Johann Philipp Kirnberger (1721-1783)
Sinfonias 1-8
Berliner Barock Solisten/Reinhard Goebel
rec. 2025, Teldex Studio, Berlin
First recordings
Reviewed as lossless download
Hänssler Classic HC25039 [62]
According to Bach’s biographer Forkel, Johann Philipp Kirnberger was one of the master’s most “remarkable” students. Born in Thuringia, he became music director at the court of Princess Amalia of Prussia, sister of Frederick the Great, in Berlin. It is thought that these eight sinfonias were written before he entered Amalia’s court in 1758.
Six of the works include two horns, which provide extra (much-needed) colour, and No. 8 has a relatively small role for flute. It is not clear how the numbering for the eight sinfonias is derived, but the first two (numerically) do not make for an especially good start to the recording. The first, for strings only, is quite bland, and the second, the only one in a minor key and in four movements, is dark and gloomy almost entirely, and the horns, used only in the first movement are quite unobtrusive. So far, not so good.
Things improve in the third, with the horns given a more prominent role, and each movement having moments of beauty and grace, though they are sprinkled across much that is very unremarkable. Much the same could be said for the remaining five works. Had my media player gone rogue and randomly programmed the eighteen movements of Sinfonias 3-8, I would scarcely have known, perhaps only noticing those from No. 5 which is strings only (it is better than No. 1).
Berliner Barock Solisten is a renowned ensemble that uses historically informed practices, but on modern instruments. On this recording, there are twelve strings, a cembalo, along with the horns and flute already mentioned. There were a few occasions when I felt the vibrato-less strings sounded a little too austere for the music, and throughout, I had a sense that there was too much gentility, not enough vibrancy. Reinhard Goebel’s Baroque recordings have been known for their energy, so the absence of it here surprised me.
The booklet notes are comprised mainly of extracts from contemporary sources about Kirnberger’s life and career, which shows impressive research, but makes for haphazard reading, and it would have been better had Reinhard Goebel, who contributes a short summary at the end, been asked to use these sources to create an essay.
If you are an aficionado of the early symphony, then this is obviously an important release. However, considered purely on its musical qualities, I found it lacking in the inspiration that would have lifted it above the ordinary. Yes, much of it is pleasant company, and very typical of the era, but little or nothing stands out as memorable. For me, sadly, it isn’t a keeper.
David Barker
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