Muzio Clementi�s four surviving mature symphonies were never published in his lifetime and were rescued from neglect through painstaking reconstruction. His sophisticated use of counterpoint can be heard in his treatment of the tune God Save the King in the Third Symphony. Classical poise, drama and eloquence of expression in both works can be traced to the influence of Haydn and Mozart. Muzio Clementi�s four mature symphonies have rarely been recorded in comparison to his works for piano.
Though born in Italy, it was in London that Muzio Clementi made his career having arrived there when he was just fourteen with the help of a financial benefactor. Taught keyboard and composition, he was adopted as the nation�s foremost exponent of the fortepiano, conductor and composer, eventually moving into music publishing and instrument manufacture. He only revisited Italy on holiday, but so threadbare was their list of symphonic composers they embraced him as their long lost son. Strange that as a music publisher he never placed in print the six symphonies he reportedly composed, one theory being that he was never satisfied with them. What we have here are reconstructions from manuscripts, none of which were complete, the Third and Fourth being the work of Pietro Spada, whose name I recall as a conductor in the 1960s. The enclosed booklet does not explain the extent of his participation from the available material, but the Third, which was performed as The Great National symphony, has more than a passing debt to Beethoven.
The thematic material�including the British National Anthem�is strong and readily likeable and just needed more work to bring together its many ideas. Dates of composition largely rely on their inclusion in programmes, but the Fourth sounds much later; the opening movement more cohesive; the slow movement pointing to the harmonic language of Schumann�or this maybe is a by-product of the reconstruction�while the Minuet is robust for its time. Should the final Allegro vivace been taken faster? One would imagine so. The Overture in C is thought to have belong to a symphony, and has the right weight to be used as such. Performances are dedicated and well-prepared by the Rome Orchestra and their conductor, Francesco La Vecchia, in good studio sound. � 2013 David�s Review Corner
The thematic material�including the British National Anthem�is strong and readily likeable and just needed more work to bring together its many ideas. Dates of composition largely rely on their inclusion in programmes, but the Fourth sounds much later; the opening movement more cohesive; the slow movement pointing to the harmonic language of Schumann�or this maybe is a by-product of the reconstruction�while the Minuet is robust for its time. Should the final Allegro vivace been taken faster? One would imagine so. The Overture in C is thought to have belong to a symphony, and has the right weight to be used as such. Performances are dedicated and well-prepared by the Rome Orchestra and their conductor, Francesco La Vecchia, in good studio sound. � 2013 David�s Review Corner
Tidak ada komentar:
Posting Komentar