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  • World First recording: C.F.Abel (1723-1787) 6 Sinfonies op1

    When Mozart came 1764 to London, he met Johann Christian Bach "and" J.C.Bachs musical Friend and Partner Carl Friedrich Abel. It was Abel who taught Mozart in London how to write an early classical Symphony. Mozarts Copy of Abels Eb-Symphnony (KnaA18) in the musical Papers of the young Mozart was longtime mistaken as Mozarts 3. Symphony but is moreover a proof of the assiduity of the 8-9 Year old child prodigy to learn from Abels way to write symphonies.

    Abel wrote quite a lot inspired Symphonies. While the Symphonies op7, 10 + 17 where recorded in the last years there are still enough not yet recorded at all. The Music marks nealry exactly the change from baroque to classical music. From the baroque Opera-Sinfonia to the classical Symphony The score of this sinfonie was reconstructed by myself based on historic prints of the parts.

    VSL-Dimensionstrings, natural horns (Bb alto Horn in the first Sinfonie) and baroque Oboe and the harpsichord seem to allow in my eyes more and more to draw near to the acoustic expextations the historic informed performance established in the last decades for exactly this late baroque early classical music. The Venue is the Synchronstage which I tend to love more and more.

    However it was great fun to discover such agile rich music as it was to realise it with several of the latest VSL-Products. If you are interested you can listen my first Abel-Sinfonie her:

    I hope you like it and still am curious about your constructive feedback.

  • Hi Steffen,

    I was amazed by the violin section. Beautiful. Natural. Very living. 
    I had listened to a cd with music from the same period and after that to the sinfonie of Abel, and it was very much the same living sound.
    Unfortunately I heared in the bass a little booming. I think it is not the way of "playing", nothing wrong with that, but the sound. I tried it on 2 systems, and in both cases I heared it. Especially when they play the louder passages, in the soft passages it sounds well. Do you hear that in your system also? I hope you can adjust that a little, if you agree on it.
    But as a whole I like it very much!

  • Hi MMKA,

    Thank you very much for your helpful and encouraging  critics.

    You found an aspect I also was not yet that happy about.

    Soon I finished Abels second Sinfonie I will take another look for the Bass of the first,

  • Hi Stefe

    Superb interpretation of these symphonie of Abel, a composer unfairly little known and little played. I knew the Symphonies of the opus 17, thanks to a disc of the excellent Hanover Band directed by Anthony Halstead.
    Bravo !
    Thanks for sharing this beautiful work.
    Very best.

  • Now the Sinfonie op.1,2 in C-Major is also online. (Nr.2 is the only one of Abels 6 Sinfonies op.1 which was already recorded before once by Paul Donbrechts Il Fondamento)

    Again I do have very much fun with this as agile as intelligent late baroque early classical music as I do have with the dimensionstrings, the Baroque Oboe, and the (C alto) natural horns all in the Synchronstage venue.

    As always I am very curious for any contructive reaction which might help me not to loose all my musical selfcritic in the pleasure of doing that nice unknown compositions with that beautiful digital vienna intruments.

    Hi MMKA

    Your hint was absolutly right I decided now for all Abel-Sinfonies to use just one Dimension-Strings-Doublebass instead of two and rendered both sinfonie in this way with as it seem to me less "booming" effect.

    Hi Phillipe,

    Thank you for your friendly reaction I also like the existing recordings of op7, 11 and 17 which are reason enough for me to try the still missing op.1 by myself.

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    Hi Steffen,

    Of course I was curious to hear the difference in the doublebass.
    But first: I understand completely the fun you have working on this music with the very beautiful samples. And I recognize to myself what you write, that your enthusiasme could diminish your musical selfcritic. 

    But concerning the music: I enjoyed it anew very much and the doublebass sounded much and much better here.
    I checked it on both audio systems again. In one system I heared 2 "booming" tones (but absolutely much less as the former version!). That was the system that is connected with my computer. In the other system (in my living room, a bigger system), I heared this less (but my neighbour is sleeping so I couldn't listen with high volume there). But I heared also something of a kind of booming with the same 2 notes.
    I did a test. I made a little record on my computer of the first movement of Opus 1,1 and I discovered that the tones a2 and g2 (with c4 as the central c) are the ones.
    I checked that out with Vienna Equalizer Pro. I wonder if this booming is something of the Synchron venue, or of the doublebass?... For your information: in the Vienna Equalizer Pro I see that the tones are 97.1 Hz and 110 Hz, I had the Q on 20 with both of them.
    I have to say: for me there is also another question: that booming tones, is that a problem of the accustics in the room where my computer is, or is that something in the audio file? I'm not sure. I'm curious if you hear that at your place.

    I hope it doesn't bother you that I did this test. To be honest I was intrigued by the question what is the problem here, the more because it is so beautiful. But if you don't like that I did this, say it and I do it never again😊...

  • Hi Steffen,

    this morning I listened again in my living room, and there I didn't hear the booming of the a2 and g2, so I think this has to do with the accustics of my computer room. I have one other little thing. In the first movement of Op.1,1 at 2:32 - 2:33 I hear a B flat in the bass line. Did Abel write that note there? It sounds to me a little illogical, but it can be, that he wrote that of course. All the best!

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    OK, here we go with C.F.Abels Sinfonie D-Dur (KnaA 3). Of course now with the D-natural Horn 😃

    Again it seem to be the first recording of this music:

    Sinfonie D-Dur (KnaA 3)

    (To find all my recordings of Abels sinfonies see:

    Hi MMk

    Wow you do have very good ears. Again you were absolutly right it was kind of a typo when I transcribed the historic parts into my digital score of the piece of course it mus be "D" as dominant of the following G. I fiixed it already.

    Thank you very much this is great help.

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    And here we go with C.F.Abels Sinfonie Eb-Op.1,4 (KnaA 4) Including now the fabulous Eb-natural Horn and the Baroque Oboe in the Synchronstage venue.

    Sinfonie Eb-Dur op.1,4

    (for all currently by klassik-resampled presented C.F.Abel Sinfonies see here:

    As always constructive feedback is very wellcome.



  • Hi Steffen,

    Ich habe mir bereits 3 Symfonien angehört (Oops)... I've listened to 3 symphonies so far and your work with the Dimension Strings and the baroque oboe (+ horns) pleases me a lot. You've really hit the baroque spirit and sound: small, delicate and precise. The interpretation is mostly personal matter (taste), but I think that you've found a very acceptable lecture of the scores for most people, even for the diehards of historic performance.

    The orchestral balance and the mix are excellent, as well as all the instrument (choice of articulations).

    I will certainly listen to the remaining symphony!



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    And this is C.F.Abels Sinfonie F-Major op.1,5 :

    C.F. Abel: Sinfonie F-Major op.1,5 (KnaA5)

    I hope you like it...

    Hi Max,

    Thank you very much for your encouraging response on the three Sinfonies you already listened. So I will hurry up to continue with the missing Nr.6 now to let you hear also the other 3 Sinfonies. 😉

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    To complete this Recording of C.F. Abels op.1 here is his the (thanks to historic winds and dimension strings) the "HIP"-inspired (VSL)-world-First-Recording of his.

    Sinfonie G-Major op.1,6 (KnaA)

    I hope my programming allows you enjoy this beatiful music as the great Sample which made it possible.

  • PaulP Paul moved this topic from Orchestration & Composition on