Search - Ignaz Pleyel, Uwe Grodd, Capella Istropolitana :: Pleyel: Symphonies (1778-1786)

One Part Haydn; Two Parts Mozart

Kevin Currie-Knight | Newark, Delaware | 02/27/2003

(5 out of 5 stars)

"The common rule of thumb seems to be that the reason there are only a few we call great composers is that only a few composers deserved to be called great. To an extent, this is certainly true. Many lesser known composers, when listened to, remind us of why they are lesser known. Not only is this not the case with Mozarts contemporary Ignace Pleyel, it leaves me confused as to why he is not on the list of great composers to begin with. His melodies are the closest I've heard to Mozarts and his ability to infuse a variety of moods into his symphonies is that of Haydns. This CD collects 3 of his most beautiful symphonies. I am a very large fan of the classical period; its focus on melodicism, simplicity and art for entertainment's sake. As a big Mozart fan, these symphonies are a treat for any classical lover. The symphony in C major is the closest I've heard any symphonist come to Mozart. The melodies are always crisp and clean and the music was clearly written to delight the ear. The highlight is the minuetto. If you are not humming it after its over, then you have incredible willpower! The symphony in F minor shows a bit more Haydnism (not to be confused with hedonism). Its first movement is fiery and intense, contrasting the previous symphony. Its andante grazioso is, honestly, one of the most beautiful slow movements I've heard, showing that simplicity can indeed be multi-layered. The symphony in C minor, again, shows more Haydn but the themes are as great as some of Mozarts. The adagio is really beautiful and, as usual with Pleyel, the minuetto is delicious, without being glossy. Honestly, I cannot compare the performance as I've nothing to compare it too, but for as many moods as Pleyel infuses into these tantalizingly layered symphonies, the Capella Istropolitana keeps up. The recording is smooth and well balanced, also. The only minor flaw (barely perceptible) is in the F minor symphony's andante grazioso, as the upper strings occasionally rush (just a smidge) ahead of the steady and flowing 3/4 pulse. Other than that, if you love Mozart or Haydn, discover the well hidden secret: Ignace Pleyel!"

A Composer at the Start of His Career and at the Top of His

M. C. Passarella | Lawrenceville, GA | 02/27/2009

(5 out of 5 stars)

"This very attractive recording demonstrates that Ignace Pleyel is one of those symphonists who, like Louis Spohr, worked his way to the bottom of the symphonic game. Spohr's earlier symphonies are so much more successful and indeed symphonic than his later offerings that it's tempting to say he should have quit after about No. 5. So, too, with Pleyel. The symphonies on the current disc show him to be a clear imitator of his teacher Haydn but with a fire in his belly that burned out all too quickly. One thing that changed for Pleyel was his decision to stick to his burgeoning business interests as music publisher and instrument maker. Thus from the late 1790s on, he wrote far fewer symphonies, and the ones he wrote seem poorer than those he penned beforehand. At least that's what I gather from a recording of later Pleyel symphonies by Mathias Bamert and the Mozart Chamber Orchestra in Chandos' Contemporaries of Mozart series.



However, the fire still burns in the three symphonies on this Naxos disc. Perhaps the most remarkable work is the F Minor Symphony (1786), which seems the equal of many works from Haydn's Sturm und Drang period. Fine melodies, emotional integrity, and a tenderly expressive slow movement make this about the most compelling Pleyel symphony I've heard.



But just as remarkable in a way is the C Minor Symphony, which is actually a C major symphony with an imposing and foreboding C minor introduction. This introduction colors the rest of the work, adding a gravity that never quite lifts, though the long, exuberant finale helps to clear away some of the clouds. And this is a long symphony, with a ten-minute first movement and an eight-and-a-half-minute finale that are entirely unusual for 1778, when the symphony was penned by the 21-year-old Pleyel. There are some evidences that this is an apprentice work. For one thing, Pleyel's use of brass and drums is too emphatic and tires the ear and mind after a while. And then that finale does outstay its welcome by a bit. Still, for a composer at the start of his symphonic career, it's a striking piece.



Grodd and his forces match note for note the youthful enthusiasm of these symphonies. They're accorded a lively if somewhat dry recording that tends to emphasize the brass-heaviness of the C Minor Symphony. Excellent notes as well from Dr. Allen Badley. For students and lovers of the Classical-era symphony, this disc is just about indispensable at the price."

Hidden Genius-Ignaz Pleyel

CJV | Illinois | 08/11/2008

(5 out of 5 stars)

"These symphonies are excellent. More and more of Pleyel's works are being recorded and with good reason. Pleyel is a fine composer. I have purchased his SQs Op.2, the set of Prussian Quartets, as well as his Cello Concertos by Peter Szabo. All of these CDs are excellent. Back to these symphonies, they are full melody and counterpoint abound. They leave you wondering if your listening to Mozart, Vanhal, or even Haydn. Anyone into 18th century music should include this in their collection, it's well worth it. From Wikipedia, the free on-line encyclopedia, indicates he wrote some 40 sym.s. Someone needs to record the complete set, a project worth undertaking."