Here's some little-known, late-romantic, German orchestral music that's absolute rather than programmatic. It's by composer-conductor-critic-pedagogue Paul Büttner (1870-1943), who was born in Dresden, some 100 miles south of Berlin.

He came from a working-class family and was somewhat of a wunderkind, who had violin lessons and even began composing at age eight. Paul then played oboe at what's now known as the Hochschule für Musik Carl Maria von Weber (HMW) in his hometown. He also took composition courses there from renowned German composer Felix Draeseke (1835-1913; see 28 February 2022).

With the death of his father, this youngster had to support his mother and sister, so he became an oboist with small orchestras throughout Germany as well as dance bands in the Dresden area. Büttner also played that instrument as well as the viola at a couple of other locations. Then from 1896 to 1907 he worked as a choir conductor and taught music theory at the HMW.

Subsequently, between 1912 and 1933 Paul was a music critic in addition to being a professor as well as the artistic director at the HMW. However, with the rise of Nazism, this man's past socialist associations along with having a Jewish wife resulted in his being discharged from all public offices, and a ban was put on performances of Büttner's music. Consequently, he became poverty stricken and would die in Dresden.

However, Paul left a significant body of works across most genres, but no complete list of them is readily available. Anyway, our concert opens with his "Heroic Overture in C major (Heroische Ouvertüre C-dur)" [T-1], which was probably written around 1927.

It begins with a slow, wistful, C-minor introduction [00:01] hinting at a fast, valiant, C-major thematic nexus that soon appears [02:33]. The latter powers songful [03:39] as well as perky [03:38, 04:24, 05:24], capricious [06:00], and increasingly gallant [07:14] segments, which wax and wane into a pensive one [10:44]. However, happier times ultimately prevail [12:50, 14:45]. They adjoin spirited passages [15:07] that bring this piece to a triumphant conclusion.

The next selection titled "Prelude, Fugue and Epilogue: A Vision (Präludium, Fuge und Epilogue: Eine Vision)" was written in 1922, but apparently began life as a piece called "Symphonic Fantasy: The War (Sinfonische Fantasy: Der Kriege)". It was inspired by World War I (1914-1918), and has an ominous "Prelude (Präludium)" [T-2] based on a sinister opening idea [00:01]. This becomes quite martial [03:33] and then makes a sprightly, attacca transition into the "Fugue (Fuga)" [T-3].

It has a brisk opening subject [00:00] that instigates a contrapuntal representation of what's ostensibly a battle. This grows increasingly frenetic [03:21], and then wanes into melancholy passages [04:59] seemingly in honor of the fallen. However, the music suddenly resumes in animated fashion [06:39, 08:01], only to wane attacca into the closing "Epilogue" [T-4]. It opens with more optimistic moments [00:00], that adjoin a luminous theme [00:20]. This parents a dramatic closing segment that ends the work with a feeling of pathos.

Büttner wrote four symphonies and his Symphony No. 2 in G major (1902) ends our concert. He greatly admired the cyclic form espoused in French composer César Franck's (1822-1890) Symphony in D minor (1888), and like that, Paul's is also in three movements where cyclicity prevails.

It begins "Allegro ma non troppo, affetuoso (Lively but not too fast, yet tenderly)" with a beckoning theme [T--5, 00:00], which turns quite lively and adjoins a complementary, more cogent, brass-introduced second [02:02]. These ideas are conjointly manipulated about in "Franckian" fashion, thereby yielding passages that are sequentially aspiring [03:23], amorous [05:31], vehement [06:08] as well as playful [08:27]. Then the latter closes this movement with a "So there!" cadence [10:04], succeeded by a placid postscript [10:08].

The subsequent "Presto (Very fast)" marked "Scherzo" [T-6] gets off to a zany start with a skittering ditty [00:00] that's tossed about. Then there's a somewhat more restrained trio section [beginning at 03:05] with ländler-like moments [03:55, 05:07]. However, remembrances of the opening measures surface [06:22, 07:32] and end the movement in spirited fashion.

This is followed by a closing one [T-7] that in the usual symphonic scheme of things, could be considered a combined slow third and fast fourth movement Moreover, its "Adagio (Slow)" marked "Introducione (Introduction)" serves as the former. Here a grim opening theme [00:01] is the subject of an austere episode with a hint of what's yet to come [04:13-05:07].

Then we get the latter, which is an "Allegro (Fast)" marked "Variazione e Finale (Variations and Finale)" that opens with a rondo based on a clarion, principal, theme [05:08]. This is the lifeblood of some variational digressions that range from flighty [05:37, 06:39] to forceful [07:02], subdued [07:27], folkish [08:00], martial [08:52], soothing [09:41], happy [10:54], triumphant [11:46] and somewhat wistful [13:00]. However, a jubilant one [13:40] finalizes this hybrid movement and ends the release exultantly.

All three selections are performed by the Brandenburgisches Staatsorchester Frankfurt (BSOF) under its general music and artistic director Jörg-Peter Weigle (b. 1953). They give authoritative accounts of these rarely heard German orchestral pieces. Those liking this release should be on the lookout for future CPO discs having more of Büttner's orchestral works.

The recordings were made 11-13 January [T-2 thru 7] and 17 May [T-1] of 2022 in Frankfurt an der Ode (Frankfurt (Oder)), some 60 miles east-southeast of Berlin at the Messerhalle. They project consistently chasmal sonic images of the BSOF in reverberant surroundings. The dynamic range is colossal, particularly on headphones, and you may find yourself frequently changing the level. As for the orchestral timbre, it's characterized by somewhat stringent highs, a hardy midrange and clean transient bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250630)

A personal friend of such greats as Wolfgang Amadeus Mozart (1756-1791) and Ludwig van Beethoven (1770-1827), Austrian composer-music-publisher Franz Anton Hoffmeister (1754-1812) makes his CLOFO debut with this recent CPO release. Born to a wealthy family in Rottenburg (now known as Rottenburg am Neckar), some 400 miles southwest of Berlin, he showed musical talent as a youngster, and got violin, flute as well as piano lessons.

Then in 1768, his parents sent him to Vienna, some 400 miles east of his hometown, where he studied law. Presumably, Franz also pursued musical endeavors, which seemingly included refining his compositional skills. Moreover, by the 1780s he was one of that city's best known composers, and had written a large number of works.

Up until 1805, Hoffmeister also pursued a variety of music publishing activities, some of which were in Leipzig. But eventually he abandoned these pursuits and returned to Vienna, where he concentrated on composing. Franz would die there when he was only 58, but leave an extensive oeuvre across all genres. Unfortunately, no complete list of them is readily available.

Be that as it may, this CD gives us three of his orchestral works. The last two are world premiere recordings, and accordingly marked "WPR" after their titles. As for the first one, it's his Symphony in D major, Op. 14 "La Chasse (The Hunt)" of 1784. This is in the tradition of those "Hunt" symphonies by such contemporaries as Franz Joseph Haydn (1732-1809), namely his identically subtitled Symphony No. 73 of 1782.

Hoffmeister's is in the usual four movement, the first being an "Allegro (Fast)", sonata form one [T-1]. It has a delicate introduction [00:02] hinting at a venatic, horn-enforced theme, which is soon heard in full [00:35] and begins the exposition. The latter also includes a couple of related, more delicate ideas [01:49 & 02:42], after which all of the foregoing is repeated [03:18]. And subsequently, the composer serves up an engaging development [06:33] plus a marvelous recapitulation [08:28]. The latter has a fiery coda [10:36] that closes this movement in spirited fashion.

An "Adagio (Slow)" ternary, A-B-A-structured one is next [T-2]. Here complacent "A"s [00:00 & 02:52] feature an affable, horn-enhanced theme heard at the outset [00:00]. They surround a songful "B" [02:07-02:51] and end this movement like it started, but with a whimsical, final gesture [03:47].

The following "Minuetto. Trio (Minuet and trio)" [T-3] begins with a charming dance tune [00:00]. It parents this movement's charming outer sections [00:00 & 03:11], which bracket a flighty trio [01:29-03:10] and bring things full circle.

Then there's an "Allegro con brio (Lively with spirit)" marked fourth movement [T-4], which is also of sonata form persuasion. This is a vivacious creation, whose exposition sports an animated, horn-laced number [00:00], adjoining some venatic thoughts [00:31, 01:23 & 01:43]. Then the foregoing is explored [02:21] and bridges into a frisky development [03:44], which becomes increasingly excited. And subsequently, we get a glorious recapitulation [05:32] having a vibrant coda [06:35] that ends the work definitively.

It's followed by the composer's three-movement Concerto for 2 Horns and Orchestra in E major (1792, WPR). The "Allegro moderato (Moderately fast)", opening one [T-5] has a festive orchestral introduction with a spry, initial idea [00:00] soon followed by a fetching one [00:52].

Then the horns emerge [01:45] and engage in a virtuosic dialogue based on the foregoing thoughts. This is interspersed with supportive tutti passages, which call up an awesome cadenza for the soloists [06:31]. And after that, the orchestra returns [07:51] to end things jovially.

A charming, "Adagio (Slow) Romance" is next [T-6]. It has a lovely, opening number [00:00] for both horns and orchestra. This is the subject matter for an amatory serenade sung by the soloists to a loving tutti accompaniment. Then a fond remembrance [03:05] of the opening measures brings it full circle.

The concluding "Allegretto (Moderately fast) Rondo" [T-7] is a delightful "A-B-A-C-A-D-A" romp where the horns cavort about to some equally infectious orchestral support. It begins with everyone playing a catchy, "A" refrain [00:00]. Then there's a supportive "B" [00:35] succeeded by another "A" [01:21].

After that, we get a pensive "C" [01:56], but "A" makes a spunky return [02:38], followed by an ostentatious "D" [03:14] replete with bravurs moments for both horns. However, a fourth "A" [03:52] closes this selection with a big 🙂.

The composer's Symphony in F major, Op. 14 "La Prima Vera (The Springtime)" (circa 1783, WPR) completes this release. It has an "Adagio (Slow)", enticing introduction launched by a swaying idea [T-8, 00:00]. The foregoing hints at the thematic material found in the subsequent, "Allegro (Fast)", sonata form portion of this movement.

Its exposition starts with a bouncy number [02:07] that's forcefully repeated [02:31] and succeeded by a complementary theme [03:22]. Then the foregoing is repeated [04:40], thereby calling up an antic development [07:16]. The latter adjoins a welcome recapitulation [09:38] with a zippy coda [11:32], which brings the movement to a decisive ending.

A "Mezzo adagio (Almost slow)" second one [T-9] is a short, captivating serenade based on a whimsical opening tune [00:01]. It's soon followed by a "Minuetto. Trio (Minuet and trio)" [T-10]. Here an initial, chipper idea [00:01] pervades this movement's outer segments {00:01 & 02:45], which surround a twee trio [00:59-02:44].

The "Allegro con brio (Lively with spirit)" marked, fourth movement [T-11] celebrates springtime and begins with a blithe theme, where a flute mimics cuckoo calls [00:00]. Then this is explored [00:27], and there's a pause followed by a voluntary cuckoo whistle chirp (CWC) played by the conductor here [01:48].

Subsequently, the previous material is reworked [01:50], developed [03:07] and succeeded by a break [04:06] plus another CWC [04:08]. Then we get a lively, closing coda [04:09] that ends this work merrily. But Maestro Moesus adds a footnote with yet another CWC [04:44].

These performances are by the Südwestdeutsches Kammerorchester Pforzheim (SwdKamoPfor), which is based in that city, some 400 miles southwest of Berlin. Under German conductor-cuckoo-whistler Johannes Moesus (b. 1955) along with horn players Christoph Eß and Stephan Schottstädt, these superb musicians deliver wonderful accounts of this little-known music.

All three recordings were made 17-19 September 2020 at the CongressCentrum in Pforzheim. They present a sizable sonic image in spacious surroundings that enrich this music. The solo horns are positioned to either side of Maestro Moesus, well captured and effectively highlighted.

The overall orchestral timbre is characterized by highs that are acceptable for a conventional CD, while the mids and lows are good. Everything considered, these will probably be the definitive recorded versions of this music for some time to come.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250629)

Austrian-born-and-trained Karl Ignaz Weigl (1881-1949) appeared in these pages a couple of years ago (see 31 July 2023). And here he is again courtesy of the Capriccio label, which has been a champion of his music (see C5232, C5259, C5318, C5365 & C5385). This time around they give us two more orchestral selections, both being premiere recordings. But first a few words regarding this composer's background.

Karl was born in Vienna and showed leanings towards music as a youngster. Consequently, he'd go on to study it in his hometown and pursue a successful musical career there. However, with the rise of Nazism and 1938 annexation of Austria (Anschluss), Weigl eventually fled to America, where he became a U.S. citizen in 1943.

Karl would live out his years there as a distinguished teacher, and continue to compose almost right up until his death in New York City. Consequently, he left a large body of works across all genres. They include six numbered symphonies, one of which is featured here.

It's his Symphony No. 3 in B flat major, which he completed during February of 1931. This has three movements, and begins with an "Allegro molto (Very fast)" one [T-1]. Here a strikingly skittish' first theme [00:01] is soon followed by the horns heralding a rather venatic thought [00:29] that adjoins a third, lovely, congenial number [00:54].

These ideas undergo several developmental treatments, where the most notable range from hymnlike [03:54] to rhapsodic [06:25], nostalgic [08:13] and valiant [10:25]. Then the latter wanes into a delicate one [12:22]. However, this bridges into joyful passages [15:32], which end the movement elatedly.

The "Adagio (Slow)" second [T-2] is one of the composer's best efforts in this genre. It opens with a highly moving, extended thought [00:01], followed by a dramatic episode [03:27]. Then the latter ebbs into a somewhat lachrymose one [08:08] that becomes increasingly troubled. But the foregoing subsequently wanes [beginning at 14:25] into subdued, afterthoughts [15:13], which bring things to a sublime conclusion.

After that, Karl serves up an "Allegro (Fast)" third [T-3]. It has initial, capricious passages [beginning at 00:00], which are succeeded by remembrances [01:35] of the previous two movements. They adjoin calmer moments [03:21], but the latter make an increasingly animated bridge [beginning at 05:31] into stout-hearted ones [07:41].

These wane, thereby calling up a subdued segment [10:31], which conjoins triumphant, closing measures [11:11]. What's more, they have a tumultuous coda [11:38] that ends the work in a blaze of glory.

The final selection is Weigl's "Symphonic Prelude to a Tragedy", which was completed in April of 1933. Little is known about it, but apparently this was inspired by Austrian playwright Hans Chlumberg's (1897-1930) antiwar drama titled "Wunder um Verdun (The Miracle of Verdun)". The latter also had a strange association with the author's untimely demise (see the album notes). Be that as it may, Karl's piece comes off like a symphonic poem ostensibly reflecting Hans's play.

Scored for a large orchestra, this is somewhat reminiscent of Richard Strauss's (1864-1949) renowned tone poems (1886-1915). That said, it opens with martial flourishes [00:01], soon followed by a subdued, ominous episode [00:29]. But the latter has increasingly agitated spots [00:59, 01:26, 02:15, 03:19] that ebb into a poignant segment [05:33], which may well represent the mournful aftermath of some bloody battle.

Then the music becomes progressively belligerent [beginning at 09:01] with a couple of tension-building, interim pauses [11:53, 12:15]. It then turns lethargic [13:39] with more of those pauses [14:21, 14:41, 14:46] and calls up some exclamatory moments [15:25, 15:35, 16:14, 16:18, 16:23], which bring the work and disc to a dire, "take-no-prisoners" conclusion.

The Deutsche Staatsphilharmonie Rheinland-Pfalz (DSpRh-Pf) under German conductor Jürgen Bruns (b. 1966) delivers technically accomplished, enthusiastic accounts of these selections that in lesser hands would most likely come off as more ordinary fare. Those who've liked their previous releases with Weigl's Symphonies Nos. 1, 4 and 6 (see Capriccio-C5365 & C5385) will want this one.

These recordings were a coproduction of this orchestra, Deuschlandfunk Kultur (DLF Kultur), Südwestrundfunk (SWR) and Capriccio. They were made 2-5 November 2021 at the Philharmonie in Ludwigshafen, Germany, some 400 miles west-northwest of Vienna. They present a generous sonic image of the DSpRh-Pf in elegant surroundings. The many solo and individual groups of instruments called for in these works are faithfully captured. As for the overall orchestral timbre, it's characterized by pleasant highs, a good midrange and clean bass.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, P250628)

Czech composer Paul Wranitzky (1756-1808) has been a favorite of this website for some time (see 30 September 2022 and 31 May 2023). Now Naxos gives us an 8th volume in their ongoing exploration of his orchestral works (see the previous three on Naxos-8.574399, 8.574454 & 8.574562).

As we told you in those two newsletters referenced above, Paul was born in Nová Říše, Czechia (Czech Republic), some 100 miles southeast of Prague. He studied music in that country, but then moved to Vienna, Austria. Wranitzky was highly regarded there and would spend the rest of his life in that great city.

This composer also became friends with the likes of Haydn (1732-1809), Mozart (1756-1791) and even Beethoven (1770-1827). Consequently, his music is stylistically similar to theirs, and like them, he'd also leave a large body of works across all genres. Those that have survived the passage of time include some 45 symphonies, three of which are featured here.

The concert begins with Paul's Symphony in E♭ major "Jagd-Sinfonie (Hunt Symphony)", P31. It was written during the 1790s and only the manuscript survived in the music collection of Ferdinand III, who was Grand Duke of Tuscany (1769-1824). Incidentally, the "P" stands for "Poštolka", which is apparently a catalogue designation for Wranitzky's works. It's seemingly the counterpart of that "K." (Köchel) associated with Mozart's and the "Hob." (Hoboken) found on Haydn's.

Speaking of Haydn, he wrote a "Hunt Symphony" (No. 73 in D major, Hob. 1/73; 1781-82). Maybe Paul got the idea from him. Anyway, the one here also has four movements with the first [T-1] being in sonata-form. Moreover, it begins with a gallant theme [00:01] that launches an "Adagio (Slow)", stately introduction.

Then the subsequent, remaining "Allegro (Fast)" portion gets underway with a venatic exposition. This has a horn-embellished, initial idea [00:59} succeeded by a related, playful one [01:27]. Then the foregoing undergo a delightful, rondoesque development [01:58]. It adjoins a pert recapitulation [04:19] having a confident coda [05:07], which ends things in jolly fashion.

The second movement is called "Donnerwetter (Thunderstorm)" [T-2] and begins with bucolic, "Andante amoroso (Tenderly flowing)", wind passages [00:00]. They represent the calm before the storm, which takes place in the adjoining, "Allegro assai (Very fast)", closing segment [01:26]. This features four timpani and is a tempestuous creation with a couple of somewhat calmer moments [03:16-03:29 & 04:11-04:35], which presage an imminent, peaceful ending.

After that, there's a brief, "Tempo di Menuetto (Minuet speed)" movement [T-3]. It has quaint, outer dance sections [00:00 & 01:28] wrapped around a tuneful "Trio" [00:52-01:27].

The foregoing is succeeded by an "Allegro molto (Very fast)", A-B-A-C-A-D-A structured rondo [T-4]. The "A"s are based on a vigorous, venatic idea first played by the horns [00:00]. Then "A" alternates with a pleasant "B" [00:53], playful "C" [01:09] and capricious "D" [02:00], after which [02:33] it ends this symphony joyfully.

That collection of Ferdinand III (see above) also contained this composer's four-movement Symphony in D major, P17, which may have been written during the 1790s. The first one [T-5] is in sonata-form and has a commanding idea [00:00] that parents an "Adagio (Slow)", solemn introduction.

This hints at a spirited theme that's soon heard {01:24]. It begins the "Allegro vivace (Fast and spirited) " remainder of the movement as well as its exposition. Then there's an antsy, second subject [01:55], and both ideas are repeated [03:12] giving way to a dramatic development [04:28]. It's followed by a thrilling recapitulation [06:00] with a marvelous coda coda [07:43], which brings this movement to a satisfying conclusion.

The "Andante (Slow)" marked second [T-6] is rhythmically like a Siciliana. It begins with a graceful theme [00:00] that's the subject for a subsequent set of variations. These range from delicate [00:53] to playful [01:49] as well as martial [02:46 & 05:37]. However, the latter bridge into a tranquil ending. But Then there's an "Allegro Menuetto (Fast Minuet)" [T-7]. Here merry outer dance sections [00:00 & 03:10] surround an intrepid "Trio" [01:12-03:09].

Another "Allegro molto (Very fast)", A-B-A-C-A-D-A structured rondo (see above) follows [T-8]. This time around the "A"s are based on a frolicsome ditty [00:00]. Then "A" alternates with a bellicose "B" [00:50], strident "C" [01:59] and martial "D" [03:20], after which [03:46] it quickly brings the symphony to a triumphant conclusion.

The main attraction is next, namely Wranitzky's Symphony in C minor "Grande sinfonie caractéristique pour la paix avec la Républic françoise (Grand Characteristic Symphony for Peace with the French Republic)", Op. 31, P12 (pub. 1797). Although its public performances were delayed (see the album booklet), this became one of Paul's best-known works.

Comprised of the usual four movements, these are musical representations of events related to the French Revolution (1789-1799). The first titled "Die Revolution (The Revolution)" [T-9] is sonata-form-like and begins with an "Andante maestoso (Slow and majestic)", sinister introduction [00:00].

This is followed by the remaining "Allegro molto (Very fast)" portion, which starts with a boisterous, exposition [01:05] where there's an "Englischer Marsch (English March)" [02:00]. And after that, we get a dazzling, extended development [10:05} having a superb "Oesterreicher und Preußischer Marsch (March of the (Austrians and Prussians) [11:33]. Then a thrilling recapitulation [13:10] with a saucy coda [15:11] ends this movement decisively.

The "Adagio affettuoso (Slow and tender)" marked second one is titled "Das Schiksal und der Tod Ludwigs (The Fate and Death of Louis)" [T-10] and commemorates the demise of Louis XVI (1754-1793). Here sorrowful opening passages [00:00] turn increasingly lugubrious, and are marked with two fortissimo moments [03:15-03:21] signifying the guillotining of this monarch. Then there's a clamant funeral march {03:41], after which memories of the beginning measures [05:57] close things in the same spirit as they began.

Subsequently, Wrantizky serves up a bellicose third movement [T-11]. It starts [00:00] with a "Tempo di Marcia movibile (Moveable March Time)", forceful recollection of that previous "Englischer Marsch (English March)", and is succeeded by "Marsch der Allirten (March of the Allies)" [00:56]. Then a cannon shot à la bass drum (BD) initiates an "Allegro (Fast)" marked "Das Getümmel einer Schlacht (Tumult of a Battle)" [02:05}. This is colorfully depicted with busy strings, more whacks on that BD, plus blazing trumpets and a petulant piccolo, all of which bring this conflict to a rousing conclusion.

A fetching, sonata-form fourth movement follows [T-12]. It has an "Andante grazioso (Gracefully flowing)" introduction titled "Die Friedens Unterhandlungen (The Negotiations of Peace)". This features a lovely, somewhat rustic, opening tune [00:00]. It's followed by the "Allegro vivace (Fast and spirited)" remainder of the work, which is called "Der Jubel über die Herstellung der Friedens (Jubilation Over the Establishment of Peace)" [01:57].

It has a winsome exposition with a merry, martial opening tune [02:04] soon succeeded by a complementary second subject [02:47]. Then the foregoing is repeated [04:12] and undergoes a spectacular development [06:21]. After that, the latter conjoins a captivating recapitulation [07:26] with a glorious coda [09:05] that ends the work and this disc in a blaze of glory.

These performances are by the Czech Chamber Philharmonic Orchestra Pardubice (CzChOrPard) based some 70 miles east of Prague. Under their native conductor Marek Štilec (b. 1985), they deliver technically accomplished, totally committed accounts of all three works. They make a strong case for this composer's symphonies, and hopefully they'll soon give us more of them.

The recordings were made 20 [T-9 thru 11], 21 [T-1 thru 4, T-12] and 22 [T-5 thru 8] November 2023 at The House of Music in Pardubice. Despite the different dates, they project consistently realistic sonic images of this orchestra in a splendid, sound-enriching venue. More specifically, the instrumental timbre is characterized by pleasant highs, a good midrange and clean bass. Everything considered, this release ranks with today's better sounding conventional CDs.

-- Bob McQuiston, Classical Lost and Found (CLOFO.com, Y250627)