Franz Krommer: Symphonies 6 & 9

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The performance by the ensemble is excellent, with clear tempos, good sense of contrast, and a quality which allows for Krommer’s obvious orchestral textures to emerge, whether simply as lightly... — Fanfare, March/April 2021 More…

Release Date: 27th Mar 2020
Catalogue No: 555337-2
Label: CPO
Length: 65 minutes

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Krommer: Symphony No. 6 in D major

Work length33:07

$8.00

$10.35

Orchestra della Svizzera Italiana
Howard Griffiths

I. Largo - Allegro

Track length11:02

$3.00

$3.85

II. Andante allegretto

Track length7:38

$2.00

$2.60

III. Menuetto. Allegretto

Track length6:29

$1.00

$1.30

IV. Finale. Adagio - Allegro

Track length7:58

$2.00

$2.60

Krommer: Symphony No. 9 in C major

Work length31:54

$7.00

$9.05

Orchestra della Svizzera Italiana
Howard Griffiths

I. Adagio - Allegro assai

Track length11:24

$3.00

$3.85

II. Adagio quasi andante

Track length6:00

$1.00

$1.30

III. Menuetto allegretto. Trio

Track length6:08

$1.00

$1.30

IV. Finale. Allegro moderato

Track length8:22

$2.00

$2.60

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In any event, a more convincing case for Krommer, who is also largely forgotten as a symphonist, than the case made with this performance culture could hardly be made.” This is what Pizzicato wrote about the release of Vol. 2 of Krommer’s symphonies. Vol. 3 of this recording series completes the picture of this composer’s quest for harmonic innovations. Compared with his fifth symphony, Krommer’s sixth such work, composed two years later, has a musical language reflecting a process of radicalization as form and function are subject to a gradual process of dissociation. Krommer concluded the score of his ninth symphony in September 1830, four months prior to his death, and so presumably one of his last compositions. After his death, his works received little attention and it is doubtful that this work was ever performed prior to this recording. As in the sixth symphony, Krommer follows convention in his ninth symphony in formal matters while fully exploiting tonal ambivalences, pursuing new compositional paths, and separating the architectonic and functional aspects of musical form. In addition, his use of a fanfare motif in the first and last movements heralds the development of a motivic-cyclical design transcending movement boundaries.

Reviews

March/April 2021

The performance by the ensemble is excellent, with clear tempos, good sense of contrast, and a quality which allows for Krommer’s obvious orchestral textures to emerge, whether simply as lightly accompanied portions or with full sound.

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