Bomtempo composed music for different musical ensembles. Among his works, the most important ones are, in addition to many compositions for the piano, his five...

Bomtempo composed music for different musical ensembles. Among his works, the most important ones are, in addition to many compositions for the piano, his five concertos for piano and orchestra, his Requiem in Memory of Cam�es and the two symphonies here included, although early musicologists mention that he composed a total of six symphonies. Symphony No.1 shows the influence of Haydn and Mozart. It follows the classical form despite the fact that the second movement is a Menuet, and not the usual Andante. The first movement has a slow introduction and it's Allegro section follows sonata form. The Menuet has the usual contrasting Trio and the third movement (Andante sostenuto) develops along the lines of a free set of variations, with an emphasis on the use of the wind instruments. The work is scored for two flutes, two oboes, two clarinets, two bassoons, two horns and timpani. The oldest existing copy of the full orchestral score is in the handwriting of a copyist. Curiously, it has no trumpets. Since the timpani part is independent of that of the horns, and since the symphonies which directly influenced Bomtempo do not use timpani without trumpets, I have added two trumpets to the timpani part. The score and parts of this symphony were published in 1963 by the Calouste Gulbenkian Foundation in Lisbon. Symphony No. 2 is a work of much larger scope and dimension. It's musical style is clearly more Romantic than that of the first symphony and it's form much broader and more fluid. Of particular interest is the lyricisim of the Allegro moderato, which follows the slow introduction of the first movement. It's sheer size reminds us of Beethoven's Eroica Symphony. Equally original is the second movement, whose rhythmic character is interrupted by a theme which resembles more an operatic aria than the middle section of an orchestral slow movement. Also noteworthy is the ease with which the Trio becomes part of the Menuet and the freedom with which the Finale develops, always following the sonata form but without apparent submission to any pre-established musical form. The orchestration of the Second Symphony is the same as that of the first, with the addition of two trombones. Perhaps this indicates that Bomtempo may have known Beethoven's Pastoral Symphony at the time when he composed this work.