As the excellently written notes to this release point out, Beck probably would be far more highly regarded today had he not give up symphonic composition in the mid 1760s, turning his attention instead to that black hole of musical ambition: opera. The three works that constitute his Op. 4 (and the six of Op. 3) are quite wonderful, full of imaginative ideas, shapely forms, and effective orchestration. Consider the finale of Op. 4 No. 3, with its unusual harmonic scheme, tricky rhythm, and dynamic contrasts. It was the ability to make his music interesting by characterizing multiple parameters simultaneously that gives Beck’s symphonies their special kick, and allows them to be compared favorably to middle-period Haydn.

The principal competition for this release comes from CPO, and its set of Op. 3/4 played by La Stagione Frankfurt. Those performances employ period instruments, and these do not, but they are every bit as good. The strings play with appropriate rhythmic verve and (typically) smoother timbre, while the harpsichord continuo remains happily where it belongs–in the background. The oboes have a sweet tone characteristic of the Czech school of woodwind playing, and the horns blend well with them. Czech horn playing tends to be softer and more mellow in sonority then most modern schools, and I have to wonder if this is not in fact more “authentic” than the brassy, brazen tone typical of so many period instrument groups.

Whatever the reality, conductor Marek Stilec leads with well-jedged tempos and brings plenty of life to the music–energy without crudeness. This release will give a great deal of pleasure to anyone interested in the best symphonic works of the early classical period.

-- David HurwitzClassicsToday.com

This disc received the 1998 Cannes Classical Music award for "Best 17th/18th Century Orchestral Disc."

“by moonlight isn’t just a collection of works - it also provides a certain overview of my compositional life,” says Jeremy Beck. Bringing together music of his present and past, this selection of orchestral, chamber, and vocal music opens a window into Beck’s sound world. From the celebratory Concertino for two cellos and strings to the pensive Serenade for orchestra, Beck’s musical language is direct and distinctly American. His music embraces a continuum of tonal compositional thought that organically embodies previous developments while moving forward in his own individual style. Beck’s music has been called “... forceful and expressive. ... concise in structure and generous in tonal language, savoring both the dramatic and the poetic” (Gramophone, 2013), while the critic Joshua Kosman has noted that “...novelty isn’t the only thing music can provide, and the moody expressiveness of Beck’s writing is its own reward.” (SF Gate, 2013). Through his music – by turns confident and vulnerable, outgoing and intimate – composer Jeremy Beck reaches out to the world, sharing his artistic vision of the beauty, struggle, and thoughtful wonder that reflects part of our human experience.