František Antonín (Václav) Míča: Symphony in D Major, Op.25, Václav Smetáček (conductor)

František Antonín (Václav*) Míča – Symphony in D Major, Op. 25, Prague Symphony Orchestra (Symfonický orchestr hlavního města Prahy, FOK), Václav Smetáček (conductor)
* He was previously often referred to as František Václav Míča. However, in 2010, musicologist Jana Perutková determined František Antonín Míča as his real name on the basis of a study of primary sources and period documents, and at the same time corrected the fluctuating date of birth. (from Česká (Czech) Wikipedie)
1.Allegro – 00:00
2.Andante – 06:40
3.Fuga – 11:42

František Antonín (Václav*) Míča (1696* - 1744), a native of Třebíč Town, his father Mikuláš-Ondřej, was organist.
It was in Jaroměřice nad Rokytnou where he entered into the liege as a chamberlain of Jan Adam Questenberk, the count. Performing with the count's orchestra in Vienna allowed him to achieve more musical perfection. Upon his return back to Jaromerice Town by the year 1732, he was employed as a tenorist and conductor as well, being namely active as an organizer of the operatic performances with the Castle's theatre. Through his activity, he achieved to create a continuous musical tradition over the Moravian South-West region. The Italian cantata operas namely ruled in the Castle's theater (Bassani, Carissini, Caldara), not excluding the domestic production, of which Míča, as a composer, earned a merit at times. He composed operas, cantatas, ballet intermezzos or the arias for Italian operas. Thus Míča as a conductor and vocalist had a significant merit for the development of musicality around the Castle milieu. Nevertheless, the domain of composition remains a constant contribution of his activity. His multiple vocal writings emanate from the late baroque of Italian provenance, whereas his instrumental operatic work shows remarkable stylish risings of sound, reflecting the nascent classicism. His Symphony in D major is particularly known to bring certain original elements of an imminent sonata form, for as much as these were first steps of the long way up to a climax, around which we encounter sublime musical legacy of Haydn or Mozart. The Symphony by Míča has three contrastive parts: the fast, slow, fast as it used to be, along with one particularity, which is a fugue for the final, having been perfectly mastered as for the technique and the sound. (sleeve note by Miroslav Hršel)