APE+CUE | 1 CD | Booklet | 365 MB | 2008
The oboe virtuoso and composer Johann Christian Fischer was born in Germany, studied in Italy, and made a career throughout Europe, especially in Germany and in London. He was a member of the Dresden court orchestra, where some of his colleagues were Quantz, Zelenka, Hasse, and Abel. The young Mozart met him in 1765 at the Hague and was impressed by his playing. After a short period of service at the court of Frederick the Great in Berlin, Fischer established himself in London, where his former colleague Abel was established with J. C. Bach as presenters of concerts. The first concert of the 1768 series featured the Concerto in C recorded here. It was very popular, especially the final Rondeau, on which Mozart, J. C. Bach, and other composers wrote sets of variations. The three concertos recorded here are technically demanding as well as engagingly tuneful. The Concerto in F ends with a set of variations on an Irish tune, Gramachree Molly, that will brighten your day and have you tapping your toes.
Carl Stamitz was the son of the composer Johann Stamitz, who was one of the founders of the Mannheim School. Carl played in the Mannheim Orchestra before moving to Paris, where he was court composer for the Duke of Noailles and where he and his brother Anton performed at the Concerts Spirituel. He spent the last 25 years of his life in precarious circumstances seeking permanent employment. He composed at least 51 symphonies, 38 symphonies concertantes, and 60 concertos. The Oboe Concerto in B♭ was published as a clarinet concerto, but the oboe version exists in manuscript parts in a copyist’s hand; it may have been the original.
Virtuoso oboist Michael Niesemann has had a wide-ranging career in music from the Baroque era through modern music. He was a member of Musica Antiqua Köln for 10 years and has been principal oboist with John Eliot Gardiner’s two orchestras for 15 years. He has technique to spare for the works presented here. The Kölner Akademie does not limit itself to period practice, but also performs more-recent music on modern instruments. They make a major contribution here, helped by the sensible leadership of Willens, who has been its music director since 1996.
This disc is Vol. 7 of Ars’s series of “Forgotten Treasures.” All three concertos are claimed as first recordings, which I find no reason to dispute. It is fortunate these works have found such ardent advocates. Ars’s packaging is a bit strange. There is no inner tray; the disc rests on the paper insert, which serves as the back cover of the jewel case. On the other hand, the CD booklet is a model of how such things should be done, with full notes on the composers and the compositions in readable type. This is a very enjoyable release. --Fanfare, Ron Salemi
Carl Stamitz was the son of the composer Johann Stamitz, who was one of the founders of the Mannheim School. Carl played in the Mannheim Orchestra before moving to Paris, where he was court composer for the Duke of Noailles and where he and his brother Anton performed at the Concerts Spirituel. He spent the last 25 years of his life in precarious circumstances seeking permanent employment. He composed at least 51 symphonies, 38 symphonies concertantes, and 60 concertos. The Oboe Concerto in B♭ was published as a clarinet concerto, but the oboe version exists in manuscript parts in a copyist’s hand; it may have been the original.
Virtuoso oboist Michael Niesemann has had a wide-ranging career in music from the Baroque era through modern music. He was a member of Musica Antiqua Köln for 10 years and has been principal oboist with John Eliot Gardiner’s two orchestras for 15 years. He has technique to spare for the works presented here. The Kölner Akademie does not limit itself to period practice, but also performs more-recent music on modern instruments. They make a major contribution here, helped by the sensible leadership of Willens, who has been its music director since 1996.
This disc is Vol. 7 of Ars’s series of “Forgotten Treasures.” All three concertos are claimed as first recordings, which I find no reason to dispute. It is fortunate these works have found such ardent advocates. Ars’s packaging is a bit strange. There is no inner tray; the disc rests on the paper insert, which serves as the back cover of the jewel case. On the other hand, the CD booklet is a model of how such things should be done, with full notes on the composers and the compositions in readable type. This is a very enjoyable release. --Fanfare, Ron Salemi
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2 comentarios:
Thank you so much for this set of "Forgotten Treasures"! Do you have Vol.6?
Best regards from Portugal
Jaime
Could You verify the fileadress on megaupload please ? "File not found"
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