Recording review article: ‘Kleinmeister’ music—a conflict of interests?

Thormählen, W. (2011) Recording review article: ‘Kleinmeister’ music—a conflict of interests? Early Music, 39 (4) pp. 655-658. ISSN 0306-1078 (print) 1741-7260 (online)

Abstract

Recordings reviewed: Christoph Willibald Gluck: Ezio (Oehms Classics OC 918, recorded 2007); Kraus: Aeneas in Carthage (Naxos 8.570585, recorded 2007); Vincente Martín y Soler: Il Burbero di Buon Cuore (Dynamic 33580, recorded 2007); Franz Xaver Richter: Messa Pastorale (Cypres CYP1659, recorded 2008); Æmilian Rosengart: Te Deum Laudamus (Carus 83.427, recorded 2007). Abstract: We have long since acknowledged that later 18th-century musical and cultural life is largely represented by its vocal music, written for church and theatre; instrumental music’s obscurer meaning sometimes left theorists and audiences puzzled until the end of the century. It is also well known that changes in socio-political thinking affected not only the role of states and governments but impacted on ideals of individuality and citizenship; new ideologies were at times forged and tested, at times simply portrayed to an ever-expanding audience in cultural life, giving rise to the opera reforms of Gluck on one hand, of Piccinni on the other. What united the reformed opera seria, the emerging opera buffa, and also the sacred music of the last quarter of the century was the focus on emotions as instantiations of individuality.

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