Volume 2 of Discovering the Classical String Trio is a continuation of The Vivaldi Project's exploration of the 18th-century string trio, of its relationship to the earlier Baroque trio sonata (as exemplified by Vivaldi and contemporaries) and of its role as an important genre in its own right, side-by-side with the emerging string quartet. The string trio, although largely overlooked during the past century, was manifestly popular in its day at its compositional peak (c. 1760-1770) out-publishing the string quartet by a ratio of more than five to one! These forgotten works, some 2000 string trios by more than 200 composers, reveal not only a wonderful amalgam of instrumental techniques and styles, but also a significant, untold part of chamber music history.

We now present a second recording devoted to the composer who can rightly be considered as the father of the symphony in France: François Joseph Gossec. These three Symphonies Op. VIII proclaim their modernity through their use of clarinets and of a Minuet and Trio, this being rare in Paris at that period. A modern symphonic composer of his time, Gossec, who had been born in Hainault in Belgium, also mastered the styles of his adopted land: the ballets in his tragédie lyrique Sabinus can be placed directly in the orchestral tradition of J.P. Rameau, the older composer who had welcomed Gossec to the French capital in 1751.

François-Joseph Gossec, one of various musicians and composers from Wallonia - the French-speaking part of what is now known as Belgium - who settled in Paris. He was educated as a violinist and bass player in the orchestra of Le Riche de La Pouplinière, who for many years was the patron of Rameau. This had a lasting influence on his development as a composer as he came into contact with other composers and other styles. It was especially the performances of Johann Stamitz, one of the main representatives of the 'Mannheim school' which inspired him to compose symphonies. In 1769 he founded the concert society Concert des Amateurs whose orchestra was quite large in comparison to what was common at the time. In 1773 he took over the direction of the Concert Spirituel.

“The father of the symphony”; “bard of the Revolution”: these two phrases sufficed to describe Gossec from the beginning of the 19th century onwards and created a reputation for him that musicographers and music historians of the following century made almost unalterable. Gossec had, however, always been interested in the operatic stage, as can be seen from his works in the more modern genre of opéra comique as well as in the more traditional tragédie en musique. Appointed to provide music for the largest musical institutions of his time, Gossec created more than twenty theatrical works; these enjoyed varying degrees of success but nonetheless reveal a dramatic composer of the first water.

Gossec made an important contribution to the development of French symphonic music and played a central role in Parisian musical life for almost three-quarters of a century. The opera 'Le Triomphe de la République' was composed in 1793 folowing the French Revolution and wonderfully demonstrates the musical movement that France experienced following the change in political climate. Music was recognized as a medium for the diffusion of new ideas and 'Le Triomphe de la République' was a case in point. It was written in the wake of popular enthusiasm at the news of the army's victory at the battle of Vlamy in 1792 against the anti-French troops led by the Duke of Brunswick. It features folk music and popular dances of the day reflecting a kind of life quite distinct from that of intellectual, aristocratic society.

Diego Fasolis and his Swiss-Italian forces give a committed, full-blooded performance, with accomplished work from chorus and soloists. The F major Symphony 'in 17 parts' of 1809-Gossec's last symphony-is longer on ceremonial bustle and colourful wind scoring (entertainingly cavorting clarinets in the finale) than on truly memorable invention. But the Larghetto has an agreeable pastoral charm and one striking harmonic purple patch, while the C minor minuet surprises with its unremitting contrapuntal severity. Recommended to the adventurous, who will be rewarded by some fascinating and -in the Requiem-loftily imposing music.

This disc of five symphonies by François-Joseph Gossec (1734-1829) is part of Chandos' Contemporaries of Mozart series. As he was born two years after Haydn and died two years before Schubert, he was also a contemporary of Beethoven as well as many other composers of the Classical and early Romantic periods. Like Haydn, Gossec lead a successful career in music that included composing, performing, teaching and various directorship positions throughout France. (Yes kids, you can make money in music, no matter what your parents say!) As would be expected, Gossec was highly prolific, producing no fewer than thirty works for the stage, a large body of choral and chamber music, and over fifty symphonies.

François-Joseph Gossec’s name is more often found in history books than on record collectors’ shelves. During his long life (1734-1829) he contributed to opera reform in Paris before the arrival and domination of Gluck, was one of the directors of the Concert Spirituel, and wrote 50 symphonies. In old age he became the foremost composer of French revolutionary themes, and the first anniversary of the fall of the Bastille was commemorated with a performance of his Te Deum that featured more than a thousand performers. The Missa pro defunctis initially had more modest origins. Also known as the ‘Messe des Morts’, it was first performed in 1760, and aroused notable reaction due to Gossec’s use of trombones, a novelty at the time.

The harpist Lily Laskine (1893-1988) was a popular and influential figure whose name was particularly closely identified with the Erato label, although she also recorded for EMI. The first woman to play in the orchestra of the Paris Opéra, she made her first recording for Erato – Mozart’s Concerto for Flute and Harp with Jean-Pierre Rampal – in 1958, when she was already 65. She made her last Erato recording 23 years later. Her stereo remake of the Mozart concerto (again partnering with Rampal), recorded in 1963, remains an all-time classical bestseller in France.

This release, part of harmonia mundi's series celebrating the Beethoven year, pairs the composer's iconic and much-loved Symphony No.5 with the far less well-known Symphony In 17 Parts by Francois-Joseph Gossec. The dramatic power and intensity of Beethoven stands in sharp contrast to to the cheerful and gallant music of Gossec. Les Siècles, led by François-Xavier Roth, apply their usual virtuosity and keen insight to both works in performances that are sure to delight.

François-Joseph Gossec was doubtless one of the most prominent French composers of the eighteenth century and wrote works representing almost all the musical forms and genres. Our recording of his symphonic music has just been awarded an Opus Klassik 2020, and now we would like to share some of his magnificent vocal works with you - since his oratorios and truly amazing Messe des Morts also made him a trailblazing figure. La Nativite to a text by Gossec’s contemporary Michel Paul Guy de Chabanon is his most famous oratorio. It was premiered on Christmas Eve in 1774 and went on to be performed no fewer than nine times in the Concert Spirituel.