Pro arte antiqua Praha
(on period instruments)
Vaclav Navrat, Jan Simon - violins, Petr Hejny - violoncello, Ondrej Balcar - double bass, Ales Barta - cembalo
Of all the members of the large family of musicians, Jan Vaclav
Antonin Stamic (Johann Wenzel Anton Stamitz) is the most famous
and musically the most important. His grandfather Martin Stamitz
emigrated from Marburg (today's Maribor, Slovenia) and settled
in Pardubice, Bohemia in 1665. Antonin Ignac Stamitz, the father
of Jan Vaclav Antonin, moved to Deutsch-Brod (today, Havlickuv
Brod) in about 1710, where he was the local organist. About four
years later he married Rozina Boem; they had eleven children,
the third of whom was Jan Vaclav Antonin (born in 1717). The many
ways his name has appeared (there are at least nine, including
Stamiz, Staimitz, Steinmetz, Stammitz, and Stametz) reflects the
complexity in determining relationships between members of the
Stamic family. On thing, however, is clear: Jan Vaclav Antonin,
who became renowned as a virtuoso on the violin and also as composer
and conductor, came from Bohemia, though owing to the distortions
of his name German writing on music tends to emphasize the German
origin of the Stamic family and to present Jan Vaclav Antonin
as a descendent of German ancestors with some Slavonic mixed in.
Stamic received his first musical guidance from his father the
organist. His chief instruction on instruments and in composition
were at the Jesuit school in Jihlava / Iglau (1728 - 34), and
the University of Prague (1734 - 35). The next six years of his
life are shrouded in mystery, both concerning where he lived and
what he was doing. It is very likely that the young musician was
preparing himself for the career of violin virtuoso. He reached
his peak, both as a violinist and as a composer, in 1741 after
arriving at the court in Mannheim, to where he had been invited
by the Elector. In Mannheim he found a number of fine violinists
and experienced players of wind instruments.
After three years in Mannheim, Stamic married Marie Antonie Luneborn,
and they had five children; two of their sons, Karel and Antonin,
became composers. In 1746 Stamic became Konzertmeister of the
already renowned orchestra at the court of the Elector. Four years
later he was appointed to the newly created position of Director
of Instrumental Music.
At first his fame was based predominantly on his violin playing,
and he was compared to Pugnani, though as a composer he was considered
in the context of the then new style of orchestral playing, whose
colourfulness and dynamic effects later gained many admirers,
including Wolfgang Amadeus Mozart, who visited Mannheim. The contemporaneous
sources are in agreement that it was thanks to Jan Vaclav Antonin
that the level of the orchestra was raised to such an extent that
many outstanding musicians-not only Mozart-travelled to Mannheim
for the express purpose of experiencing the world famous orchestra
on the spot. Mannheim was at the time the centre of young German
culture, the centre of new fashions in general and new movements
in the arts (including Sturm und Drang in literature). In the
world of music one soon began to talk about a 'Mannheim School',
whose tangible contribution was a new style of interpretation
aimed at affecting the audience directly through music.
The chief importance of the Mannheim School in the history of
music lay in the fact that its composers, following Jan Vaclav
Antonin Stamic, prepared the way to Viennese classicism. With
their work they created the bridge from the baroque era to the
classicist in the late 18th and early 19th centuries, and to the
era that linked up to it, romanticism. Representatives of the
Mannheim School contributed greatly to the development of the
sonata form (with its emphasis on the second subject) and to the
symphony (with its four-movement form, including the minuet).
In orchestrated pieces the Mannheim Kapelle introduced
rich and dynamic shading with sharp contrasts, and effects of
sound (such as the crescendo) and of expression (in particular
the 'Mannheim sighs').
The Mannheim School left its mark on a number of important musicians,
including Joseph Haydn, who was strongly influenced by its music
in his youth, Christoph Willibald Gluck, the reformer of opera,
and Wolfgang Amadeus Mozart; the widely travelled Leopold Mozart
called the Mannheim Kapelle the best orchestra in all of
Germany.
Jan Vaclav Antonin Stamic became even more famous throughout Europe
after a year's sojourn in Paris in 1754, where the 'new German
music' (as the new style of interpretation was called there) had
been unusually well received. His church music (a mass) and symphonic
work, including the orchestral trios published in Paris, met with
unexpected success.
Stamic returned to Mannheim in the autumn of 1755, and within
less than two years he died, before reaching the age of forty.
As a violinist, composer, and conductor, Stamic contributed perhaps
more than any other person to the Mannheim School and its historical
importance. He managed also to train a number of gifted musicians
in the new style, both composers and instrumentalists, who became
representatives of the School's second generation (including his
sons Karel and Antonin Stamic, as well as Antonin Fils, Christian
Cannabich, and Franz Ignaz Beck). It was still in Jan Vaclav Antonin
Stamic's lifetime that the work of the 'new style' reached its
peak (in the years 1742 - 57) with the arrival of great composers
including Johann Sebastian Bach's two sons, Carl Philipp Emanuel
and Johann Christian, as well as Frantisek and Jiri Benda, and
Jan Gottlieb. Also during Stamic's life fundamental changes were
taking place in music for both the musicians and the audience.
Thanks to the prompt publication of scores, musicians had greater
opportunity to perform in concerts for the middle classes, and
gradually musicians freed themselves from being dependent on the
Church and the aristocracy for their existence.
The relatively short life of Jan Vaclav Antonin Stamic, full of
enormous creative potential and concert activity, is in many ways
reminiscent of the lives of other outstanding composers such as
Mozart, Mendelssohn, and Schubert. With Schubert, Stamic also
shares the unfortunate fate that after his death his compositions
were forgotten and not discovered till much later - Schubert's
work was not performed till fifty years after his death, and Stamic
remained in oblivion for more than a hundred years.
Only in the second half of the last century and then particularly
in the 1930s were the forgotten legacy and revolutionary merits
of the Mannheim School, together with a large part of the compositions
of Jan Vaclav Antonin Stamic, resurrected (thanks to the research
of the Czech musicologist Tomislav Volek and the German musicologist
Peter Gradenwitz). This important period in musical development,
which saw the creation of highly interesting compositions involving
the most innovative composers active in the mid-18th century,
had a revolutionary effect on music. Even today it is still not
fully appreciated.
The extensive body of the work of Jan Vaclav Antonin Stamic was
being assembled before World War II, and other works were added
to it after the war, based on copies of the destroyed originals.
A number of symphonies, however, remain missing.
Stamic began with church music, and his sacred compositions (solo
arias, masses, litanies) occupy a substantial part of the work
he left behind. He also composed a number of chamber works (solo
sonatas, trios, divertimentos) and concertos (for harp, piano,
flute, oboe, and probably the first sonata for clarinet). He was
a prolific composer of symphonies (there are 58 in existence)
and of orchestral trios, of which the first six (of a total of
ten) were published in Paris in 1755, as Op. 1, under the title
Six Sonates a trois parties concertantes.
Later, in the 1760s, after his death, other work by Stamic was
published, particularly in what were then the large European centres
of music and publishing - Paris, London, Amsterdam, and, later,
Nuremberg (in Haffner's publishing house).
The Orchestral Trio, Op. 1, which is presented here in
a version for chamber orchestra, can be located stylistically
somewhere between chamber music and orchestral music, though it
is classified among symphonic works (the sinfonie of Stamic's
day). It comprises six compositions in sonata form, which have
been preserved in the original versions as first published. Each
trio consists of four movements, including a minuet and trio as
the third movement, followed by a prestissimo finale. They are
all in major keys and share stylistic purity, clarity of motif,
concise compositional conception of the individual movements,
as well as augmentation and emphasis of the second subject. Thanks
to Stamic, too, the consistent inclusion of the minuet in the
sonata form was also introduced into symphonic works of the 18th
and 19th centuries, where it became firmly rooted.
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