SKU: 69407802785

Kraus, Joseph Martin: Sinfonia in D major Riksdagssymfoni (VB 146) (AE252)

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Description

Kraus, Joseph Martin: Sinfonia in D major Riksdagssymfoni (VB 146) (AE252)Description Kraus, Joseph Martin (1756 1792) Product Code: AE252 Description: Sinfonia in D major Riksdagssymfoni (VB 146) Edited by: Bertil van Boer Year of Publication: 1999 Instrumentation: 2fl 2ob 2fag 4cor 2trbe timp 2vn va vc b Binding: Score: Spiral Parts: Unbound Duration: 10 min(s) Key: D major ISBN: 1 877230 52 9 Audio sample Details This work was composed as part of the incidental music for the convening of the Swedish parliament in March

Description

Kraus, Joseph Martin (1756-1792)

Product Code: AE252
Description: Sinfonia in D major Riksdagssymfoni (VB 146)
Edited by: Bertil van Boer
Year of Publication: 1999
Instrumentation: 2fl 2ob 2fag 4cor 2trbe timp 2vn va vc b
Binding: Score: Spiral / Parts: Unbound
Duration: 10 min(s)
Key: D major
ISBN: 1-877230-52-9

Audio sample

Details

This work was composed as part of the incidental music for the convening of the Swedish parliament in March of 1789. Gustav III had entered into a controversial war with Denmark and Russia a year earlier, and despite early victories the conflict had stagnated. The King was in dire need of further finances to continue the war but was keenly aware that opposition to his plans had developed among the restive landed nobility and clergy. In order to further his aims, he intended to have the parliament approve of the Act of Union and Security that would give him broad powers over the administration of the government, the exchequer, official appointments, and legislative initiative. Because the war was popular with the Swedish public, he rallied their support in a display of power and spectacle that was calculated to override the opposition, cowing them into rubber stamping his wishes. Kraus, an ardent monarchist, was given the commission to compose music for the opening ceremonies in the St. Nicolai Church on March 9, 1789 consisting of a grand processional followed by an extensive church symphony. The effect must have contributed to the power and majesty Gustav sought to display, for the opposition was so disconcerted that his legislation was approved without delay, setting the stage for a successful conclusion to the war along with the seeds of his own assassination some three years later.

In order to set the tone for this momentous occasion, Kraus chose an older form that could display the pomp, majesty, and, hopefully, the triumph of the monarch, as well as contain allusions to royal music of the political powers of Europe. The work is a sinfonia da chiesa, the sacred equivalent of the old-fashioned French overture. It consists of a single, large-scale movement; a lengthy introduction in a slower tempo followed by a powerful sonata-form fugue. Because the formerly absolute monarchy in France was falling on hard times - only four months later the Revolution against the weak and corrupt regime of Louis XVI would begin - Kraus chose to minimize the expected dotted rhythms of the French overture. Instead, he chose a more fluid lyrical opening, which reinforces the powerful octave unisons both at the beginning of the work and throughout the main section. The fugue itself is a rare example of a complex piece of counterpoint that is shaped into a sonata form, replete with internal thematic development and majestic fanfares. Towards the end of the recapitulation, a typical Krausian trademark of stabilizing the key through a dominant pedal in the basses and timpani prepares the work for a dramatic conclusion whose writing for woodwinds anticipates Beethoven.

Biographer Fredrik Silverstolpe, now in the Uppsala University Library (Capsula 28), preserves the conclusion. In keeping with Kraus's extremely precise notation, little regularisation or emendation has been needed; instances where there are differences in parallel passages are seen as deliberate alterations by the composer and have been retained in this edition. The horn and trumpet clefs have been modernised to treble from their original C clef notations, although this does not affect their actual transposing notation in the original. Appoggiaturas are given by Kraus consistently as eighth or sixteenth notes, to be performed as grace notes if the principal note to which it is attached is not evenly divisible, as equal length if it is. Only in one place does there exist an orchestrational anomaly; in bar 19 the contrabass part has a low BB, which is impossible on modern instruments. Since Kraus is an unusually careful composer, this note must be seen either as meant for an instrument that had an extra low string (tuned to BB; Kraus regularly requires contrabasses with C strings) or that the composer momentarily wrote at sounding instead of written pitch. The latter explanation has been accepted for this edition. The comment by the composer at the end of the introduction, s'attacca il seguente Allegro senza rit., implies that normal performance practice during that period would have involved a ritardando between the sections to differentiate them, something Kraus clearly wished to avoid. Bertil van Boer

Performance

18 January 2013 Conductor: Masaaki Suzuki Tokyo City Philharmonic Orchestra Tokyo Opera City - Tokyo - Japan
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11 November 2012 Conductor: Carlo Jans Orchestre de Chambre du Luxembourg Schloss Sayn - Altenberg - Germany
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4 November 2012 Conductor: Carlo Jans Orchestre de Chambre du Luxembourg Differdange - Luxembourg
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3 July 2011 Conductor: Nicolas Brochot Orchestre de Chambre du Luxembourg Pfarrkirche - Mayen - Germany
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30 March 2011 Conductor: Sakari Oramo Finnish Radio Symphony Orchestra Johannes Churchat - Helsinki - Finland
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17 December 2010 Conductor: Roland Kluttig Norrköpings Symfoniorkester Linköping - Sweden
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16 December 2010 Conductor: Roland Kluttig Norrköpings Symfoniorkester Linköping - Sweden
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16 December 2010 15 December 2010 Conductor: Sakari Oramo Royal Stockholm Philharmonica Orchestra Great Hall - Stockholm - Sweden
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21 November 2010 Conductor: Bramwell Tovey Helsingborgs Symfoniorkester Konserthus - Helsingborg - Sweden
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24 November 2007 Conductor: Mats Rondin Gävle Symfoniorkester Konserthus, Gevaliasalen - Gävle - Sweden
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SKU: 69407802785

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4.4 ★★★★★
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Tripp Moore
Boise, US
★★★★★ 5
Visually Brilliant, Darkly Funny, and Still Uncomfortably Relevant
I rented Brazil through Amazon primarily because I’d heard it described as a dystopian sci-fi classic, but I wasn’t fully prepared for just how strange, creative, and visually dense this movie actually is. It feels like George Orwell had a stress dream after getting trapped inside a malfunctioning government office building designed by someone obsessed with ducts and paperwork. The film does an incredible job blending dark comedy, bureaucracy, paranoia, retro-futurism, and outright absurdity into something that somehow still feels coherent. The world-building is fantastic in a very grimy, claustrophobic way where technology exists everywhere but almost none of it works properly. Everything feels intentionally inefficient and overcomplicated, which makes the setting weirdly believable. Jonathan Pryce does a great job playing a character slowly unraveling under the weight of an increasingly surreal system, and Robert De Niro’s appearance is memorable despite limited screen time. The production design is honestly one of the standout elements of the entire film. Nearly every scene has some strange visual detail happening in the background that adds to the oppressive but oddly humorous atmosphere. This definitely is not a fast-paced mainstream sci-fi movie, though. The pacing can feel slow at times, and the tone swings between satire, anxiety, fantasy, and bleakness in ways that probably won’t work for everyone. It’s the kind of movie where you occasionally stop and think, “What exactly am I watching?” while still wanting to keep watching. The Amazon streaming quality itself was good with no playback issues during my rental, and the film benefits from a decent screen because there’s so much visual detail packed into the sets and cinematography. Overall, Brazil is one of those movies that feels increasingly relevant the older it gets. Strange, unsettling, funny, visually inventive, and much more layered than I expected.
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Reviewed in the United States on May 23, 2026
J
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Joel Bradford
Lexington, US
★★★★★ 4
Beautiful, glorious, and depressing but not without levity
Probably Gilliams most serious film, a story of a dreamer in a dystopian bureaucratic future, plagued by monotony and endless paperwork, our protagonist (played by Jonathan Pryce) isn't sure what he wants in his life, but he knows he wants something different. When the Department of Information Retrieval disappears the wrong person (played by Robert De Niro), our hero goes to reimburse the widow and discovers a woman living in the same building who looks like the woman out of his dreams (played by Kim Greist). Really stellar performances by Pryce, and a gaggle of supporting actors such as Ian Holm, Michael Palin, Kathrine Helmond, and Bob Hoskins. Greists performance is probably the weakest, but she does enough for the role that the critique of it amounts to a nit pick really. While this film is considered a cult classic, I would qualify it even less and say its just a classic, full of symbolism with a increasingly repressive tone throughout balanced by Gilliams puncturing, dark humor.
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Reviewed in the United States on September 29, 2024
M
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Mr. Watkins
Whiting, US
★★★★★ 5
Classic Terry Gilliam- Watch It!
One of the best Terry Gilliam movies out there. Made in the 1980's, the cast is superb, and it holds up well 40 years on. WAtch it- it's a trip!
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Reviewed in the United States on April 27, 2026
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***moviemaker***
Belleville, US
★★★★★ 5
BLU RAY is the 132 minute Original U.S. Theatrical Cut FINALLY!!!!
] On this Blu-ray for the first time ever we get the ORIGINAL 132 minute version of the film as was shown in U.S. theaters. (Note: This is NOT the "Love Conquers All" Sheinberg/TV Edit.) All the DVD releases before this have been the European Version/Director's Cut of the film. Even the original Universal DVD release that said Theatrical Cut on the box actually had the European Version/Director's Cut. Unfortunately, Universal didn't really spend any time cleaning up the negative for Hi-Definition (there is very noticeable instances of dirt and debris on the negative) but it still beats the image quality found on the Universal SD DVD, and they do include an amazing DTS-HD Master 5.1. We'll just have to wait for the Criterion Blu-ray of Brazil for image perfection but serious fans of Brazil will want to get this Blu-ray edition just to have this version of the film as it was originally seen in theaters in 1985. I actually find this 132-minute version is in many ways a superior cut of the film. Here are the differences in detail: *In the 132-minute version you cut from Sam in bed with Jill, police sack goes over head, then CUT TO Pull off police sack to reveal Sam in Torture Chamber/Interrogation chair. This one cut is simply brilliant and very powerful. In the Criterion Version you have the added scene of Mr. Helpman as Father Christmas (completely out of charcater from the rest of the film) and the whole interrogation scene of Sam hanging from the rack inside the police/mail pouch which becomes narratively redundant and dilutes the impact of the final scene. *To end it with cooling tower/interrogation room fade to clouds was a great Gilliam wink of subversion and irreverence to the cliche Hollywood Ending. As opposed to the European cut of just credits over cooling tower/interrogation room. *The Samurai Scene is divided into 3 separate scenes in the 132-minute version versus 1 LONG scene in the European cut. And you know what? Like most things, it works better in 3's. *The 132-minute version cuts straight to the Dinner Scene with Ida (his mother) ordering numero deux, trois, etc. while the European version has the entrance to the restaurant of going through the metal detector which really doesn't add anything and is again a bit redundant when the bomb does eventually go off in the restaurant. With the scene, you're signaling to the audience we are looking for a bomb, so we expect a bomb. Without the added scene, the bombing is unexpected and it actually shocks you so you're both horrified and laughing. The unexpectedness also works as it builds upon the bomb motif from the first explosion at the beginning of Brazil during the Ducts advert. *And finally I just love that the 132-minute version opens on those clouds (outtakes from The Never-Ending Story) then goes to the Central Services advert about Ducts: "Are your ducts old-fashioned, out-of-date... " Now the Criterion version also has the clouds opening (The Original European Cut didn't) but it's funny because the Studio asked Gilliam to start off with the clouds for the US Cut and he actually prefers it as quoted in his Director's commentary. Hilarious. Little changes that add up to a tighter and overall, better film.
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Reviewed in the United States on July 12, 2011
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W.P.
Birmingham, US
★★★★★ 5
Great cast; well directed
Great movie; lives up to its reviews
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Reviewed in the United States on March 25, 2026

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