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
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 [For those wishing to find this release, the Archiv catalog
 number is 474508-2. -Dave]