Classics Contemporaries of Mozart Collection COMPACT DISC ONE Franz Krommer (1759–1831) Symphony in D major, Op. 40* 28:03 1 I Adagio – Allegro vivace 9:27 2 II Adagio 7:23 3 III Allegretto 4:46 4 IV Allegro 6:22 Symphony in C minor, Op. 102* 29:26 5 I Largo – Allegro vivace 5:28 6 II Adagio 7:10 7 III Allegretto 7:03 8 IV Allegro 6:32 TT 57:38 COMPACT DISC TWO Carl Philipp Stamitz (1745–1801) Symphony in F major, Op. 24 No. 3 (F 5) 14:47 1 I Grave – Allegro assai 6:16 2 II Andante moderato – 4:05 3 III Allegretto/Allegro assai 4:23 Matthias Bamert 3 Symphony in G major, Op. 68 (B 156) 24:19 Symphony in C major, Op. 13/16 No. 5 (C 5) 16:33 5 I Allegro vivace assai 7:02 4 I Grave – Allegro assai 5:49 6 II Adagio 7:24 5 II Andante grazioso 6:07 7 III Menuetto e Trio 3:43 6 III Allegro 4:31 8 IV Rondo. Allegro 6:03 Symphony in G major, Op. 13/16 No. 4 (G 5) 13:35 Symphony in D minor (B 147) 22:45 7 I Presto 4:16 9 I Maestoso – Allegro con spirito quasi presto 8:21 8 II Andantino 5:15 10 II Adagio 4:40 9 III Prestissimo 3:58 11 III Menuetto e Trio. Allegretto 5:21 12 IV Rondo. Allegro 4:18 Symphony in D major ‘La Chasse’ (D 10) 16:19 TT 70:27 10 I Grave – Allegro 4:05 11 II Andante 6:04 12 III Allegro moderato – Presto 6:04 COMPACT DISC FOUR TT 61:35 Leopold Kozeluch (1747 –1818) 18:08 COMPACT DISC THREE Symphony in D major 1 I Adagio – Allegro 5:13 Ignace Joseph Pleyel (1757 – 1831) 2 II Poco adagio 5:07 3 III Menuetto e Trio. Vivace 2:44 Symphony in C major, Op. 66 (B 154) 23:10 4 IV Presto con fuoco 5:01 1 I Adagio – Allegro 10:16 2 II Adagio 4:23 Symphony in G minor 17:47 3 III Menuetto e Trio. Allegretto 3:25 5 I Allegro 7:04 4 IV Tempo giusto 4:59 6 II Adagio 5:40 7 III Presto 5:00 4 5 Symphony in F major 20:56 8 I Allegro molto 6:30 9 II Poco adagio 4:54 Grand Characteristic Symphony for the 10 III Menuetto e Trio. Allegretto 4:25 Peace with the French Republic, Op. 31 30:32 11 IV Presto 5:01 in C major TT 56:59 9 I The Revolution. Andante maestoso – Allegro molto – 4:51 10 English March – [Tempo primo] – 2:18 11 COMPACT DISC FIVE March of the Austrians and Prussians: Tempo di marcia. Maestoso – Più allegro, tempo primo 4:06 Paul Wranitzky (1756–1808) 12 II The Fate and the Death of Louis. Adagio affettuoso, con sordini – [ ] – 2:57 Symphony in D major, Op. 36 21:42 13 Funeral March – [ ] 3:58 1 I Adagio – Allegro molto 6:54 14 III English March: Tempo di marcia. Movibile – 0:58 2 II Russe. Allegretto – Minore – Maggiore 5:29 15 March of the Allies – 1:20 3 III Polonese – Trio 3:12 16 The Tumult of a Battle. Allegro 2:44 4 IV Finale: Largo – Rondo. Allegro 5:56 17 IV The Prospects of Peace. Andante grazioso – 1:55 18 Rejoicing at the Achievement of Peace. Allegro vivace 5:09 Symphony in C minor, Op. 11 18:47 TT 71:13 5 I Grave – Allegro assai 6:28 6 II Adagio 3:57 London Mozart Players 7 III Menuetto. Allegretto – Trio 2:49 Thomas Brown* • David Juritz leaders 8 IV Presto 5:22 Matthias Bamert 6 7 of which five were published by the firm TheAdagio , in A, begins with an elegant, Contemporaries of Mozart Collection of Jean/Johann André in Offenbach, near Mozartian theme on the strings, which Frankfurt am Main, between 1798 and about sounds as if it is going to form the basis of a set 1820; two others (‘No. 6’, dated 1823, and of variations. But a contrasting, un‑melodic COMPACT DISC ONE this capacity accompanied him to Paris, Milan, ‘No. 9’, dated 1830) exist in manuscript, and episode, in A minor and for full orchestra Verona, Padua, and Venice. Three years later he a further two (‘No. 7’ and ‘No. 8’) are lost. (less, for the time being, trumpets and Krommer: Symphonies succeeded his compatriot Leopold Kozeluch as The earlier of the two recorded here, ‘No. 2’ timpani), intervenes, and from this point on Franz Krommer was born (as František the last official director of chamber music and in D, Op. 40, was published in 1803, with a these two contrasting factors are alternated Vincenc Kramář) at Kamenice u Třebíče in court composer to the Habsburg emperors, and dedication to a ‘Monsieur P. Bernard’, and is and combined in free, rhapsodic style, perhaps Moravia on 27 November 1759 (not quite retained the position until his death in Vienna scored for strings, flute, and pairs of oboes, with some ‘programmatic’ significance of four years after Mozart); he was the son of on 8 January 1831 (just over three years after clarinets, bassoons, horns, trumpets, and which we are not aware. an innkeeper, Jiří Kramář, who later became Schubert’s death). timpani. It opens with an impressive slow The third movement is a rather Mayor of Kamenice. Between 1773 and 1776 Krommer was one of the most successful introduction in D minor, very reminiscent Beethovenian scherzo (masquerading as a he studied the violin and the organ with his and influential of the many Czech composers of Mozart’s Don Giovanni. The most salient minuet), full of pounding triplet fanfares, uncle, Antonín Matthias Kramář, in Turán active in Vienna at the turn of the eighteenth feature of the first subject of the main Allegro but not without a sense of humour; it frames (near Brno), and became organist there about century. The extent of his reputation is vivace into which this leads is a rising octave a wistful, waltz‑like trio, in G, mostly lightly 1777. In 1785 he went to Vienna, and a year indicated by the rapid spread of his published scale (initially in D major, the movement’s scored, for flute, bassoon, and strings. The later joined the orchestra of the Duke of compositions in reprints and arrangements, main key), which has two distinct off‑shoots: festive finale begins with a vivacious theme Styrum at Simontornya in Western Hungary, by German, French, Italian, Danish, and even a succession of staccato chords on the full on the strings, balanced, after a vigorous tutti, as a violinist. In 1790 he was appointed American publishers, and by his honorary orchestra, and a gentler, legato idea on the by a catchy second subject, shared, as is its Kapellmeister of the cathedral at Pécs, also in membership of musical institutions in Vienna, strings. A discussion of these three elements counterpart in the first movement, between Western Hungary, and two or three years later Innsbruck, Paris, Milan, Venice, and Ljubljana. in combination leads to an attractive second woodwinds and strings. The four‑note (two entered the musical establishment of Prince His 300‑odd works include half a dozen subject, in A, presented in dialogue between long notes, two short) motif which propels Grassalkovich de Gyarak. Krommer returned symphonies, a score of concertos (mainly for woodwinds and strings. A substantial the first tutti and persists throughout the to Vienna in 1795, and became Kapellmeister wind instruments), more than seventy string development section, which brings into play second subject, figures prominently in the to Duke Ignaz Fuchs in 1798. In 1808 he quartets, and a large quantity of other chamber the two subsidiary elements of the first subject development. applied, unsuccessfully, for a position as a music for strings and for winds. as well as the second subject, is followed by violinist in the Hofkapelle, but some time after a recapitulation that is fairly regular except Symphony in C minor, Op. 102 1810 he was given the post of Kammertürhüter Symphony in D major, Op. 40 for the fact that it does not begin with a The Symphony ‘No. 4’ in C minor, Op. 102 (Chamberlain) to the Emperor Franz I, and in Krommer composed at least nine symphonies, formal restatement of the opening flourish. is not dated, but was probably composed 8 9 towards the end of the second decade of the Although the finale – which is in sonata form, orchestra to such a peak of perfection that for further concert tours came to nothing, nineteenth century; it is dedicated to with a brief but busy development, though Dr Charles Burney was moved to describe it and he died in Jena on 9 November 1801, Count Rudolph Wrbna, Councillor and only one real theme – is cast in C major, it (in 1772) as ‘an army of generals’. ten months after his wife. Grand Chamberlain to the Emperor of contains passages to which the trombones Carl, Johann’s elder surviving son, studied Carl Stamitz’s compositions include Austria, and scored for an orchestra similar to impart an air of undeniable majesty; yet the with his father and, after his death, with other more than fifty symphonies, nearly forty that used in ‘No. 2’, but with the addition of perky, Rossinian theme on which it is based members of the court orchestra, including symphonies concertantes (most of them with a second pair of horns and three trombones. keeps on turning up, as though refusing to Christian Cannabich, Ignaz Holzbauer, two solo instruments: two violins, violin The slow introduction is longer and more allow the symphony to end on a solemn note.