When Johan Sebastian Bach died in 1750, it was as if he took the Baroque period with him.

G.F. Handel kept the Baroque period going in London for some years, but a new generation of young composers had strayed away from the heavy polyphony of the baroque period.  It became a bit of a special period, with new styles like Rococo living side by side the gallant and pre-romantic Sturm und Drang, with all its inventiveness and emotionality. 

Several of Bach’s sons became central in the foundation of this movement, including Carl Philipp Emanuel Bach, who annihilated all previous boundaries of harmony and dynamics.  

When Wolfgang Amadeus Mozart was born in 1756, much of the musical creativity of the time was about to “calm down” to form the refined style, commonly known as Viennese classicism – with composers such as Joseph Haydn as the influencers of the time.  Mozart would eventually come to raise Viennese classicism to new and sublime heights through this work.  But before he did so, he devoted much of his youth to his exceptional talent for violin playing.  He was only 15 years old when he worked as a concert master, and a house composer in the ensemble of the Archbishop of Salzburg.  At the age of 19, he wrote five violin concerts, in which he played the soloist for various occasions.   Mozart was already a full-time composer at the age of 19, and his final concerts remain the best in this genre of Viennese classicism.            

Ludwig van Beethoven launched a new release in which wiener classicism’s frames were knocked down, possibly inspired by the works of Carl Philipp Emanuel. The romanticism was imminent. Symphony No. 7 premiered on December 8, 1813 at a charity concert for fallen and injured soldiers in the struggle against Napoleon. Beethoven even conducted the premiere and was exceedingly pleased. “My best symphony so far,” he must have said to the musicians.  

Andrea Marcon, conductor
Liza Ferschtman, violin

C.Ph.E. Bach: Symphony
Mozart: Violin Concert no. 4
Beethoven: Symphony no. 7