21
Serenade for string orchestra and 2 horns in G minor, Op.51
Serenade for small orchestra in D major, Op. 53
Andante grazioso & Capriccio for string orchestra, Op.63
Piano Concerto in B♭ minor, Op.27
Operas
Die Königsbraut, in 3 acts, Op.46 (1889) (librettist: Ignaz Schnitzer) premiered in Vienna[3]
Die Teufelsglocke, in 3 acts (w/o Op.) (1891) (librettist: Bernhard Buchbinder)
Choral works
Mass in G, Op. 108
Mass in D minor, Op. 116
Mass in F, without Opus number
Chamber
Quintet for clarinet and string quartet in E♭ major, Op.102
String Quartet No.1 in E major, Op.58
String Quartet No.2 in A minor, Op.62
String Quartet No.3 in C major, Op.71
String Quartet No.4 in A major, Op.106
Piano Quartet No.1 in G minor, Op.15
Piano Quartet No.2 in B minor, Op.75
Trio in F♯ minor for violin, viola, and piano, Op.115
Seven Fantasy Pieces for violin, viola and piano, Op.57
String Trio in A major, Op.94
Piano Trio in C major, Op.22
Piano Trio in B♭ major, Op.72
Terzetti (trios for two violins and viola) Opp. 61 nos. 1 in E minor, 2 in D minor
Terzetto in C♯ minor, Op. 107
Twenty Duos, Op. 55
Phantasiestücke, Op. 105 (16 duos)
Twelve Duets, violin and viola, Op. 60
Violin Sonata No.1 in F♯ minor, Op. 20
Violin Sonata No.2 in D major, Op. 33
Violin Sonata No.3 in D minor, Op. 68
Violin Sonata No.4 in A major, Op. 77
Violin Sonata No.5 in E major, Op. 95
Violin Sonata No.6 in G minor, Op.103
Ten Fantasy Pieces for violin and piano, Op. 74
Viola Sonata in D minor, Op. 86
Six Fantasies for viola and piano, Op. 117
Cello Sonata No.1 in D minor, Op. 29
Cello Sonata No.2 in E♭ minor, Op. 83
Seven Fantasy Pieces for cello and piano, Op. 78
Double Bass Sonata, B♭ Major, Op.97[4]
Three Pieces for Double Bass and Piano, Op.96[5]
Solo Organ
Fantasia in C major, Op. 87
Fantasia in E minor, Op. 91
Fantasia in D♭ major, Op. 101
Variations and Fugue on an Original Theme
Piano
Improvisation for Piano, Op. 11
Piano Sonata No.1 in G♭ major, Op. 19
Piano Sonata No.2 in G minor, Op. 88
Piano Sonata No.3 in D♭ major, Op. 109
Jugendklänge, Op. 32
Twelve Waltzes, Op.110
Dewdrops (Tautropfen), Thirteen Pieces for Piano, Op. 112
Harp
Harp Fantasy, Op. 85
For those interested primarily in orchestral music, try his wonderful Piano Concerto (Hyperion for a good, standard reading, c/w the Kiel PC; cpo for a more expansive performance, especially in the slow movement) or the 3rd Symphony (Botstein's excellent recording, only available as a download). Otherwise, most of his best stuff is chamber music and it is all of an unfailingly high standard...
A fine composer, indeed! I love his First Symphony -- lots of character and quite involving. The other two are lovely as well.
have heard part of one of his masses (I forget if it was a live or virtual performance, was some while ago and it was sent to me online) and it sounded fine. Some care needs to be exercised as sometimes works of Richard Fuchs, who composed a lot of choral music, are attributed to him (perhaps by librarians who have never heard of Richard Fuchs- Joseph Kaspar Raff anyone?) but Robert Fuchs did still write, it seems, a reasonable amount of vocal and choral music at least some of which might be fine also. (I also favor his solo and duo sonatas, what I've heard of them; but I think my favorite work of his might be his 4th string quartet, especially as the Minguet Quartet plays it! )
Didn't we establish that there area couple of "student" symphonies, too?
Well, one in B minor is mentioned as having been performed in a source I've seen, and I gather another is believed to have existed but I don't recall offhand if they exist in any form even in the Austrian National Library (which in my opinion has the largest collection of Robert Fuchs manuscripts etc.)
I like to mention the 3 Piano Sonatas opp. 19, 88 & 109, played by Daniel Blumenthal and released on two MP discs. Wonderful works, especially Nos. 2&3. Warmly recommended!
I vaguely recall asking if they'd be made available again on Naxos and at the moment I gather the sonatas and some other releases in which Blumenthal participated will not, but I may be and hope I am mistaken? I have the cello sonatas disc and the piano sonatas also and am glad I heard them before they went NLA.
The slow movement of piano sonata no.3 makes me think of some Schubert sonatas- maybe the slow movement of the one that used to be called Phantasie (D894?) Just the mood, I think- well, maybe an almost-quote, but- mainly the mood... (I think all 3 sonatas are at IMSLP if some pianist wants to have a go. I hope someone will. Likewise 3 of the string quartets - the 4th wasn't published until 1925, unfortunately for copyright porpoises.)
(I still haven't heard the first two piano trios- except for the first movement of no.2 in B-flat, which I made a MIDI of after borrowing the score, and enjoy very much (did the same with the whole of quartet 3 in C before the Minguet recording of the quartets was announced, and thought likewise...). The third trio- with viola- can be downloaded for free at IMSLP. Though I know a recording by the Gould Trio exists of the first two.)
(Likewise have only heard the last of the 6 violin sonatas I think - maybe one of the others as archived on Concertzender, not sure - a lovely and memorable piece I think, though, the 6th. I think William Newman's writing in The Sonata Since Beethoven pointed me over way of this composer, and I'm glad of it... )
Hans Rott was one of the notable composers taught by Robert Fuchs. He was quoted by Mahler's mum as saying Rott's work was better than Gustav's.
Slight correction: the US premiere of the Serenade no.1 was given*, not in 2009 by the American Symphony Orchestra, but much earlier, in 1877 by the New York Philharmonic, conducted by Leopold Damrosch. That makes more sense (well, sort of.), doesn't it? They have the marked parts in the NY Phil digital archives and everything, and the date is listed (as "Serenade", not serenade no.1, so it could be serenade no.2 which was also published by then- but the parts are rather good corroborative evidence...) in an online list of NY Phil US premieres...
*I will admit I am not 100% certain of this :)
Fuchs was also Franz Schreker's teacher.
His three Symphonies ara available on 2 THOROPHON CDs (issued 1995-6), coupled with the "Des Meeres und der Liebe Wellen" Overture and "Andante Grazioso und Capriccio" for Strings. The Mährische Philharmonie is conducted by Manfred Müssauer. Catalog numbers CHT 2268 and 2260. It's incredible how Fuchs' pupils became much better composers than he!
Why incredible? Isn't that the way it should be? That a student should outdo a teacher is the way it's supposed to be, at least the examples of it are plenty. Hans Swarowski was a great teacher, but a mediocre conductor himself. Thanks to him we had Abbado, Mehta, and plenty of others. Gustav Meier in Michigan also has turned out many fine conductors. Dorothy Delay at Julliard was not a violin virtuoso, but several generations of superb concert violinists learned from her. Like they say, those who can, do. Those who can't teach.
Then there are those teachers who can't teach. Like George Szell. Look at the long list of students chosen for his academy and only one, James Levine, seems to have made it to the top. Even Reiner at Curtis had only one student who approached him - Bernstein.
QuoteHans Swarowski was a great teacher, but a mediocre conductor himself.
I disagree profoundly. His
Ring cycle is superb. Anyway, back to Fuchs...
If one's going to evaluate Fuchs' music, please let it not be on the basis of those recordings of his symphonies (I like them well enough, but if pressed, probably will have to agree, faute de mieux- and in the case of no.2, it's no longer a case of that, either). One can hear another recording of his 2nd symphony in the Downloads section of this site, or listen to e.g. much better performances and recordings of his string quartets on MDG, in my opinion...
I also consider Swarowski an excellent conductor! Conductor Ralf Weikert (a pupil of HS), who is a friend of mine, can ascertain this with more proofs that I have :-)
Yes, agreed. We need better recordings of the Fuchs symphonies than those on Thorofon. And I'm glad to hear from a conductor that Swarowsky was indeed a fine practitioner of the art.
Here's a detailed (and fascinating) article about Swarowsky's recorded legacy:
http://www.musicweb-international.com/classrev/2014/Jul14/Swarowsky_forgotten.htm (http://www.musicweb-international.com/classrev/2014/Jul14/Swarowsky_forgotten.htm)
I find Fuchs a greatly under-rated composer. He may not be showy, but I find his music to be solid, characterful, and most satisfying on repeated listening.
Fuchs still hasn't had his day; he is a far, far better composer than most know. Particularly in the realm of chamber music, I would consider him nearly the equal of Brahms or any others of his generation. His later works are particularly exquisite. Fuchs has not been especially well served on recordings; the Thorofon symphonies come to mind. So, do keep an open mind; there are treasures here to be discovered.
Agreed. Fuchs' achievement lies predominantly in the field of chamber music - which means, in my view, that he will probably never 'have his day'. The symphonies are enjoyable, but not great works: there are finer unsung late-nineteenth century symphonists. So I think Fuchs will always remain a minority pursuit.
Having said which, I'd forgotten the PC. Now that's a really fine piece...
Quote from: Alan Howe on Saturday 19 July 2014, 17:06
Agreed. Fuchs' achievement lies predominantly in the field of chamber music - which means, in my view, that he will probably never 'have his day'. The symphonies are enjoyable, but not great works: there are finer unsung late-nineteenth century symphonists. So I think Fuchs will always remain a minority pursuit.
Having said which, I'd forgotten the PC. Now that's a really fine piece...
It is, and was reviewed rather dismissively when the Hyperion recording appeared. But it was his chamber music that first attracted me to Fuchs, and I agree that such as indeed his pre-eminent metier.
That said, I have been enjoying the orchestral serenades recently, especially No. 3.
just heard the first serenade (maybe for the first time) over the radio on the net a few weeks ago, myself- good stuff. Of the chamber works I know I adore the string quartets (esp. nos. 1 and 4), the 6th violin sonata (but I don't yet know the others- I know there's a recording of nos.1&6 and a complete recording of the set) - the 3rd piano trio (op.115, with trio) (free recording on IMSLP) is quite good too; the cello sonatas used to be available in two good recordings - I had the one on Marco Polo - but neither is still available. And 3 piano sonatas, of which I especially enjoy no.3 in D-flat (which occasionally really reminds me somehow - a little?... - of certain quiet, poetic moments in Schubert's middle-lateish piano sonatas - not the last three, but maybe the G major D.894) - played well also on Marco Polo (but I'm sure others could and might give them a try... I think the scores of many of these works are at IMSLP...)
My favorite set of The Brahms Symphonies is by Swarowski! Fabulous renderings. I will need to look up the orchestra..
The orchestra is the 'Süddeutsche Philharmonie' - whoever they may be. Probably a known band given a fictitious title, or maybe a pick-up orchestra of some kind. Anyway, they don't exist as such.
I have an old LP of Stokowski conducting the "London Stadium Orchestra" - good luck tracing the history of THAT band!
Dear friend that wish to know more about Fuchs, in recordsinternational.com there are some cd's very interesting that show us, Fuchs talent for charming miniatures. Sommermarchen op 39 was one of his first works for Simrock where Brahms recomended him, this cycle is dedicated to Eduardo Hanslick, the famous critic! Friend of Brahms but don't of Bruckner.. :(, >:(, Op 43 Herbsblatter, Impromptus op 11 & op 30, Phantasieskizzen op 49 (first book) And Neu Phantasiestuck op 89 (first book), preludes And fugues op 34 dedicated to great Alfred Grunfeld (If my memory don't fail me, the first pianist in recorded (around 1897). He was teacher of very importants composer as Sibelius, Mahler, Melartin, Wolf, Zemlinski, etc. Surely for interesting reasons they searched him. It's Sade that some much pianist don't turn to his legacy..
For If anyone has interest
Virtual Fuchs, Vol. 4
ROBERT FUCHS (1847-1927): Herbstblätter, Op. 43 (Books 1 and 2), Neue improvisationen, Op. 30 (Book 1).
Catalogue Number: 09P075
Label: Engel Records
Reference: no catalogue number
Format: CD
Price: $10.98
Description: The latest volume in this series of computer-generated Romantic piano music.
The link in Records International:
http://recordsinternational.com/cd.php?cd=09P075 (http://recordsinternational.com/cd.php?cd=09P075)
Has there been any word lately that new recordings will be made of his symphonies?
Dear friend,
I know only the Thorofon released of his three symphonies. I like very much the Fuch's music. NAXOS released recently the string Serenades. Do you know more about more symphonic releases?
Yes, I was able to find the Thorofon recordings. Somewhat old, but finally waited around until I could get them cheaper than what many online sellers were selling them for.
I am very pleased that some members have mentioned Fuchs's Serenades in this thread. My first encounters with Fuchs's music were via the Serenades. Initially I bought the 2 Naxos CDs of Serenades nos 1 - 5, which I loved and played constantly! I could easily understand why he was known as "Serenaden-Fuchs", due in part to the enormous popularity of Serenade no 1. This led me to purchase the disc coupling the PC with Serenade no 5. I was however slightly disappointed with the fifth serenade (I now had 2 versions of this work!) as I felt that it lacked the inspiration and musicality of the previous 4 serenades! I also purchased the Thorofon CD of his 3rd Symphony! I like Fuchs's music but have to confess that it's the Serenades 1 to 4 that I really love! Reading this thread reminds me to get out the serenades again and listen to them! It's been quite a while since I listened to them last!
My recommendation for a next Fuchs disc remains with either of the recordings of his string quartets (2 CDs, quartets 1 &2 , 3 & 4) on MDG, played really well by the Minguet Quartet and recorded very well too; possibly a better purchase than the Thorofon disc with no.3 which has received some - maybe deserved - and sharp criticism on grounds of performance and recording (I admit I may have a bit of a tin ear as it doesn't sound all -that- bad to me, but I can still maybe hear where they're coming from anyway.) (Though if you get the Thorofon disc you do get a lovely tone poem whose momentary archaisms made me think just a little of some of Debussy's Sebastien music- maybe not the most useful or helpful of comparisons though you'll hear what I mean, I think. Magnard's 3rd symphony (opening) may be a closer analogue (in time also) to what Fuchs seems to be trying at the opening of Des Liebes. While not some sort of Styrian answer to Fauré, he could still have a fairly subtle ear for harmony, I think.)
I noticed when reading the many posts on this thread that you said, Alan, that you had forgotten about the PC and that it was a really fine piece! I too had forgotten about the PC, partly because I didn't rate it all that highly. Your comment made me get the CD out again and give the PC another listen. I was surprised to discover that the PC was much better than I had remembered - tuneful, nicely scored and an enjoyable listen! Another of those cases where a piece of music must be given time to breathe -give it a listen, wait some time, then come back to it. This is not the first time that I have changed my mind about a work I initially didn't care much for! There's a lesson to be learned there! Also, I had mentioned in a previous post in this thread that I had a number of CDs of Fuchs's music but I only mentioned Symphony no 1! I have since discovered that I also have the Thorofon CD of symphonies nos 1 and 2! In view of my latest experience with the PC I am going to give the symphonies another spin! Perhaps I will change my earlier opinion of these works as well? UC you have trained me well!
The symphonies are fine pieces, but I dare to suggest that the PC is better than any of them. Of course, it may be that the Thorofon CDs don't really give the symphonies a chance to shine.
You may find that this download-only version of Symphony No.3 is worth a listen:
http://www.amazon.co.uk/Fuchs-Symphony-No-Op-79/dp/B004B4UW0E/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1420478328&sr=1-1&keywords=fuchs+botstein (http://www.amazon.co.uk/Fuchs-Symphony-No-Op-79/dp/B004B4UW0E/ref=sr_1_1?s=dmusic&ie=UTF8&qid=1420478328&sr=1-1&keywords=fuchs+botstein)
I actually have a fondness for Fuch's 1st Symphony. That opening theme is totally haunting.
I like very much the Sym 1&2, the first won the Schubert medal. I don't remember well the correct name!! The PC was dedicated to Brahms. I enjo y very much the Fuchs music!! ;D
The violin sonates are well crafted pieces and I like me so much too
I gather that amazon link may also be available for free on iTunes (at least, I've heard that some of Botstein's performances have been made available so- that's one of his, yes?- he's doing fine work!...) - though I've considered using [what little is now left of :) - ah well! ] my Amazon.com giftcard-balance to get something from that part of their offerings sometime (haven't got an iTunes balance and don't like the no-copy policy I've heard about there- not even onto my iPod?? erm?... what?...)
I recall that the Hyperion CD of the piano concerto got very lukewarm reviews when it came out. Quite undesreved in my opinion; I find it a very well-constructed, original and memorable piece.
Quite right. A case of cloth ears on the part of the reviewers, maybe...?
Quote from: Alan Howe on Thursday 08 January 2015, 03:47
Quite right. A case of cloth ears on the part of the reviewers, maybe...?
I think it is more the silent tendency of reviewers to reason, "If this were good it would be famous. It's not famous so it can't be good". Maybe it is not conscious reasoning, but it's there. The reverse also holds true, so no-one dares call something rubbish if it is by someone famous. It's a herd instinct, I guess.
You may well be right. Of one thing I am convinced, however: that critics don't spend enough time digesting important unsung music before they submit their reviews. What they are most often guilty of is superficial and hasty judgment...
How right you are, Alan.
Then as now, now as then, thinks "Serenaden-Fuchs".* :):)
*The point may not be clear...
I like the Fuchs serenades I've heard, but they were, I gather, his calling-card works (maybe not the expression I want; the works with which he was identified) during his lifetime whether he wanted it so or not, at the expense of other works he himself (and I, I'll admit) value(d) more. Critics were partially to blame for this, and at least one contemporary review of his first string quartet - a quite good work in my opinion and very memorable (well, ok, in the performance I've heard, maybe not in the performance the critic had the chance of hearing) - does suggest a critic who expected something more like the recently published and performed 4th and 5th serenades, iirc. I think...
Belatedly as usual-
I now discover there -is- a book about Fuchs. (This sort of thing interests me ...)
It's in German, a language I only very barely know (thank goodness for- well, working hard, online translators, doing the best one can, I suppose.)
It's by Adalbert Grote, and the title is "Robert Fuchs : Studien zu Person und Werk des Wiener Komponisten und Theorielehrers". Published in 1994 by München : Musikverlag E. Katzbichler; Berliner musikwissenschaftliche Arbeiten, Bd. 39. The university ilbrary up the hill from me seems to have a copy, and might interloan me a copy at the public library near me (when my queue of interloan requests runs down) if I ask nicely and if it isn't a reference book, non-loan book (need to double-check that.) (Though even if it is, maybe some other library that loans to us has it as a loanable book. I do know I'm fairly interested in having a look, now I know of it. Even though a roughly similar book about Nicolay Myaskovsky (for instance...) was only available in Russian and German, I was very, -very- glad to be able to interloan a copy of the German translation of it last year; I still learned a lot.) I know there aren't that many people quite that interested in Fuchs' music around here, but thought I'd mention.
(But even for people with other composers in mind, I mention this; worth noting that if you haven't already thought about it- you probably have, but ok, not everyone (I should have by now, but that's on me)- if you have a Romantic-era composer (ok, or three or five) over whose music you most seriously "obsess" (sort of ;^) ) there may be some significant research sources you haven't even thought of looking into yet, whose existence may prove remarkably easy to discover. I just plugged the name into Worldcat, entered some constraints ("music", quotes around the name, "book", etc.) and there it was early on...)
This latter book (Grote, 1994) has now arrived (along with a book on Marcel Rubin; both in German, but I can fake it. Sort of. I also ordered/interloaned a French 1940s B minor symphony a recording of which was uploaded here awhile back, but got Tchaikovsky's "Ukrainian" instead. (So goes, sometimes.))
Looking forward to reading the Fuchs- the latter half of which is filled with music excerpts from Fuchs, Jenner, Dessoff, Herzogenberg et al. ... including e.g. the whole first movement of Fuchs' first piano sonata op19, five pages from Op.20, 3 pages from Dessoff's sonata op.3, 10 pages from the Allegro moderato, ma energico of Fuchs' 2nd symphony... etc. :) )
(Oh, and 2 complete movements (first movement and variations), one annotated heavily, from Fuchs' D minor violin sonata op.68, are also in the back of the book. Nice :) )