Your basket is empty

Categories :

Similar artists

Albums

From
CD$19.99

Classical - Released October 7, 2014 | Tudor

From
CD$9.99

Chamber Music - Released April 15, 2002 | CPO

From
CD$9.99

Classical - Released June 21, 2019 | CPO

Booklet
From
CD$5.99$9.99(40%)

Symphonic Music - Released March 1, 1995 | Chandos

Booklet
From
CD$9.99

Symphonic Music - Released February 1, 2011 | CPO

Booklet
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
From
CD$4.99

Classical - Released May 10, 2019 | Supraphon a.s.

From
CD$3.99

Classical - Released January 1, 1991 | Supraphon a.s.

From
CD$10.49

Classical - Released July 20, 2018 | Menuetto Classics

From
HI-RES$8.99
CD$7.29

Classical - Released September 4, 2015 | K&K Verlagsanstalt

Hi-Res Booklet
From
CD$7.29

Classical - Released December 3, 1993 | Naxos

Booklet
From
CD$16.49

Symphonic Music - Released November 30, 2018 | Auris subtilis

Booklet
From
CD$7.29

Classical - Released March 31, 1999 | Naxos

Booklet
From
CD$9.99

Chamber Music - Released July 15, 2014 | Hungaroton

From
CD$9.99

Classical - Released January 1, 1989 | CPO

From
CD$7.29

Classical - Released August 1, 1997 | Naxos

From
CD$7.29

Classical - Released November 21, 2006 | Naxos

Booklet
From
CD$9.99

Concertos - Released January 27, 2009 | Phoenix Edition

From
CD$9.99

Chamber Music - Released July 15, 2014 | Hungaroton

Unduly overshadowed by more popular composers such as Haydn and Mozart, the music of Carl Stamitz is happily receiving somewhat of a rebirth. Much like Mozart, Stamitz was not only a respected composer, but also a consummate virtuoso on both the violin and viola. As such, this recording of duos for violin and viola is a wonderful representation of Stamitz's compositional acumen as well his performance abilities. His treatment of the two instruments is very nearly equal with the viola and not always subjugated to a merely accompanimental role. The eight duos of Op. 10 and Op. 34 provide an enjoyable variety of styles, from songful, melodic slow movements to vivacious rondos and sparkling fugatos. Of course, a composition is only as good its performers. Fortunately, violinist Vilmos Szabadi and violist Péter Bársony bring a lot to the table. Intonation from both is very clean, as is articulation and general ensemble. The sound quality of both instruments is also brilliant without being tinny; the viola's sound in particular projects quite well and never falls into the background. The recorded sound captures every nuance of their performance-- including a little too much breathing at times -- giving listeners the impression that the two musicians are in the room with them. © TiVo
From
CD$9.99

Classical - Released February 26, 2013 | Audite