According to current research, Paul Wranitzky composed at least 47 symphonies for which sources have been preserved. The symphonies opp. 50 and 51 belong to Wranitzky's last series of symphonies. They were published in late 1804 by Wranitzky's main publisher, André, in Offenbach. The Symphony in D major, op. 37, was published by the same publisher in November 1799.

All three works recognizably follow Haydn's model in structure, movement types, and thematic formation, though not without setting individual accents. For example, the opening and closing movements are not thematic in the true sense of the word; Wranitzky treats his motivic material more like a musical construction kit; identical material is used in different places with different functions. The motivic material is deliberately kept simple, but possesses enough specificity to give the individual movements motivic coherence. And once again, the composer's "melodic inventiveness, the effectively juxtaposed rhythms and the effectively exploited orchestral apparatus" (klassik.com on our first release with Paul Wranitzky, Symphonien (cpo 3493380)

Yet another Christmas release features the Christmas vocal polyphony of Cristóbal de Morales, who is regarded as the first significant Spanish composer of the Renaissance. Like most compositions for this Christian feast, his Christmas motets circulated and were performed throughout Europe, traveling far beyond Spain’s borders. His archaic, mystical and expressive musical language, that one almost might term place-less and timeless, must have played a role in this dissemination. Moreover, Morales was active not only in Spanish cathedrals but also spent many years of his creative career as a papal singer in the Sistine Chapel in Rome. And it seems to have been precisely this individual blend of Spanish expressiveness and Roman strictness – with its added Franco-Flemish stamp – that makes Morales’ music so unique and qualifies him as the first genuine European composer of his times.

Julius Röntgen's 18th Symphony was composed in the early 1930s, but you'd never know it from its resolutely tonal melody, neo-baroque formal cast (the second movement is a gorgeous passacaglia), or Mendelssohnian scherzo. Yet the music always sounds fresh, never passé, because Röntgen was a composer comfortable in his own skin, masterfully in charge of his own conservative but eclectic musical language. You can hear it in all of these pieces, the evocative Song of the Sea, the delightful Ballade (Röntgen was a friend of Grieg and lover of all things Norwegian), and the charming suite of Dances. It's pointless to quibble about whether he was a Romantic, neo-classicist, or musical reactionary. Röntgen was a fine composer, plain and simple, and these vivid, well-played, and well-recorded performances, fully consistent with other releases in this important and rewarding series, make an excellent introduction to his art.

--David Hurwitz, ClassicsToday.com

Today Hermann Goetz (1840-76) numbers among the forgotten 19th c. composers - a most undeserved fate. Unfavorable personal circumstances and his early death meant that his musician's life did not develop as it should have. Goetz's piano compositions, without opus numbers, have been recorded here for the first time. Until recently they had not been available in printed form, thus continuing to be virtually unknown. Pianist Christof Keymer’s work on Goetz’s manuscripts has made it possible to present a first edition of Goetz's previously unpublished piano music.

The bulk of this second volume of CPO's Hindemith orchestral cycle, repackaged from earlier individual releases, explores his concerted works--which turn out to be quite a few, even though he did not always identify them as such. CD 1 offers the 1921 Film Music, which in the mocking grandiosity of its opening is curiously reminiscent of George Antheil. The bright coloring and frenzied pacing of Kammermusik No. 1 (1922) make it the most consistently arresting among the set of seven. Much calmer moods prevail in 1927's Five Pieces for String orchestra, to be followed by some not very interesting music composed in 1932 for the Plon Boarding School's music students. The disc ends with Hindemith's quaint arrangements of 16th-century French dances.


CD 2 begins with Hindemith's astringent Kammermusik No. 2 (1924) for piano and 12 Instruments, which features endlessly busy piano writing, flawlessly rendered by Siegried Mauser. Konzertmusik for Piano, Brass, and Harps of 1930 offers a far more reflective mood accented by the seductive sounds of the harp as well as some menacing brass interjections. CD 3 smartly collects Hindemith's three works for cello and orchestra, allowing for a broad overview of his compositional evolution: from the late-romantic surgings of the Op. 3 concerto of 1916, to the angular and dissonant Kammermusik No. 3 of 1925, to the brass-drenched, post-Mathis der Maler lyricism of the 1940 Cello Concerto. All three works are masterfully rendered by cellist David Geringas.


CD 4 returns Siegfried Mauser to center stage both for The Four Temperaments, Hindemith's coldly beautiful 1940 ballet for piano and strings, as well as the 1945 Piano Concerto, written in his wonderfully rich and sonorous late orchestra style, with a brilliantly virtuoso piano part to boot. Mauser, as before, excels in both works. CD 5 presents two more Hindemith ballets, both of which feature substantial solo parts for the piano. The early Der Dämon (1922) is striking in its heavy rhythmic emphasis and stern countenance. The greatest contrast imaginable comes with the serene opening strains of Hérodiade, composed in 1944 to Mallarmé's poem. Both the narrated and purely orchestral versions are presented here.


Werner Andreas Albert has fully absorbed Hindemith's unique orchestral style, and it shows in the remarkably consistent and idiomatic sound he draws from all three of the featured orchestras. While most of these works are available separately in competing recordings (such as Tortelier and the BBC Philharmonic's Four Temperaments and Cello Concerto, and Riccardo Chailly's brilliant and bracing Concertgebouw recording of the complete Kammermusik), this set allows for a more comprehensive overview at an attractive price. CPO's first-class sound naturally reflects the venue in question: brighter in Australia, bigger and more reverberant in Frankfurt. Hindemith fans have rarely been so fortunate. [5/6/2001]
--Victor Carr Jr., ClassicsToday.com

Along with Dag Wir�n, Lars-Erik Larsson (1908-86) remains among the most popular composers of classical modernism in Sweden. +Their popularity can be explained in part by the fact that both continued to abide the tradition of tonality without being less-inspired reactionaries. +Conductor Andrew Manze now presents a new recording of Larsson's most important symphonic works as performed by his very own Helsingborg Orchestra. +One of Larsson's three symphonies form the focus of each of the three CDs.

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ROMAN Drottningholmsmusiken • Göran Karlsson, cond; Ensemble 1700 Lund (period instruments) • CPO 777 589 (62:12)


Just last issue I reviewed the first disc of Johan Helmich Roman’s Drottningholmsmusiken to appear in more than a decade. That production on BIS with Andrew Manze and the Helsingborg Symphony Orchestra is, as I said, quite decent, although my own personal preference was for the livelier, if sometimes musically flawed, earlier renditions by Nils Erik Sparf and Claude Génetay. That was not to say that Manze’s version performed on modern instruments is deficient, and certainly it is the one to get if you want a good, solid performance of this seminal work written in 1744 for the wedding of Swedish crown prince Adolph Fredrik and Prussian princess Louisa (sorry, in Swedish, Lovisa) Ulrika by an aging court Kapellmeister coping with personal and health issues. Now, within the space of a month or so a second recording has appeared, this one by a new group, the Ensemble 1700 Lund, formed by Per Bengtsson and Lars Henriksson back in 2005.


It is about time that Skåne had its own period-instrument group, particularly since Lund University had in its library one of the largest collections of 18th-century music found anywhere. This was gathered by two music directors, Friedrich Kraus (no relation to his contemporaneous colleague and Swedish court Kapellmeister Joseph Martin Kraus) and Wenster between 1750 and 1800 and contains unique scores and parts of works found nowhere else. There are, for example, the sole surviving sources of symphonies by Italians Antonio Brioschi, Fortunato Chelleri, and Giuseppe Arena. Since its founding, the Ensemble 1700 Lund has quietly been building its reputation on its home turf, and with this recording is, as far as I know, making its international debut. That it has chosen one of Sweden’s best-known and most important works for this is significant. It implies that the group is to be a presence from this point forward. The excellent program notes by Swedish scholar Jan Ling also take a different tack, given that audiences surely do not need yet another extensive discussion of the work itself. Following a brief (and well-written) history, Ling poses a series of three questions to the musicians themselves, trying to see how they react to this suite of 25 movements. The answers are illuminating and make fascinating reading (although I won’t spoil things by giving away what they say).


As for the performance itself, conductor Göran Karlsson has certainly imbued the spirit of the work into his ensemble. His tempos are quite variable and his interpretations bring the music alive. There is the spark and energy, even in the slow movements, that I personally was missing in Manze’s rendition. The nuances of phrasing bring out some hidden delights, such as the gentle oboe pastoral minuet (No. 2) or the soft flute line (No. 14) that flows evenly and rhythmically. The raucous parts with the horns and trumpets are rousing, if sometimes a bit overblown, but even the edgy power gives the impression of a true outdoors piece. One will be hard-pressed not to think of this as a sort of prequel to Handel’s Royal Fireworks Music composed some five years later, even though there are moments of galant musical modernity. This mixed style is delineated nicely in this recording. Thus I must abandon my preference for the older recordings in favor of this one. It is truly an embarrassment of riches to have two fine new recordings of this piece; one only needs to choose one on the basis of one’s own preferences and not on lack of quality. Now, the Ensemble 1700 Lund needs to be encouraged to explore and record some of the treasures that await resurrection in its own back yard. We shall be the richer for it.


FANFARE: Bertil van Boer

Gregor Meyer, Gewandhaus Chorus A.D. since the 2007/08 season, is currently dedicating himself to the composer Johann Kuhnau (1660-1722), beginning a projected complete traversal of Kuhnau’s cantatas, many to be recorded for the first time, including all present on Vol. 1. He interprets the cantatas together with his Opella Musica ensemble and the camerata lipsiensis. “…an important musical facet of the transitional phase… between the 17th c. sacred concerto and the late baroque sacred cantata…” (from the booklet notes by renowned Bach scholar Dr. Michael Maul)

Andreas Romberg is now more than an insider’s tip; he is a recognized composer situated on the interface between Classicism and Romanticism. Romberg was regarded as a celebrated violin virtuoso, concertmaster, and composer, and his stays in Paris, Vienna, Prague, and Italy spread his fame internationally. He met Ludwig van Beethoven, Joseph Haydn, and many other musical personalities of his times. A great deal of his oeuvre covering all sorts of different genres was forgotten, but this is slowly changing, primarily owing to the “Arbeitsstelle Andreas Romberg” at the University of Vechta, a research center that since 1993 has engaged in the systematic investigation of this composer’s works. Of his ten symphonies, only six are extant, and only four of them were printed during his lifetime. However, his symphonies were extremely popular when they were written. In 1817 the Allgemeine musikalische Zeitung praised “what Haydn, Mozart, Beethoven, and Romberg have accomplished so far in this genre of musical works.” With these words the author numbered Romberg among the absolute “masters” in this field. For quite some time the performance figures for Romberg’s symphonies ranked second only to those for works by the Viennese Classicists. Now here it is: Vol. 1 with his Symphonies Nos. 1 and 3!

DIE HELLE SONN LEUCHTET: Deutsche Kirchenlieder • Stimmwerck • CPO 7777922 (66:11)


As the disc title states, this is a collection of German hymn-tunes from the 15th to 17th centuries, a few very familiar but most now quite obscure. While most of the pieces included here are (as one would expect) examples of Protestant hymnody, a few selections from the Catholic Counter-Reformation are featured as well. In many cases, the melodies and their harmonizations are by two different composers, who likewise run the gamut from thrice-famous to utterly unknown. Authors of the melodies include Nicolaus Decius [Nikolaus von Hofe] (c. 1485–after 1546), Johannes Eccard (1553–1611), Hans Leo Haßler (1564–1612), Heinrich Isaac (c. 1450–1517), Martin Luther (1483–1546), Philipp Nicolai (1556–1608), Michael Praetorius (1572–1621), Johann Hermann Schein (1586–1630), Heinrich Schütz (1585–1672), Caspar Ulenberg (1549–1617), Melchior Vulpius (c. 1570–1615), and the incredibly prolific “Anon.” Creators of the harmonizatons include Arnold von Bruck (c. 1500–1554), Joachim Burmeister (c. 1566–1629), Sethus Calvisius [Setho Calviso or Seth Kalwitz] (1556–1615), Eustache du Caurroy (1549–1609), Johann Crüger (1598–1662), Marcus Gerrariurius [or Gerriurius] (fl. after 1628), Conrad Hagius [Konrad von Hagen] (c. 1550–1616), Johannes Jeep (1581/82–1644), Jan Pieterzoon Sweelinck (1562–1621), Johann Walter (1496–1570), plus Eccard, Praetorius, Schein, Schütz, Vulpius, and Anon. from the previous list.


This disc differs from the norm of other such anthologies in two ways. First, the hymns are sung not by a choir but by a male quartet, consisting of countertenor Franz Vitzthum, tenors Klaus Wenk and Gerhard Hölzle, and bass Marcus Schmidl. Second, the singers are variously accompanied not just by an organ (played by Michael Eberth), but by assorted combinations of various Renaissance instruments (Arno Paduch on cornett, Arno Jochem de La Rosée on alto and bass da gambas, Ann Fahrni on bass da gamba, and Christoph Eglhuber on lute).


Back in 34:5 I reviewed a fine recording by this ensemble of music by Leonhard Paminger. Founded in Munich in 2001, Stimmwerck dedicates itself to the rediscovery and performance of works from the German Renaissance and early Reformation periods. If at times I found myself hankering after the richer sound of a full choir, that is no criticism of these excellent performances, rendered by both the singers and instrumentalists with transparency, elegance, refinement, sensitivity, delicacy, and imagination. It says a great deal that I was particularly taken with the solo appearances of Franz Vitzthum, since apart from Andreas Scholl countertenors are not a breed of vocalists I much fancy; but the crystalline purity, sweetness, and lightness of his voice, devoid of any insipid whining quality or hootiness, won me over immediately. Being congregational hymn-tunes, these are not virtuoso display pieces, but rather good sturdy ones of affecting simplicity. CPO provides recorded sound of ideal warmth and clarity, plus detailed booklet notes regarding recent scholarship on early German hymnody and complete German-English texts. If, like me, you enjoy this repertoire, then you will make this disc a priority acquisition; highly recommended.


FANFARE: James A. Altena

Peter von Winter was a major opera composer in his day (1754-1825). One of a seemingly endless series of Mannheim-based students of Georg (Abbé) Vogler, whose last pupils included Weber and Meyerbeer, his music has real theatrical flair. The turbulent Ouverture is marvelously moody and emphatic, while the finale of the Sinfonie is a perfectly delightful confection of lively tunes. In the three Entr'Actes, Winter reveals his expertise with the sort of solo wind writing that was such a Mannheim specialty (and an influence on the young Mozart).

What Winter was not, however, was a symphonist. He tends to repeat themes rather than develop them, and his ability to use tonality to create a sense of forward momentum was, let's face it, pretty much nonexistent. Still, none of these pieces is so long that this becomes a serious liability, and the actual themes are so enjoyable that few listeners will complain. These performances are also excellent: exciting, gutsy, with plenty of trumpets and drums where called for, and a rich sonority that still never precludes the necessary clarity. The Bavarian Radio engineers usually can be counted on to deliver fine results, and they don't disappoint. Good stuff.

--David Hurwitz, ClassicsToday.com

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The Austrian cultural daily drehpunktkultur said the following in reference to Vol. 1 of CPO’s complete Michael Haydn wind concerto edition - “An all-around inspiring CD that makes one eager to hear the continuation!” In these works that make up Vol. 2 one can again hear the joy of experimentation, musical sense of humor and rich imagination typical of the composer. Characteristic features include the invention of beautiful melodies of cantabile character as well as passages of the highest virtuosity and technical difficulty. Wolfgang Brunner leads the Salzburg Hofmusik and soloists.

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