What with Glyndebourn’s fabulous Rossini Il turco in Italia (review to follow), it seems fitting that the symphony here is Wrantizky’s D-Major, “Con musica turca,” sitting firmly in the line of this “Orientalist” influence (think also Mozart Entführung, too, for instance, where the “Oriental” flavour is heard in both that opera’s Overture and elsewhere). This symphony launches the seventh volume of Naxos’ series with the Czech Chamber Philharmonic Orchestra Pardubice under Maerk Štilec.
Here’s the promo video:
After a Grave introduction, the Allegro is irrepressible, but here’s the rub: it also explores some decidedly darker regions, far darker than I, for one, would expect. There is no denying the delightful wind writing in this movement, whether soloistically or as a group. The Allegro spiritoso main body of the movement is highly propulsive, but never rushed, in this Pardubice performance:
There is omre than a touch of Harmoniemusik to the Largo. It might be a Largo, but it is also headed “Capriccio”!. It is the epitome of gentililité here. Hints of stern emotions are there, but swiftly diverted by Wranitzky:
A robust Menuetto is contrasted with a Trio for flute. Captivating it might be, but it is also formally perfectly balanced:
No missing the Turkish elements in the third episode of the finale, with its drum and wind band underpinned by emphatic string chords and later string melody underpinned by cymbal. The return to the symphony’s opening is perfectly judged, while the Turkish music itself works perfectly:
The two symphonies on this disc are separated by Merkur, der Heiratstifter (Mercury, the Matchmaker). Dating from 1793, this was a Singspiel around the God Mercury and his antics with human couples. The use of a post-horn is a nod to Mercury’s function as messenger of the Gods. Naxos offers us the Prologue’s Overture, and the Act 1 Sinfonia (a Mozartian blaze of light). Here; the Prologue’s Overture:
That was the perfect interlude between the two symphonies, The second is the first of the Sinfonias a Grand Orchestra, Op. 35, published 1799. When it was offered to Prince Ferdinand III of Tuscany, Wrantizky expanded the orchestration with two clarinets, which are included in this recording.
A bold figure dominates the first movement proper (a Presto, perfectly judged here), subject to much varied treatment, including some wonderful woodwind “conversations”. The Adagio that opens is beautiful, and flows well here:
A graceful Allegretto con moto second movement contrasts well. There was much forward movement in the first movement in the form of a moto perpetuo, and elements of that are here, as if a connecting thread. But if ever a movement were typical of this period, it’s the Menuetto un poco allegretto, the epitome of all things Classical, and proof positive of Wranitszky’s ever-fertile imagination:
The finale steals in. Again, woodwind are prominent at various points:
Finally, another two excerpts from a stage work: the 1795 Singspiel Die Rache (The Revenge). It is very fitting here, as the play’s principal character is Zanga, an enslaved Moorish prince who wants revenge against Don Alonzo (who murdered Zanga’s father). The pieces not heard here actually reappear in the “La Tempesta” Symphony featured on Volume 2 of the Naxos series. But here was have the Act I Introduction and the Act II Sinfonia combined as one track:
Another terrific disc in this series, then. There are, incidentally, six previous posts on Classical Explorer, taking in both Naxos and cpo recordings. Štilec’s performances could not be bettered, and the recording is nice and bright.
This disc is available at Amazon here.
