• CPO777606 Katalognummer
  • 0761203760626 EAN
  • 2CD Format
  • 2014 Utgivelsesår

Moesus, Johannes

Riet, Gaby Pas-van (flute) | Wipfler, Wolfgang (horn) | Angerer, Anne (oboe) | Donneweg, Hanno (bassoon) | Fischer-Dieskau, Manuel (cello) | Brenner, Konstanze (double bass) | Teuffel, Gunter (viola) | Salm, Michael (violin) | Georgieva, Mila (violin)

Pleyel, Ignaz

Stuttgart Radio Symphony Orchestra


Pleyel, Ignaz:
Sinfonia concertante in F major, Ben. 115
Symphonie Concertante in B flat major, B. 112 (arr. M.-J. Gebauer for oboe, bassoon and orchestra)
Sinfonia concertante in F major, Ben. 113
Bassoon Concerto in B flat major, Ben. 107


Perhaps more than any other musician, Ignaz Pleyel was fated to learn one
of life’s most painful lessons: worldly fame is fleeting and quickly fades.
Around 1800 he was regarded, next to Haydn and Mozart, as Europe’s most
successful and popular composer of instrumental music; his orchestral and
chamber music – including forty-one symphonies and more than a hundred
quintets and quartets, circulated from Scandinavia to Southern Italy in
countless printed editions. His star began to fade during the 1820s:
Beethoven set the standard, and Pleyel came to be regarded merely as an
epigone of his esteemed teacher Haydn. Our spirited recordings of Pleyel’s
symphonic music (2346669) as well as this new release featuring three of
his total of six symphonies concertantes and his bassoon concerto
demonstrate that his music really has not deserved to be forgotten. Pleyel
turned to the symphonie concertante at a relatively late point in the
history of the genre, which had arisen in Paris during the early 1770s and
combined the interest in purely orchestral music that had developed around
the middle of the century with the appeal of instrumental virtuosity and
tonal variety. Pleyel’s symphonies concertantes composed between 1786 and
1805 display an astonishing delight in experimentation with unusual
movement combinations. In his fourth symphonie concertante Pleyel ventured
to experiment with the instrumentation; instead of opposing two or three
soloists to the orchestral tutti, he called for an octet consisting of
strings and winds and covering the tonal range of a small orchestra. Here
Pleyel anticipated an idea that Louis Spohr would realize in his seventh
symphony in 1842: a double symphony for two orchestras, one of which
consists of soloists.


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Pleyel, Ignaz: Konsertante Symfonier & Fagottkonsert <span>-</span> Moesus, Johannes Pleyel, Ignaz: Konsertante Symfonier & Fagottkonsert Moesus, Johannes

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