Rezension: “Polacca brillante” von Carl Maria von Weber
- 1. Hilarité, Polacca Brillante, composée par C. M. von Weber. (Wessel and Stodart, Frith Street.)
- […]
We have never estimated the piano-forte compositions of Weber so highly as his vocal and orchestral works. In the former his genius seems painfully bounded, – it appears to want the means of developement, and flies with unceasing activity to all parts of the instrument, as if endeavouring to escape from so circumscribed a field into one of ampler dimensions. His addiction also to unequal, jirking‡ notes, – to the dotted semiquaver alternately with the demisemiquaver – so apparent in all he has written for the pianoforte, together with his hurried passages of triplets, betray something like impatience; and whatever may have been the feeling that produced such results, they certainly do not excite the most agreeable emotions in the majority of well-judging hearers. This opinion is strengthened by the present Polacca (in e) which exhibits the peculiarities we have mentioned; though the author’s genius always will display itself in some shape or other, and often shines forth in the work before us, particularly in the cantabile, pages 2 and 3*, which is like a tranquil, beautiful episode, in the midst of a hurried, vehement oration.
[…]
The […] compositions are only adapted to superior performers; they are full of difficulties, and […] do not possess attraction enough to urge the less advanced player to any extraordinary exertions.
Editorial
Summary
Im Gegensatz zu Webers Vokal- und Orchesterwerken schätzt der Rezensent die Klavierwerke weniger. In der Polacca stört ihn insbesondere der punktierte Rhythmus des Hauptmotivs; das Cantabile-Thema hingegen wird gelobt.
Creation
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Responsibilities
- Übertragung
- Markus Bandur
Tradition
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Text Source: The Harmonicon, vol. 7, Nr. 1 (Juli 1829), pp. 163f.