What was Vienna humming, what was Paris enchanted by? - NOSPR

The term "Gassenhauer" in Beethoven's time referred to a melody hummed by everyone, a street hit whose origin had long been forgotten. The theme of the final variations in Trio Op. 11 comes from the popular late 18th-century opera L’amor marinaro ossia Il corsaro by Joseph Weigl. Who remembers it today? 

Jean Françaix's Trio na obój, fagot i fortepian, written in 1994, seems to look back at interwar Paris. Françaix remained unwavering in his neoclassicism throughout his life. Seeking to evoke the spirit of Paris, André Previn also composed his Trio in the same year, drawing inspiration from Francis Poulenc's compositions from the 1920s. 

Emerging from a maze of references stands out like a solitary araucaria tree, Heitor Villa-Lobos' Duet na obój i fagot from 1957. The Brazilian composer showcases his exceptional contrapuntal skill in this piece, woven deep into his unique style. 

Adam Suprynowicz 

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