The program presented by Theresia in this recording takes us back to the second half of the 18th century, a very special moment in the history of music: the development of the sonata form and the symphony, two cornerstones of the classical style. Freed from its role as a mere accessory to the melodrama, the symphony gradually established itself as a purely instrumental composition designed for the orchestra, characterized by a well-defined ensemble based on the string quartet but also including pairs of wind instruments (particularly oboes and horns, often accompanied by flutes and bassoons). During this period, from 1760 to 1780, the tradition of performing these instrumental works as theatrical “preludes” in the aristocracy’s palaces and early public concert halls gained popularity in the southwestern Germany, especially in the city of Mannheim. This elevation from their ancillary role transformed them gradually into independent entities with increasingly specific and recognizable characteristics, which were cultivated and canonized by the great masters of the Viennese school such as Haydn and Mozart.

Little is known about the Italian Antonio Brioschi (ca. 1700-ca. 1750), other than he was a prolific composer. With about fifty symphonies to his credit, he apparently was active near Milan during the same time as Giovanni Sammartini. During his lifetime, his popularity was widespread as copies of his instrumental works can be found in libraries from Moscow to the United States, with about half of his symphonic output neatly preserved in the Parisian `Bibliotheque nationale de France'.

Little is known about the Italian Antonio Brioschi (ca. 1700-ca. 1750), other than he was a prolific composer. With about fifty symphonies to his credit, he apparently was active near Milan during the same time as Giovanni Sammartini. During his lifetime, his popularity was widespread as copies of his instrumental works can be found in libraries from Moscow to the United States, with about half of his symphonic output neatly preserved in the Parisian `Bibliotheque nationale de France'.

Chelleri is far older than any other symphonist in our series. In his corpus, the symphony (as understood in a modern sense) is the accomplishment of a long path of research and transformation of style. When Chelleri did deal with “modern symphonies”, counting himself among the proponents of the new instrumental music, after having written mainly harpsichord suites as well as old-style symphonies, he no longer resided in the Duchy of Parma, where he was born, but in northern Europe, in Germany and in Sweden. Chelleri was a great imitator, and these “Six new symphonies” are clearly six stylistic studies on the new trends in vogue in Europe in the 1730s and 1740s.

This delightful intermezzo per musica in two acts - recounting the old story of a naïve young nobleman and of a sly girl who, after a series of squabbles and pranks, following the best of traditions, declare eternal love to each other and decide to get married - has pleased audiences ever since its first performance at the San Samuele theatre in Venice in 1750, and is here recorded for the first time. At that time the intermezzo was already a well-defined and self-standing music form, detached from opera seria, with which, originally, it had been combined. It was also, however, in a declining phase and nearing its disappearance. And yet L'uccellatrice by Niccolò Jommelli enjoyed many performances (Leipzig, 1751; Bologna, Ravenna and Vicenza, 1753; Parma, 1756; Florence, 1760; Pescia, 1772) and was even translated into French, with the score adapted and enlarged.

Although the two were not related, we do have Frank Zappa (1940-1993) to thank for rediscovering his namesake, Francesco Zappa (1717?-1805?). These 6 symphonies were written during the early Classical era composer's active period between 1763-1788, all in major keys and all following the 3 movement `fast-slow-fast' structure. The opening of `Allegro' of No. 1 in E Flat bursts forth with sparkling verve, driven by the numerous rising crescendos, classic examples of the Mannheim rocket. A measured `Larghetto' follows, dominated by the violins as the winds fall silent, and the lower strings and the harpsichord continuo offer a simple, but effective pulsing accompaniment. The final triple metered `Presto' begins with a stirring horn call and gallops to a rousing conclusion.