Wednesday, May 24, 2017

Kalliwoda, Johann Wenzel. (1801-1866) Symphonies No. 5 & 7.

From my collection.
Bought in February 2012.
First listen: 22-2-2012.
Second listen: 24-5-2017.
Label: CPO.
Recording dates: November 2004.
Recording venue: Studio Stolbergstraße, Köln, Germany.
Recording engineer: Stefan Hackspiel.
Running time: 68:29.
Relevance to me: Essential music.

Works performed:

Symphony No. 5 opus 106 in B minor. (1840)
No. 7 WoO/01 in A minor. (1841)
Overture No. 16 opus 238 in A minor. (1863)

Works performed by:
Das Neue Orchester, Christoph Spering. ( On period instruments)

Kalliwoda composed 7 Symphonies and many Overtures, with an equal grandeur. I am slowly working my way through his music, which is always a great pleasure, for as well as Schumann esteemed Kalliwoda and followed his compositional development with attention, so do I in listening and comparing the differences between his orchestral output. He wrote capable and above all noteworthy music, probably the best that the post Beethovenian period has produced, although many see him as a minor composer, which he is not!
Martial moments, energetic sharpness, extensive passages of lyrical depth, gorgeous tone colours and often a virtuosic treatment of the instrumentation, to name a few things that prevail in his music. Especially the 7th symphony has a great romantic stature, maybe less concise in structure as his other symphonies, but much more atmospheric and emotional. Its romantic spirit breathes sounds of folkloristic character. Rich in structure with colourful moments, played at a interpretative high standard by this orchestra.
No. 5 has an inherent tenderness, in which you will find some references towards Beethoven. His compositional techniques and instrumentation are already on a very high level, almost worthy of a orchestral ruler in his own right. There is a sort of serene attitude that brings out all melodic qualities as if emerging by stealth. His contrapuntal aptitude is most evident too. The many virtuosic elements grace the music in a tenderly loving way. Such is the musical beauty that I feel overwhelmed at times.
The overture has a formal freedom that catapults it into every direction he wants. He shapes the music in diverse episodes, with many moods to choose from. A sort of symphonic poem but on a smaller scale. I love this overture. It's bouncy and bubbling with energy, and is again projected well by this orchestra.
As to the recording, well it has enormous depth, and details are heard throughout the music, but the recording made the orchestra sound bigger as you would normally hear with 44 players, and thus sounds bombastic and laboured, not always mind, but especially when the music gets loud. Too much air around the orchestra which causes 5 seconds of reverb. But despite this minor setback it is still very much recommended.





Graupner, Christoph. (1683-1760) Partitas for Harpsichord. Volume I.

New acquisition. Date of purchase: July 2017. First listen: 26-7-2017. Label: Analekta. Recording dates: September 2001. Recording v...