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Peter Von Winter: Symphonies, Entr'actes / Moesus, Munich Radio Orchestra
Peter von Winter was a major opera composer in his day (1754-1825). One of a seemingly endless series of Mannheim-based students of Georg (Abbé) Vogler, whose last pupils included Weber and Meyerbeer, his music has real theatrical flair. The turbulent Ouverture is marvelously moody and emphatic, while the finale of the Sinfonie is a perfectly delightful confection of lively tunes. In the three Entr'Actes, Winter reveals his expertise with the sort of solo wind writing that was such a Mannheim specialty (and an influence on the young Mozart).
What Winter was not, however, was a symphonist. He tends to repeat themes rather than develop them, and his ability to use tonality to create a sense of forward momentum was, let's face it, pretty much nonexistent. Still, none of these pieces is so long that this becomes a serious liability, and the actual themes are so enjoyable that few listeners will complain. These performances are also excellent: exciting, gutsy, with plenty of trumpets and drums where called for, and a rich sonority that still never precludes the necessary clarity. The Bavarian Radio engineers usually can be counted on to deliver fine results, and they don't disappoint. Good stuff.
--David Hurwitz, ClassicsToday.com
What Winter was not, however, was a symphonist. He tends to repeat themes rather than develop them, and his ability to use tonality to create a sense of forward momentum was, let's face it, pretty much nonexistent. Still, none of these pieces is so long that this becomes a serious liability, and the actual themes are so enjoyable that few listeners will complain. These performances are also excellent: exciting, gutsy, with plenty of trumpets and drums where called for, and a rich sonority that still never precludes the necessary clarity. The Bavarian Radio engineers usually can be counted on to deliver fine results, and they don't disappoint. Good stuff.
--David Hurwitz, ClassicsToday.com
Peter von Winter was a major opera composer in his day (1754-1825). One of a seemingly endless series of Mannheim-based students of Georg (Abbé) Vogler, whose last pupils included Weber and Meyerbeer, his music has real theatrical flair. The turbulent Ouverture is marvelously moody and emphatic, while the finale of the Sinfonie is a perfectly delightful confection of lively tunes. In the three Entr'Actes, Winter reveals his expertise with the sort of solo wind writing that was such a Mannheim specialty (and an influence on the young Mozart).
What Winter was not, however, was a symphonist. He tends to repeat themes rather than develop them, and his ability to use tonality to create a sense of forward momentum was, let's face it, pretty much nonexistent. Still, none of these pieces is so long that this becomes a serious liability, and the actual themes are so enjoyable that few listeners will complain. These performances are also excellent: exciting, gutsy, with plenty of trumpets and drums where called for, and a rich sonority that still never precludes the necessary clarity. The Bavarian Radio engineers usually can be counted on to deliver fine results, and they don't disappoint. Good stuff.
--David Hurwitz, ClassicsToday.com
What Winter was not, however, was a symphonist. He tends to repeat themes rather than develop them, and his ability to use tonality to create a sense of forward momentum was, let's face it, pretty much nonexistent. Still, none of these pieces is so long that this becomes a serious liability, and the actual themes are so enjoyable that few listeners will complain. These performances are also excellent: exciting, gutsy, with plenty of trumpets and drums where called for, and a rich sonority that still never precludes the necessary clarity. The Bavarian Radio engineers usually can be counted on to deliver fine results, and they don't disappoint. Good stuff.
--David Hurwitz, ClassicsToday.com
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Peter von Winter was a major opera composer in his day (1754-1825). One of a seemingly endless series of Mannheim-based students of Georg (Abbé) Vogler, whose last pupils included Weber and Meyerbeer, his music has real theatrical flair. The turbulent Ouverture is marvelously moody and emphatic, while the finale of the Sinfonie is a perfectly delightful confection of lively tunes. In the three Entr'Actes, Winter reveals his expertise with the sort of solo wind writing that was such a Mannheim specialty (and an influence on the young Mozart).
What Winter was not, however, was a symphonist. He tends to repeat themes rather than develop them, and his ability to use tonality to create a sense of forward momentum was, let's face it, pretty much nonexistent. Still, none of these pieces is so long that this becomes a serious liability, and the actual themes are so enjoyable that few listeners will complain. These performances are also excellent: exciting, gutsy, with plenty of trumpets and drums where called for, and a rich sonority that still never precludes the necessary clarity. The Bavarian Radio engineers usually can be counted on to deliver fine results, and they don't disappoint. Good stuff.
--David Hurwitz, ClassicsToday.com
What Winter was not, however, was a symphonist. He tends to repeat themes rather than develop them, and his ability to use tonality to create a sense of forward momentum was, let's face it, pretty much nonexistent. Still, none of these pieces is so long that this becomes a serious liability, and the actual themes are so enjoyable that few listeners will complain. These performances are also excellent: exciting, gutsy, with plenty of trumpets and drums where called for, and a rich sonority that still never precludes the necessary clarity. The Bavarian Radio engineers usually can be counted on to deliver fine results, and they don't disappoint. Good stuff.
--David Hurwitz, ClassicsToday.com
