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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About my skin- 43 year old fair, normal to dry, very sensitive, prone to KP bumps on back of arms, inner knees and if aggravated - all over thighs. I am pretty careful with what I use and I even have to be careful within the same brand if something DOES work. I have spent a long time being snobby about “drugstore” brands because over the years they have all aggravated my now mostly under control KP. I recently was convinced to try the Olay SUper Serum body wash because a friend with similar issues said she was really impressed. I have been also! In fact, the body wash for “Rough and Bumpy” skin has been my go-to wash for the past few months and has visibly improved my overall skin texture and has not aggravated any KP flare ups. I was very excited to try this body cream, since the current one I use is over 50 dollars for a similar size jar. I like to use A LOT of moisturizer and the cost is really annoying and close to being prohibitive when you use a jar a week. I purchased this cream (packaged well, no leaked, fresh product, overnight delivery). I am in LOVE! It smells great, very high end. The fragrance is real so if you hate fragrance, bot for you. I wear Baccarat Rouge and this lotion does not interfere with that, and it does dissipate after a while (I asked others to be sure). The crazy thing is this… most of the time my KP bumps on my inner knees are there, but when I have them under control they just lack color and are a lot smoother. THEY ARE GONE AFTER 1 WEEK.. THIS IS THE FIRST TIME IN THE DECADE OR SO I HAVE HAD KP BUMPS ON MY INNER KNEEES THAT THEY HAVE BEEN COMPLETELY GONE. I do not feel it is the combo of the wash and this cream, as I have been using a different wash while out of town. The only new item I used was THIS CREAM, alone, without my other more expensive product. I am kind of blown away and delighted. Also, I was able to use less of this to feel moisturized than I have been using with the “fancy” brand. The scent is warm, slightly vanilla, expensive and not too floral. Cream absorbs quickly and well, leaves skin feeling plumped, soft, no greasy residue and MAJOR BONUS… NO PILLING. That is a nightmare when a product does that. It absorbs quickly, leaves no marks on clothes when squeezing into a pair of black legggings…. All the good stuff you may forget to look for but notice when they happen. I HIGHLY RECOMMEND TRYING, if a light, high end fragrance is good with you. To reiterate- the fragrance is not crazy strong but it also calms WAY down about 30 mins after applying and melts into just a nice feminine clean but warm (not body spray type of vibe) scent that is not very noticeable to me or others. No where near as strong as like a Bum Bum cream (which I LOVE IN SUMMER) and smells high end, not like cheap shampoo or air freshener. Get this!!!!!!! It also did not irritate my chest area which for me is always a little prone to red spots when I use fragranced products. No irritation and dude… NO BUMPS FOR FIRST TIME IN A DECADE OR MORE. WOW!!!!
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Reviewed in the United States on March 27, 2026
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Context: To start off, I should say that I have dry skin. Like, VERY dry skin. In purchasing this item, I wanted a product that I could consistently apply every single day to hydrate my skin. Product: The application of this stuff was like a dream. If you’ve ever tried using ANY sort of lotion (Lubriderm, Cetaphil, etc.) you’d know that usually it leaves that greasy texture on your hands that you have to wash off. This one doesn’t do ANY of that. The cream melts into your skin and absorbs very easily, unlike other lotions. I didn’t need that much to apply to my entire body. The results were great—my skin looked better and felt softer. If there was to be a con, it would be how strong the fragrance of the lotion is. This stuff smells STRONG. It’s not an unpleasant scent, but if you wanted to wear a perfume or body spray along with it, good luck because I can’t see a world where the cream won’t overpower or at least show through your preferred scent. TLDR Overall, good product with dreamlike application, but strength of scent could be dealbreaker for some.
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