Rosetti: Violin Concertos, Symphonies / Steck, Moesus, Kurpfalzisches CO

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ROSETTI Violin Concertos: in D (C6/III:9); in d (C9/III:5). Symphonies: in G (A39/1:16); in B? (A45/1:14) ? Johannes Moesus, cond; Anton Steck (vn); Kurpfälzisches CO...


ROSETTI Violin Concertos: in D (C6/III:9); in d (C9/III:5). Symphonies: in G (A39/1:16); in B? (A45/1:14) ? Johannes Moesus, cond; Anton Steck (vn); Kurpfälzisches CO ? cpo 777 028 (76:08)


Francesco Antonio Rosetti (c. 1750?1792) was born Anton Rössler. He was but one of numerous exceptional musicians and composers whose homeland was Bohemia, a region that produced more than its fair share of talent (including Vanhal, Stamic, and Jirovec) in the 18th century. While in his twenties, Rössler turned his back upon the clergy, embraced music, and chose the Italian spelling of his name.


After obtaining a post at the court of Oettingen-Wallerstein, Rosetti?s reputation as a composer began to spread far afield. In his early thirties, Rosetti, in Paris, writes that most of the symphonies performed in the French capital were either his or those of Haydn. And it was Haydn who suggested that Rosetti?s symphonies be included in the London concerts managed by Johann Peter Salomon. Rosetti?s catalog, while not as extensive as that of Haydn or Mozart, contains over 400 items (symphonies, concertos, chamber music, and vocal works), and more than half of these were published during the composer?s lifetime. This serves to strengthen a 1784 comment by Christian Friedrich Daniel Schubart in Ideen zu einer Ästhetik der Tonkunst that Rosetti ?was one of the most beloved composers of our time . . . something easier, fuller of light, and more honey-sweet than the pieces of this man can hardly be imagined.?


Indeed, Rosetti?s toolbox was well stocked; it included an exceptional grasp of technique, not to mention extraordinary contrapuntal skill. He was also inventive in his use of the orchestral winds and liberally employed chromaticism, which doubtless raised more than an isolated eyebrow in the audiences of the era. Rosetti was one of the darlings of Classicism and many critics and performers were not shy about mentioning Rosetti in the same phrase as Haydn and Mozart. However, musical tastes, call them fads if you like, can and do change with the rapidity of the speed and direction of the wind, and by the end of the 18th century, Rosetti?s music was old hat.


Rosetti?s extensive catalog?already noted?included 44 symphonies and more than 60 concertos, including half a dozen for violin. The recipient of these works is unknown, but speculation is that they were composed for Johann Anton Hutti, who joined the Oettingen-Wallerstein musical establishment not long after Rosetti. We know a bit about Hutti?s musical ability as his violin concertos?published in the 1780s by Breitkopf & Härtel?indicate he was a ?well versed and capable performer.? Both the violin concertos and symphonies on this recent arrival from cpo are exceptional in content. The former are on a high level of inspiration; they include all of the virtuoso?s tricks of the trade and augur well for Rosetti?s contemporary reputation. The latter?though less substantial than the symphonies of either Haydn or Mozart?offer taut but never truncated structure and memorable melodic material. It?s easy to see why the Parisian musical public and Haydn respected Rosetti?s abilities.


One of the finest Baroque violinists active today, Anton Steck has recorded with Reinhard Goebel?s Musica Antiqua Köln, Marc Minkowski?s Les Musiciens du Louvre, and in 1997 became the leader of the Handel Festival Orchestra in Hallé. Since period instruments are not the domain of the Kurpfälzisches Kammerorchester, Steck has put aside his gut-strung violin and opted for a Tilman Muthesius instrument copied from a 1741 Guarneri del Gesù.


Exhumed from the shadowy recesses of oblivion, Rosetti?s concertos receive passionate and well-deserved advocacy on this release. Steck?s execution is flawless, his tone secure, and his sense of musicianship unfailing from first note to last. Johannes Moesus and his band prove they are more than equal to the task, both in the concertos and the symphonies, exhibiting model musicianship and many other qualities indigenous to many of the orchestra?s better-known competitors. As for the sound, it?s up to the usual high standards that we have come to expect from Burkhard Schmilgun and his colleagues at cpo.


This is an exceptional release, holding extraordinary music that is presented with enviable and commanding feel for the repertoire. If you like Mozart and Haydn, there?s no doubt you?ll quickly warm to this beautifully recorded and well-executed release.


FANFARE: Michael Carter


Product Description:

  • Release Date: February 21, 2006


  • UPC: 761203702824


  • Catalog Number: 777028-2


  • Label: CPO


  • Number of Discs: 1


  • Period: 2006-02-21


  • Composer: Antonio Rosetti


  • Conductor: Johannes Moesus


  • Orchestra/Ensemble: Kurpfälzisches Chamber Orchestra


  • Performer: Anton Steck