Stamitz Cello

In Carl Philipp Emanuel Bach’s catalogue, the music for solo keyboard and the chamber music occupy central positions. In his youth, Carl Philipp Emanuel, who was left-handed, did not play string instruments such as the violin or viola, but rather the harpsichord and organ (not to overlook the flute). It was as a harpsichordist that, in 1738, he joined the entourage of the future King of Prussia, Frederick II, before following him to Berlin upon his accession two years later and then formally entering his service. In 1767, he was offered the succession of his godfather, Telemann, as director of music in Hamburg. He arrived in the Hanseatic city in March 1768, and for the last twenty years of his life, it was church music that occupied much of his time and effort.

Mannheim school refers to both the orchestral techniques pioneered by the court orchestra of Mannheim in the latter half of the 18th century as well as the group of composers who wrote such music for the orchestra of Mannheim and others....

Les Agrémens, Guy van Waas - La symphonie parisienne (2015) {7CD Set Ricercar Digital Download RIC 357}
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© 2015 Ricercar / Outher Music | RIC 357
Classical / Viennese School / Symphony

It was at Le Concert Spirituel that the Germanicstyle symphony made its appearance in Paris. This story began in the 1750s with the arrival of musicians from Mannheim, including Johann Stamitz, in the French capital. Subsequently, various composers such as the Belgian François-Joseph Gossec appeared as the creators of the earliest French symphonies before Haydn’s symphonies enjoyed a very particular success there. This set, released on the occasion of the 20th anniversary of Les Agrémens, takes up most of the recordings conducted by Guy Van Waas in a repertoire bringing together composers played in Paris at the end of the 18th century (Gossec, Grétry, Haydn, Krauss), and announcing the beginnings of the Romantic symphony with two recording premieres: a symphony by Hérold and Beethoven’s Second Symphony.

Jean-Pierre Rampal is often considered the greatest flutist of the modern era. In addition to his exceptional talent, he raised the flute to unprecedented solo status, popularizing the flute literature, the flute recital and flute recordings. The rediscovery of the Baroque, Classical and Romantic repertoire for the flute is one of his outstanding achievements, as well as his numerous collaborations with composers; over 100 works have been written for and premiered by him. He recorded for Erato from the mid-1950s, with many discs receiving awards internationally.

This whopping 40-disc set, which sells for very little, contains familiar performances of the major works, and most of them are quite good. Symphonies Nos. 1-7 feature Kosler and the Slovak Philharmonic–not a first-class orchestra, but a fine conductor who gets the ensemble to play idiomatically and well. The Eighth is Menuhin's (not bad), the Ninth Paavo Järvi's (quite good). The concertos come from Vox and feature Firkusny (piano), Nelsova (cello), and Ricci (violin).