Sabine Meyer, Clarinet
Academy of St. Martin In the Fields
Iona Brown, Conductor
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Carl Stamitz: Clarinet Concerto No. 10 in B flat major/>
Kálmán Berkes, Clarinet & Conductor
Carl Stamitz: Clarinet Concerto No. 1 in F major
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Carl Stamitz: Clarinet Concerto No. 7 in E flat major/>
Carl Stamitz: Clarinet Concerto No. 8 in B major/>
Carl Stamitz: Clarinet Concerto No. 10 in B flat major/>
Carl Stamitz: Clarinet Concerto No. 11 in E flat major/>
Jürgen Gode, Bassoon
Kurpfälzisches Kammerorchester
Jiří Malát, Conductor
Carl Stamitz: Clarinet and Bassoon Concerto in B flat major
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Carl Stamitz: Concerto for Basset Horn and Orchestra in B flat major/>
Karl Philipp Stamitz (1745–1801), who later changed his given name to Carl, was a German composer of partial Czech ancestry (his mother was German), and a violin, viola and viola d'amore virtuoso. Carl was the first son of Johann Stamitz (1717–1757), a violinist and composer of the pre-classical area. He was the most prominent representative of the second generation of the Mannheim School (his father being the first generation).
He was the first composer to specify a left-hand pizzicato (an important virtuoso device) in a composition. This occurs in his Viola Concerto in D Major where the passage in question is designated by an "0" above the notes.
Carl Stamitz wrote more than 50 symphonies; at least 38 symphonies concertantes; and more than 60 concertos for violin, viola, viola d'amore, cello, clarinet, basset horn, flute, bassoon, and other instruments. He also wrote a good deal of chamber music for various combinations. Some of his clarinet and viola concertos are considered to be among the finest available. Stamitz's cello concertos were written for the cello-playing Prussian King Frederick William II, for whom both Mozart and Beethoven also wrote music.
Stylistically, Stamitz's music is not too far removed from the works of the young Mozart or Haydn's middle period. He is particularly remembered for his clarinet and viola concertos.
He never succeeded in attaining an adequate position with one of the major princes or orchestras of his time. He died in poverty. Nine years after his death in 1801 his estate was put up for auction to cover his debts; nothing was sold, and all of it consequently lost.
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