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Serenade Op.12 (4 Vc.) - Louis de Stainlein

Serenade Op.12 (4 Vc.)
Serenade Op.12 (4 Vc.) Serenade Op.12 (4 Vc.)
edited by Yvonne Morgan
Amadeus Verlag
Meer van deze uitgever
Louis de Stainlein 1819-1867
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4 en meer Cello's
Amadeus Verlag Cello Ensemble
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Serenade Op.12 (4 Vc.) - Louis de Stainlein

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The guild of those 19th century composing violoncello virtuosos whose rich inventiveness exhausted the specific timbre and technical possibilities of their instrument includes, besides the great protagonists of the genre like Bernhard Romberg, F. A. Kummer and J. J. Fr. Dotzauer, Louis de Stainlein, whose present Sérénade / pour / 4 Violoncelles / par / le Comte / LOUIS DE STAINLAIN. / OP. 12 / No. 14312 [Pl.-Nr.] / MAYENCE / chez les fils de B. Schott., dedicated to Conservatoire director and cellist Adrien-François Servais, was published in 1856 as an undated print of the parts. The work's four programmatically titled movements are based on songs and dances from Belgium, his temporarily adopted country. Louis de Stainlein was born in Hungary on 3 July 1819, the son of Count Cornelius von Stainlein-Saalenstein, envoy and approved minister of the Bavarian king. The young count received a brilliant education, which included the arts He completed his military service with bravura. He taught himself the cello. In addition, he won plaudits and recognition from the press and the public for his own chamber music, produced with dilettante zeal and performed from time to time on his wonderful Stradivari cello. He did not hesitate, either, to ask illustrious composers to judge his compositions; this included Felix Mendelssohn, whom he met repeatedly and with whom he enjoyed a close friendship. He undertook frequent concert tours to French-speaking regions, travelling as far as Nice. Every now and then he would retire to his Hungarian estates. Louis de Stainlein died in Angleur-lez-Liège, Belgium, on 22 November 1867. Foremost among his compositions, well worth republishing, is the chamber music for strings, for instance the luxuriant string sextet in G major, op. 20, the two string quartets of 1856 op. 10 in G major and op. 11 in C major (highly praised by Meyerbeer), as well as the d minor string quintet op 16, stylishly evocative of Mendelssohn. Not to be forgotten either are his lively piano trio op. 9 in C major and his lyrical cello sonata op. 8 in g minor of 1853.

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