About symphonies 5 and 7 on cpo:
This disc is as outstanding musically as it is historically important. Johann Wenzel Kalliwoda (1801-1866) represents a sort of symphonic "missing link" between Beethoven and Schumann. His seven symphonies and 24 overtures were composed roughly in the period 1820-43 and were very highly respected in their day. On evidence here, that respect was entirely deserved. Of all the composers of this era whose symphonic works have made it to disc recently--Wit, Czerny, Ries, Hummel--it is Kalliwoda whose work seems the strongest. His melodic appeal and rhythmic energy undoubtedly have something to do with his Czech roots (try the finale of Symphony No. 5, for example), but he also had a genuine understanding of symphonic development and real contrapuntal skill.
More to the point, as the predominance of minor keys suggests, his music has passion and an emotional depth that recalls Beethoven without ever descending into mere imitation. Part of the reason for his distinctiveness stems from his skill at orchestration. The Fifth Symphony, for example, begins with a brass fanfare that strikingly anticipates the start of Tchaikovsky's Fourth, but it dates from 1839. Schumann's Spring Symphony might have picked up a hint from this as well. The third movement of the Seventh is a stirring march that not only features great tunes but also gives an important solo role to the timpani. Throughout all of the works here, the woodwinds and brass are used with unselfconscious freedom and participate as equals in the symphonic discourse. The result is thrilling, and it strikingly anticipates or echoes so much of 19th century music--from Berlioz to Dvorák to Wagner, and even Sibelius (in Overture No. 16).
Best of all, these performances are absolutely stunning. Christoph Spering and his period-instrument band tear into the music like a pack of demons, giving it exactly the kind of rhythmic surge it demands. In particular, the finale of the Seventh comes across as almost apocalyptic as it charges to its minor-key conclusion, and although Kalliwoda can't be categorized as a music radical in the way that, say, Liszt was, his music sounds like something truly new and different. I don't know who publishes this stuff, but these pieces deserve to return to the modern repertoire--and more to the point, I can easily see how their wider exposure could lead to some revisions of the usual music history texts. This is music of substance, skill, and exceptional craftsmanship, and like all true classics it reeks of its time yet speaks to listeners today with immediacy and relevance. These stunning performances, magnificently recorded, belong in every serious collection, and I can only hope that more is on the way courtesy of Mr. Spering, Das Neue Orchester, and CPO.
About symphonies 5 and 6 on Orfeo:
Having already raved about CPO's rival recording of Kalliwoda's fabulous Symphony No. 5, I can say with absolute certainty that this competing version is equally good. Frieder Bernius chooses fractionally slower tempos, and his band doesn't have quite the same "period" tang that Christoph Spering's does, but this version is hardly less exciting thanks to prominent winds and timpani, as well as a firm rhythmic underpinning the propels the music inexorably forward. Indeed, in the first movement the extra spaciousness gives the climaxes even more power as well as clarity, so it's really matter of personal taste. Given the importance of the music as a sort of gateway to the early romantic symphony, having two different views hardly counts as a negative.
Symphony No. 6, in a bucolic F major, is a big piece lasting nearly 40 minutes. It really is amazing how well Kalliwoda sustains the intensity and interest of its 13-minute-long opening movement, while the big-boned scherzo would have made Beethoven proud. The music is more relaxed than its predecessor, or the "Sturm und Drang" Symphony No. 7 found on the CPO disc (actually composed earlier, but withheld from publication by the composer), but otherwise it's just as full of melodic and textural interest as those other works. I reiterate what I said previously: for several decades Kalliwoda was considered by his contemporaries to be the classic example of a fine, post-Beethoven German symphonist. The music sustains this high opinion at every point, and while I still think the CPO release makes the best introduction to Kalliwoda's work, you certainly won't be disappointed with this very well played, vividly recorded Orfeo production. I'm happy to keep both.
As Hurwitz mentions, both these CDs feature performances by HIP bands. I'm not usually a fan, but these renditions are truly magnificent.
Hurrah on all counts! I do agree, the cpo accounts of the Kalliwoda symphonies are terrific. Hugely persuasive.
Ever leery of anything remotely "period-instrument" performance, I have avoided this CPO disc. I've learned that scratchy strings and bleating horns and breathlessly quick tempi just do not appeal to me, no matter how "HIP" it might be.
Unfortunately, as a result, I've never heard the 7th. Since the composer chose to withhold publication of the piece, I've not been overly concerned about that. But I suppose I ought to pick it up just so I know basically what the music is like.
I keep waiting for this symphony cycle to be taken up by a top tier orchestra that can do justice to the music. At least we have the String Quartets 1-3 by a first rate ensemble.
I'm equally leery. However, these two CDs are the exception that proves the rule. I suspect that HIP doesn't really work much beyond Kalliwoda. The Mendelssohn and Schumann symphonies I've heard in HIP performances have been pretty well uniformly horrible.
During the recent time when I was working on the symphonies by Lachner I also came across this composer Kalliwoda from the same period shortly after Beethoven and Schubert. And his symphonies #5 and #7 just blow me away!! Just awesome Romantic symphonies with a tremendous beauty!! I can't believe that I didn't get to know these works not until now after adoring classical music for 40 years ...
https://www.youtube.com/watch?v=8IOMIfk6Gkw
https://www.youtube.com/watch?v=0iowUCdM31M
Gerd
Oh boy, don't get me started on Hurwitz - he's clueless most of the time.
I seem to recall feeling that Mr. Fifield's book gave them rather overly negative "shrift" in my opinion and incidentally having now heard all 7...
I was Hurwitz, incidentally, who wrote about my Fritz Brun project that is was a "lost cause" and that the syntax of this composer is "spasmodic"... :-)
This is Hurwitz's latest rubbish BTW:(https://www.classicstoday.com/editorial-classical-musics-ten-dirtiest-secrets/)
-Mozart really does all sound the same.
-Beethoven's Grosse Fuge is just plain ugly.
-Wagner's operas are much better with cuts.
-No one cares about the first three movements of Berlioz' Symphonie fantastique.
-Schoenberg's music never sounds more attractive, no matter how many times you listen to it.
-Schumann's orchestration definitely needs improvement.
-Bruckner couldn't write a symphonic allegro to save his life.
-Liszt is trash.
-The so-called "happy" ending of Shostakovich's Fifth is perfectly sincere.
-It's a good thing that "only" about 200 Bach cantatas survive
Actually I don't care about Hurwitz, but I wanted to encourage you to get into these 2 marvelous Kalliwoda symphonies #5 and #7 !!
He really is an ardent self-publicist, saying inflammatory things to raise his profile. :-X
...which may be correct. Or maybe these are his genuine opinions. I happen to think he's right on some things. Not saying which, though!
Meanwhile, back at the Kalliwoda ranch...
Quote from: Kevin S on Tuesday 10 December 2019, 11:25
This is Hurwitz's latest rubbish BTW:(https://www.classicstoday.com/editorial-classical-musics-ten-dirtiest-secrets/ (https://www.classicstoday.com/editorial-classical-musics-ten-dirtiest-secrets/))
That is over a decade old - hardly "latest". And I'm in camp Hurwitz on the point of Wagner here.
...and, as I indicated, I don't think Hurwitz is always wrong either.
But with that, let's return to Kalliwoda...
One of my favourite composers and Hurwitz is complimentary with his analysis of the Symphonies
Please check it out:
https://youtu.be/seVRBQ28k0k
Very good analysis - I agree with Hurwitz sentiments. Kalliwoda's music is definitely not run of the mill stuff. Right from the moment I heard the 3 string quartets I knew he was a very good composer. My favorite comment was how come Spohr's symphonies were played in he mid-late 19th century while Kalliwoda's weren't? Being that they are far superior in most on avg.
do we actually know how many performances Kalliwoda's symphonies received in the aforementioned period? (I've tried searching the Leipzig Gewandhaus archive-search- as their orchestra seems the most likely to have performed his music - but maybe I need to use a different browser, it's not working with Chrome...) (Nope, not that either.)
By coincidence I did a search in their archive for "Strauss" the other day, and it turned up no hits. Seems unlikely, so a technical problem, I'd say.
I have to say that it was kind of a vindication hearing DH speaking so effusively of the Kalliwoda symphonies..i have them all and, along with a select others (Krommer, Mayer, Klughardt) , they are the Unsung music that are not just discoveries, however pleasant, no , it's music I play as often as the Big Guys'.
No kleinmeister at all, IMHO.
They're all very good to great, and in many instances, i.e. the 4th, they are that elusive thing, music that does not sound like anybody's else.
Right now I have the 3rd on headphones..it's just wonderful..and that slow movement!
i never quite understood the short shrift Christopher Fifield gave him in his excellent book...he seemed to imply the Kalliwoda never evolved, or even declined...I hear just the opposite (certainly in the context of a consistent, but personal, style)..opinions of course.
I love even the Ouvertures, a genre which I do not usually favor..they're like mini symphonies,