Uploaded May 2026 | Updated September 2026, 2 weeks ago
Swiss Orchestra conducted by Lena-Lisa Wüstendörfer.
I - Spiritoso: 0:00
II - Andante grazioso: 2:57
III - Allegro: 5:23
Stalder's Symphony in E-flat major was written at an unknown date, not being published until circa 1941, by then 176 years after the composer's death. Stalder, whose full name was Joseph Franz Xaver Dominik Stalder, is an extremely obscure musical figure from Lucerne, Switzerland. He adopted the name "Giuseppe" to improve his working opportunities. He worked variously in Mainz, London and Paris between the 1750s-60s and was also appointed capellmeister to the Princes of Monaco and Conti. Ill-health compelled him to return home to Lucerne in 1762 at the age of 37. He was there upon made the organist at St. Leodegar’s, but died three years later.
In stylistic terms, Stalder’s music is pre-Classical, and his numerous instrumental works bear dedications that attest to his being acquainted with influential figures. Only a portion of Stalder’s oeuvre remains extant today. Many of his compositions have been lost, and he himself descended into obscurity not long after his untimely death. Of four sets of six symphonies (making a total of 24) only two have been recorded so far. This one is an early classical work, musically situated in the Gallant period; a transition between the late Baroque and the emerging Classical style, and with an unusual instrumentation: It is scored for strings (violins I and II, Violas and Cellos) and two natural Horns in E-flat.
The first movement is constructed over the Baroque ritornello principle. It begins with a rhythmic and cheerful ritornello figure in E-flat major, presented by strings over horn chords. There is no real development nor contrasting material as such, but slight variations of the ritornello figure before the spiritoso ends with a firm cadence in E-flat major.
The second movement, scored for solo strings, is rather monothematic in form. It opens with a melodic and elegant theme in B-flat major on violins, unfolding in the familiar Gallant style with no real development, neither new material is provided. The andante ends with pianissimo B-flat major chords.
The third movement is structured in an expanded binary form (A-B-A-B-A-B) It opens with a rhythmic, dance-like theme in E-flat major, presented by strings over horn chords. After it is repeated, the second section offers some dynamic contrast and harmonic variance. The symphony then ends with a firmly stated E-flat major chord.
Picture: "Self-portrait of the Artist hesitating between the Arts of Music and Painting" (1794) by the Swiss painter Angelica Kauffman.
Musical analysis written by myself. Sources: tinyurl.com/29wyacqp and tinyurl.com/26j4vb57
To check the score: tinyurl.com/25x99vgd
Swiss Orchestra conducted by Lena-Lisa Wüstendörfer.
I - Spiritoso: 0:00
II - Andante grazioso: 2:57
III - Allegro: 5:23
Stalder's Symphony in E-flat major was written at an unknown date, not being published until circa 1941, by then 176 years after the composer's death. Stalder, whose full name was Joseph Franz Xaver Dominik Stalder, is an extremely obscure musical figure from Lucerne, Switzerland. He adopted the name "Giuseppe" to improve his working opportunities. He worked variously in Mainz, London and Paris between the 1750s-60s and was also appointed capellmeister to the Princes of Monaco and Conti. Ill-health compelled him to return home to Lucerne in 1762 at the age of 37. He was there upon made the organist at St. Leodegar’s, but died three years later.
In stylistic terms, Stalder’s music is pre-Classical, and his numerous instrumental works bear dedications that attest to his being acquainted with influential figures. Only a portion of Stalder’s oeuvre remains extant today. Many of his compositions have been lost, and he himself descended into obscurity not long after his untimely death. Of four sets of six symphonies (making a total of 24) only two have been recorded so far. This one is an early classical work, musically situated in the Gallant period; a transition between the late Baroque and the emerging Classical style, and with an unusual instrumentation: It is scored for strings (violins I and II, Violas and Cellos) and two natural Horns in E-flat.
The first movement is constructed over the Baroque ritornello principle. It begins with a rhythmic and cheerful ritornello figure in E-flat major, presented by strings over horn chords. There is no real development nor contrasting material as such, but slight variations of the ritornello figure before the spiritoso ends with a firm cadence in E-flat major.
The second movement, scored for solo strings, is rather monothematic in form. It opens with a melodic and elegant theme in B-flat major on violins, unfolding in the familiar Gallant style with no real development, neither new material is provided. The andante ends with pianissimo B-flat major chords.
The third movement is structured in an expanded binary form (A-B-A-B-A-B) It opens with a rhythmic, dance-like theme in E-flat major, presented by strings over horn chords. After it is repeated, the second section offers some dynamic contrast and harmonic variance. The symphony then ends with a firmly stated E-flat major chord.
Picture: "Self-portrait of the Artist hesitating between the Arts of Music and Painting" (1794) by the Swiss painter Angelica Kauffman.
Musical analysis written by myself. Sources: tinyurl.com/29wyacqp and tinyurl.com/26j4vb57
To check the score: tinyurl.com/25x99vgd
