Franz Krommer (František Vincenc Kramář): Symphony No.2 in D Major, Op.40, Matthias Bamert
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- Опубликовано: 30 июл 2024
- Franz Krommer (František Vincenc Kramář) - Symphony No.2 in D major, Op. 40, Matthias Bamert & London Mozart Players:
I.Adagio - Allegro vivace - 00:00
II. Adagio - 09:22
III. Allegretto - 16:42
IV. Allegro - 21:23
František Krommer (27 November 1759 in Kamenice u Jihlavy - 8 January 1831 in Vienna) was a Czech composer of classical music, whose 71-year life span began half a year after the death of George Frideric Handel and ended nearly four years after that of Ludwig van Beethoven.
Between 1773 and 1776 he studied the violin and the organ with his uncle, Antonin Matthias Kramár, in Turin (near Brno), and became organist there about 1777. He made his career in the service of various noblemen, finally settling in Vienna, where he became director of music for the Court Ballet and later entering the service of the Emperor Franz I, finally as imperial director of chamber music and court composer, succeeding his compatriot Leopold Kozeluch. He retained the position until his death in Vienna on 8 January 1831 (just over three years after Schubert's death).
Krommer was one of the most successful and influential of the many Czech composers active in Vienna at the turn of the eighteenth century. The extent of his reputation is indicated by the rapid spread of his published compositions in reprints and arrangements, by German, French, Italian, Danish, and even American publishers, and by his honorary membership of musical institutions in Vienna, Innsbruck, Paris, Milan, Venice, and Ljubljana. His 300-odd works include half a dozen symphonies, a score of concertos (mainly for wind instruments), more than seventy string quartets, and a large quantity of other chamber music for strings and for winds. Stylistically, Krommer's music reflected the spirit of Haydn and Mozart rather than that of Beethoven.
“Krommer composed at least nine symphonies. Symphony No. 2 in D, Op. 40 was published in 1803, with a dedication to a 'Monsieur P. Bernard', and is scored for strings, flute, and pairs of oboes, clarinets, bassoons, horns, trumpets, and timpani. It opens with an impressive slow introduction in D minor, very reminiscent of Mozart's ‘Don Giovanni’. The most salient feature of the first subject of the main Allegro vivace into which this leads is a rising octave scale (initially in D major, the movement's main key), which has two distinct off-shoots: a succession of staccato chords on the full orchestra, and a gentler, legato idea on the strings. A discussion of these three elements in combination leads to an attractive second subject, in A, presented in dialogue between woodwinds and strings. A substantial development section, which brings into play the two subsidiary elements of the first subject as well as the second subject, is followed by a recapitulation that is fairly regular except for the fact that it does not begin with a formal restatement of the opening flourish. The Adagio, in A, begins with an elegant, Mozartian theme on the strings, which sounds as if it is going to form the basis of a set of variations. But a contrasting, un-melodic episode, in A minor and for full orchestra (less, for the time being, trumpets and timpani), intervenes, and from this point on these two contrasting factors are alternated and combined in free, rhapsodic style, perhaps with some 'programmatic' significance of which we are not aware. The third movement is a rather Beethovenian scherzo (masquerading as a minuet), full of pounding triplet fanfares, but not without a sense of humour.” (extracts from Album Notes by Robin Golding) 
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A vigorous performance of this captivating symphony. I think Franz Krommer is an important composer, I like especially his magnificent string quartets. Very interesting comments of some listeners with this upload. Thank you as always.
Thanks again!
This type of motifs and transitions is the reason why I love classical period.
Und wieder mal ein weiterer Punkt auf der Liste zu Unrecht vergessener Komponisten. Es lohnt sich durchaus Krommer zu entdecken. Genau wie die Werke von Ferdinand Ries, Joachim Raff oder auch E.T.A. Hoffmann
Thanks! I agree with you, Krommer and the other composers listed by you deserve our full attention.
Just what i expected to hear! Krommer was a very skilled composer and orchestrator.
Thank you. I'm glad that you like his music.
A very important composer and precious the concert. The explanations about him in the biography, have helped me to appreciate him better. Thank you
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The Finale is beautiful.
Splendide
Merci
Thank you!
Como siempre, música de gran interés. Muchas gracias.
Bravo miss sibarit 101!! Very interested collection!! Sotiris Andreou.(Guitarist).
Wunder! Wunder! Wunder! Ich bin außer mir vor Freude!!! Tepper Michael.
Thank you again, my friend! I'm happy that you liked it!
@ Raphael Leone Johann Baptist Cramer (24.02. 1771 - 16.04. 1858) student Muzio Clementi. He wrote some 200 solo piano sonatas, about 50 sonatas for other instruments with piano accompaniment, 9 piano concertos, and chamber music. Beethoven considered him the finest pianist of the day from the standpoint of pure technical perfection.
@ Frauncis Shakespeare The history of music is so REDUCED that it is actually FALSE - because it puts the focus on the divine talent and neglects knowledge!
mvt III starts at 16:42
Thank you! I corrected it.
Schubert was dismissive of Krommer's symphonies ("Oh, how boring"), which is what brought me here. What's not to like? Pleasant enough, with decent tunes and orchestration. A bit heavy on the trumpets and drums but has interesting and even at times Schubertian woodwind and string passages. The Trio of the Scherzo has a particularly Schubertian sound. The Finale is Haydnesque.
Interesting! Thank you for your comment.
This is the reason why you shouldn't listen to critics, no matter how much they achieved through their life. Still, both of them have wonderful works. I really cannot decide between each one which is the best.
I wonder Krommer also composed
at least nine symphonies as with Beethoven, incidentally no.5 will be op105 （1823） , why from no.6 to no.9 have the out of opus numbers, the last one was composed 1830 with previous year of his deth!!
Am I wrong to think that the 4th mouv. "Allegro" starts at 22:23? Anyway a very good work, Krommer is very rarely planned on radio (classic music channels) so thanks a lot for this upload.
Ennio, Italy
I don't know yet, but I'll check and correct if that is the case. Anyway, thank you very much for your appreciation of the music, I'm glad you liked it.
Thanks for the upload Sibarit101, very much appreciated; a truly great symphony; but! the "Album notes by Robin Golding" clearly illustrate his vast ignorance concerning the real history of the Classical era, and its many great composers and their very many wonderful symphonies; attributing somewhat, the main "influences" in this work essentially to Mozart and Beethoven is utter nonsense ... the usual lazy-minded and parrot-like academic standard drivel. Franz Krommer was an original artist, and an innovator of real stature; quite unlike Wolfie Mozart, the sometime Magpie thief and consummate copycat. This work is (academically) stated as being Published in 1803, the same year as Beethoven's Eroica Symphony was first performed, which means it was written sometime before then (i.e., 1803), and therefore can owe no debt of influence whatsoever to Beethoven's maturer (post-Eroica) sound scape; ; and if it owes some clearly recognizable (contemporary) influence to anyone acting at that time, that would then belong mainly to Franz Xaver Sterkel's Symphonies, which 'similarity' can easily be 'heard' by those familiar enough with Sterkel's works:
(Sterkel was born in 1750, passed away in 1818); and, as an aside, Beethoven himself owes something to Sterkel's own great influence. If the truth be told, on this specific topic, then the entire history of "Influence" of the entire Classical and early Romantic musical era's needs must be rewritten, in order that the other "greats" ... akin to both Sterkel and Krommer, can be recognized for their own great contributions, and equally, their own personal genius can be seen in a new and clearer light. The manifold and major elements of the "Beethoven sound", as a whole, [akin to the "Mozart sound"] were ( already) existing, having been previously 'created by others' for each of them to then respectively utilize, prior to either of them having reached their own individual stages of musical development and its maturity. They together, as with all similar "classical composers" inherited and shared in a great ongoing and enduring musical legacy that was collectively created by very many other creative hearts and minds. The "Haydn- Mozart- Beethoven holy trinity myth... "origin of the musical species" is mostly utter nonsense, and is generally perpetuated by lazy minded parroting academics, along with their many unthinking repetitious 'memes', endlessly put forward and spoon fed to the unwitting listening public as "Classical gospel", in respect of the emergence of 'musical genius in the classical and romantic eras. Time for a whole newer, fuller and more realistic dialogue, and a much clearer accounting of that entire chapter in human cultural development, in respect of "classical music". The work you posted here, helps in dispelling the "trinitarian musical myth" (of Haydn - Mozart and Beethoven, as the only three gods of the classical age) in providing the listener with one more great example of the 'non-trinitarian genius' of other equally great composers who were neither Haydn, Mozart nor Beethoven, yet who collectively shared a commonly inherited greater musical legacy, which each of them then respectively expressed as individuals, each according to their own personal talents; and so then ... Viva la difference.
Thank you, I agree. I will not try to descend from Parnassus those who are considered gods of music and I do not even feel like I can discuss this theme (my English is pretty poor). But I do my best to upload the music of those composers who are considered "minors" but whom I consider to be talented and creative.
it was Beethoven who said : I am a genius and the ONLY concurrent is Franz Krommer . they respected each other as different genius. Vive la difference !!!!!!!!!!!!!!
@ Raphael Leone Johann Baptist Cramer (24.02. 1771 - 16.04. 1858) student Muzio Clementi. He wrote some 200 solo piano sonatas, about 50 sonatas for other instruments with piano accompaniment, 9 piano concertos, and chamber music. Beethoven considered him the finest pianist of the day from the standpoint of pure technical perfection.
@ Frauncis Shakespeare The history of music is so REDUCED that it is actually FALSE - because it puts the focus on the divine talent and neglects knowledge!
Was this not written in the 1790s, possibly before Beethoven 1 and then published later? There seem according to IMSPL to be sets of parts from the 1790s?
Composer Krommer, Franz
Opus/Catalogue Number Op.40 ; PK I.2
I-Catalogue Number IFK 72
Key D major
Movements/Sections 4 movements:
Adagio - Allegro (vivace)
Adagio
Menuetto. Allegretto
Allegro
First Publication 1803 - Offenbach: Johann André
Dedication P. Bernard
Average Duration 27 minutes
Composer Time Period Classical
Piece Style Classical
Instrumentation Orchestra
InstrDetail 17 parts [more...]
Discography All Music Guide
Primary Sources Mss pts, Traeg (1790s). A-Z VIII/154
Printed, mss pts, (after 1803). D-RUI Sa 97
Mss score (ca.1825). D-OF no shelfmark
Mss pts, (ca.1800-50). D-RUI Sa 19a-e
I do wish people wouldn't write such rubbish about music on this channel. Making comparisons between Franz Krommer with Haydn & Schubert is so very stupid. Both were Austrian to start with and Krommer was a Czech. If you had to make any reference at all, and I loath to do so, it would be the music of either Myslivecek or Vanhal. But I don't expect such "experts" have ever heard a single piece by either.
What true words, dear David.
@@marcela77777 Thank you so much Marcela x
Schubert was almost 40 years younger than Krommer.
@@niallbraidwood2039 Neither did I 4 years ago. I think the person I was aiming my comment at has also realised it and remove their ignorance. 😀My God are there some stupid comments about "real" music on You Tube!!!🤣