Paul Wranitzky (Pavel Vranický) - Symphony in D Minor 'La tempesta', Czech Chamber Philharmonic Orchestra Pardubice, Marek Štilec (conductor)
I. Vivace - 00:00
II. Adagio - 11:10
III. Finale. Allegro con fuoco - 17:18
Paul Wranitzky (Pavel Vranický, 30 December 1756 - 29 September 1808) was born in the southern Moravian village of Neureisch (today Nová Říše, Czech Republic) were he received his first musical training at the local Premonstratensian monastery. After studies in Jihlava and Olomóc, he moved to Vienna in 1776 to study theology at the university, where he also became director of music at the theological seminary. In 1783 he became music director to Count Johann Baptist Esterházy de Galántha, an amateur oboist and distant relative to Haydn's employer. Upon the count's recommendation, Wranitzky joined the Viennese Masonic lodge ‘Zur gekrönten Hoffnung’, for which he composed songs as well as symphonies. The composer Joseph Martin Kraus (1756-1792) was a visiting member at the lodge in 1783. Kraus, an already established composer, recognised Wranitzky's budding compositional talent and provided encouragement and possibly some lessons. Several early publications also mention Wranitzky as a student of Haydn.
In 1785, Wranitzky became orchestra director at the Kärntnertortheater and two years later also at the Burgtheater. From the early 1790s until his death he would hold the position of first orchestra director for both court theatres.
While Wranitzky composed in most genres, symphonies scent to have held a special position in his creative interest as he produced them continuously during his career. Today 45 symphonies survive, making him one of the most prolific composers of his days in the genre. It is therefore not surprising that many features of Wranitzky's style are echoed in the early symphonies of Beethoven.
Only surviving in manuscript copies, the Symphony in D minor 'La Tempesta' (`The Storm') dates from before 1795, when its three movements were used as pad of the incidental music to the play Die Rache. Omitting a slow introduction, the Vivace first movement opens with a stern five-note knocking motif which is extensively featured throughout the taut sonata form movement. Like the eye of a storm, the serene Adagio only occasionally hints at the surrounding turmoil. The quiet pastoral atmosphere is reinforced by muted strings and extensive woodwind solo passages. An apprehensive, quiet theme in the strings open the extensive Allegro con fuoco finale. It is soon mercilessly interrupted by the arrival of the titular storm. Tremolos, sudden accents, dissonances and diminished chords are layered in different combinations to create an impression of nature's unpredictability. However, the movement is carefully planned out with multiple climaxes within a large-scale monothematic sonata form structure. To enhance the impact of the thunder, Wranitzky added a timpanone (a large kettle drum) part which contains some surprisingly detailed information such as 'quiet rain' and the ‘weather wanes'. When the storm indeed finally dies away, a bird-like flute solo coaxes the main theme out into the sun. Rejoicing in the restoration of good weather, the full orchestra launches into an exuberant coda. (from album booklet by Daniel Bernhardsson)