Carl Stamitz: Concerto for Cello in A Major, Thomas Blees (cello)

Carl Stamitz - Concerto for Cello in A major (1777), Thomas Blees (cello), Württemberg Chamber Orchestra, Heilbronn, Jörg Faerber (this concerto performed by Jan Haliska (cello) and Zdenek Dejmek (conductor) is issued as no.2 by PANTOM Label )
I. Allegro con spirito – 00:00
II. Romanze. Andantino – 09:52
III. Rondo. Allegretto – 16:23

“Carl Philipp Stamitz (Karel Stamic; 8 May 1745 – 9 November 1801), who changed his given name from Karl, was a German composer of partial Czech ancestry. He was the most prominent representative of the second generation of the Mannheim School. He was the son of Bohemian-born Johann Wenzel Stamitz , a court player and famous musical director.
Stamitz took lessons from his father and spent eight years in the Mannheim Orchestra. He journeyed first to Paris - with his brother Anton who played the violin and viola - and then on to London in the late 1770s, returning to Jena as a conductor. He is also known to have visited Russia. Stamitz composed operas, symphonies and concerted works for string and woodwind instruments, plus some chamber music.

Stamitz' A major Cello Concerto perfectly demonstrates his lyrical style, closest to that of Mozart in his concertante music, and with a similar buildup in the opening tutti combination of strings with winds. The cello entry - Allegro con spirito - however, is a direct link with Haydn. Fulsome, expressive and extremely vocal in character, it spans two octaves and is mainly in the key of E major. After another orchestra tutti, the cellist resumes his phrase spinning in E minor, moving back to A for further exploits and a cadenza that journeys from mid to high regions, where there is a lengthy discussion, quoting elements of the various themes in fresh guises. The middle movement is a Romanza, the winding melody descending from D to A and back again. There is some lovely, moulded phrasing between soloist and strings with hints of B minor en route. The hushed ending is particularly effective. The Rondo finale is skittish, made up of dotted and repeated notes, its opening theme partially echoed by the soloist. An A minor/ D major second subject does not impede the music's joyful progress, and cello harmonics contribute to the general pleasure.” ( Bill & Gill Newman)

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