FESCA: Symphonies nos. 2 & 3

Beermann, Frank;
NDR Radiophilharmonie

CPO 999869

In the first half of the 19th century, it was not only Beethoven who wrote symphonies, even if concert halls give this impression. Our editions of works by Onslow and Ries impressively prove that good and original music was also written alongside this giant and bring to light real gems.

A real (further) discovery is Friedrich Ernst Fesca with his three symphonies. He was the father of Alexander Fesca, whom many know from our wonderful recording of his septets by the Linos Ensemble (order no. 853 98 63, € 15, 49). Friedrich Fesca's main biographical stations were Magdeburg, Leipzig, Kassel and Karlsruhe. He was a well-trained violinist who was able to shine as a soloist in the concertos of Spohr, who held him in high esteem. His well-crafted string quartets in particular cemented his reputation as a composer early on, and Carl Maria von Weber took them as an opportunity to make a fundamental statement about Fesca's music in an essay.

The affinity is obvious: Weber's musical language in his two symphonies, for example, is related to Fesca's in character. We begin this month with Fesca's second (around 1810) and third (1816) symphonies, which immediately captivate with their peculiar mixture of powerful energy and pleasing elegance, their absolutely original thematic invention and virtuoso (1st violins!) orchestral treatment. As an encore, there is the rousing overture to his opera Cantemire (1819). The young conductor Frank Beermann and the NDR Radiophilharmonie are a real stroke of luck for this discovery with their captivating interpretation and crystal-clear phrasing.

Works:

•Fesca, F E: Cantemire Overture
•Fesca, F E: Symphony No. 2
•Fesca, F E: Symphony No. 3

CD

Muzyka klasyczna

CPO

12-11-2004

761203986927