Franz Krommer (1759-1831) was a prolific and very good composer, whose music is now being resuscitated with great and deserved success. It was difficult to be a composer in Vienna at the same time as Beethoven and Schubert, and most of their contemporaries have not survived the pressure. But Krommer managed to retain his personality and originality, becoming the last official director of chamber music and court composer to the Habsburg court under the conservative Emperor Francis I. The first of the two symphonies was published in 1803. Among its many interesting features is a haunting litde trio in the form of a waltz. The second work is much later, with four horns and three trombones, and is in C minor, but ending in the major. In both works, Krommer's knowledge of, and predilection for, the wind instruments is notable. The two works were well worth recording, especially with such felicitous performances and bright, pleasing recorded sound.
From 1920s Vienna and the Berlin of the Weimar Republic to emigration to the USA, then back to Vienna after the defeat of Nazism, to end his days in East Berlin: Hanns Eisler’s life was one long exile against the backcloth of the artistic, technical, and political revolutions of the 20th century. Distance, irony, and melancholy are the aesthetic corollaries that characterise the lieder presented here, their atmosphere often evoking the despair of those dark times. The early piano sonata gained the young Eisler an admiration that has never dimmed since.
Matthias Kirschnereit is one of the leading German pianists of his generation. His international solo career has taken him to five continents. He has very close links to the Bamberg Symphony Orchestra, with whom he is recording Mozart's collected piano concertos for Arte Nova. Kirschnereit's fascination with Mozart's piano concertos dates back to his youth.