Musique illimitée
Écoutez cet album en haute-qualité dès maintenant dans nos applications
Démarrer ma période d'essai et lancer l'écoute de cet albumProfitez de cet album sur les apps Qobuz grâce à votre abonnement
SouscrireProfitez de cet album sur les apps Qobuz grâce à votre abonnement
Téléchargement non disponible
Langue disponible : anglais
Carl Stamitz, son of Mannheim composer Johann Stamitz, toured all over Europe and was a famous figure in the last third of the 18th century, well regarded almost everywhere. The exception was Mozart, who -- probably out of jealousy, as annotator Olaf Krone suggested (the notes are in English, German, and French) -- wrote that Stamitz and his brother Anton were "miserable note scribblers and players -- boozers and whoremongers -- which isn't my kind of people." The Mozartian pique is especially interesting to devotees of Harold Bloom's theory of the anxiety of influence, for the music here, much of it written around 1776 for the Concert Spirituel in Paris, represented exactly what Mozart heard when he arrived in Paris, and typified the scene he tried mostly unsuccessfully to break into. The Concert Spirituel series, held at the Tuilieries palace, could boast, like the Mannheim court but unlike Vienna, of substantial orchestral resources. Mozart's Symphony No. 31 in D major, K. 297 ("Paris"), was, according to contemporary testimony, performed by an orchestra of 22 violins, six violas, eight cellos, and six double basses, along with doubled winds and perhaps even four bassoons. The 13 string players of the German early music group L'arte del mondo can't hope to match the sound that was intended. Why is it that historically informed musicians who split hairs over bow hairs feel free to ignore the fact that in many settings, Classical-period music called for as large an orchestra as could be mustered? However, conductor Werner Ehrhardt does his best with what he has, crafting vigorous interpretations that showcase the considerable imagination of these pieces and their composers. The two most interesting works are the two in minor keys, published as part of Stamitz's Op. 15 in 1776. They are strikingly powerful, serious works, seemingly influenced by the north German Sturm und Drang style that was in the air at the time; hear especially the putative Minuet of the Symphony in E minor, Op. 15/2, Kai. 23 (track 9), which is a clear ancestor of the Beethovenian scherzo with its abrupt tone and jarring contrast between minuet and trio. But all four works are compact, colorful, and loaded with good tunes and well worth reviving. Sound, sometimes a problem with the CPO label, is fine. Recommended for lovers of the Classical symphony.
© TiVo
Vous êtes actuellement en train d’écouter des extraits.
Écoutez plus de 100 millions de titres avec votre abonnement illimité.
Écoutez cette playlist et plus de 100 millions de titres avec votre abonnement illimité.
À partir de 12,49€/mois
Symphony in D minor, Op. 15, No. 3 (Carl Stamitz)
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Symphony in E-Flat Major (Carl Stamitz)
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Symphony in E minor, Op. 15, No. 2 (Carl Stamitz)
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Symphony in F Major, "La chasse" (Carl Stamitz)
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Werner Ehrhardt, Conductor - Werner Ehrhardt, Conductor
2011 CPO 2011 CPO
Chronique
Carl Stamitz, son of Mannheim composer Johann Stamitz, toured all over Europe and was a famous figure in the last third of the 18th century, well regarded almost everywhere. The exception was Mozart, who -- probably out of jealousy, as annotator Olaf Krone suggested (the notes are in English, German, and French) -- wrote that Stamitz and his brother Anton were "miserable note scribblers and players -- boozers and whoremongers -- which isn't my kind of people." The Mozartian pique is especially interesting to devotees of Harold Bloom's theory of the anxiety of influence, for the music here, much of it written around 1776 for the Concert Spirituel in Paris, represented exactly what Mozart heard when he arrived in Paris, and typified the scene he tried mostly unsuccessfully to break into. The Concert Spirituel series, held at the Tuilieries palace, could boast, like the Mannheim court but unlike Vienna, of substantial orchestral resources. Mozart's Symphony No. 31 in D major, K. 297 ("Paris"), was, according to contemporary testimony, performed by an orchestra of 22 violins, six violas, eight cellos, and six double basses, along with doubled winds and perhaps even four bassoons. The 13 string players of the German early music group L'arte del mondo can't hope to match the sound that was intended. Why is it that historically informed musicians who split hairs over bow hairs feel free to ignore the fact that in many settings, Classical-period music called for as large an orchestra as could be mustered? However, conductor Werner Ehrhardt does his best with what he has, crafting vigorous interpretations that showcase the considerable imagination of these pieces and their composers. The two most interesting works are the two in minor keys, published as part of Stamitz's Op. 15 in 1776. They are strikingly powerful, serious works, seemingly influenced by the north German Sturm und Drang style that was in the air at the time; hear especially the putative Minuet of the Symphony in E minor, Op. 15/2, Kai. 23 (track 9), which is a clear ancestor of the Beethovenian scherzo with its abrupt tone and jarring contrast between minuet and trio. But all four works are compact, colorful, and loaded with good tunes and well worth reviving. Sound, sometimes a problem with the CPO label, is fine. Recommended for lovers of the Classical symphony.
© TiVo
À propos
- 1 disque(s) - 13 piste(s)
- Durée totale : 00:58:38
- 1 Livret Numérique
- Artistes principaux : Werner Ehrhardt
- Compositeur : Carl Stamitz
- Label : CPO
- Genre : Classique Musique symphonique
2011 CPO 2011 CPO
Améliorer les informations de l'albumPourquoi acheter sur Qobuz ?
-
Streamez ou téléchargez votre musique
Achetez un album ou une piste à l’unité. Ou écoutez tout notre catalogue en illimité avec nos abonnements de streaming en haute qualité.
-
Zéro DRM
Les fichiers téléchargés vous appartiennent, sans aucune limite d’utilisation. Vous pouvez les télécharger autant de fois que vous souhaitez.
-
Choisissez le format qui vous convient
Vous disposez d’un large choix de formats pour télécharger vos achats (FLAC, ALAC, WAV, AIFF...) en fonction de vos besoins.
-
Écoutez vos achats dans nos applications
Téléchargez les applications Qobuz pour smartphones, tablettes et ordinateurs, et écoutez vos achats partout avec vous.