Symphony No. 4

Thomas Schmidt-Kowalski was a German composer born in Oldenburg in 1949. During the course of his studies he chose to abandon the avant-garde and to write in a traditional vein. From the late 1970s he worked as a freelance composer, mainly writing commissioned works. His output included all genres except opera and film music but with a particular emphasis on chamber and orchestral music. Schmidt-Kowalski died, aged only 63, at the beginning of this year (2013).S-K's style is entirely tonal and rooted in late Romantic German music, not the "New Music" of Wagner and Liszt but the Brahmsian tradition. There is no suggestion of the influence of any Twentieth Century harmonic trends. S-K uses familiar forms but he thinks in paragraphs, the music evolving organically as it progresses, so that structural divisions are not always immediately apparent. Orchestral colours are blended rather than highlighted. A minor criticism of S-K's music is that he has a tendency to over-orchestrate; sometimes internal brass parts mask the melodic line.The Second Violin Concerto in B minor, Op. 100 dates from 2005. The first movement is built on two strong and easily assimilated lyrical tunes both first introduced by the soloist. I heard the development section as being in two parts, the second consisting of an extended cadenza built on a variant of the main theme. Then follows a shortened inverted recapitulation. The second subject has the last word, however.The slow movement is a clear ternary structure, the lovely theme of its outer sections being contrasted with a more passionate central section.The finale's main theme, taking its cue from Brahms and Bruch, is almost entirely in double stops. Although designated a rondo, the second half of the movement is dominated by a lyrical melody from one of the episodes. This melody is, however, closely related to the main theme.The Fourth of S-K's five symphonies dates from 2003. The first movement begins with a long slow introduction. It is to reappear at key structural points. The ensuing perky woodwind tune is not distinguished in itself but the music is impressively sustained as it builds to a brassy climax. Then comes the impassioned string-led second subject. The introductory music ushers in the development section, largely built on the first theme, and also the recapitulation which is again inverted.The ternary slow movement's grave main theme is announced by the strings. A second theme is given to solo strings and a third, introducing the central section, to the wind. A fine climax ushers in a return to the opening. This time the second theme is given to a solo oboe and a clarinet. The movement concludes by referring to its main theme.The third movement is a very clearly structured intermezzo/scherzo and trio.Unexpectedly, the finale is an "Andante Maestoso". It is not as clear-cut thematically as the other movements and will need several hearings before its logic becomes clear. Both the opening string line and the ensuing dotted note brass idea are important. The other main element is the tune first heard on the flute at 3 mins 44 secs. This is another sonata form movement, the recapitulation beginning at 6 mins 38 secs. There is a brief coda at a faster tempo.Not all of S-K's ideas have quality (I was particularly aware of this in parts of the symphony's scherzo) but he was capable of writing lovely extended melodies as the first movement of the violin concerto and the second subject of the symphony's first movement demonstrate. He was also capable of sustained symphonic thinking as in the finale of the symphony.Performances and recordings are excellent and I can give this disc a confident recommendation. Start with the concerto.

See - it IS possible to write tunes in serious concert works in the 21st century. This piece inhabits a timeless and beautiful world far removed from the ugliness of Modernism. Let's have more of this. Now that Schmidt-Kowalski has shown the entire world how to do it, can there not be more young composers out there willing to take up the challenge of writing concert works of substance again that people can actually like? Come on!! Let's DO IT!!!This is a wonderful CD of two absolutely beautiful works. Please Naxos, record his ENTIRE WORKS. And do it SOON!!!This is revolutionary stuff. Joyful, beautiful and uplifting. And BOTH pieces were written AFTER the year 2000!!!If there was any justice in the world, these works should be the beginning of a revolution that would see ugly Modernism swept away. Hopefully forever!Buy this! You will not be disappointed!