The Concilium musicum Vienna, which plays on authentic period instruments, was founded by Paul and Christoph Angerer in 1982 and has since elaborated an extensive musical spectrum from the music of the Baroque period to the dance music of the 19th century.

Known for his considerable contribution to orchestral music in the late 18th century, Carl Stamitz wrote nearly as much chamber music as symphonies and concertos. The six quartets of Op. 14 are unusual in that only two of the works, Nos. 1 and 4 are specifically designated ‘orchestral’ quartets, while Nos. 2 and 5 are described as ‘concertante’ works, to be performed either by a quartet or, as heard on this recording, by a small chamber orchestra. These charming works abound in energetic, driving themes, sparkling string writing and, in their slow movements, the grace and elegance that are the hallmark of Stamitz’s compositions.

The importance of the Stamitz family in the development of 18th century European musical thought is well known; perhaps more well known than its actual music. And this is understandable since every member of the family seemed to focus not so much on breaking compositional ground, but on teaching, performance, or even some other interest peripheral to music. For instance Carl’s father Johann is remembered today primarily as the founding conductor of the legendary Mannheim Court Orchestra, a collective renowned for rigorously training the most promising young musicians of the day. In the family tradition, Carl studied with his father in Mannheim and performed as a second violinist with the orchestra, though eventually he left because the competition there became too intense.

Carl Stamitz, son of Mannheim composer Johann Stamitz, toured all over Europe and was a famous figure in the last third of the 18th century, well regarded almost everywhere. The exception was Mozart, who – probably out of jealousy, as annotator Olaf Krone suggested (the notes are in English, German, and French) – wrote that Stamitz and his brother Anton were "miserable note scribblers and players – boozers and whoremongers – which isn't my kind of people."

Matthias Bamert’s Contemporaries of Mozart project is one of Chandos’ longest-running and most successful recording series. Mozart’s unquestionable genius has tended to eclipse the work of many otherwise excellent composers who were writing at the same time as he. Often successful in their day, many of these composers fell into neglect over subsequent decades and were in some cases almost forgotten. Matthias Bamert has shown just how rich this area of the repertoire is, and each of his CDs received superb critical acclaim.

Seine Bekanntheit im heutigen Musikleben verdankt Carl Stamitz hauptsächlich auch seinen Klarinettenkonzerten, die sowohl ästhetisch als auch gattungs- und musikhistorisch von nicht zu unterschätzender Bedeutung sind. Obwohl die genaue Anzahl seiner Klarinettenkonzerte nach derzeitigem Forschungsstand nicht zweifelsohne gesichert ist, werden ihm insgesamt 11 Klarinettenkonzerte zugeordnet, die vermutlich zwischen 1770 und 1790 entstanden sind. In der kompositorischen Behandlung der Klarinette bei Carl Stamitz zeigt sich, dass er versuchte die virtuose Seite der Klarinette auszuschöpfen, sie aber vornehmlich als Gesangsinstrument erkannte.

Johann Christian Fischer war in der Epoche der Klassik einer der berühmtesten Oboisten. Wenn man seine vierzehn Konzerte in den Kontext seiner außergewöhnlichen Karriere stellt, entsteht das faszinierende Portrait einer Person, die Komponist und Virtuose zugleich war, sowohl in London als auch auf dem gesamten europäischen Festland.
Anders als Stamitz komponierte Fischer seine Oboenkonzerte, um seine außergewöhnlichen Fähigkeiten als virtuoser Solist zu präsentieren. Seine zutiefst persönlichen Werke vermitteln das lebendige Bild eines international berühmten Virtuosen im georgianischen England.

The son of Johann Stamitz, Carl Stamitz was born in Mannheim, where he had his musical training from his father and his father’s successors. In 1770 he moved to Paris, subsequently travelling as a virtuoso violinist and later as a viola player. Carl Stamitz wrote a quantity of symphonies and symphonies concertantes (orchestral works with contrasting groups of solo instruments). He added significantly to the concerto repertoire, not least in 15 authenticated violin concertos, a number of clarinet concertos and three viola concertos, the last of particular importance in a limited solo repertoire for the instrument.

The eighteenth century is probably the most extraordinary period of transformation Europe has known since antiquity. Political upheavals kept pace with the innumerable inventions and discoveries of the age; every sector of the arts and of intellectual and material life was turned upside down. Between the end of the reign of Louis XIV and the revolution of 1789, music in its turn underwent a radical mutation that struck at the very heart of a well-established musical language. In this domain too, we are all children of the Age of Enlightenment: our conception of music and the way we ‘consume’ it still follows in many respects the agenda set by the eighteenth century. And it is not entirely by chance that harmonia mundi has chosen to offer you in 2011 a survey of this musical revolution which, without claiming to be exhaustive, will enable you to grasp the principal outlines of musical creation between the twilight of the Baroque and the dawn of Romanticism.

A cheerful little record, this, of three lightweight works played most exquisitely by very distinguished artists. In fact I am not sure that the chief distinction doesn't emanate from the orchestra: it is a while, as it happens, since I have heard the Academy of St Martin in the Fields and they seem to be playing here better than ever—sweet string tone, pure intonation, finely moulded phrasing, impeccably precise ensemble. Of the three works, the Cimarosa, written for two flutes (in which form it has several times been recorded), is the most attractive for its fluency, its melodiousness (the finale is a real charmer) and its elegant musical form; the Salieri seems by comparison rather carefully devised, though of course it has plenty of entertaining music. Carl Stamitz's piece takes itself more seriously, trying to be symphonic and taking less trouble about being tuneful—though the warm, galant slow movement makes very pleasing listening. The recorded sound is clear and true. (Stanley Sadie, Gramophone)

The legendary label, deutsche harmonia mundi, releases a special 50 CD boxset featuring star performers such as Hille Perl, Nikolaus Harnoncourt, Dorothee Oberlinger, Simone Kermes, and Nuria Rial and more! This collection displays the sheer variety available from the dhm archive. A perfect collection ranging Medieval, Renaissance, Baroque and Romantic music.