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Fesca: Symphonies No 2 & 3, Etc / Beermann, Ndr So
F. E. FESCA Symphonies: No. 2 in D; No. 3 in D. Cantemire: Overture ā¢ Frank Beermann, cond; North German RSO ā¢ cpo 999 869 (61:04)
Not unlike Gossec, Mehul, and Onslow in France, or the Germans Spohr and Ries, Friedrich Ernst Festa (1789ā1826) was a symphonist whose works have been eclipsed by Beethoven. Frank Beermann has sought to alleviate this neglect in performances with Hannoverās North German Radio SO. Their recording of Fescaās Symphony No. 1 became available last year (cpo 999889). This new cpo release includes excellent performances of Fescaās two remaining symphonies, recorded in the fall of 2001. Beermann is a conductor familiar to the record-buying public these days, especially due to his collaboration (conducting the Bamberg SO) with Matthias Kirschenreit in the complete Mozart piano concertos on Arte Nova.
Though itās doubtful that anyone would argue for an elevation of Fescaās status above that of Kleinemeister , this is music of considerable charm and skill. Oddly, the Second Symphony, composed between 1809 and 1813, seems more innovative than the Third, dating from 1816. The Second Symphony, for instance, features interesting writing for the woodwinds, which are given special prominence in the Andante con moto. Thematic elements of the finale seem oddly quirky, in a way that leaves one wondering if this were creative audacity that didnāt quite come off or simply awkward writing.
In critical assessments, Fescaās orchestrations are often described as conventional. At least on the basis of these symphonies, this judgment seems unduly harsh. His handling of the orchestra is never less than effective, the string-writing is consistently idiomatic, and textures occasionally achieve an almost Mendelssohnian translucence. The overture to Cantemire , the first of two operas that Fesca wrote for Karlsruhe, rounds out the program.
Balances and presence in this record leave little to be desired. The performances are strong and imaginative. While the music itself must suffer in comparison to Beethoven and Weber, it nevertheless presents a worthy contribution to the rich and varied landscape of the early-19th-century symphony.
FANFARE: Patrick Rucker
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Fesca: Symphonies No 2 & 3, Etc / Beermann, Ndr So
Fesca: Symphonies No 2 & 3, Etc / Beermann, Ndr So
F. E. FESCA Symphonies: No. 2 in D; No. 3 in D. Cantemire: Overture ā¢ Frank Beermann, cond; North German RSO ā¢ cpo 999 869 (61:04)
Not unlike Gossec, Mehul, and Onslow in France, or the Germans Spohr and Ries, Friedrich Ernst Festa (1789ā1826) was a symphonist whose works have been eclipsed by Beethoven. Frank Beermann has sought to alleviate this neglect in performances with Hannoverās North German Radio SO. Their recording of Fescaās Symphony No. 1 became available last year (cpo 999889). This new cpo release includes excellent performances of Fescaās two remaining symphonies, recorded in the fall of 2001. Beermann is a conductor familiar to the record-buying public these days, especially due to his collaboration (conducting the Bamberg SO) with Matthias Kirschenreit in the complete Mozart piano concertos on Arte Nova.
Though itās doubtful that anyone would argue for an elevation of Fescaās status above that of Kleinemeister , this is music of considerable charm and skill. Oddly, the Second Symphony, composed between 1809 and 1813, seems more innovative than the Third, dating from 1816. The Second Symphony, for instance, features interesting writing for the woodwinds, which are given special prominence in the Andante con moto. Thematic elements of the finale seem oddly quirky, in a way that leaves one wondering if this were creative audacity that didnāt quite come off or simply awkward writing.
In critical assessments, Fescaās orchestrations are often described as conventional. At least on the basis of these symphonies, this judgment seems unduly harsh. His handling of the orchestra is never less than effective, the string-writing is consistently idiomatic, and textures occasionally achieve an almost Mendelssohnian translucence. The overture to Cantemire , the first of two operas that Fesca wrote for Karlsruhe, rounds out the program.
Balances and presence in this record leave little to be desired. The performances are strong and imaginative. While the music itself must suffer in comparison to Beethoven and Weber, it nevertheless presents a worthy contribution to the rich and varied landscape of the early-19th-century symphony.
FANFARE: Patrick Rucker
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F. E. FESCA Symphonies: No. 2 in D; No. 3 in D. Cantemire: Overture ā¢ Frank Beermann, cond; North German RSO ā¢ cpo 999 869 (61:04)
Not unlike Gossec, Mehul, and Onslow in France, or the Germans Spohr and Ries, Friedrich Ernst Festa (1789ā1826) was a symphonist whose works have been eclipsed by Beethoven. Frank Beermann has sought to alleviate this neglect in performances with Hannoverās North German Radio SO. Their recording of Fescaās Symphony No. 1 became available last year (cpo 999889). This new cpo release includes excellent performances of Fescaās two remaining symphonies, recorded in the fall of 2001. Beermann is a conductor familiar to the record-buying public these days, especially due to his collaboration (conducting the Bamberg SO) with Matthias Kirschenreit in the complete Mozart piano concertos on Arte Nova.
Though itās doubtful that anyone would argue for an elevation of Fescaās status above that of Kleinemeister , this is music of considerable charm and skill. Oddly, the Second Symphony, composed between 1809 and 1813, seems more innovative than the Third, dating from 1816. The Second Symphony, for instance, features interesting writing for the woodwinds, which are given special prominence in the Andante con moto. Thematic elements of the finale seem oddly quirky, in a way that leaves one wondering if this were creative audacity that didnāt quite come off or simply awkward writing.
In critical assessments, Fescaās orchestrations are often described as conventional. At least on the basis of these symphonies, this judgment seems unduly harsh. His handling of the orchestra is never less than effective, the string-writing is consistently idiomatic, and textures occasionally achieve an almost Mendelssohnian translucence. The overture to Cantemire , the first of two operas that Fesca wrote for Karlsruhe, rounds out the program.
Balances and presence in this record leave little to be desired. The performances are strong and imaginative. While the music itself must suffer in comparison to Beethoven and Weber, it nevertheless presents a worthy contribution to the rich and varied landscape of the early-19th-century symphony.
FANFARE: Patrick Rucker
