MANNHEIM: THE CREATION OF STYLE
The Mannheim court was the most famous and influential musical court of the 18th century.
The Elector Palatine resident at the Mannheim court, Carl Theodor was 18 years old when he came to power in 1743. Cool, young, hip and modern, he created an inspired, trend setting court, filled with the musical super-heroes of the day. The court radiated a breathtaking sense of style and a new fresh elegance; full of positive energy and bursting with enlightened vision. To its contemporaries the Mannheim court was “the musical Athens of the German-speaking world”, “the paradise of composers”.
The court’s composers were on the cutting edge of musical developments. They defined the language and structure of the newest musical form of the time – the symphony. The pioneering ensemble that performed this new type of music – the Mannheim court orchestra – was considered to be the finest of its day. The 18th century critic Schubart shared the general opinion, “no orchestra has ever surpassed that of Mannheim”. It astonished listeners with the captivating new effects of the new symphonic style, one moment whipping up a frenzy of excitement in its audience, the next moment taking their breath away. The composers at Mannheim were largely responsible for creating that western phenomenon of the medium of the symphony. The Mannheim court orchestra is also the reason that we now refer to this type of ensemble as a “symphony orchestra”.
In Volume I of this series, we looked at examples of very early symphonies by two seminal Mannheim composers Franz Xaver Richter and Johann Stamitz (“the father of the symphony”) from the period c. 1740 – c. 1750. This first disc explores the variety of musical styles and influences that these two brought with them to Mannheim, Stamitz arriving in 1741 and Richter in 1747. Moving forward, the current volume explores the development of the formation of aspects of the classic Mannheim symphonic language, illustrated through works from the period
c. 1750 – c. 1755.
Like the works presented in Volume I, the early symphonic works contained here still take their inspiration from elements of the Italian or Germanic “mixed style” concerto grosso, orchestrated forms of the trio sonata or sonata a quattro, and the Italian opera “overture” or “sinfonia”. From this basis, a codified, highly articulate musical language was formed at Mannheim, which is full of rhetorical musical gestures and effects borrowed from these earlier musical languages. In its classic sense, the Mannheim symphonic language combines, or rather oscillates between, energetic and exciting Italianate string figurations with driving bass lines, and soothing cantabile Italian opera style melody writing. [As described in Vol I: For our younger audience, these are a kind of 18th century equivalent of “block-rockin’” beats and chill-out/ambient/lounge.] The 18th century English musical traveller and diarist Charles Burney, visited Mannheim and delighted in these characteristics of the Mannheim style - in his words: “invention, fire and contrast in the quick movements” and “tender, graceful, and insinuating melody in the slow”. The Stamitz symphony in F presented here would offer a particularly clear example of these two extremes.
The Mannheim musical language has an astounding richness and variety of possibilities of expression, achieved through, amongst other things, a large repertoire of emotive “melodic” figures, ranging from the energetic to the calming and soothing. This emotional range is further expanded by the fact that each key represents a different emotion, each piece therefore having a different emotional state or affect. According to mid-18th century sources, the keys appearing here represent the following affect: E flat - beautiful, majestic and honest, noble and ardent, the key of devotion, of intimate conversation with God, C major - lovely innocence, complete purity, state of nature, peace and tenderness, young joyful life, G major – pleasing, everything rustic, idyllic, and lyrical, every calm and satisfied passion, every tender gratitude for true friendship and faithful love, F major - expresses with ease and facility the most beautiful sentiments in the world – generosity, steadfastness, love or whatever stands high on the list of virtues; it has, as the French say, bonne grâce.
Through this recording we are very proud to present the second instalment in our Mannheim project. As we continue on our path exploring the repertoire, musical language, aesthetics and influences of the Mannheim court, we look forward to presenting following volumes in the series, and in doing so we continue to look up towards the shining example set by the eternally inspiring Mannheim style, described by Burney as:
truly original and bold, “produced by an enthusiasm of genius, refined,
but not repressed by cultivation.”
Simon Murphy, The Hague, December 2003.

THE NEW DUTCH ACADEMY
The New Dutch Academy (NDA) is a unique initiative created by the leading members of the new generation of early music performance specialists in the Netherlands.
Inspired by the visionary and enlightened ideals of both the eighteenth century and the legendary early music pioneers in the Netherlands, the NDA aims to stimulate the combination of research and performance resulting in exciting international concert programmes and multidisciplinary projects, and in doing so to provide a platform for the exploration of eighteenth century aesthetics and the exchange of ideas thereof. Through its international activities and its role as cultural ambassador, the NDA works independently but in close association with other international cultural institutions.
Launched in March 2002, through its own festival in the Netherlands’ oldest concert hall, the Felix Meritis in Amsterdam, broadcast on Dutch Radio 4 (NCRV), The New Dutch Academy has risen quickly to assume a very exciting position in the international cultural scene. The first NDA festival established several themes of interest and involved lecture recitals dealing with connections between art, music, cultural theory and aesthetics, as well as chamber and orchestral concerts which introduced the two NDA ensembles – The Chamber Orchestra and The Chamber Soloists. The arrival of The New Dutch Academy has been further confirmed by subsequent concert appearances which have included the Holland Festival of Early Music, Utrecht 2002 and the sold-out NDA Concertgebouw debut success.
Since this recording was made, the NDA has successfully presented its 2nd NDA Festival which profiled newly discovered symphonies by “the Dutch Haydn”, Joseph Schmitt. In September 2003, the NDA performed the closing concert of the Holland Festival of Early Music, Utrecht, celebrating the 350th anniversary of Corelli. The NDA Corelli SACD (PentaTone) with selections from the composer’s immortal Opus VI Concerti Grossi, first published in Amsterdam in 1714, will be released in September 2004.
In mid 2003, Volume I of the NDA Mannheim SACD series was released to a storm of European critical acclaim. Reviews excitedly described the recording as a revelation; musically impeccable, fresh and energetic; possessing a new sound, captivating and involving, bold and persuasive. The 2003 Gramophone Awards Issue described the disc as “vibrant, energetic” and “a sumptuous recording”. In the Dutch press, Klassieke Zaken said “breathtaking ... absolutely sublime”, Luister enthusiastically advised its readers to turn up their stereos “and get into this 18th century rock ‘n roll”, and that bastion of authenticity, the Tijdschrift Oude Muziek, stated that it “convinces on all fronts”.

SIMON MURPHY -
ARTISTIC DIRECTOR OF THE NEW DUTCH ACADEMY
Simon Murphy (1973) studied the Viola with Leonid Volovelsky, Performance, Musicology, and Fine Arts/Art Theory at The University of Sydney, and, after arriving in the Netherlands in 1996, Baroque and Classical Viola with Alda Stuurop at the Utrecht Conservatorium. For his studies he received support from The Ian Potter Foundation, Fonds voor de Podiumkunsten and the Voorzieningfonds voor Kunstenaars. He appears regularly as a chamber soloist at various international festivals, has played with orchestras such as The Orchestra of the Eighteenth Century and De Nederlandse Bachvereniging, and is founder of the initiative that is “The New Dutch Academy”. He also gives guest lectures and workshops at various educational institutions including The Royal Conservatorium of The Hague and is lecturer in Music History and Culture Theory at Webster University in Leiden. Together with Alida Schat, John Wilson Meyer and Thomas Pitt, he is also a member of The Amsterdam String Quartet.

“Here's the second volume of this spectacular new series celebrating the fame of the Mannheim orchestra (1748-1778). If you liked the first one on PentaTone-(cat. Nr 028), by all means try this. Simon Murphy and his boys play this music, "Mannheim Rockets" and all, with an authenticity and energy that's got the competition beat. The authentic string sound they produce is perfection.”
Bob McQuiston (Tower Washington, DC)

Simon Murphy and his boys play on the second volume of this spectacular new series this music “Mannheim Rockets” and all, with an authenticity and energy that’s got the competition beat. The authentic string sound they produce is perfection.”
Tower.com

“The musicians play on period instruments with unequalled elegance and warmth. Producers should use this absolutely superb recordings as a reference model. Rarely baroque music has sounded with so much detail and perfect sound quality”.
---Hansjürg Gutgsell, Thurgauer Zeitung

“ Also this second SA-CD of the New Dutch Academy is full of vitality and spirituality…in all those beautifully shaped melodies the orchestra is in total balance”
---Haagse Courant

“ Simon Murphy ignites you immediately”.
---Trouw

Here’s the most welcome second volume in the series “The Creation of Style—The New Dutch Academy Mannheim Project… This disc should be a high priority for aficionados of the period”
--James Reel,FANFARE