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Toronto Chamber Kevin Mallon Franz Ignaz The Toronto Chamber Orchestra draws its players from the The Irish musician Kevin Mallon, now resident in Canada, studied best in Toronto, with principal players from the with John Eliot Gardiner and composition with Peter Maxwell Davies. He was Toronto Symphony, the Canadian Opera Orchestra, the a pupil at Chetham’s School of Music and the Royal Northern College of BECK Canadian Ballet Orchestra, Tafelmusik and Aradia Ensemble. Music in Manchester, and at Dartington College of Arts, learning his craft as Many of the players also play baroque instruments and all are a violinist with such orchestras as the Hallé and the BBC Philharmonic, and well versed in stylistic issues from the eighteenth century to the later as concert-master with Le Concert Spirituel and Les Arts Florissants in modern day. As such, the orchestra’s approach is to extend to , recording and touring internationally. After an earlier career in Ireland Symphonies all periods of music the transparency and purity of tone one and throughout Europe, he moved to Canada to take up positions with the achieves with period instruments. In addition to Principal University of Toronto and the Tafelmusik Baroque Orchestra, and in 1996 Op. 3, Nos. 1–4 Conductor Kevin Mallon, the Toronto Chamber Orchestra has formed and became the Music Director of the Aradia Ensemble, a vocal and worked with international soloists including Patrick Gallois, instrumental group that has won extraordinary successes, not least with its Tom Stacy, Guy Few and Nadina Mackie Jackson and recordings for Naxos. Although Kevin Mallon specialises in music of the Toronto Chamber Orchestra • Kevin Mallon conductors Nicholas McGeegan and Alain Trudel. The Baroque period, he is in demand to conduct a wider repertoire. He is Music Photo: Emily Lockhart orchestra has made sixteen CDs for Naxos. Director of the Toronto Chamber Orchestra, a group drawn from among Toronto’s best orchestral musicians, and has also developed an association with the contemporary opera company Opera Anonymous.

Violin 1 Violin 2 Cello Oboe Paul Zevenhuizen Marika Holmqvist Katie Rietman (prin.) Kathy Halvorson (concert-master) (prin. 2nd) Kate Haynes Jasper Hitchcock Shane Kim Elyssa Lefurgey-Smith The orchestral parts and scores of the following works are available from: Liz Johnston Ellie Nimeroski Double-Bass Horn http://www.artaria.com Aya Miyagawa Sari Tsuji J. Tracy Mortimore Chris Gongos Steve Marvin David Haskins Viola Harpsichord Sources Eric Paetkau (prin.) Paul Jenkins The sources upon which the editions used in this recording have been made are: Karen Moffat Josh Greenlaw Sinfonia in F, Op. 3, No. 1 (Callen 13) Sinfonia in G minor, Op. 3, No. 3 (Callen 15) Edited by Allan Badley - Artaria Editions AE183 Edited by Allan Badley - Artaria Editions AE185

Sinfonia in B flat major, Op. 3, No. 2 (Callen 14) Sinfonia in E flat major, Op. 3, No. 4 (Callen 16) Edited by Allan Badley - Artaria Editions AE184 Edited by Allan Badley - Artaria Editions AE186

8.570799 5 6 8.570799 570799bk Beck US 22/3/10 11:50 Page 2

Franz Ignaz Beck (1734–1809) advanced in terms of compositional technique. movements bar the pairs of Minuets. Although the purpose encountered in these movements, perhaps more II (the ‘trio’) often has its thematic material assigned to Symphonies, Op. 3, Nos. 1–4 Although they still share many stylistic features with movements unfold as a continuous whole, major than in the others, are a tribute to Richter’s influence on the wind instruments with the strings relegated to a the symphonies of Stamitz and Richter, a new and internal divisions are demarcated by changes in tonality Beck’s development as a . simple accompanying rôle. When Franz Beck composed his first symphonies, some sets of symphonies were published in rapid succession distinctive voice can be heard in these works and the use of contrasting thematic material. It is quite Like Richter, Beck makes frequent use of It is natural to single out the G minor Symphony, time around the mid-1750s, the genre was in its infancy by Parisian firms beginning in 1758 with the six Op. 1 particularly in the use of exposed writing for the wind clear where the middle section of the movement begins sequential patterns built around the contrapuntal Op. 3, No. 3, as the most impressive work in the set yet but it was by no means primitive. The most famous Symphonies (Sei Overture) on the title page of which instruments in several of the works. Only three of the since Beck launches it in the conventional manner with interplay of voices. There is a good deal of imitative the other works are no less impressive in their own way. exponent of the symphony, Beck’s teacher Johann Beck is described as “Chamber Virtuoso to the Elector set are scored for oboes, horns and strings; two are a statement of the opening theme in the dominant: what writing in the symphonies but little or nothing in the Considered as a set, the works of Op. 3 display a rare Stamitz, director of the celebrated court Palatine and pupil of ”. By the time the scored for a pair of horns and strings, a combination is surprising to the listener familiar with the way of strict counterpoint. The rhythmic independence level of compositional finish and expressive intensity orchestra, had not only raised it to new levels of Op. 3 Symphonies appeared (1762) Beck’s publisher first encountered in the Op. 2 Symphonies and one Beck symphonies of Beck’s Viennese contemporaries is that of the voices serves both to animate the texture and to that elevates them above all but the very greatest technical sophistication but, together with a number of Venier no longer felt it was necessary to link his name clearly favoured, and one, Op. 3, No. 5, for strings this theme does not reappear in the tonic to signal the provide another level of contrast. In this it is analogous symphonies of their time. his gifted colleagues, had also evolved a new and with Stamitz; he does, however, retain Beck’s court alone. Additional bassoon, trumpet and timpani parts beginning of the recapitulation. While there is no to Beck’s handling of the orchestra in which he makes distinctive style of writing for orchestra. Stamitz’s position at Mannheim and adds that he is “first violin of for Op. 3, No. 4 (Callen 16) are preserved in the ‘double return’ – the recapitulation of both thematic frequent use of antiphonal effects between the wind symphonies were immensely popular, particularly in the Concert in ”. archiepiscopal library at KromûfiíÏ but these are almost groups in the tonic in the last part of the movement that choir and the strings. This is also encountered on the France. They circulated in both printed editions and in Beck moved from Marseille to , where he certainly spurious as is the timpani part for Op. 3, No. 6 constitutes one of the hallmarks of the mature classical structural level in the Minuet movements where Minuet Allan Badley manuscript parts, exerting a profound if localised was appointed conductor of the Grand Théâtre. His found in the Basel University library. style – Beck’s musical thinking is anything but influence on the development of the symphony. The theatre duties were combined with composing and The most obvious point of difference between these primitive. Some distinctive thematic material returns in presence of Stamitz, Richter, Holzbauer, Filtz and teaching. Among his most prominent pupils were Pierre works and the symphonies of Opp. 1 and 2 is the the tonic but much of the second half of the movement others at the Mannheim court created a unique musical Gaveaux, Blanchard and Boscha. In October 1774 he adoption of a four-movement ground plan. Although represents a kind of exploration of the musical environment that must have been intoxicating to a was appointed organist at St Seurin, Bordeaux, where the four-movement symphony was already becoming consequences of the tightly organized first half. young and ambitious composer such as Beck. his improvisations were widely admired. Among the increasingly common in the 1750s, both in Manheim Contrast and drama are essential elements in Beck’s Beck began his musical studies with his father, most important works of the pre-Revolutionary period and elsewhere, many continued to favour the symphonic style. He favours the use of strongly Johann Aloys, Rektor of the Choral School at the is the magnificent which was given its traditional three-movement pattern. Beck’s inclusion of contrasted thematic material particularly in the outer Palatinate Court in Mannheim. He studied violin, first performance at Versailles. Like a number of other the Minuet is an interesting development but one that is movements. The first movements of all of the Op. 3 set double bass and organ, among other instruments, and prominent composers Beck appears to have had little open to different interpretations. As he must have been have a breadth and sweep about them that immediately displayed such impressive talents that the Elector Carl difficulty adjusting to the new regime and produced a well aware of the existence of four-movement grips the listener. He achieves this in part through his Theodor undertook responsibility for his education. If substantial number of patriotic works including a symphonies from his years in Mannheim (Stamitz skilful handing of the orchestra but mainly by virtue of the account of Beck’s pupil Blanchard is to be believed, Hymne à l’être suprême. In 1803 he was appointed composed many symphonies of this type), it might be the strong harmonic direction of the music and his the young musician had to flee Mannheim after fighting correspondent of music composition for the Institute of more relevant to consider why the earlier works were capacity for writing rhythmically vital themes. The a duel with a jealous rival and believing that he had France. composed in three movements rather than four. One second group typically opens with the melodic line killed the man. Many years later, the story goes, he Beck’s symphonies have long been regarded as reason might be that these symphonies reflect Beck’s carried in the upper parts accompanied by the viola. learned that he had been the victim of a hoax: his among the most striking works of their kind from the recent experiences in Italy, where the three-movement These gentle, thinly scored and harmonically simple opponent had only feigned death. This version of events mid-eighteenth century. Their quality makes it all the symphony reigned supreme, whereas those of Op. 3 ideas are generally followed by further vigorous is not universally accepted and it has also been claimed more puzzling that Beck apparently lost interest in the were composed for audiences for whom four-movement outbursts from the full orchestra. These are that Beck left Mannheim in rather less sensational genre as early as the mid-1760s. Had he brought his symphonies were now the norm. characterized by the use of tremolo upper strings or fashion in order to study with in formidable talents to bear on the symphony for another Although the inclusion of the Minuet increases the rushing figures in the violins, driving bass lines, . Whatever the circumstances of his departure, twenty years or so he might have left a body of work length of the work and materially changes its dramatic harmonic filling from the horns and frequent use of Beck certainly did live in Venice for several years, for equal in stature to that of Wanhal or Kraus. Even the flow, it does not necessarily follow that four-movement chromatic inflections to enrich the tonal palette. Slow it was from there that he eloped to with Anna earliest of his symphonies are remarkable for their symphonies are more technically sophisticated works movements provide contrast rather than repose. Like Oniga, his employer’s daughter. After his eventful dramatic flair, rich harmonic language and fluid, than their three-movement counterparts; that quality is their counterparts in Beck’s earlier symphonies, these sojourn in Italy Beck moved to Marseille and became inventive part-writing. determined by the internal musical organization and movements frequently feature intricate webs of leader of a theatre orchestra. Although the date of his Only four years separate the publication of the Op. musical interest of each of the movements. One of the interlocking melodic lines, employment of startling arrival in France is uncertain, he must have been well- 3 Symphonies from the Sei Overture, Op. 1, but the most important structural characteristics of Op. 3 is harmonic progressions and occasional use of unsettling known by reputation at least by the late 1750s since four works are significantly broader in scope and more Beck’s avoidance of internal repeats in all of the rhythmic disruptions. The seriousness of expressive 8.570799 2 3 8.570799 4 8.570799 570799bk Beck US 22/3/10 11:50 Page 2

Franz Ignaz Beck (1734–1809) advanced in terms of compositional technique. movements bar the pairs of Minuets. Although the purpose encountered in these movements, perhaps more II (the ‘trio’) often has its thematic material assigned to Symphonies, Op. 3, Nos. 1–4 Although they still share many stylistic features with movements unfold as a continuous whole, major than in the others, are a tribute to Richter’s influence on the wind instruments with the strings relegated to a the symphonies of Stamitz and Richter, a new and internal divisions are demarcated by changes in tonality Beck’s development as a composer. simple accompanying rôle. When Franz Beck composed his first symphonies, some sets of symphonies were published in rapid succession distinctive voice can be heard in these works and the use of contrasting thematic material. It is quite Like Richter, Beck makes frequent use of It is natural to single out the G minor Symphony, time around the mid-1750s, the genre was in its infancy by Parisian firms beginning in 1758 with the six Op. 1 particularly in the use of exposed writing for the wind clear where the middle section of the movement begins sequential patterns built around the contrapuntal Op. 3, No. 3, as the most impressive work in the set yet but it was by no means primitive. The most famous Symphonies (Sei Overture) on the title page of which instruments in several of the works. Only three of the since Beck launches it in the conventional manner with interplay of voices. There is a good deal of imitative the other works are no less impressive in their own way. exponent of the symphony, Beck’s teacher Johann Beck is described as “Chamber Virtuoso to the Elector set are scored for oboes, horns and strings; two are a statement of the opening theme in the dominant: what writing in the symphonies but little or nothing in the Considered as a set, the works of Op. 3 display a rare Stamitz, director of the celebrated Mannheim court Palatine and pupil of Johann Stamitz”. By the time the scored for a pair of horns and strings, a combination is surprising to the listener familiar with the way of strict counterpoint. The rhythmic independence level of compositional finish and expressive intensity orchestra, had not only raised it to new levels of Op. 3 Symphonies appeared (1762) Beck’s publisher first encountered in the Op. 2 Symphonies and one Beck symphonies of Beck’s Viennese contemporaries is that of the voices serves both to animate the texture and to that elevates them above all but the very greatest technical sophistication but, together with a number of Venier no longer felt it was necessary to link his name clearly favoured, and one, Op. 3, No. 5, for strings this theme does not reappear in the tonic to signal the provide another level of contrast. In this it is analogous symphonies of their time. his gifted colleagues, had also evolved a new and with Stamitz; he does, however, retain Beck’s court alone. Additional bassoon, trumpet and timpani parts beginning of the recapitulation. While there is no to Beck’s handling of the orchestra in which he makes distinctive style of writing for orchestra. Stamitz’s position at Mannheim and adds that he is “first violin of for Op. 3, No. 4 (Callen 16) are preserved in the ‘double return’ – the recapitulation of both thematic frequent use of antiphonal effects between the wind symphonies were immensely popular, particularly in the Concert in Marseille”. archiepiscopal library at KromûfiíÏ but these are almost groups in the tonic in the last part of the movement that choir and the strings. This is also encountered on the France. They circulated in both printed editions and in Beck moved from Marseille to Bordeaux, where he certainly spurious as is the timpani part for Op. 3, No. 6 constitutes one of the hallmarks of the mature classical structural level in the Minuet movements where Minuet Allan Badley manuscript parts, exerting a profound if localised was appointed conductor of the Grand Théâtre. His found in the Basel University library. style – Beck’s musical thinking is anything but influence on the development of the symphony. The theatre duties were combined with composing and The most obvious point of difference between these primitive. Some distinctive thematic material returns in presence of Stamitz, Richter, Holzbauer, Filtz and teaching. Among his most prominent pupils were Pierre works and the symphonies of Opp. 1 and 2 is the the tonic but much of the second half of the movement others at the Mannheim court created a unique musical Gaveaux, Blanchard and Boscha. In October 1774 he adoption of a four-movement ground plan. Although represents a kind of exploration of the musical environment that must have been intoxicating to a was appointed organist at St Seurin, Bordeaux, where the four-movement symphony was already becoming consequences of the tightly organized first half. young and ambitious composer such as Beck. his improvisations were widely admired. Among the increasingly common in the 1750s, both in Manheim Contrast and drama are essential elements in Beck’s Beck began his musical studies with his father, most important works of the pre-Revolutionary period and elsewhere, many composers continued to favour the symphonic style. He favours the use of strongly Johann Aloys, Rektor of the Choral School at the is the magnificent Stabat Mater which was given its traditional three-movement pattern. Beck’s inclusion of contrasted thematic material particularly in the outer Palatinate Court in Mannheim. He studied violin, first performance at Versailles. Like a number of other the Minuet is an interesting development but one that is movements. The first movements of all of the Op. 3 set double bass and organ, among other instruments, and prominent composers Beck appears to have had little open to different interpretations. As he must have been have a breadth and sweep about them that immediately displayed such impressive talents that the Elector Carl difficulty adjusting to the new regime and produced a well aware of the existence of four-movement grips the listener. He achieves this in part through his Theodor undertook responsibility for his education. If substantial number of patriotic works including a symphonies from his years in Mannheim (Stamitz skilful handing of the orchestra but mainly by virtue of the account of Beck’s pupil Blanchard is to be believed, Hymne à l’être suprême. In 1803 he was appointed composed many symphonies of this type), it might be the strong harmonic direction of the music and his the young musician had to flee Mannheim after fighting correspondent of music composition for the Institute of more relevant to consider why the earlier works were capacity for writing rhythmically vital themes. The a duel with a jealous rival and believing that he had France. composed in three movements rather than four. One second group typically opens with the melodic line killed the man. Many years later, the story goes, he Beck’s symphonies have long been regarded as reason might be that these symphonies reflect Beck’s carried in the upper parts accompanied by the viola. learned that he had been the victim of a hoax: his among the most striking works of their kind from the recent experiences in Italy, where the three-movement These gentle, thinly scored and harmonically simple opponent had only feigned death. This version of events mid-eighteenth century. Their quality makes it all the symphony reigned supreme, whereas those of Op. 3 ideas are generally followed by further vigorous is not universally accepted and it has also been claimed more puzzling that Beck apparently lost interest in the were composed for audiences for whom four-movement outbursts from the full orchestra. These are that Beck left Mannheim in rather less sensational genre as early as the mid-1760s. Had he brought his symphonies were now the norm. characterized by the use of tremolo upper strings or fashion in order to study with Baldassare Galuppi in formidable talents to bear on the symphony for another Although the inclusion of the Minuet increases the rushing figures in the violins, driving bass lines, Venice. Whatever the circumstances of his departure, twenty years or so he might have left a body of work length of the work and materially changes its dramatic harmonic filling from the horns and frequent use of Beck certainly did live in Venice for several years, for equal in stature to that of Wanhal or Kraus. Even the flow, it does not necessarily follow that four-movement chromatic inflections to enrich the tonal palette. Slow it was from there that he eloped to Naples with Anna earliest of his symphonies are remarkable for their symphonies are more technically sophisticated works movements provide contrast rather than repose. Like Oniga, his employer’s daughter. After his eventful dramatic flair, rich harmonic language and fluid, than their three-movement counterparts; that quality is their counterparts in Beck’s earlier symphonies, these sojourn in Italy Beck moved to Marseille and became inventive part-writing. determined by the internal musical organization and movements frequently feature intricate webs of leader of a theatre orchestra. Although the date of his Only four years separate the publication of the Op. musical interest of each of the movements. One of the interlocking melodic lines, employment of startling arrival in France is uncertain, he must have been well- 3 Symphonies from the Sei Overture, Op. 1, but the most important structural characteristics of Op. 3 is harmonic progressions and occasional use of unsettling known by reputation at least by the late 1750s since four works are significantly broader in scope and more Beck’s avoidance of internal repeats in all of the rhythmic disruptions. The seriousness of expressive 8.570799 2 3 8.570799 4 8.570799 570799bk Beck US 22/3/10 11:50 Page 2

Franz Ignaz Beck (1734–1809) advanced in terms of compositional technique. movements bar the pairs of Minuets. Although the purpose encountered in these movements, perhaps more II (the ‘trio’) often has its thematic material assigned to Symphonies, Op. 3, Nos. 1–4 Although they still share many stylistic features with movements unfold as a continuous whole, major than in the others, are a tribute to Richter’s influence on the wind instruments with the strings relegated to a the symphonies of Stamitz and Richter, a new and internal divisions are demarcated by changes in tonality Beck’s development as a composer. simple accompanying rôle. When Franz Beck composed his first symphonies, some sets of symphonies were published in rapid succession distinctive voice can be heard in these works and the use of contrasting thematic material. It is quite Like Richter, Beck makes frequent use of It is natural to single out the G minor Symphony, time around the mid-1750s, the genre was in its infancy by Parisian firms beginning in 1758 with the six Op. 1 particularly in the use of exposed writing for the wind clear where the middle section of the movement begins sequential patterns built around the contrapuntal Op. 3, No. 3, as the most impressive work in the set yet but it was by no means primitive. The most famous Symphonies (Sei Overture) on the title page of which instruments in several of the works. Only three of the since Beck launches it in the conventional manner with interplay of voices. There is a good deal of imitative the other works are no less impressive in their own way. exponent of the symphony, Beck’s teacher Johann Beck is described as “Chamber Virtuoso to the Elector set are scored for oboes, horns and strings; two are a statement of the opening theme in the dominant: what writing in the symphonies but little or nothing in the Considered as a set, the works of Op. 3 display a rare Stamitz, director of the celebrated Mannheim court Palatine and pupil of Johann Stamitz”. By the time the scored for a pair of horns and strings, a combination is surprising to the listener familiar with the way of strict counterpoint. The rhythmic independence level of compositional finish and expressive intensity orchestra, had not only raised it to new levels of Op. 3 Symphonies appeared (1762) Beck’s publisher first encountered in the Op. 2 Symphonies and one Beck symphonies of Beck’s Viennese contemporaries is that of the voices serves both to animate the texture and to that elevates them above all but the very greatest technical sophistication but, together with a number of Venier no longer felt it was necessary to link his name clearly favoured, and one, Op. 3, No. 5, for strings this theme does not reappear in the tonic to signal the provide another level of contrast. In this it is analogous symphonies of their time. his gifted colleagues, had also evolved a new and with Stamitz; he does, however, retain Beck’s court alone. Additional bassoon, trumpet and timpani parts beginning of the recapitulation. While there is no to Beck’s handling of the orchestra in which he makes distinctive style of writing for orchestra. Stamitz’s position at Mannheim and adds that he is “first violin of for Op. 3, No. 4 (Callen 16) are preserved in the ‘double return’ – the recapitulation of both thematic frequent use of antiphonal effects between the wind symphonies were immensely popular, particularly in the Concert in Marseille”. archiepiscopal library at KromûfiíÏ but these are almost groups in the tonic in the last part of the movement that choir and the strings. This is also encountered on the France. They circulated in both printed editions and in Beck moved from Marseille to Bordeaux, where he certainly spurious as is the timpani part for Op. 3, No. 6 constitutes one of the hallmarks of the mature classical structural level in the Minuet movements where Minuet Allan Badley manuscript parts, exerting a profound if localised was appointed conductor of the Grand Théâtre. His found in the Basel University library. style – Beck’s musical thinking is anything but influence on the development of the symphony. The theatre duties were combined with composing and The most obvious point of difference between these primitive. Some distinctive thematic material returns in presence of Stamitz, Richter, Holzbauer, Filtz and teaching. Among his most prominent pupils were Pierre works and the symphonies of Opp. 1 and 2 is the the tonic but much of the second half of the movement others at the Mannheim court created a unique musical Gaveaux, Blanchard and Boscha. In October 1774 he adoption of a four-movement ground plan. Although represents a kind of exploration of the musical environment that must have been intoxicating to a was appointed organist at St Seurin, Bordeaux, where the four-movement symphony was already becoming consequences of the tightly organized first half. young and ambitious composer such as Beck. his improvisations were widely admired. Among the increasingly common in the 1750s, both in Manheim Contrast and drama are essential elements in Beck’s Beck began his musical studies with his father, most important works of the pre-Revolutionary period and elsewhere, many composers continued to favour the symphonic style. He favours the use of strongly Johann Aloys, Rektor of the Choral School at the is the magnificent Stabat Mater which was given its traditional three-movement pattern. Beck’s inclusion of contrasted thematic material particularly in the outer Palatinate Court in Mannheim. He studied violin, first performance at Versailles. Like a number of other the Minuet is an interesting development but one that is movements. The first movements of all of the Op. 3 set double bass and organ, among other instruments, and prominent composers Beck appears to have had little open to different interpretations. As he must have been have a breadth and sweep about them that immediately displayed such impressive talents that the Elector Carl difficulty adjusting to the new regime and produced a well aware of the existence of four-movement grips the listener. He achieves this in part through his Theodor undertook responsibility for his education. If substantial number of patriotic works including a symphonies from his years in Mannheim (Stamitz skilful handing of the orchestra but mainly by virtue of the account of Beck’s pupil Blanchard is to be believed, Hymne à l’être suprême. In 1803 he was appointed composed many symphonies of this type), it might be the strong harmonic direction of the music and his the young musician had to flee Mannheim after fighting correspondent of music composition for the Institute of more relevant to consider why the earlier works were capacity for writing rhythmically vital themes. The a duel with a jealous rival and believing that he had France. composed in three movements rather than four. One second group typically opens with the melodic line killed the man. Many years later, the story goes, he Beck’s symphonies have long been regarded as reason might be that these symphonies reflect Beck’s carried in the upper parts accompanied by the viola. learned that he had been the victim of a hoax: his among the most striking works of their kind from the recent experiences in Italy, where the three-movement These gentle, thinly scored and harmonically simple opponent had only feigned death. This version of events mid-eighteenth century. Their quality makes it all the symphony reigned supreme, whereas those of Op. 3 ideas are generally followed by further vigorous is not universally accepted and it has also been claimed more puzzling that Beck apparently lost interest in the were composed for audiences for whom four-movement outbursts from the full orchestra. These are that Beck left Mannheim in rather less sensational genre as early as the mid-1760s. Had he brought his symphonies were now the norm. characterized by the use of tremolo upper strings or fashion in order to study with Baldassare Galuppi in formidable talents to bear on the symphony for another Although the inclusion of the Minuet increases the rushing figures in the violins, driving bass lines, Venice. Whatever the circumstances of his departure, twenty years or so he might have left a body of work length of the work and materially changes its dramatic harmonic filling from the horns and frequent use of Beck certainly did live in Venice for several years, for equal in stature to that of Wanhal or Kraus. Even the flow, it does not necessarily follow that four-movement chromatic inflections to enrich the tonal palette. Slow it was from there that he eloped to Naples with Anna earliest of his symphonies are remarkable for their symphonies are more technically sophisticated works movements provide contrast rather than repose. Like Oniga, his employer’s daughter. After his eventful dramatic flair, rich harmonic language and fluid, than their three-movement counterparts; that quality is their counterparts in Beck’s earlier symphonies, these sojourn in Italy Beck moved to Marseille and became inventive part-writing. determined by the internal musical organization and movements frequently feature intricate webs of leader of a theatre orchestra. Although the date of his Only four years separate the publication of the Op. musical interest of each of the movements. One of the interlocking melodic lines, employment of startling arrival in France is uncertain, he must have been well- 3 Symphonies from the Sei Overture, Op. 1, but the most important structural characteristics of Op. 3 is harmonic progressions and occasional use of unsettling known by reputation at least by the late 1750s since four works are significantly broader in scope and more Beck’s avoidance of internal repeats in all of the rhythmic disruptions. The seriousness of expressive 8.570799 2 3 8.570799 4 8.570799 570799bk Beck US 22/3/10 11:50 Page 5

Toronto Chamber Orchestra Kevin Mallon Franz Ignaz The Toronto Chamber Orchestra draws its players from the The Irish musician Kevin Mallon, now resident in Canada, studied conducting best orchestras in Toronto, with principal players from the with John Eliot Gardiner and composition with Peter Maxwell Davies. He was Toronto Symphony, the Canadian Opera Orchestra, the a pupil at Chetham’s School of Music and the Royal Northern College of BECK Canadian Ballet Orchestra, Tafelmusik and Aradia Ensemble. Music in Manchester, and at Dartington College of Arts, learning his craft as Many of the players also play baroque instruments and all are a violinist with such orchestras as the Hallé and the BBC Philharmonic, and well versed in stylistic issues from the eighteenth century to the later as concert-master with Le Concert Spirituel and Les Arts Florissants in modern day. As such, the orchestra’s approach is to extend to Paris, recording and touring internationally. After an earlier career in Ireland Symphonies all periods of music the transparency and purity of tone one and throughout Europe, he moved to Canada to take up positions with the achieves with period instruments. In addition to Principal University of Toronto and the Tafelmusik Baroque Orchestra, and in 1996 Op. 3, Nos. 1–4 Conductor Kevin Mallon, the Toronto Chamber Orchestra has formed and became the Music Director of the Aradia Ensemble, a vocal and worked with international soloists including Patrick Gallois, instrumental group that has won extraordinary successes, not least with its Tom Stacy, Guy Few and Nadina Mackie Jackson and recordings for Naxos. Although Kevin Mallon specialises in music of the Toronto Chamber Orchestra • Kevin Mallon conductors Nicholas McGeegan and Alain Trudel. The Baroque period, he is in demand to conduct a wider repertoire. He is Music Photo: Emily Lockhart orchestra has made sixteen CDs for Naxos. Director of the Toronto Chamber Orchestra, a group drawn from among Toronto’s best orchestral musicians, and has also developed an association with the contemporary opera company Opera Anonymous.

Violin 1 Violin 2 Cello Oboe Paul Zevenhuizen Marika Holmqvist Katie Rietman (prin.) Kathy Halvorson (concert-master) (prin. 2nd) Kate Haynes Jasper Hitchcock Shane Kim Elyssa Lefurgey-Smith The orchestral parts and scores of the following works are available from: Liz Johnston Ellie Nimeroski Double-Bass Horn http://www.artaria.com Aya Miyagawa Sari Tsuji J. Tracy Mortimore Chris Gongos Steve Marvin David Haskins Viola Harpsichord Sources Eric Paetkau (prin.) Paul Jenkins The sources upon which the editions used in this recording have been made are: Karen Moffat Josh Greenlaw Sinfonia in F, Op. 3, No. 1 (Callen 13) Sinfonia in G minor, Op. 3, No. 3 (Callen 15) Edited by Allan Badley - Artaria Editions AE183 Edited by Allan Badley - Artaria Editions AE185

Sinfonia in B flat major, Op. 3, No. 2 (Callen 14) Sinfonia in E flat major, Op. 3, No. 4 (Callen 16) Edited by Allan Badley - Artaria Editions AE184 Edited by Allan Badley - Artaria Editions AE186

8.570799 5 6 8.570799 570799bk Beck US 22/3/10 11:50 Page 5

Toronto Chamber Orchestra Kevin Mallon Franz Ignaz The Toronto Chamber Orchestra draws its players from the The Irish musician Kevin Mallon, now resident in Canada, studied conducting best orchestras in Toronto, with principal players from the with John Eliot Gardiner and composition with Peter Maxwell Davies. He was Toronto Symphony, the Canadian Opera Orchestra, the a pupil at Chetham’s School of Music and the Royal Northern College of BECK Canadian Ballet Orchestra, Tafelmusik and Aradia Ensemble. Music in Manchester, and at Dartington College of Arts, learning his craft as Many of the players also play baroque instruments and all are a violinist with such orchestras as the Hallé and the BBC Philharmonic, and well versed in stylistic issues from the eighteenth century to the later as concert-master with Le Concert Spirituel and Les Arts Florissants in modern day. As such, the orchestra’s approach is to extend to Paris, recording and touring internationally. After an earlier career in Ireland Symphonies all periods of music the transparency and purity of tone one and throughout Europe, he moved to Canada to take up positions with the achieves with period instruments. In addition to Principal University of Toronto and the Tafelmusik Baroque Orchestra, and in 1996 Op. 3, Nos. 1–4 Conductor Kevin Mallon, the Toronto Chamber Orchestra has formed and became the Music Director of the Aradia Ensemble, a vocal and worked with international soloists including Patrick Gallois, instrumental group that has won extraordinary successes, not least with its Tom Stacy, Guy Few and Nadina Mackie Jackson and recordings for Naxos. Although Kevin Mallon specialises in music of the Toronto Chamber Orchestra • Kevin Mallon conductors Nicholas McGeegan and Alain Trudel. The Baroque period, he is in demand to conduct a wider repertoire. He is Music Photo: Emily Lockhart orchestra has made sixteen CDs for Naxos. Director of the Toronto Chamber Orchestra, a group drawn from among Toronto’s best orchestral musicians, and has also developed an association with the contemporary opera company Opera Anonymous.

Violin 1 Violin 2 Cello Oboe Paul Zevenhuizen Marika Holmqvist Katie Rietman (prin.) Kathy Halvorson (concert-master) (prin. 2nd) Kate Haynes Jasper Hitchcock Shane Kim Elyssa Lefurgey-Smith The orchestral parts and scores of the following works are available from: Liz Johnston Ellie Nimeroski Double-Bass Horn http://www.artaria.com Aya Miyagawa Sari Tsuji J. Tracy Mortimore Chris Gongos Steve Marvin David Haskins Viola Harpsichord Sources Eric Paetkau (prin.) Paul Jenkins The sources upon which the editions used in this recording have been made are: Karen Moffat Josh Greenlaw Sinfonia in F, Op. 3, No. 1 (Callen 13) Sinfonia in G minor, Op. 3, No. 3 (Callen 15) Edited by Allan Badley - Artaria Editions AE183 Edited by Allan Badley - Artaria Editions AE185

Sinfonia in B flat major, Op. 3, No. 2 (Callen 14) Sinfonia in E flat major, Op. 3, No. 4 (Callen 16) Edited by Allan Badley - Artaria Editions AE184 Edited by Allan Badley - Artaria Editions AE186

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CMYK

18 TH Also Available C E N T U R

Y 8.570597 8.557818 S Y M P H O 8.557483 8.554071 N Y 570799rear Beck US 22/3/10 11:51 Page 1

CMYK NAXOS NAXOS Beck’s symphonies have long been regarded as among the most striking works of their kind from the mid-18th century. Remarkable for their dramatic flair, rich harmonic language and fluid, inventive part writing, Beck’s Op. 3 Symphonies (published 1762) display a rare level of compositional finish that elevates them above DDD BECK:

BECK: all but the very greatest symphonies of their time. The Six Symphonies, Op. 1 are available on Naxos 8.554071. 8.570799

Franz Ignaz Playing Time Symphonies Op. 3, Nos. 1–4 Symphonies Op. 3, Nos 1–4 BECK 66:20 (1734–1809)

Sinfonia in F, Op. 3, No. 1 16:37 Sinfonia in G minor, 17:38 (Callen 13) Op. 3, No. 3 (Callen 15) 1 Allegro 5:24 9 Allegro con spirito 5:11 2 Andante grazioso 3:39 0 Andante un poco adagio 4:18 3 Minuetto I and II 3:44 ! Minuetto I and II 4:22

4 Presto 3:50 @ Presto 3:47 www.naxos.com Printed & Assembled in USA Booklet notes in English • Disc Made Canada &

Sinfonia in B flat major, 14:59 Sinfonia in E flat major, 17:06

Op. 3, No. 2 (Callen 14) Op. 3, No. 4 (Callen 16) 2010 Naxos Rights International Ltd. 5 Allegro con spirito 5:03 # Allegro con brio 5:07 6 Largo 3:38 $ Un poco adagio 4:35 7 Minuetto I and II 3:04 % Minuetto I and II 3:57 8 Prestissimo 3:14 ^ Presto risoluto 3:27

Toronto Chamber Orchestra • Kevin Mallon 8.570799 8.570799

Recorded at St Anne’s Church, Toronto, Canada, from 27th to 30th August, 2007 Producers: Bonnie Silver and Norbert Kraft • Engineer: Norbert Kraft • Editor: Bonnie Silver Publisher: Artaria Editions • Booklet notes: Allan Badley Cover Picture: Stormy Day (© Flynt / Dreamstime.com)