The name of Joachim Nikolas Eggert is sure to be unfamiliar to most classical listeners, even those who specialize in obscure composers of the late Classical era, of which there are many. Yet this first installment in Naxos' series of Eggert's symphonies and orchestral music makes a good case for the Symphony No. 1 in C major, the Symphony No. 3 in E flat major, the comic Overture to Mohrene i Spanien (The Moors in Spain), and the incidental music to the play Svante Sture. These are far from revolutionary works, and even ...
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The name of Joachim Nikolas Eggert is sure to be unfamiliar to most classical listeners, even those who specialize in obscure composers of the late Classical era, of which there are many. Yet this first installment in Naxos' series of Eggert's symphonies and orchestral music makes a good case for the Symphony No. 1 in C major, the Symphony No. 3 in E flat major, the comic Overture to Mohrene i Spanien (The Moors in Spain), and the incidental music to the play Svante Sture. These are far from revolutionary works, and even though Eggert is best known for introducing the music of Beethoven to Swedish audiences, his own music reveals a more conservative tendency, showing the influence of Mozart most noticeably in the Symphony No. 3, as well as signs of Haydn in the Symphony No. 1, and curious touches of "Turkish" color in the use of the bass drum, cymbals, and triangle. Gérard Korsten and the Gävle Symphony Orchestra give Eggert's music enthusiastic readings, and produce a rather splendid sound for an...
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