I. INTRODUCTION

Salomon Jadassohn, once known to generations of music students for his music theory writings, was forgotten as a composer soon after his death. At one point, however, Jadassohn was regarded as the leading composer of the so-called Leipzig School alongside Carl Reinecke. As an instructor at the Leipzig Conservatory, he enjoyed an outstanding reputation as an educator of many famed, future composers. Unfortunately, Jadassohn was a Jew, and like other composers who had similar backgrounds and traditional musical inclinations, his reputation was quickly eclipsed by the evolving nature of classical music toward the turn of the century. Jadassohn's music was subsequently banned by the Nazi regime, effectively plunging the composer into near total obscurity. [1]

 

II. BIOGRAPHY

Salomon Jadassohn passed his years of study partly at home under Hesse, Lüstner and Brosig, partly at the Leipzig Conservatorium (1848), partly at Weimar under Franz Liszt, and again, in 1853, at Leipzig under Moritz Hauptmann. [2]

Being Jewish, Jadassohn was at first unable to qualify for the many church jobs which were usually available to graduates of a conservatory such as Leipzig. Instead he worked for a Leipzig synagogue and a few local choral societies as well as teaching privately. Eventually he was able to land a position in the Conservatorium as teacher of harmony, counterpoint, composition, and the pianoforte. In 1887 he received the honorary degree of D.Ph. from the Leipzig University, and in 1893 was appointed Royal Professor.

Among his many students were Grieg, Busoni, Delius, Karg-Elert, Reznicek and Weingartner. [3]

REASON(S) FOR NEGLECT
Jadassohn scholar Klaus-Peter Koch believes that Jadassohn and his music were not better known primarily for two reasons: The first being Carl Reinecke and the second being the rising tide of anti-semitism in late 19th century Wilhemine Germany. Reinecke was almost Jadassohn's exact contemporary and somewhat of a super-star. Not only was he a world famous piano virtuoso but also an important professor at the Leipzig Conservatory and later its director. If this were not enough, he served as the conductor of the renowned Leipzig Gewandhaus Orchestra. Under these circumstances, it was hard for a colleague to get the public's attention.

Koch notes, that toward the end of the 19th century, anti-semitic critics attacked Jadassohn's music, labeling it academic and dry, an epithet which has stuck with it ever since without anyone ever investigating. However, Salomon Jadassohn's chamber music reveals that he was arguably a first-rate composer who unfortunately was never really given a chance to promote his music. [3]

 

III. COMPOSITIONS / WRITINGS

Salomon Jadassohn's compositions are varied and numerous, reaching to well over 100 opus numbers. His skill in counterpoint is shown in an orchestral serenade in canon, Op. 35; in two serenades for piano, Opp. 8 and 125; in the ballet-music, Op. 58 for piano duet; and in the vocal duets, Opp. 9, 36, 38 and 43. Four symphonies, orchestral overtures, and serenades, two piano concertos, four trios, three quartets, three quintets, a sextet for piano and strings, two string quartets, are among his instrumental works; and of his choral works the following may be mentioned: Psalms XLIII, and C (8-parts), Vergebung, Verheissung, Trostlied, Johannistag and An dem Sturmwind. As a private teacher Jadassohn was highly esteemed, and his many theoretical works have passed through many editions, and have been translated into English, French and Italian. The chief of these are his Harmonielehre (1883), Kontrapunkt (1884), Kanon und Fuge (1884), Die Formen in den Werken der Tonkunst (I889), and Lehrbuch der Instrumentation. [2]

 

IV. RECOMMENDED LISTENING

Jadassohn's works which I find most worth listening to:

Symphonies ―Jadassohn's symphonies, as with the rest of his music, is somewhat conservative, as one would expect from a founder of the post-Mendelssohnian Leipzig school. Unlike so many of his colleagues, Jadassohn, who composed these four symphonies between 1860 and 1888, keeps all of their elements in scale. They are brief (about thirty minutes maximum), immaculately scored, tuneful, and not afraid to be light without ever turning frivolous. Indeed, in their day these works were criticized for their lack of profundity; today these things are seen as a boon. Jadassohn's symphonies may not be groundbreaking, but they are wisely written, attractive pieces and for that reason well worth getting to know.

The Brandenburg State Orchestra under Howard Griffiths performs Jadassohn's symphonies quite well in this CPO CD. Unique contributions from the woodwinds and a generally nice, clean ensemble are characteristics of the recording. Also included are the two Cavatinas; Thomas Georgi (cello) and Klaudyna Schulze-Broniewska (violin) play sensitively and don't overload their predominantly gentle solo lines. The sonics are also naturally balanced and warm. [4]

Symphony No. 4, Op. 101 -

Cavatine, Op. 120 -

Piano concertos ―Jadassohn's two piano concertos are built on the same pillars as the more familiar concertos from the era: big themes, colorful orchestration, and heroic virtuosity for the soloist. They are musically conservative, with less chromaticism and tighter forms, but nevertheless sincere and well-structured.

Both of Jadassohn's piano concertos are included as part of Hyperion's Romantic Piano Concerto series, paired with Draeseke's only entry in the genre. Pianist Markus Becker with the Rundfunk-Sinfonieorchester Berlin under Michael Sanderling give these works justice with fine playing and great intonation. [5]

Chamber music ―More specifically piano trios, quartets, and quintets (IMO Jadassohn's utmost speciality).

Piano Quartet No. 1, Op. 77
This is what Edition Silvertrust has to say of the Op. 77:

"Jadassohn's First Piano Quartet dates from 1884 when he was at the height of his powers. The opening movement, Mesto - Allegro agitato, begins with a slow, brooding and somewhat sad introduction, which quickly builds excitement and tension, and then gives way to the Allegro. Tonally rich, written for all of the voices in their mid and low registers, Jadassohn achieves a satisfying fullness. The second movement is an updated and brilliant Mendelssohnian Scherzo, allegro vivace. Light and airy, goblins can be heard dancing. The Quartet's center of gravity is clearly its slow movement, Adagio. The lovely opening theme has a valedictory quality to it. Painted on a broad tonal canvas, the music proceeds along quite leisurely, taking its time to slowly build to a dramatic climax in its middle section. The part writing is clearly outstanding and, of its type, surely the equal of anything else written. The finale, Allegro con brio, might well serve as a textbook example of how to bring a work to a successful conclusion. Warm and big-shouldered, the genial melody and tonal writing are all that one could ask for." [3]​

This is a first-rate piano quartet; it compares to anything contributions made in the genre by Dvořák or (dare I say) Brahms.

I. Mesto - Allegro agitato.

II. Sherzo. Allegro vivace.

III. Adagio.

IV. Finale. Allegro con brio.

Piano Trio No. 4, Op. 85
Dating from 1887, the opening Allegro energico of the trio begins with a powerful theme full of emotion first given to the cello. Writing is highly imaginative and goes from large scale dramatic episodes to more intimate lyrical moments. The light and playful Scherzo which comes next has the vague influence of Mendelssohn about it without being imitative; a jolly trio section provides a fine contrast. The long, spacious and highly lyrical opening theme to the slow movement, Adagio sostenuto, begins low in violin register and moves forward slowly with dramatic tension. In the finale, the piano lays the dramatic groundwork for a big opening theme which is taken over by the strings. Along the way, soft charming, lyrical episodes are dispersed with powerful dramatic outbursts. [6]

A masterpiece by a composer who clearly knew what he was doing.

I. Allegro energetico.

II. Scherzo.

III. Adagio sostenuto.

IV. Finale. Allegro appassionato.

Piano Quintet No. 3, Op. 126
Once again, Edition Silvertrust gives high praise:

"Jadassohn's Third Piano Quintet was first published in 1895. The opening movement, Allegro energico, begins with great force with double-stops in all of the voices followed by rushing 16th note passages all of which create a sense of urgency. Jadassohn's development is masterful. The lovely second theme then appears almost without notice. The second movement, Andante tranquillo, has for its main theme a gorgeous and highly romantic melody introduced first by the strings alone. The mood remains calm for many measures before at last romance turns briefly to passion. A scherzo, Allegretto non troppo vivo, follows. It is actually a gypsy rondo with rich and full tonal effects. The finely contrasting middle section is a lovely cantabile song. The finale, Allegro appassionato, begins in a somewhat similar mood as the first movement but the themes flow more effortlessly. Power. lyricicism and playfulness alternate. Jadassohn even includes a brief quote from the wedding march of Mendelssohn's Midsummer's Night
Dream, but in the minor!" [7]​

A very fine / masterpiece piano quintet, what I've come to expect of Jadassohn in this genre.

I. Allegro energico.

II. Andante tranquillo.

III. Allegretto non troppo vivo.

IV. Finale. Allegro appassionato.

As you can see, the CD that contains these three works is a must-buy for anyone that wants to get to know Jadassohn's music better. Playing is as superb as the works are themselves. The CPO symphonies CD is also well worth investigating. If you give anything a listen, I woud love to know what you think - feel free to reply.

 

V. FURTHER READING

Many of Jadassohn's music theory writing such as A manual of harmony, A Practical Course in Ear Training, and Das Wesen der Melodie in der Tonkunst, among others, are available for purchase today. If you are interesting in further reading, Jadassohn's books give an insightful look into what music practice was like in the late 19th century.

 

That's great, Portamento, thank you!

If I can give any contribution at all. I would also mention Jadassohn's work as transcriber.
He made very nice transcriptions of Bach, Beethoven, Schubert, Schumann, Brahms and Wagner (for 4 hands and also for 2 hands) which I have found quite interesting to read.

I know some people often mention they do not care much for transcriptions, and that is sad, but it is easy to understand.
Anyway, no matter the taste, it is interesting to note that this kind of work always reflects which composer influences the composer who is doing the transcription. So we learn more about which composers and works were important to him.

And it is always nice remember that every great composer between the most famous ones we know today made transcriptions, including Bach, Mozart & Beethoven. So unfortunately part of the public often underrate the art of transcription.

All the best
Artur Cimirro

 

And it is always nice remember that every great composer between the most famous ones we know today made transcriptions, including Bach, Mozart & Beethoven. So unfortunately part of the public often underrate the art of transcription.

That is very true. Unfortunately I am also somewhat guilty of underrating transcriptions (except for Busoni and Liszt). I haven't seen or heard any of Jadassohn's transcriptions; I will have to check them out.

 

I have a Toccata Classics disc of the Jadassohn Piano Trios nos. 1-3 and am very impressed the works.

 

Have you had time to listen to the YouTube videos I linked of Piano Trio No. 4 (Post #5)? It is a shame that the Syrius Trio only recording nos. 1-3 because I find the fourth to be Jadassohn's best piano trio.

 

Thanks for this great Jadassohn review. It reminded me that I had actually purchased the Hyperion disc (download version) originally just for the Draeseke concerto, but had unjustifiably ignored the Jadassohn piano concertos.

 

Thanks, Portamento. Jadassohn is worth knowing. Of the works you give us, I'm most impressed with the piano quartet and quintet, which I think just miss the level of similar works of Brahms and Dvorak. In the symphony I noticed a certain squareness of melodic period structure which reminds me of Mendelssohn in his more prim, "Protestant" moods, but there's generally enough fresh invention to save the music from triteness or sentimentality. It's interesting to see that this work dates from 1887, but sounds as if Jadassohn had never heard a note of Wagner. He really does represent the conservative side of 19th-century German music. Nothing wrong with that. I'll enjoy hearing more.

 

Thank you for this thread I suddenly remember having this one: Jadassohn: Symphonies Nos. 1-4CPO: 7776072.
It's a a wonderful double CD.
Going to give it a spin later.

 

Just curious - has anyone other than Woodduck listened to the YouTube links which I posted? If you do not have time for all of them, I recommend starting with the Piano Quintet, Op. 126. Would like to know what more of TC thinks of Jadassohn.

 

I did spin this one in the last two days, one disc a day.

 

So... what do you think? Did you like the music? How would you rate Jadassohn compared to other 18th century German composers? Also (if the videos I have linked in Post #5 aren't blocked in your country) what do you make of the piano trio, quartet, and quintet (especially the quintet)? So many questions!

 

I liked it very much and I was glad you made this this topic, reminds me what are in my shelf.
It's a good composer bit sometimes I though he could be a child from two famous composers, little bit of this and that.
I am still exploring the rest, will give you a update.

 

Glad that you liked it. Jadassohn is one of the few romantic composers that I can listen to on a daily basis. Definitely give me an update when you hear more.

 

I have ( on loan from a friend) The Romantic Piano Concerto 47 - Jadassohn & Draeseke give it a spin later

 

This one is a must have......going to explore more.

 

I've been a bit busy but now have more time to listen. I just heard the Piano Quintet and thoroughly enjoyed it. I will be listening to other works throughout the week. Thanks, Portamento.

 

I'm glad you liked the quintet. Excited to hear what you think of the rest.

 

I listened to Piano Concerto No. 1, Symphony No. 4, Piano Trio No. 3, and Serenade in 4 Canons. The symphony was very enjoyable and my favorite. The concerto and trio were also engaging. I'd like to hear the second piano concerto and see if I'd like to get the Romantic Piano Concerto CD. I also plan to listen to more symphonies from the CPO set.

He is somewhat conservative but everything I heard was thoroughly enjoyable.

 

I listened to Piano Concerto No. 1, Symphony No. 4, Piano Trio No. 3, and Serenade in 4 Canons. The symphony was very enjoyable and my favorite. The concerto and trio were also engaging. I'd like to hear the second piano concerto and see if I'd like to get the Romantic Piano Concerto CD. I also plan to listen to more symphonies from the CPO set.

He is somewhat conservative but everything I heard was thoroughly enjoyable.

Interesting... I like this chamber music the best - need to give the concertos another listen. The second for me is like a continuation of the first in terms of themes and clarity; it came directly after the first in terms of opus numbers. I often think that if Jadassohn had "combined" these two works and made one hour-long, tour-de-force piano concerto, he would be a lot more known.

I almost feel like Toch should be pushed back another week, because this thread is still somewhat active.

 

Salomon Jaoassohn 13 augustus 1831 - Leipzig, 1 februari 1902