1 	Introit - Kyrie 	9:20
2 	Dies Irae 	21:06
3 	Offertorium 	9:11
4 	Sanctus 	2:47
5 	Benedictus 	3:12
6 	Agnus Dei 	11:47

Ana Pusar-Jerič, Christian Vogel (3), Heidi Riess, Hermann Christian Polster – vocals
Berlin Radio Chorus
Berlin Radio Symphony Orchestra (GDR)
Heinz Rögner – conductor

This Requiem by Bomtempo comes from Beethoven 's time and does not talk Beethoven's tongue as all world did not. May be it looks like the young Beethoven. One musician has spoken this is the best Requiem composed between Mozart's and Berlioz Messe des Morts op 5. Considering the Requiems I know, which are many, I would agree with one exception: Cherubini's Requiems in C Minor and D Minor. ---Flavio Jose Morsch, amazon.com

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1. Te Deum Laudamus, Te Dominum Confitemur
2. Te Gloriosus Apostolorum
3. Te Per Orbem Terrarum Sancta Confitetur Ecclesia
4. Tu Rex Gloriae, Christe
5. Tu Ad Dextreram Dei Sedes in Gloria Patris
6. Per Singulos Dies Benedicimus Te

Márta Szücs – soprano
Ildikó Komlóssy – mezzo-soprano
Gábor Kállay – tenor
József Gregor – bass
Hungarian Radio and Television Chorus
Hungarian State Orchestra
Mátyás Antal - conductor

Rec: 11.XI.1989 & 22.I.1990, Budapest

Born in Lisbon in 1771, the son of an Italian oboist, Joo Domingos Bomtempo wrote a substantial body of music, including five piano concertos, a Requiem in Memory of Cames, Te Deum, two symphonies, and a quantity of piano music. In a career that took him to Paris and to London, he enjoyed considerable success as a pianist and as a composer.

Bomtempos two symphonies reflect contemporary classical influence, the first in the tradition of Haydn and Mozart, and the second, nearly twice the length, akin, rather, to Beethoven.

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Symphony No. 1, Op. 11
1.   I. Largo - Allegro vivace 
2.   II. Minuetto 
3.   III. Andante sostenuto 
4.   IV. Presto 

Symphony No. 2
5.   I. Sostenuto - Allegro moderato
6.   II. Allegretto
7.   III. Minetto: Allegro 
8.   IV. Allegro 

Nova Filarmonia Portuguesa
Álvaro Cassuto – conductor

This CD is a wonderful surprise, a real discovery! Bomtempo is an unknown composer, and this disc contains two of his symphonies, one compact written about 1810, and the second written about 1820, much more extended and developed in form, harmony, and orchestration, lasting 42 minutes. While he is sometimes called the “Portuguese Beethoven”, stylistically his writing is much closer to Schubert in harmony and melody (although it’s very doubtful he ever heard a Schubert symphony). His orchestration owes much to Muzio Clementi, with whom he became associated during his time in London, and who became his publisher. Very noteworthy is Bomtempo’s use of trombones in the second symphony, something unusual in symphonic writing at this time, but Clementi had used trombones in all his last four symphonies, also written at the same time as Bomtempo’s No.2. The liner notes suggest the influence of Beethoven’s sixth symphony (the first time he used trombones in a symphony) but the influence of Clementi is much more pronounced – even though Bomtempo writes scherzo movements he still labels them “minuetto”, which Clementi also does. And the minuetto of the second symphony is modeled on a “Menuetto Pastorale” of Clementi that exists as a separate composition. But the music – oh, what music! Bomtempo’s music is heavily based on Portuguese folk dance rhythms -- he must have been a very good dancer! Especially in the second symphony, dance rhythms predominate, and the last movement is based on what seems to be the Portuguese dance foclore, with a one-two-three, one-two-three, tuurrn, tuurrn rhythm over and over. I’m no expert in Portuguese dances, but a friend was born there, and his description of this dance matches the music perfectly. The Algarve Orchestra, based in Southern Portugal, relishes this music, and plays it perfectly – you can sense that they are dancing in their places even as they play! Even though they are a newly-founded orchestra, their playing is absolutely first-rate, and is one of the special features of this recording. --- Catriel Blum, amazon.com

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