Johann Wilhelm Wilms (1772-1847) Two Symphonies Symphony No. 6 in D minor, Op. 58 (c. 1820 - 31:00) * Symphony No. 7 in C minor (c. 1830's - 29:45) * Concerto Koln Werner Ehrhardt, director and first violin solo Recorded Sendesaal Deutschlandfunk, Cologne, February 2003 Archiv Produktion (Dg) B0002998-02 [60:55] Premiere Recordings * Genesis of this Recording: As explained by Werner Ehrhardt in the liner notes to this new disc, a few years ago he came across the Symphony in E flat major, Op. 14 by Johann Wilhelm Wilms. The date of the edition was 1809, so Ehrhardt assumed that the work was written at that time and possessed an antiquated style. Later, the musicologist Dr. Ernst A. Klusen explained to Ehrhardt that the E flat major Symphony was actually composed in 1793. Klusen also brought to Ehrhardt the contemporary sets of parts of other Wilms symphonies. These sets greatly impressed Ehrhardt and his cohorts with their blossoming romanticism. Eventually, they decided to record Wilms's last two symphonies, nos. 6 and 7, which the group felt best reflects the composer's artistry and musical development. Some Composer-Related Background: Wilms, born in Witzhelden which in not far from Bonn, migrated to Amsterdam in 1791 to partake of its rich musical culture and advance his musical craft. For the first few years, all went well as he became highly regarded and demanded as a teacher, performer, and composer. However, Wilms increasingly found himself so busy with the business demands of his career that he had precious little time to compose. Disgruntled concerning his fate, Wilms went as far as to write an anonymous letter to a Leipzig periodical in 1815 indicating that Mozart and Haydn would have had stunted careers if they lived in Amsterdam. Given the situation, Wilms concentrated on writing concertos and symphonies, the forms most popular in Amsterdam at the time. The Music: Both Wilms symphonies are dominated by heroism, surging and granite-like confidence, and bold presentation. I think it would be fair to say that his music is quite rugged and demonstrative, leading me to think of Beethoven's typical orchestral compositions. Each movement of these four-movement works is highly rewarding, and Wilms is definitely a composer deserving of some recognition. Although the symphonies compare well to the orchestral music of Hummel, Spohr, and Reicha, Wilms is much more aggressive than these fine composers of the transitional period between the Classical and Romantic eras. As mentioned above, Wilms is more in line with the aesthetic of Beethoven, and I consider this a major compliment to a much neglected composer. Is Wilms another Beethoven?: Not quite. What he lacks are Beethoven's angst/poignancy, variety of expression, and compelling thematic development. The two slow Wilms movements are certainly pleasing, but they don't go far below the surface. Concerning thematic development, check out the 1st Movement Allegro where the development section is weak indeed with mediocre melodic material that doesn't stray far from the primary theme and involves a rash of repetition. Still, leaving Beethoven aside, the Wilms symphonies stand tall next to other symphonies from composers of the period. Performances and Sound Quality: The Concerto Koln was founded in 1985 by young graduates of several European Colleges of music. The goal of this new period instrument band was to rediscover 17th and 18th century music based on historical performing practices. The group's success has been phenomenal, and it is now one of the leading period instrument bands in the world. Although recently under exclusive contract to Teldec, Concerto Koln is now recording for Archiv Produktion which is linked with Deutsche Grammophon. Recording credits include the music of Almeida, Field, Dussek, Brunetti, Bach, Durante, Graun, Handel, Kozeluch, Kraus, and Mozart. The performances of the two Wilms symphonies are outstanding. Whenever Wilms gives the opportunity for the performers to shine, Concerto Koln delivers stimulating and powerful interpretations. Overall, the group likes to play sharply with minimal vibrato and maximum priority on musical contrasts and grand climaxes. The soundstage is perfectly suited to their playing - so clean you could eat off the musical canvass. Don's Conclusions: A hearty recommendation for this expert production. The music has a bracing and exciting quality that is highly invigorating, and the performances and soundstage are outstanding. Wilms is not Beethoven, but he may be the next best thing. Those who treasure Beethoven and/or the orchestral music from the early part of the 19th century should definitely investigate this excellent composer. Hopefully, the new Archiv disc will lead to more recordings devoted to Johann Wilhelm Wilms. Don Satz [log in to unmask] [For those wishing to find this release, the Archiv catalog number is 474508-2. -Dave]