title: A Fine Evening Was Had By All

text:
A so-so business sense may have sabotaged his music publishing companies, but his compositional instinct never failed Franz Anton Hoffmeister (1754-1812). One of the most popular composers during his lifetime, his work is barely remembered today. Over 50 symphonies, at least 8 operas, more than 25 concertos and over 200 various forms of chamber music exist among his list of compositions. Divertimenti, cassations, serenades, notturnos – all signify the type of music designed for light evening entertainment.

These 5 quintets are formed into two unusual and distinct instrumental lineups, each with separate formats. Numbers 1, 2, and 6 add a violin to the basic quartet of oboe, two violas and a bassoon. They use a familiar 3 movement structure of ‘fast-slow-fast’ while quintets 4 and 5 substitute a horn for the violin, and employ a 5 section form favored by Haydn: a slower middle section framed by a pair of Menuets which are flanked by two faster outer movements.

A sparkling ‘Allegro’ opens the first quintet, written in B Flat. While the oboe carries the primary melodic responsibility, the violin and occasionally the bassoon step up for their time in the spotlight, sometimes echoing the oboe and at others offering a silky counterpoint. Brief excursions in minor serve as a tension inducing contrast while the paired violas supply orchestral accompaniment. In the triple metered 2nd movement, a leisurely ’Poco Adagio’, the oboe and violin alternate melodic lines with the bassoon providing important musical contributions. A jaunty ‘Rondo’ closes the work, as the violas introduce the initial theme and join with the lower voiced wind for one of the more engaging episodes.

Listed as being in D Sharp, Quintet No.2 begins with an animated ‘Allergo’ that features a busy oboe jousting with an equally active violin, an exchange that is later mimicked by the paired violas and bassoon. A charming ‘Poco Adagio’ follows, notable for some bravura violin playing and a lovely passage with the three lower voices. In a lifting triple meter and structured as a theme and variations, the final ‘Allegretto’ contains a particularly appealing bassoon solo.

With the shift of instrumental scoring for the next two quintets, the roles change as well. Instead of assuming the violin’s place in the advancing of musical ideas, the single horn joins the violas in harmonic support while the lower wind adopts more melodic responsibility. In addition, the sections tend to be shorter and less developed, relying more on contrast between the movements rather than internal elaboration. Highlights in the E Flat Quintet include the call and answer exchange between the two woodwinds in the 1st ‘Menuetto’, the jolly horn calls in the 2nd ‘Menuetto and the graceful solo for the horn in the triple metered finale, a sweeping ‘Rondeau’.

In F Major, the 5th quintet starts with a gorgeous oboe in the brief ‘Adagio’ before the compound 1st movement launches into a rollicking triple metered ‘Allegro’. Joyously infectious, it contains some excellent work by the violas. Characterized by more interplay among all 5 voices, the lithe ‘Adagio’ offers a delicate respite as the slower central section while the horn and oboe shine in the playful ‘Allegro’, which closes the composition.

Returning to the original instrumental scoring, the C Major Quintet features greater variety as the violin shares the upper register with the oboe in the animated opening ‘Allegro’. A delicately nuanced ‘Poco Adagio’ follows before the recording concludes with a bright ‘Allegretto’. Marked ‘Variazioni’, it’s packed with short punchy episodes with fleeting glimpses of flashing virtuosity traded back and forth.

Issued in 2005, the SACD recording by Tudor is splendid, with plenty of depth and detail. The fine musicians all hail from the Zurich Tonhalle Orchestra, with the oboist Simon Fuchs and Primoz Novsak on violin particularly noteworthy. While these charming quintets don’t aspire much beyond an evening of amiable entertainment, they do that extremely well.


title: 30 Years of Service

text:
Very little of the work of Italian born Gaetano Brunetti (ca.1744-1798) was published during his lifetime, and not much more since. In more than 30 years of service to the imperial family and the Royal Court of Spain, first as a violinist and later as a composer, he had ample opportunity to write a staggering array of music. Among the some 450 compositions to his credit were duos, trios, quartets, quintets, sextets, at least 40 symphonies and a wide range of vocal music.

In this fourth set of his string trios, Brunetti advances beyond the format of the earlier three, substituting a viola for the 2nd violin and giving the lower strings more responsibility. In addition, he develops the structure from a simple two movement pattern to three, flanking a minuet with 2 outer sections and quite a variety of tempo markings.

Written in A Major, the leisurely ‘Andante’ of the first trio uses the violin as the primary voice, but keeps the instrument in the middle and lower range of its register. Short, punchy melodic lines combine with elastic phrasing and frequent pauses to create a memorable 1st movement. A genial ‘Minuetto’ follows, while the jagged violence of the trio with its urgent flurries of notes providing a sharp contrast to the smoother initial theme. Bravura fiddling from the violin marks the closing ‘Allegro’ as swaggering passages alternate with sections of delicate beauty.

With more independent part writing, the bold ‘Allegro’ of the 2nd quartet in B Flat finds the violin venturing higher in its range to balance the increased emphasis on the lower strings, which also features greater harmonic explorations. Rhythmic dislocations play throughout the ‘Minuettto’ with the viola overlaying a “Polaca” on the triple meter of the minuet and forming unexpected syncopations. Under dancing upper strings, the drone like bass line lends support to the triple metered ‘Rondeau’. Punctuated by bursts of striking minor keyed passages and vivid dynamics, this finale is a delight.

In C Minor, Trio No.3 opens with an ‘Andantino expressivo’ notable for extensive double stopping by the viola, which enables him to accompany both other instruments. The upper string supports the violin while the simultaneous note on the lower one backs the cello. It is a remarkable piece of writing. The elegant simplicity of the ‘Minuetto’ sets up the ensuing finale, a vigorous ‘Presto’ that plays with the forward thrust of the movement. Energy seems to dissipate, the music fading until the drive regroups and the finale goes charging off again.

A warmly engaging ‘Andantino con varizioni’ opens the fourth trio, which is composed in C Major. Each voice has ample opportunity to shine, displaying virtuosic flourishes in the only movement Brunetti wrote in this format. Seven repeated notes of equal emphasis initially obscures the lilting nature of the minor tinged ‘Minuetto’. Brief bursts of melodic fragments dot the closing ‘Allegro di molto’, a finale characterized by hushed urgency and showing the influence of Spanish folk music, particularly in the whirling conclusion.

Penned in E Flat, the 5th and final trio begins with an expressive ‘Larghetto amoroso’. Specified by Brunetti, the nuanced dynamic indications result in an extraordinarily wide emotional range and subtle differentiations. The lively ‘Minuetto’ shifts to the unusual key of E Flat Minor, with 6 flats, for the fragile contrasting trio. Brisk call and answer exchanges populate the concluding ‘Allegretto’. First the upper string leads the interactions, and then the viola assumes control, barreling toward what initially appears to be the end. But then Brunetti throws in a brilliant twist. For the brief coda, he abruptly shifts from the rapid duple meter that had driven the finale to a 3/8 time signature, bringing the listener up short wondering -- “What just happened?”

While perhaps a bit brittle, the 2014 recording by Lindoro is fine. Based in Spain, the trio Carmen Veneris is superb, with special distinction due the flashing violin of Raul Orellana. As more of Brunetti’s quirky compositions are finally published and recorded, there is a growing awareness of his unique ability. This excellent disc whets our appetite for more.


title: Expanded String Quartets from Anton Vranicky

text:
After starting his compositional career writing for the Catholic Church, Anton Vranicky (1761-1820)- aka Wranitzky - had to change direction, since the reforms of Emperor Joseph II reduced the need for liturgical works in the 1780's. So he turned to the secular. Appointed as the leader of the small court ensemble of Prince Lobkowitz, the famous patron of Haydn, Beethoven and many others, he traveled among the Prince's 5 palaces, composing, arranging and playing chamber music. These two works are from that period, the very pinnacle of the Classical era.

Among those court musicians were a father and son pair of cellists who had been with Haydn at Esterhazy, Anton and Nicolaus Kraft. The prominence given to the bass lines in these compositions is a tribute to their talent, and having such accomplished musicians at his disposal allowed Vranicky to explore beyond the basic string quartet format.

The unusual alignment of the String Quintet in E Flat, Op.8, No.3 gives the work a dark, rich texture. One violin, two violas and two cellos create the opportunity for the lower strings to assume greater responsibility for carrying the melody. And although the opening `Allegro non tanto' employs the violin to present the initial thematic material, the violas frequently take center stage, trading the melodic lines back and forth as often as they provide counterpoint to the upper voice.

A stylish triple metered `Andante con moto' follows, with the violin assuming the lead and the cellos giving adroit support, punctuated with soft pizzicato. Elegant and graceful, the 3rd movement `Minuetto' is also in triple meter. The cellos establish the theme, which is soon taken up by the violas before the single violin enters and glides to a smooth ending.

The finale begins with a melancholy `Adagio con espressione', with the emotive power coming initially from the flowing bass lines, before the cellos fall completely silent to allow the soaring violin full sway. As the quintet shifts effortlessly to a lilting "Allegretto', the violas take center stage. The violins recede into the background, adorning the movement with ornamental flourishes as the lower voices are given the primary focus before coming to a cheerful conclusion.

The String Sextet in G Major utilizes a lineup that was not to find wider usage until late in 19th century, pairs of violins, violas and cellos. After an introduction by the violins, the 1st movement `Allegro' contains a wonderful, all too brief passage where the cellos trade melodic lines, which are then taken up by the violas before returning to the upper voices for the closing bars.

Carried by the violas, a somber `Andantino' is followed by a pithy 3rd movement `Adagio'. A playful, rustic `Allegretto' concludes the work. Written in triple meter, it skips along, featuring each pair of instruments in turn until it reaches the final notes, softly fading away.

These world premiere recordings by Brilliant Classics are sharp and focused, allowing Vranicky's refined artistry shine. And the skillful work of Ensemble Cordia is excellent. Particularly ear catching is the elegant 1st violin of Stanley Ritchie and the fleet fingered cello playing of Stefano Veggetti and Franziska Romaner.

The epitome of Classical era sophistication, these 2 chamber works show Anton Vranicky near top of his form. Thankfully, we have this recording of his stylish creativity.


title: Maldere, Forgotten Flemish Composer

text:
Born in Brussels and trained as a violinist, Pieter van Maldere (1729-1768) wrote approximately 45 symphonies among the nearly 90 works in his catalogue. Well known as a forward looking composer in his day, he has since passed into obscurity. While his chamber works retain a late Baroque flavor, it is his symphonic output that anticipates high Viennese classicism.

While adhering to the traditional ‘fast-slow-fast’ structure, his early development of the sonata form, particularly in the opening 1st movements foreshadow the later work of Haydn, Mozart and others. In addition, his contemporaries noted his extensive use of an unusually active bass line. And finally, his juxtaposition of the 1st and 2nd violins allows for more articulation in the upper strings.

Written in G Minor, a favorite key of the Sturm und Drang movement, Op.4, No.1 opens with a triple metered ‘Allegro assai’. A wonderful walking bass line propels this initial movement, punctuated with occasional double time and using descending unison arpeggios as a unifying phrase. While the melodic lines are carried primarily by the upper strings, the horns supply a distinctive coloration. All the elements of the sonata form are here -- the exposition of the 1st and 2nd themes, an extended harmonic manipulation and development of those themes and a concluding recapitulation.

A smooth ‘Andante’ follows, without horns or winds and supported by a plucked theorbo, instead of the more common harpsichord, an inspired choice which gives the section a gentle, more flowing character. Driven by urgent lower strings, the symphony concludes with a vigorous and muscular ‘Presto’. Hushed violins convey the truly memorable melody while paired horns and oboes provide punch.

Another ‘Allegro assai’ in triple meter begins the Symphony in D Major, Op.5, No.1. Scurrying violins peppered with clarion horns calls erupt from pianissimo passages thrust forward by insistent lower strings. The animated bass line is an extraordinary delight. Also in triple meter, the 2nd movement ‘Andante’ features long, rising melodic lines over steady rhythmic support in the lower strings. The lead violins start that final ‘Presto’ with a flurry of energetic triplets, echoed by the 2nd violins. Winds supply a brisk counterpoint before the section comes to a rousing unison close.

The remaining 2 works are presented ‘a 4’, with each string part taken by single instrument, essentially a string quartet with a theorbo acting as a continuo. The bare instrumentation allows the internal structure to be magnified. It also encourages a brisker pace in the opening ‘Allegro‘ of the Sinfonia in A Major, in contrast with the more measured tempo of the full orchestra in the earlier works.

A contemplative ‘Largo’ displays the melancholy tonal quality of the theorbo. The violins provide filigreed ornamentation as this minor keyed 2nd movement showcases the lower strings, particularly the ‘Viola obligata’ of Rachel Byrt. An extended ritardando brings this emotionally expressive section to a bittersweet end. Repeated quarter notes in the bass line propel the closing ‘Presto’, punctuated with a number of false endings in unison before the final notes.

Playful swirling exchanges between the violins and the viola open the ‘Allegro assai’ of the Sinfonia a 4 that is the last work in the disc, composed in F Major. Sliding in and out of minor, a gentle ‘Larghetto’ forms the bridge to the 3rd movement. In triple meter, the final ‘Presto’ features a dancing theorbo amid the lilting upper strings.

While I might have liked more clarity in the recording by Et’Cetera, I could not asked for more precision or depth of interpretation from Filip Bral and the Academy of Ancient Music. Led by the 1st violin of Pavlo Beznosiuk, the five soloists bring a warm assurance to the last 2 works. Released in 2011, this is a wonderful addition to the CDs that detail the early evolution of the Classical era symphony. Grab it.


title: Standing on His Own

text:
As the son of an oboist of the celebrated Mannheim orchestra, Franz Beck (1734-1809) grew up in the shadow of that famous ensemble and studied with its leader, Johann Stamitz. After additional study in Italy with Baldassarre Galuppi, he moved to France where he spent the rest of his life. First to Marseilles, and then to Bordeaux where he became the director of the Bordeaux Grand Theatre. All of these influences found their way into his music, including these 4 symphonies.

Nearly an exact contemporary of Joseph Haydn, Beck has suffered by comparison. Both labored for long periods of time away from the centers of musical activity. Both employed wind instruments in strikingly original ways. Both used remarkable harmonic progressions and increasingly independent part writing. Given their unusually high quality, it is a puzzle why Beck apparently lost interest in the symphonic form in the mid 1760’s.

Published in 1762, the 6 works from Beck’s Op. 3 differ from his earlier set by including a third movement minuet, and by augmenting the winds by adding a pair of oboes for half of them. Employing the broader palette lends a crisp distinction to thrilling ‘Allegro’ that opens the F Major Symphony, No.1 of the set, but it is the rushing strings that supply the excitement. Delicate hesitations characterize the following ‘Andante grazioso’, scored for strings only. Although not strict counterpoint, Beck crafts crossing melodic lines that highlight the independence of the part writing. Horns return to buttress the arch ‘Minuetto’ while the oboe led trio is simply charming. After a deliberate start, the final ‘Presto’ gathers steam with frantic fiddling in the middle strings driving the pace. A coy call and answer exchange between the oboes and the 1st violins offers a brief respite before the rousing close.

Hushed urgency in the upper strings propel the 1st movement ‘Allegro con spirito’ of the 2nd symphony, composed in B Flat. Beck layers in waves of sound by a skillful interweaving of the winds and strings. After a dramatic, somewhat lumbering intro in minor, chirping strings lift the gentle ‘Largo’ into a sunnier realm, although rising undulations in the lower strings maintains a heightened tension throughout. Plaintive horns dot the amiable ‘Minuetto’ with the oboes again taking the spotlight in the contrasting trio. Vigorous violins and horns introduce the feverish finale, a muscular ‘Prestissimo’ that features waves of overlapping melodic phrases.

Written in G Minor, Symphony No.3 may be the highpoint of the recording. Despite the minor key, the opening ‘Allegro con spirito’ maintains a decidedly sunny disposition, more like the cast of a darkened brow than the gloom of despair or deep sorrow. Expressive intensity permeates the independent part writing. As if they were enticing the other sections to come out and play, the 1st violins take the lead in the soothing ‘Andante un poco adagio’. With the oboes absent for the entire work, Beck makes deft use of the paired horns which is particularly apparent in this slow movement. Characterized by questioning upper strings, a standout ‘Minuetto’ is supported by a barely noticeable harpsichord while a triple metered ‘Presto’ brings the symphony to a rollicking ending. Deft syncopation in the lower strings and a vibrant contribution from the horns underpin marvelous interplay between the violin sections.

A spirited ‘Allegro con brio’ begins the final entry, the symphony in E Flat. Sprinkled with horn fanfares, this feisty 1st movement is powered by a driving bass line. Dark and forbidding, the ensuing ‘Un poco adagio’ is scored for strings and gradually decelerates, drifting to an ominous end. Hovering over the strings, the horns lend a majestic air to the formal ‘Minuetto’, while assuming the lead in the contrasting trio with scurrying upper strings and a plucked bass line in support. Brimming with good cheer, the triple metered ‘Presto risoluto’ employs broadly expansive melodic lines, hunting horn calls and frenzied strings to form a stirring climax.

The 2007 recording by Naxos is fine, crisp and detailed while under the spirited baton of Kevin Mallon, the Toronto Chamber Orchestra is excellent, brisk and lively. Had Beck continued to compose symphonies during the last 43 years of his life and left us with 104 instead of just 24, our opinion might be significantly different today.


title: Is Faster Better? -- Sturm und Drang from Vanhal

text:
Possibly the first Viennese musician of the classical era to support himself as an independent composer and teacher, Jan Vanhal (1739-1813) he did not work under the patronage of any nobility for the last 30 years of his life. Like his more famous contemporaries Haydn and Mozart, Vanhal was a leading proponent of the Sturm und Drang movement, composing at least 73 symphonies, including the 5 on this recording.

One of his more popular symphonies, the D Minor opens with a blistering `Allegro'. Wide skips in melodic themes, sudden pauses and extended silences, exaggerated dynamic markings, a driving bass line and a fondness for minor keys - all the typical elements of Sturm und Drang symphonies are here.

Having recently reviewed [[ASIN:B00002411Y Vanhal: Four Symphonies - d1, A4, g1, F3]], the question occurs: Is faster better? By using a blazing velocity, Concerto Koln virtually ignores a cascading series of triplets in the violin led melody line, a throw-away sacrificed for the raw power and sheer drive of their reading. In contrast, a more deliberate pace allows the Heidelberg group to lay bare the internal structure of Vanhal's writing.

Better? Or just different? The muscular vitality of the Concerto Koln version is undeniable, but the interpretation by Kalb shows the depth of Vanhal's composition.

Adroit use of winds colors the following `Arioso, ma non lento', which features a lovely sighing motif in the upper strings. After a leisurely `Minuetto', the closing `Presto' bursts forth in a furious tempo. While not too fast for the difficult double tonguing demanded in the horn section, it does push the limit and establishes a striking contrast with the more fluid string passages that dot this vigorous finale.

A distinctive chirping figure in the violins characterizes the 1st movement `Allegro' of the G Minor Symphony. Taken with hushed urgency and punctuated with abrupt pauses, it displays Vanhal at his best. Aria-like, a single violin starts the `Andante catabile' and is soon joined by a solo viola for a gorgeous duet. A rather pedestrian `Minuetto' provides a respite before the finale, a vigorous `Allegro' that leaves the listener breathless.

Trumpets and booming tympani herald the opening `Allegro con brio' of the symphony in C Major, which features deft use of sudden dynamic changes. Nominally in three movements, it is also the only composition in a major key. Even here, Vanhal exhibits a penchant for the moody and dramatic as the gentle `Andante cantabile' is in minor as is the following `Adagio' that functions as a brief intro to the joyous `Allegro' that closes the work. Tympani and brass return to propel the movement to a rousing conclusion.

Muted string passages alternating with sudden attacks of horn-driven fanfares power the triple metered `Allegro moderato' that begins the A Minor Symphony. Also in triple meter, a graceful `Andante cantabile' precedes the following `Minuetto'. Led by jaunty violins and shadowed by horns, the 3rd movement contains a contrasting trio for a solo oboe with a wonderful series of scatting triplets in the upper strings. The only section in duple meter, the closing `Allegro' alternates hushed urgency with shrieking strings at breakneck speed to create a marvelous finale, one that ends surprisingly peacefully.

Unexpected interjections from the horns lace the triple metered `Allegro moderato' of the symphony in E Minor. After a placid interlude by a charming if less than memorable `Andante', and an equally forgettable `Minuetto' with another wind dominated trio, the work and the disc close with a brawny `Allegro'. Employing a dramatic rising arpeggio and sharply contrasting shifts in dynamics, the finale roars to a terrific conclusion.

Brimming with vigorous energy and boundless enthusiasm, Concerto Koln rips through these 5 symphonies with obvious delight. Showing a clear affinity for the faster outer movements, they also bring an easy elegance to the more sedate inner sections. The recording by Das Alte Werk/Teldec/Elatus is fine, clear and detailed.

If you're looking for an appealing alternative to Mozart or Haydn, these excellent symphonies by Jan Vanhal are a superb choice.

PS. Be aware that this disc is included in the 6 disc set [[ASIN:B000V07IV8 Dall'Abaco / Locatelli / Cannabich / Vanhal / Kozeluch / Eberl: Concerto Koln]], and may be a better value.


title: Vogel’s Only Symphonies

text:
Born in Nuremburg, Johann Christoph Vogel (1756-1788) found little success with his first opera produced in Paris. However, his second was a resounding triumph. Dying from alcoholism at the early age of 32 just before the premiere, he never received the accolades he might have had he lived to see that day. Trained as a horn player, he often placed winds in the forefront of his instrumental works. And in the leisurely central sections of his last two symphonies, his chosen instrument is featured.

Published in 1784, his threes symphonies are presented in this recording as world premieres. Containing only three movements, they all omit the minuet that came to characterize the traditional Classical era of Haydn and Mozart. Written in D Major, the bright ‘Allegro’ that opens the first symphony is a festive work scored for winds and strings. Underlining the long sustained unison phrases, the horns supply orchestral punch rather than providing sectional color or tonal texture. Light hearted and charming if a bit repetitive, the following ‘Andante’ is characterized by an appealing rhythmic hesitation and more interesting writing for the winds. In a minor keyed interlude, the violin sections engage in a wonderfully playful, but entirely too brief exchange. A rousing ‘Presto’ closes the symphony, riding the galloping triple meter to an infectiously enthusiastic end.

More complex development is featured in Symphony No.2, which is composed in E Flat. Winds are entrusted with more responsibility with the flutes and oboes most prominent. Shifting to a minor key, the exquisite ‘Adagio’ employs a single horn and solitary oboe in extended solos that draw upon the sinfonia concertante for inspiration in one of the highpoints of the CD. Alternating moments of absolute silence with passages of boisterous unison phrasing creates a somewhat lurching finale, although the ‘Poco presto’ does exhibit some fine symphonic textures.

Penned in B Flat, the 3rd symphony features rapid fire triplets in the violins over a stirring bass line in the opening ‘Allegro molto’, and while displaying a wider variety of orchestral color, repetition is still favored over thematic development. A solo horn and a delicate flute trade melodic lines over plucked strings to begin the ensuing ‘Adagio’. When a piercing oboe and an agile bassoon join in, the tone turns darker as the music slides into minor as the overlapping dialogue creates a fascinating middle section. By turns amusing and dramatic, the brisk ‘Presto’ contains a brief interlude by a flute and oboe that is once more too short and undeveloped.

Under the superb direction of Reinhard Goebel, the Bavarian Chamber Orchestra is excellent, clipped and precise in the faster outer sections, warm and sensitive in the slower interior ones. The 2010 release by Oehms Classics is somewhat recessed, although the solo winds are sharp and clear. Full of both tantalizing potential and frustrating limitation, these works hint at what Vogel might have accomplished had he not succumbed to the bottle.


title: Not Quite Haydn’s Successor

text:
Son of a school teacher from the wine growing region of Austria, Ignaz Pleyel (1757-1831) moved to Vienna and studied first with Jan Vanhal and then with Joseph Haydn. After travel to Italy, he composed in a wide variety of musical forms while working at the Strasbourg Cathedral. When the French Revolution closed the church, he was forced to find other employment, settling in Paris and founding a musical publishing company, a piano manufacturer and a performance hall that still exists today.

After Haydn, Pleyel may have been the most popular composer in Europe, and even Mozart thought that Pleyel should be Haydn’s successor. Among his 850 works are 41 symphonies, 17 string quintets, dozens of various trios, duets, concertos, and at least 70 string quartets. Most of these were written during the 1780’s, including his Op.2 set of six. The first three comprise this recording, all composed in three movemnets.

A sparkling ‘Allegro’ opens the A Major Quartet, No.1 in the trio. With the 1st violin assuming most of the melodic responsibility, the other voices take subordinate roles, only occasionally stepping into the spotlight for brief solo turns. Thematic development is less important as intense lyricism and melodic variety occupy Pleyel’s focus, often employing surprising chromatic shifts and energetic unison phrases. Delicate and somewhat tentative, the following ‘Adante grazioso’ is in a graceful 6/8 and written in A Minor. With finely filigreed work from the lead violin, a tragic undertone permeates this excellent middle section. And like all of his leisurely central movements, he instructs that it be played ‘Con sordini’, with mutes to dampen the strings vibration, giving the sound a softer quality. Back in A Major, a frisky ‘Minuetto’ concludes the quartet, but not before a spirited contrasting trio gives the first violin an opportunity to presents a bravura solo.

In C Major, the second quartet begins with a lively ‘Allegro molto’, which is mislabeled on the CD. Punctuated with starts and stops, rapid string crossings and flashy triple stops, this robust first movement is clearly not ‘moderato’. Fleet fingers are required from all four instruments as the 2nd violin echoes he the lead voice, and the cello takes a short, but vigorous solo. A splendid aria for the 1st violin in F Major, the gorgeous ‘Andante cantabile’ features a slide into the darkness of D Minor before returning the bright side and drifting to a placid end. The third movement is a bouncy ‘Allegro’ in 6/8 time that bursts into a frenzy of 16th notes delivered by the lead voice while bold unison phrases and sharp dynamic contrasts drive this finale forward.

Reversing the usual pattern of ‘fast-slow-fast’, the quartet in G Minor begins with a dirge-like ‘Adagio’. Somber and funereal, the first violin uses elastic phrasing to create dramatic pauses and play off the steady pulsing beat from the lower strings. Marked ‘Con sordini’, it is a stunning opening. Exploding out of the silence that follows, the jagged ‘Allegro assai’ is one of the high points of the entire recording. With frenetic energy and exquisite precision, all 4 voices chime in with lighting fast solos that demand technical excellence. Quick string crossings and double stops abound. Elegant sorrow characterizes the triple metered ‘Grazioso’ that closes the recording and employs the muted sound of the other slower sections. Shifting briefly into G Major, a sunny interlude offers a fleeting respite before the darkness returns for the final notes.

Originating from Yale University, the Enso String Quartet is superb, tightly knit and exceptionally tuned to one another with 1st violinist Maureen Nelson deserving special note. Released in 2004, the recording by Naxos is terrific, sharp and finely detailed. If your experience of Classical era string quartets begins with Haydn and ends with Beethoven, you owe it yourself to seek out Pleyel. While he never quite became Haydn’s successor, these 3 works certainly show how close he came.


title: Sneeze it

text:
Drop the “S” and you have the last name of Jan Vaclav Knezek (1745-1806).  Born in Prague, he found his way to Regensburg where he performed in the court orchestra both on the clarinet and the bassoon.  But it was on the clarinet that he left his mark as a composer.  And it was in the Thurn and Taxis music library that the soloist on this recording discovered these 3 concertos.

Completed in 1788, the B Flat Concerto opens with a good natured ‘Allegro’ that shows the influence of a young Mozart in its elegance and balance.  Interspersed in the orchestral accompaniment, the solo wind puts on a virtuosic display with dazzling runs and dexterous fingerwork.  Questions exist whether Knezek wrote the gentle ‘Adagio’ as borrowing from fellow composers was the accepted norm, and made determining who actually penned the last two movements of this work impossible.  With just a hint of a minor keyed sorrow, whoever penned the slower middle section shows a deft touch as the subdued symphonic support allows the pastoral clarinet to shine before sliding effortlessly to the 3rd movement.  Witty and playful, the solo wind leads into the triple metered ‘Rondo’, a lively finale that finds the orchestra just as frisky.

After a sedate beginning and a solo horn call, the majestic ‘Allegro’ of the concerto in E Flat kicks in gear, powered by tympani and brass.  Probably written a few years later, it features a jolly clarinet with plenty of finger busting melodic lines while a stylish ‘Romanze’ follows, characterized by a dramatic turn to a minor key in mid movement.  Reminiscent of an energetic country dance, the closing ‘Rondo’ finds a high spirited clarinet with the tympani and horns returning to bolster the ebullient finish.

Also a later work, the A Major Double Concerto is a delight.  Buttressed with horns, a rousing string passage opens the 1st movement ‘Allegro molto’.  While the second clarinet often just offers a simple harmony to the primary melody, when the dual winds interweave and trade phrases, the intricacy and interest rises a level.  And the addition of darting flutes lift this impressive section even further.

With a single clarinet softly undulating in the lower register, the other solo wind soars overhead in the tender ‘Adagio’ that ensues.  Here one instrument clearly is the leader, although the lower voice presents some wonderful counter melodic comments.  An infectious ‘Rondo Allegro’ concludes the work, again with one clarinet in the prime role.  But during the bravura cadenza, the most appealing section is when the lower voice assumes the lead and the top wind plays an obbligato line.

While the 1999 recording by Novalis is fine, more depth and definition especially on the double concerto would have been preferable.  Under the able baton of Gernot Schmalfuss, the Southwest German Chamber Orchestra offers a vigorous reading of these world premieres.  But the real spotlight lands deservedly on the late Dieter Klocker.  As the primary soloist, the researcher who unearthed these previously unknown gems and the learned author of the accompanying notes, he is a true triple threat, and we are grateful to him for bringing this excellent disc to vibrant life.


title: A Double Winner

text:
In volume 10 of the audacious project to record all of the 135 violin concertos of Giuseppe Tartini (1692-1770), L’Arte dell’Arco continues some of the changes made in the last volume. In the earlier sets, the seven man ensemble was the norm while in the 9th volume, the number of players increased to nine. Here, they add another member for a total of ten, including 5 violinists.

In all the prior sets, the concertos were grouped by the approximate date of Tartini’s composition. For instance, volume 9 was devoted to his third creative period, generally thought to be from about 1750 to his death. However, despite the inscription on the title page that identifies the concertos as being from c.1750-1770, the 10th set includes concertos only from the first 2 periods. The inscription is incorrect.

Tartini's prodigious output spans the late Baroque to the Classical era, and his music reflects elements of both. All of the concertos of the current recording follow the familiar Baroque pattern of `fast-slow-fast'. In duple meter, the opening `Allegro's display a broad array of textures and effects, but all demand virtuosic technique and extraordinary skill from the soloist. Often they will contrast a brief, almost choppy primary motif with the longer solo phrases in the cadenzas, which often employ double stops and extensive string crossings at high velocity. The slower 2nd movements employ an unusually wide range of qualities while the finales tend to light and dancing.

A word about pitch ---
Like most of the earlier recordings, the pitch here is 442 HZ, which to our modern ears may sound somewhat shrill. Not only do the ten members of L'Arte dell'Arco on this volume play almost totally without vibrato, but the relatively small size of the ensemble doesn't lend itself to a rich, resonant tone.

Tartini seldom wrote out his solo passages, and on none of the concertos included here did he pen the actual notes. In performance, he would improvise the section when he played it. The practice of allowing the individual violinist to showcase his own particular strength was common as was lavish ornamentation and extensive decorative embellishment.

The 3 violinists of the Italian based group share the spotlight as soloists, each taking the lead in three or four concertos while the remaining duo join the orchestral violin sections of the tutti. Each has distinctive individual strengths, which his playing highlights when he fronts the ensemble. While those differences seem less apparent than they did on the earliest recordings, they do still exist.

Giovanni Guglielmo serves as the leader of the group and the soloist for the first and last concertos. His sparkling, energetic attack is most effective in the faster outer movements, such as the elegant `Allegro' that opens the D Major Concerto, D.96 with its rapid figures delivered at a dizzying pace, or the jaunty ‘Allergo’ that begins the concerto in A Major, D.95, where he exhibits fiery passion during the ornate flourishes that populate the solo sections.

His brother, Federico Guglielmo generally displays a smoother, more legato hand, which is on fine display in the relaxed ‘Allegro’ that starts the G Major Concerto, D.83. And from the very first notes of the gorgeous ‘Adagio’ of the concerto in D Major D.19, his exquisite lyricism is obvious. As the soloist for fully half of the 8 concertos on the recording, he also has abundant opportunity to display a wide range of emotional colors, from the bursts of joyous country fiddling he brings to the rollicking triple metered ‘Allegro’ that closes the concerto in A Major, D.94 to the mournful intensity of the E Minor ‘Grave’ that forms the 2nd movement of the aforementioned G Major Concerto.

Also with 2 concertos is the third violinist Carlo Lazari, who demonstrates a fondness for ornamental trills which is most readily apparent in the leisurely middle sections. On occasion, he also exhibits a discreet vibrato, particularly noticeable in the superb ‘Andante largo’ of the concerto in D Major D.22, which is actually composed in D Minor.

It is in these slower middle movements that many critics believe that Tartini's compositions set themselves apart from others’ works. In these adagios, L'Arte dell'Arco's use of sparse orchestration enhances the variety of textures exhibited by the soloists and allows the best work on the CD to emerge. The just mentioned ‘Andante largo’ is an excellent example. Employing a broad range of orchestral accompaniment in the faster outer sections further sharpens the contrast with the more leisurely middle ones.

As they with previous volumes, L’Arte dell’Arco has generously included all available movements that Tartini wrote, which in this set encompass 2 alternative adagios. As a replacement for splendid A Minor ‘Adagio’ of the concerto in D Major D.96, the familiar E Major ‘Largo andante’ is given achingly beautiful reading by Giovanni Guglielmo and is one the finest examples of Tartini’s passionate lyricism. The other alternate movement is mislabeled in the booklet. Listed as track #10 on the first disc, it is actually #11 and marked ‘Without tempo indication’. In this minor keyed lament, Federico Gugliemo delivers a stunning treatment of the additional 2nd section of the G Major Concerto, D.83.

Balanced and expansive, this double disc recording by Dynamic seamlessly blends the soloists and the varied orchestral support. The three violinists present these works with extraordinary technique and enthusiastic energy in this double winner, the next step in L’Arte dell’Arco’s ambitious undertaking to record the entire output of Tartini’s violin concertos.


title: At His Mother's Knee

text:
With parents as professional opera singers, it is not surprising that Antonio Cartellieri (1772-1807) learned music at an early age. By his Latvian born mother’s account, she would sing to him for hours when he was young. With his talent nurtured at his mother’s knee, he took his first musical position at 18, becoming the court composer for Count Oborsky of Poland in 1791.

The 2nd volume of his clarinet quartets contains two of those chamber works, as well as a 10 instrument divertimento that may be the most satisfying composition on the recording. Listed as No.3, the B Flat Quartet opens with a triple metered ‘Allegro’ that has none of the typical dancing lilt usually linked with that time signature. Although the solo wind immediately grabs focus with a questioning theme before urgency in the strings sweeps the first movement away, the violin takes nearly as much of the melodic responsibility as the clarinet.

Rolling triplets from the violin powers the poignant ‘Larghetto con expressione’ as the clarinet supplies the depth of feeling. With a frisky invitation to come out and play, the solo wind begins the lighthearted ‘Menuetto’. And the cello responds, setting off this lively 2nd movement until the sedate trio with an appealing hesitating rhythm momentarily calms things down. Also in triple meter, a jaunty ‘Rondo’ features plenty of sparkling passage work from the clarinet before the quartet comes to a rousing close.

Written in D major, the unnumbered quartet opens with a funereal ‘Andante’. After the minor keyed intro, the compound 1st movement shifts into a brisk ‘Allegro’. At first, both upper voices compete for attention before they share the spotlight and alternate solos, and drift to a surprisingly peaceful end. The graceful ’Andante’ that follows is a showcase for the string trio with the solo wind often reduced to accompanimental support. Beneath the bravura ornamentation of the violin, the lower strings offer a compelling earnestness.

The soprano string starts the minor keyed ‘Menuetto’ with a catchy tune with a striking gypsy tinge, and no clarinet. Over buzzing accompaniment in the bass line, the single wind joins for the contrasting trio as the tone brightens and the key changes to major. Unexpected rhythmic accents characterize the lively ’Allegro vivace’, which accelerates toward the end and brings the work to a rollicking close.

By increasing the ensemble to 10 members for the Divertimento in E Flat, Consortium Classicum approaches the size normally associated with a chamber orchestra. In addition, the writing employs wind instruments as soloists while relegating the strings to orchestral support. After a formal start to the compound first movement with the regal ‘Adagio maestoso’, paired horns announce the transition to the swashbuckling ‘Allegro’. Embedded within the symphonic sweep, the horn calls mark the spirited sections as they roll by, brief wind duets, quick solo turns and recombined trios, all unfold at a rapid pace.

Labeled ‘Canto chorale’, the multi-part 2nd movement begins with a reverential ‘Lento’ before sliding effortlessly into the ensuing passage, a sprightly ‘Menuetto’. The first of 2 trios is a dainty interlude led by a hesitant oboe while the 2nd is an outstanding duet for the horns, presented without any other instruments. Gentle strings and flute introduce the charming theme for the ‘Andante con variazioni’ with the soprano wind taking the 1st episode over softly plucked accompaniment. A restless clarinet follows while the paired horns hold forth with only the bassoon for support. After the oboe soars over bustling strings, a stirring unison variation brings all the voices together for the final bars.

A frantic ‘Rondo’ concludes the composition, a frenzied country dance that spins out of control with superb work in the lower strings. Of particular note is the relentless double bass who drives the tempo, and an amusing solo turn from the bassoon. And as an unforeseen afterthought, the coda is a sly wink led by the paired horns.

The 2002 recording by MDG is excellent, crisp and well detailed. Drawn from various European orchestras, the soloists that comprise Consortium Classicum are uniformly good. Especially outstanding are the acclaimed clarinetist Dieter Klocker, and the first violinist Andreas Krecher. Antonio Cartelieri is undergoing a well-deserved reappraisal, and this splendid disc should only further his reputation.


title: Model of Urbanity

text:
Son of a farmer in what is now Belgium, Francois Joseph Gossec (1734-1829) moved to Paris when he was 17 and remained there his entire life, finally dying at the age of 95.  Well known for his symphonic and vocal works, early in his career he also composed a large number of chamber compositions.

Published in 1769, the six quartets of Op.14 clearly state that either a flute or violin could take the top voice.  And Gossec treats that lead instrument not as the star of the music, but as just another member of the ensemble.  Half of the six contain 3 movements while the others are in two sections, and four of the quartets conclude with a minuet.

In G Major, an engaging ‘Allegro moderato’ opens Quartet No.2 with a frisky unison phrase.  After first juxtaposing the flute against the strings, the 1st movement finds the violin and the solo wind jousting with each other.  Adept use of brief minor keyed passages lends subtle shading as the independent part writing treats the lower strings as separate and equal voices.  The subsequent ‘Largo’ is a lullaby, a pensive landscape that feels like time has been suspended with the music unfolding in a leisurely ebb and flow.  Employing only the top three voices enhances the wistful quality, as does using the cello in its uppermost register.  Composed in E Minor, the closing ‘Minuetto’ has little of the swaying, dancelike feeling usually associated with triple meter.  Instead, marching eighth notes in the lower strings relentlessly drive this finale forward as interweaving fragments of melodic lines from all four voices create a dense tapestry of sound.  It is a marvelous construct.

A gentle ‘Pastorale largo’ begins the sixth quartet, written in D Major and a sinuous triple meter.  Smoothly elegant lower strings support the flowing flute with the violin relegated to meandering countermelodies.  While more responsibility rests with the upper string in the graceful ‘Minuetto’, the result is a similarly supple finale with the single wind alternating delightful melodic lines with the violin.

Over pulsing sustained notes in the lower strings, the delicate flute takes center stage in the very brief 1st movement ‘Lento’ that starts the F Major Quartet, which is listed as No.4.  Sporting upward spiraling phrases, a brisk ‘Allegretto moderato’ erupts.  Amid brief minor tinged passages, Gossec intertwines competing melodic threads to craft a compelling middle section.  Subdued and deliberately paced, the final ‘Minuetto’ features steady repeated notes in the bass line and equal emphasis on each of the 3 beats, once again eliminating the fluid grace normally the triple metered dance.

Also in three movements and penned in D Major, Quartet No.1 begins with a relaxed ‘Larghetto’.  Using the viola as a foil for the upper voices, long descending phrases, sometimes presented in minor, fill this opening section.  Decidedly more animated, the following ‘Allegro moderato’ offers a crispness that contrasts nicely with the slower outer movements.  Intermittent plucked accompaniment in the cello and a viola solo that is both energetic and precise enliven this section.  Notable for the splendid support in the bass line, a sedate ‘Minuetto’ ends the work.

Grounded by the solid cello, the top 3 voices unwind long melodic phrases in the quiet ‘Largo’ of the 1st quartet, composed in D Major.  Sliding in and out of B Minor adds dramatic luster, not great emotional depth.  Gossec prefers to polish his work rather than delve into an emotional abyss.  A lively ‘Allegretto’ closes the quartet, with spirited call and answer exchanges between the flute and upper strings, pizzicato accents from the cello and rapid spiraling lines traded among all 4 voices marking this impressive finale.

After introducing the melody in the opening ’Andante’ for the last quartet, No.5 in B Flat, the cello retreats into the background.  With the bass line falling often completely silent, the two upper instruments are thrown into high relief.  Staccato repeated notes tripping down the scale form the basis for the feisty final movement, a vigorous ‘Allegro molto’.  With the viola leading almost as much as the flute and violin, the relentless pace propels the music into the rousing unison conclusion.

Recorded in 1988 and issued in 1990 by Koch Schwann, the sound is fine, although perhaps not quite as crisp and detailed as a more modern digital recording might be.  Augmented by the excellent flute of Patrice Bocquillon, the string trio led by violinist Marie-Christine Milliere is first rate.

These quartets are not showcases of dazzling virtuosity.  They are stylish early Classical Era works of impressive detail and infectious melodies, models of urbanity for the refined Parisian taste.


title: Promising First Efforts

text:
Since he grew up in the shadow of the famed Mannheim orchestra, it is not surprising that Franz Beck (1734-1809) became a student of the leader, Johann Stamitz. Probably written in mid-1750’s, these Op.1 symphonies represent Beck’s initial effort in the genre and lack the wind instrumentation that would flavor his later work.

All 6 follow the familiar ‘fast-slow-fast’ pattern with the more challenging first movements characterized by energetic unison passages alternating with sections of gentle lyricism. After the emotional andantes, the finales tend to be light and dancing, often triple metered prestos. With the beginnings of differentiated part writing, the technical demands made on the upper strings require first rate violinists.

Written in G Minor, Symphony No.1 is the standout of the set. Questioning violins open the vigorous ‘Allegro’ that features a sturdy bass line and furiously buzzing sections with high emotional intensity. The uses of a minor key, the sharp contrast in dynamics and jagged melodic lines foreshadow the Sturm und Drang movement which doesn’t appear until the following decade. Unexpected rhythmic dislocations populate the charming ‘Andante’ while powerful lower strings drive the final ‘Presto’, a triple metered delight.

Surprisingly gentle passages inserted between enthusiastic unison phrases distinguish the brisk ‘Allegro’ that begins the 2nd symphony, which is in F Major. Reminiscent of a stately dance, the prim ’Andante’ that follows is full of formal hesitations and cascading triplets. An appealing upward sliding melody in the lower strings start the finale, marked ‘Minuetto Vivace’, it is the only labeled minuet in the entire set.
Independent part writing in the violin sections characterize the lively ‘Allegro’ that opens the A Major Symphony, while in the spirited ’Presto’ finale, it is the lower strings that receive the differentiated work. In the symphony in E Flat, No.4 in the set, the minor keyed ‘Andante’ is the highlight. While not exactly counterpoint, the section writing that Beck penned is frequently fascinating and often unexpected. Dotted with inventive harmonic progressions and endowed with a vivid passion, it reaches depths that are only hinted in the other slow movements.

Rhythmic quirkiness enlivens the feisty ‘Allegro’ of the G Major Symphony while the mournful ‘Andante’ that follows brightens briefly with a lovely series of rolling triplets. The final work of the set, No.6 in C Major is the shortest of all as the entire symphony logs less time than the terrific ‘Allegro’ that opens the CD. Barely a minute and a half, the final ‘Presto’ is a rousing conclusion, leaving us wanting more.

The 2001 recording by Naxos is fine, although a bit more depth might have drawn a sharper contrast among the strings. Under the able baton of Donald Armstrong, the New Zealand Chamber Orchestra offers a sparkling reading of these early works by Beck. While they may not have the depth of Mozart, remember that they may have been penned before that leading light of the Classical era was even born. And these six symphonies do point toward the more fully realized works yet to come.


title: A Triumph

text:
Begun in 1993, the ambitious project to record all 135 violin concertos of Giuseppe Tartini (1692-1770) was finally concluded in 2013. Incorporated in this immense accomplishment are all 17 of the original volumes, 29 CDs total. Many of the works on these recordings have come down to us only in manuscript form, and some with alternate movements. L'Arte dell'Arco has generously included all available sections. A perfect example is the C Major Concerto, D.2 from the 2nd volume where not one, but two alternative movements are provided.

Tartini's prodigious output spans the late Baroque to the Classical era, and his music reflects elements of both. These concertos follow the familiar Baroque pattern of `fast-slow-fast'. Generally in duple meter, the opening allegros display a broad range of qualities and effects, but all demand virtuosic technique and extraordinary skill from the soloist. Often they will contrast a brief, almost choppy primary motif with the longer solo phrases in the cadenzas, which often employ double stops and extensive string crossings at high velocity. Slower and gentler, the 2nd movements exhibit an even wider array of textures while the finales tend to be light and dancing.

A word about pitch ---
Except for volume 1, the pitch here is 442HZ, which to our modern ears may sound somewhat shrill. Not only do the seven members of L'Arte dell'Arco play almost totally without vibrato, but the small size of the ensemble doesn't lend itself to a rich, resonant tone.

Tartini seldom wrote out his solo passages, and in these compositions, the ones he did pen are clearly identified. Examples include the 20 bar cadenza of the final `Allegro' of the F Major Concerto, D.61 on the 5th volume, and the capriccios from the third movements of the concerto in A Major, D.90 and the E Major Concerto, D.47, both from volume 8. In performance, Tartini would improvise the solo cadenza when he played it. Ornamentation and extensive decorative embellishment was typical, as was the custom of allowing the individual violinist to showcase his own particular strength. That same practice occurs on this disc.

The 3 violinists of the Italian based group share the spotlight as soloists, each taking the lead in one or two concertos while the remaining duo form the orchestral violin sections of the tutti. Each has distinctive individual strong points, which his playing highlights when he fronts the ensemble.

Giovanni Guglielmo, the leader of the group, has a crisp, energetic attack that is most effective in the faster outer movements. His flamboyant technique is on display in the jaunty opening `Allegro' of the G Minor Concerto, D.85 of the 2nd volume, as well as the triple metered finale of the concerto in D Minor, D.43 from volume 5, where he is particularly impressive with the swirling triplets delivered at a blistering pace.

His brother, Federico Guglielmo, generally exhibits a smoother, more legato hand. Good examples of his elegant work can be found in the vivid 1st movement `Allegro' of the E Minor Concerto, D.55, from the very first volume, and from the gorgeous `Grave' of the aforementioned F Major Concerto, D.61, which is actually written in D Minor, he wrings an achingly beautiful pathos.

The third violinist is Carlo Lazari, who demonstrates a fondness for ornamental trills. These are most apparent in the leisurely middle movements where he occasionally exhibits a barely noticeable vibrato. The sweetly elegiac `Adagio' of the concerto in F Major, D.60 from volume 1 and from the same volume, the somber `Largo' of the F Major Concerto, D.59 in F Major with its abundance of spacious pauses, both illustrate Lazari's affinity for the more emotional slow movements.

It is in these slower sections that many critics believe that Tartini's concertos set themselves apart from other composer's works, and L'Arte dell'Arco's usage of bare orchestration enhances the variety of textures. A single violin without a continuo accompanying the soloist on the `Largo cantabile' of the G Minor Concerto, D.85, and the very first concerto on the recording is an excellent example. So is the softly pizzicato strings as employed in the `Largo sostenuto' of the D Minor Concerto, D.43 from the 5th volume.

The recording by Dynamic can vary from volume to volume. After all, these sessions were spread over a 20 year period. Delivered with animated vitality and obvious care, and with zeal and enthusiasm from the 3 soloists, this is a triumphant culmination of a truly massive achievement.


title: Maldere, Forgotten Flemish Composer

text:
Born in Brussels and trained as a violinist, Pieter van Maldere (1729-1768) wrote approximately 45 symphonies among the nearly 90 works in his catalogue. Well known as a forward looking composer in his day, he has since passed into obscurity. While his chamber works retain a late Baroque flavor, it is his symphonic output that anticipates high Viennese classicism.

While adhering to the traditional ‘fast-slow-fast’ structure, his early development of the sonata form, particularly in the opening 1st movements foreshadow the later work of Haydn, Mozart and others. In addition, his contemporaries noted his extensive use of an unusually active bass line. And finally, his juxtaposition of the 1st and 2nd violins allows for more articulation in the upper strings.

Written in G Minor, a favorite key of the Sturm und Drang movement, Op.4, No.1 opens with a triple metered ‘Allegro assai’. A wonderful walking bass line propels this initial movement, punctuated with occasional double time and using descending unison arpeggios as a unifying phrase. While the melodic lines are carried primarily by the upper strings, the horns supply a distinctive coloration. All the elements of the sonata form are here -- the exposition of the 1st and 2nd themes, an extended harmonic manipulation and development of those themes and a concluding recapitulation.

A smooth ‘Andante’ follows, without horns or winds and supported by a plucked theorbo, instead of the more common harpsichord, an inspired choice which gives the section a gentle, more flowing character. Driven by urgent lower strings, the symphony concludes with a vigorous and muscular ‘Presto’. Hushed violins convey the truly memorable melody while paired horns and oboes provide punch.

Another ‘Allegro assai’ in triple meter begins the Symphony in D Major, Op.5, No.1. Scurrying violins peppered with clarion horns calls erupt from pianissimo passages thrust forward by insistent lower strings. The animated bass line is an extraordinary delight.
Also in triple meter, the 2nd movement ‘Andante’ features long, rising melodic lines over steady rhythmic support in the lower strings. The lead violins start that final ‘Presto’ with a flurry of energetic triplets, echoed by the 2nd violins. Winds supply a brisk counterpoint before the section comes to a rousing unison close.

The remaining 2 works are presented ‘a 4’, with each string part taken by single instrument, essentially a string quartet with a theorbo acting as a continuo. The bare instrumentation allows the internal structure to be magnified. It also encourages a brisker pace in the opening ‘Allegro‘ of the Sinfonia in A Major, in contrast with the more measured tempo of the full orchestra in the earlier works.

A contemplative ‘Largo’ displays the melancholy tonal quality of the theorbo. The violins provide filigreed ornamentation as this minor keyed 2nd movement showcases the lower strings, particularly the ‘Viola obligata’ of Rachel Byrt. An extended ritardando brings this emotionally expressive section to a bittersweet end. Repeated quarter notes in the bass line propel the closing ‘Presto’, punctuated with a number of false endings in unison before the final notes.

Playful swirling exchanges between the violins and the viola open the ‘Allegro assai’ of the Sinfonia a 4 that is the last work in the disc, composed in F Major. Sliding in and out of minor, a gentle ‘Larghetto’ forms the bridge to the 3rd movement. In triple meter, the final ‘Presto’ features a dancing theorbo amid the lilting upper strings.

While I might have liked more clarity in the recording by Et’Cetera, I could not asked for more precision or depth of interpretation from Filip Bral and the Academy of Ancient Music. Led by the 1st violin of Pavlo Beznosiuk, the five soloists bring a warm assurance to the last 2 works. Released in 2011, this is a wonderful addition to the CDs that detail the early evolution of the Classical era symphony. Grab it.


title: Evolution of the Classical Era Violin Concerto

text:
A member of one of the most famous families from Bohemia, Franz Benda (1709-1789) entered into the service of Frederick the Great in 1732. As a violin master, he played some 50,000 performances over a forty year period. He also wrote a lot of violin music, 110 solo capriccios, at least 150 sonatas, 31 duets and some 28 concertos, including this one in D Major.

With a crisply articulated intro, the ‘Allegro ma non molto’ features a harpsichord continuo and string dominated orchestral support. As a transitional work from the Baroque, it contains more interplay between the single violin and the symphonic tutti than was the norm for the prevalent Italian style. Smoothly flowing, Benda’s writing for the solo string is virtuosic without being showy, letting the melodic lines develop naturally. In the minor keyed ‘Largo’, the sweep of the orchestral accompaniment lends a somber weight to the throbbing vibrato of Gabriela Demeterova. With a dramatic pathos in the uppermost register, she brings a sorrowful sweetness in her tone that must be similar to the reported quality that set apart Benda’s adagio playing. Horns appear for the brisk finale, a bright ‘Allegro’ with bravura fiddling as the single violin drifts high on the E string.

A generation or two later, Bohemian born Vaclav Pichl (1741-1805) studied philosophy and theology in Prague before accepting a musical directorship in Milan. After 21 years, he returned to Vienna and died while playing a violin concerto at the Lobkowitz Palace.
His D Major Concerto Op.3, No.1 opens with a marching ‘Allegro sostenuto’, clipped and precise. While still employing the harpsichord as continuo, the writing finds even greater collaboration between the soloist and orchestra, engaging in extensive rhythmic interactions and trading melodic ideas, including one haunting echo in minor. A higher degree of technical proficiency of the single violin is also required.

A minor keyed charmer, the following ‘Adagio’ finds striking support in the lower strings with a lovely countermelody while the ethereal vibrato of the solo sounds so much like the beating of angel wings. Ending the 2nd movement on an open cadence sets up a smooth transition as the resolution occurs in the sweetly pure tones from the violin, the very first notes of the concluding ‘Rondo’. Interrupting the relentless drive in the lower strings, a brief passage in minor offers a dark interlude in an otherwise cheery finale.

By another Bohemian, the final concerto represents the culmination of the Viennese High Classical style. Renowned as a teacher and violin virtuoso, Antonin Vranicky (1761-1820) composed some outstanding chamber music and challenging concertos, one of which is the C Major included on this recording.

Using tympani and winds to create a broader palette of orchestral colors, the work begins with a bold ‘Allegro giusto’. Amid a longer, more extensive development section, the soloist shines in the fiendishly difficult passage work while in the reverential ‘Adagio’ that follows, the writing stretches the upper reaches of the instrument’s register. After a chorale like start, the weeping violin carries the movement until gentle horns lead to a serene close. Marked ‘Alla Pollacca- Allegretto’, the finale is a frisky Polish folk dance. With an appealing stutter step in the rhythm, this 3rd movement features a brief mournful interlude, dazzling flourishes from the violin and a rousing finish.

The original recording from 1995 from Supraphon is fine, placing the solo violin close enough for the intimate slower sections to be sharp and clear. Under the able artistic direction of Milan Lajcik, the Prague Chamber Orchestra brings an accomplished reading to their fellow countrymen’s concertos. But the spotlight rightfully belongs to the exquisite work of Gabriela Demeterova. This fine traversal of the development of the Viennese violin concerto is testimony to her artistry.


title: Why Oh Why?

text:
With 51 published symphonies, and another 80 or so left in manuscript form, Bohemian born Jan Vanhal (1739-1813) was one of the most prolific composers of symphonies during the Viennese Classical era. He also wrote as many as 100 string quartets, yet only 3 or 4 recordings of them existed before this effort by the Lotus String Quartet. So why did they chose to record quartets that have already been covered by other artists?

Only the first work on this disc is a world premiere, and two of the others have been recorded twice before. Penned in 1769, the C Minor quartet is No.4 from the Opus 1 set. Wistfully evocative, a triple metered ‘Allegro moderato’ begins the work with the 1st violin carrying most of the melodic responsibility. With melancholic undertones, it features counter melodies and important contributions from the three other voices. Over pizzicato middle strings and a pulsing bass line, the lead violin weaves a delicately filigreed song in the elegant ‘Adagio’, which is written in E Flat.

Returning to C Minor, the dramatic ‘Minuetto’ uses cascading chromatic runs combined with unexpected rhythmic accents and abrupt pauses to create a powerful 3rd movement. With the cello engaging the 1st violin in elegant interplay, the contrasting trio in C Major resembles the courtly dance normally expected. Driven by a brawny urgency, the final ‘Allegro’ features an extensive development section bristling with a kaleidoscopic variety of effects.

Despite being unpublished in Vanhal’s lifetime, the quartet in G Major has been recorded by Stamic Quartet in 1995. Possibly composed in 1780, it opens with a frisky ‘Allegro’ marked ‘molto moderato’. Brimming with playful triplets and extraordinarily high solo work for the lead voice, it also contains a surprising passage in E Minor that turns the movement toward somber introspection. Instead of a minuet, the 2nd movement consists of a pair of triple metered ‘Arias’. With its irregular phrasing, the first has charming hesitancy while the second shifts into G Minor and features a rushing quality that contrasts sharply with the more reticent opening.

In a triple metered D Major, the gorgeous ‘Adagio’ is characterized by the 1st violin soaring high on the E string, a stirring cello solo and a wide range of key changes during the development section. Also in triple meter and powered by driving lower strings, the closing ‘Allegro moderato’ echoes the final chord with a delightful pair of plucked notes.

One of Vanhal’s later quartets, written in 1784, the A Major of Op.33 No.2 has been recorded not only by the Stamic Quartet, but more recently by the German based Camesina Quartet, which I’ve reviewed here, Vanhal: 3 Late String Quartets

An appealing triple metered ‘Allegro’ initiates the work, once again giving the lead violin virtuosic lines in the upper register. Amid a sprawling development section, the other voices lend support and an occasional countermelody. Similar to the previous G Major quartet, a pair of triple metered ‘Ariettas’, little arias, form the 2nd movement. In a reversal, the initial offering has a spunky flair and rhythmic spark while the second has the more formal elegance. A smoothly flowing viola has the lead role in this complimentary arietta, which is in D Major and closes the section, as there is no repeat of the first.

The singing lead voice dominates the silky ‘Adagio sostenuto’, another section not in A Major, but in E Major. Deftly supported by a reflective countermelody in the bass line, this 3rd movement winds its way to a serene end. Finally returning to the original key, the vigorous ‘Rondo’ features crisp articulation and fine fiddling, particularly in blazing finger work by the 1st violin and the hearty solo by the cello.

The only three part composition on the disc, the E Flat quartet of 1786 was recorded by both of the other two groups and is known as “Hoffmeister” No.2. Marked ‘Allegro con fuoco’, the opening movement is dotted by subtle syncopations and sudden accents among the wide ranging harmonic modulations. However, the Lotus Quartet employs a rather mannered hesitation before one of the primary motifs, which disrupts the flow and drive of the phasing. Eliminating the minuet places the B Flat ‘Adagio’ in the second spot. In a leisurely triple meter, a peculiar galumphing unison phrase punctuates the exquisite solo work by the lead violin. A rollicking ‘Allegro’ closes the disc on the lightly dancing triple meter.

While the upper strings are bright and clear, the lower ones suffer from a muddiness in this CPO recording. The Lotus String Quartet members bring a polished professionalism to these excellent works, with the cello of Chihiro Saito and especially the soaring lead violin of Sachiko Kobayashi providing quite a bit more.

With nine of 15 tracks in some form of triple meter, this recording bears witness to the lighthearted and dancing nature of Vanhal’s works. This disc is a welcome addition to those that already testify to his position of as one the premier composers of the Viennese Classical era. But with dozens of his string quartets waiting to be heard, why choose ones that have already been presented?


title: Swiss Orchestral Works

text:
Little is known about the life of Nicholas Scherrer (ca.1747-1821). Active in Geneva in the latter half of the 18th century, he probably wrote his Symphony No.5 in the 1780’s. Direct and straight forward, it opens in C Major with a lively ‘Allegro’. Brimming with rhythmic vitality, it employs a pair of oboes with sparkling assurance as it slides in and out of minor. Charming but somewhat staid, an ‘Andante: Rondo’ follows with the oboes initiating a lovely minor keyed episode. A vigorous ‘Presto’ closes the work with the string dominated melodic lines light and precise.

Born in Geneva, Gaspard Fritz (1716-1783) spent most of this life in the Swiss city. Unpublished in his lifetime, his Violin Concerto in E Major may have been among the compositions Pietro Locatelli sampled during his visit in 1741. Opening with an elegantly formal ‘Allegro’, it is powered by a marvelously urgent counter melody in the lower strings, even during the passages for the single violin. While l might have liked more fire and passion from the soloist in the 1st movement, he redeems himself it the ensuing ‘Adagio’.

Opening with a series of gently cascading triplets, the 2nd movement then reverses course with the triplets softly ascending before the violin’s gliding entrance. The quiet intimacy of this section works for the carefully nuanced expressiveness of Jens Lohmann, the solo violinist. And in the marching triple metered ’Allegro’ that follows, his light tone seems a better fit for the dancing finale. Although his technique seemed shaky in the 1st movement, here his prowess is impressive in the extensive double stopping and the rapid string crossings that populate the solo capriccio.

Likely written in 1772, the concluding work is a 4 movement Fritz symphony listed on the CD as No.1,and although not identified, it is from his Op.6 set and composed in B Flat. Featuring a particularly skillful use of paired flutes, the bright ‘Allegro’ is also notable for syncopated orchestral coloration. After a formal ‘Largo’, leisurely, graceful and characterized by several false endings, a restrained ‘Minuetto’ follows. Against a backdrop of distant horns, the strings weave a delightful melody of triplets while the delicate flutes carry the exquisite contrasting trio. Also in triple meter, the closing ‘Prestissimo’ is relentlessly cheerful despite the frequent interludes in minor, and brings the disc to a merry end.

Produced in 1993, the recording by Novalis is fine. Under the lively direction of Howard Griffiths, the English Chamber Orchestra give these little known works a spirited reading. Although the symphony by Scherrer was written at least a decade after the compositions by Fritz, the earlier Swiss works are more detailed and frankly, more interesting. Get this CD for those 2 orchestral pieces, a glimpse of the cultural life from Classical era Geneva.


title: True String Quartets by a Violin Wizard

text:
Famed as a violin virtuoso, Giovanni Viotti (1755-1824) wrote dozens of works prominently featuring his favored instrument. Born in northwestern Italy, he studied under Gaetano Puganani and toured Europe before settling in Paris. Ten years later, the French Revolution necessitated another move, this time to London. While still in the French capital, he penned the first of his string quartets that followed the popular “quatuor brilliant” model where the first violin dominates the other three voices. Published in 1817, the set of three on this recording show the influence of High Viennese Classicism and a more advanced motivic development than his earlier efforts.

Mature, self-assured works, they place more melodic responsibility with the secondary voices, especially with the cello. The sweetly lyrical ‘Allegro moderato’ that opens the F Major Quartet is a perfect example. After the lead violin introduces the primary theme, a lovely duet between the 2nd violin and the viola emerges, while the bass voice provides the countermelody. All four instruments participate in the varied exchanges, each having ample opportunity to shine, not as a featured soloist, but as an integrated part of a well-constructed whole.

Marked ‘piuttosto presto’, a minor keyed ‘Minuetto’ is placed as the 2nd movement and features a playfully skipping lead voice. A genial ‘Andante’ follows, starting with a bird like 1st violin and containing a wide range of moods and textures, including an extraordinarily expressive solo for the cello. Beginning with a catchy motif spiraling down the scale, the final ‘Allegretto’ closes the 1st quartet with a jaunty air.

After a charmingly hesitant introductory ‘Larghetto’, a series of cadenzas launches the ensuing section labeled ‘Tempo giusto’ of Quartet No.2, composed in B Flat. The 1st violin leads, followed by the second violin and concluding with the cello before entering the body of this compound 1st movement. Characterized by intricate interweaving of the melodic lines and a provocatively complex development section, this ambitious opening movement features vital contributions from the lower strings.

Using a simple theme, the aria like ‘Andante’ intertwines all four voices in a dazzling array of revolving duets and trios in the variations. Here placed as the 3rd movement, the minor keyed ‘Minuetto’ features a fascinating use of counter rhythms in the lower strings. Bright and bubbly, the major keyed trio forms a terrific contrast as it stays squarely on the triple metered beat. With the easy warmth of a country dance, the final ‘Allegretto’ gives much of the melodic responsibility to the cello working in the uppermost register.

One note about the timing of the B Flat Quartet:
Both the back of the CD and the booklet are wrong. The total time for the 2nd quartet is 26:57.

Once more, a leisurely opening movement opens the 3rd quartet, which is written in G Major. A pensive ‘Larghetto’ finds the lead voice presenting the initial theme, before a sprightly ‘Allegro commodo’ emerges, gradually picking up steam until it bristles with restless energy and vigorous fiddling. The middle strings carry much of the melodic content, especially in the extensive minor keyed passages. Despite the frequent dips into minor, the following ‘Minuetto comodo’ is relentlessly cheerful. Relaxed and expansive, the ensuing ‘Andantino’ contains a deeply felt solo in the bass voice before it slides directly into the brisk ‘Allegretto vivace’ that closes the disc. Riding a series of animated triplets, some delivered off the beat, the finale downshifts into a surprisingly relaxed section before accelerating into a rollicking conclusion.

This is a terrific CD, enhanced by the sharply detailed recording by Dynamic and the nuanced reading by the little known Quartetto Aira. If your knowledge of Giovanni Viotti is limited to his popular Violin Concerto No.22 in A Minor, this disc will be a delightful surprise.


title: Mozart's Model

text:
Renowned for his operas, Josef Myslivecek (1737-1781) was the son of prosperous miller in Prague. Employing the same artistry that he used in his vocal lines, he wrote violin concertos that many believe are among the finest composed in the generation between Antonio Vivaldi and Wolfgang Mozart. Mentioned in Mozart’s correspondence more than any other person outside the family, Myslivecek was a gifted symphonist who likely pioneered two forms of chamber music as well, the string quintet with two violas and the wind ensemble.

The four concertos on this recording all follow the familiar 3 movement format, fast-slow-fast. Using horns and winds to augment the strings, the sturdy ‘Allegro assai’ of the first concerto in D Major sets the stage for the soloist. Against the strict duple meter of the orchestral support, the ethereal violin weaves the melody in a freely arrhythmic pattern. Exploring the uppermost reaches of the E string, Shizuka Ishikawa displays nimble fingers and bravura fiddling amid the extensive double stops that Myslivecek has penned.

After the spacious orchestral intro of the minor keyed ‘Larghetto’, the intimate intensity of the single violin is piercing and deeply affecting, gradually drifting to a funereal close. Full of joyful bounce, the familiar sounding melody of the closing 'Allegro' is traded from the orchestra to the violin and back again, the soloist flying through the numerous string crossings and double stops with ease.

Over relentless marching lower strings of the hearty opening ‘Allegro’, the busy violin soars. Aria like, the following ‘Adagio’ is a showcase for the vivid lyricism of Ishikawa. It is in these leisurely middle movements where the vibrant songlike quality and the emotional depth of Myslivecek’s work is most apparent. Demonstrating exquisite precision and a fierce passion in the final ‘Allegro’, the violinist navigates the rapid fire triplets of the solo cadenza with casual aplomb.

With a gaily skipping melody brimming with arpeggios, a bright ‘Allegro’ begins the concerto in G Major. Labeled “Pastoral”, it has the easy joy of a country dance. Again showing a fondness for the upper reaches of the E string, Myslivecek tests the technical prowess of his soloist and she comes through with distinction in the triple metered ‘Adagio’. A gentle lullaby, it benefits from an intermittent pizzicato in the bass line. Marked ‘Tempo di minuetto’, the 3rd movement opens with a rousing horn fanfare and evolves into a boisterous rural dance.

Also composed in D Major, the final concerto starts the 1st movement ‘Allegro’ with oboes in the lead. After the sprightly orchestral intro, the soloist takes over, once more showing superb technique in her upper register where the just the slightest finger misplacement turns a note sour. Achingly beautiful, the ‘Adagio grave’ has the solo violin assuming control with the very first measure while the closing ‘Presto’ brings the disc to rollicking conclusion.

Despite being recorded in the mid-1980s, the recording by Supraphon is excellent, providing sufficient orchestral depth and placing the soloist front and center, close enough that you can hear her fingers on the strings. Under the baton of Libor Pesek, the Dvorak Chamber Orchestra is terrific, but the spotlight belongs to Shizuka Ishikawa. With a fiery passion and technique to burn, she is outstanding.

Perhaps these violin concertos by Myslivecek are not masterpieces. They suffer from somewhat pedestrian orchestral writing, and blaze no new frontiers, remaining firmly within early Classical era structures. But they serve as an important bridge to the works to come, and offer superb expression for the solo violin.


title: 4 Opera Conceived Piano Concertos

text:
With at least 94 operas to his credit, Giovanni Paisiello (1740-1816) usually composed his instrumental works with a vocally conceived melodic line. Born near Taranto, he found theatrical success in a variety of European cities. Naples, Paris, St. Petersburg, Vienna – all hosted his operas to great acclaim. His 1782 “Il Barbiere di Siviglia” inspired Mozart to pen a famous sequel, the “Le nozze di Figaro”.

Direct and straight forward, the 4 piano concertos on this recording follow the standard three movement format. Characterized by virtuosic elements, they contain little of the motivic development that marked the best work of his Viennese contemporaries. Dedicated to the Duchess of Parma, these concertos cover a wider spectrum that may be apparent at first glance. Written in C Major, the 1st concerto opens with flutes and horns augmenting the strings. Despite brief excursions into minor, the spirited ‘Allegro’ remains relentlessly cheerful although it does suffer when the piano rushes the orchestral support.

After a wind dominated intro, a gentle ‘Larghetto’ unwinds with triplets rolling back and forth between the pianist’s left and right hands before drifting to a placid close. Bright arpeggios from the keyboard power the final ‘Rondo’, although the repetitions do wear thin.

Despite being listed as on only one track, the same three part format exists for Concerto No.3, the first of two in A Major. Packed with glittering finger runs, the initial ‘Allegro’ slides without pause into the following ‘Largo’. Formal and dignified, it begins and closes with a brief orchestral statement, allowing the sensitive solo piano to plumb depths of emotion that are lacking in the faster outer sections. The work ends with a curious ‘Minuet’. Employing a theme and variations structure, it doesn’t contain a typical contrasting trio.

From the opening notes of the scurrying strings of the G Minor Concerto, it is clear that the 4th composition is different. Starkly dramatic, it achieves a heightened tension and uses more dynamic contrasts than any other work on the recording. With a sweeping scope and grandly eloquent gestures, it also features more orchestral color and interaction with the solo keyboard. And in response, the pianist plays with a fiery passion not found elsewhere.

Somber and ethereal, the gorgeous ‘Largo’ that follows is characterized by a variable tempo that incorporates silence into the musical phrases, and a lovely questioning motif that trips lightly down the scale. With the flavor of a country dance, a lively ‘Rondo Allegretto‘ brims with lilting grace notes and odd rhythmic accents, concluding what is easily the highpoint of the CD.

The 2nd concerto in A Major opens with a genial ‘Allegro’ before the compound second and final movement. A minor keyed ‘Larghetto’, hushed and ominous, places the solo keyboard front and center before bursting into the rousing ‘Rondo allegro vivace’ that brings the disc to a delightful end.

The recording by Dynamic is close and bright, a bit too shallow to give sufficient depth to the more than adequate work of the Orchestra da Camera di Santa Cecelia. Workmanlike and straightforward, Pietro Spada brings these little known compositions to life, and instills a vivid intensity to the superb G Minor Concerto. If your knowledge of Giovanni Paisiello begins and ends with “The Barber of Seville”, this a fine CD to begin a further exploration of his instrumental output.


title: Frothy Wind Quintets

text:
Born in Versailles to a family of wind musicians, it is not surprising that Francois-Rene Gebauer (1773-1856) found the bassoon to be his instrument of choice. A member of the generation that included Franz Danzi and Anton Reicha, other composers who used wind instruments effectively, he was a student of Francois Devienne in Paris. And it was there that Gebauer found steady employment, both as a bassoonist and later, as a teacher.

In four movements, these two wind quintets follow the accepted practice of the late Classical era. As the technique of wind players became more advanced, concertante style writing flourished, giving the soloists ever more brilliant cadenzas to exhibit their skill and artistry. The 1st movement ‘Allegro moderato’ of the Quintet No.3 in C minor is a perfect example. Overlapping passages from each of the 5 voices create a kaleidoscopic array of moods, smoothly flowing sections turn into tramping marches which become elegiac swoons. It is an impressive opening.

Dominated by insistent triplets and elastic phrasing, the following ‘Menueto’ does not have the lilting quality often associated with triple metered dances. Only the contrasting trio, which is in C Major, retains a familiar swaying rhythm. The oboe introduces the melody of the 3rd movement ‘Thema con variatione’. After a charming clarinet, the horn holds forth in a darkly appealing episode set in minor, the solo passage written in the brass instrument’s lowest register. The fifth variation finds a frisky bassoon in a particularly frolicsome mood, while the final two variations include the entire ensemble interweaving melodic lines for a surprising end, an unresolved chord.

A brisk ‘Rondo’ immediately ensues, flowing right from that chord and bringing it to a minor keyed resolution. And then music brightens as Gebauer shifts into major for a jolly close to the quintet.

Written in E Flat, the 2nd quintet starts with a stately, triple metered ‘Allegro’. Over a somewhat plodding accompaniment, the following ‘Menuetto’ in B Flat features a delightful melody reminiscent of bird calls. The English translation of the original French text in the booklet is incorrect in placing this 2nd movement in B Minor.

Delicate and full of airy grace, the triple metered ‘Andante sostenuto’ begins with the clarinet deep in its range, and allows each voice ample opportunity to display a heartfelt passion in this, the only adagio type section on the CD. A vigorous ‘Rondo’ concludes the work, unusual that it marks the fourth movement of the quintet in triple meter. Brimming with high speed triplets, it accelerates as each instrument takes a virtuosic if brief solo turn, rushing toward the rousing finale.

Le Concert Impromptu is brings a Gallic understanding this little known French composer. Exhibiting the necessary technical demands, they also show a fine sense of ensemble. The 1993 recording by Disques Pierre Verany is excellent, providing depth and separation in the music for all the nuanced interplay to be perceived.

If you’ve never heard Francois-Rene Gebauer, think Reicha and Danzi with less motivic development and more emphasis on melodic invention. This is the only recording devoted exclusively to his compositions, and the best place to catch him.


title: Italian Sinfonia Concertantes

text:
A cross between the concerto and the symphony, the sinfonia concertante flourished as musical format from the mid 1700’s into the early nineteenth century. Any number of solo instruments could front the orchestra. The 4 works on this recording employ just two, a flute and an oboe.

Probably born in Livorno, Giuseppe Maria Cambini (ca.1746-ca.1825) was one of the most prolific composers of the Classical era. With over 700 works, he is credited with over 100 trios for various instruments, 149 string quartets, 114 string quintets, and 82 sinfonia concertantes, including the three on this CD.

Written in D Major, the ‘Allegro’ of his 3 part Sinfonia Concertante No.4 opens with marching strings. Broad sweeping phrases set the stage for the initial entrance of the flute, with the oboe right behind. After several solo turns, the two wind instruments join forces, with graceful melodies and engaging interweavings as they share the spotlight. Soft horns start the following ‘Minuetto grazioso’, almost like a lullaby. Dynamic contrasts lend interest in the long intro before the flute enters, leading the oboe in a minor tinged duet over hushed string accompaniment. Bright and cheerful, a sprightly ‘Presto’ closes the work. Unlike the earlier movements, the winds enter together, and with more challenging solo passages. Cambini seems to favor bringing in the higher pitched wind instrument first, using the same pattern in all but one of the 7 sections on this recording.

Both of his remaining compositions are in 2 parts, an opening ‘Allegro’ with a light hearted ‘Rondeau’ as the finale. In G Major, No.3 begins the elegant 1st movement with an expansive orchestral intro pitting the violin sections against each other before the flute entrance. Initiated by the upper strings, the infectious theme of the closing ‘Rondeau’ is simply delightful. Deftly interspersing the solo winds between the orchestral phrases, Cambini creates a charming, memorable work.

With more responsibility on the soloists, the symphonic colors fade into the back ground for the technically demanding ‘Allegro’ of the Sinfonia Concertante No.1, which is composed in D Major. While not as outstanding as the Rondeau that closes the previous work, the finale does feature a striking interlude in minor that is soft and mysterious.

Born a generation later, Gaspare Spontini (1774-1851) was primarily known for his operas, leaving only a handful of strictly instrumental works. Although titled “Notturno Concertato”, his four part composition of 1795 is for all intent a sinfonia concertante with a flute and oboe as the solo instruments. The compound 1st movement begins with a regal ‘Andante’ as a brief intro to the ensuing ‘Allegro Vivace’, the lively melody originating in the strings. With a more robust orchestration, including bassoons and other supporting winds, Spontini paints a broader range of color and textures with the lightly dancing strings often receding into the background.

An expansive ‘Largo’ opens with a horn serenade interspersed with upper winds and scant string accompaniment. As the solo instruments emerge with a tender duet, the tempo at first accelerates, then gradually slows until it drifts to a placid close. A solo bassoon functions as the bass voice in the nimble wind trio that initiates the rustic ‘Rondo Allegro’, concluding the work in a whirlwind of sparkling energy. And it is not until after the last note that polite applause lets us know that we’ve been listening to a live performance.

Hector Berlioz called Spontini’s approach “a totally original style”, and his one composition offers a tantalizing hint of the quality of his more mature work. Cambini’s pieces are fine examples of the melody driven Italian method of composition, but his younger compatriot’s single work outshines them. Marco Zuccarini leads the Symphonia Perusina in a spirited reading of these hybrid orchestral works, and while the 1995 recording by Bongiovanni is not quite as clear as more modern efforts, it is fine.

If you’ve never explored the cross between the concerto and the symphony that blossomed during the Classical era, this CD offers an excellent introduction.


title: Sunday Afternoon Diversions

text:
Today, Sunday afternoons are frequently consumed in watching sporting events on television. During the Classical Era, middle class citizens spent their Sunday afternoons making music. The duets and string trio on this disc were composed by Joseph Haydn, Johann Georg Abrechtsberger (1736-1809) and his brother Anton (1729-ca.1780) specifically to fill that demand.

Using whatever instruments were readily available, these works of light entertainment by necessity were sparse. Although employing a single violin and cello, the same instrumentation as many violin sonatas, here the purpose was to develop an interaction between participants, rather than serving as showcase for bravura fiddling. And Haydn's 3 part Duet in D Major values the cello as a full partner.

Published in 1781, it opens with a gentle `Adagio' using a relaxed interweaving of the melodic lines. With the following `Minuetto', the technical requirements take a step up, almost as if he's letting the players get their feet wet before requiring more from them. A series of call and answer passages form a genial game of "Can you top this?" The amiable grace continues with the closing `Allegro', which finds the bass voice leading more often than not.

Since he was renowned as a musical theorist and an authority on counterpoint, it is not surprising that the works of J.G. Albrechtsberger abound with contrapuntal sections. Likely written in 1797, they are light and witty, thoroughly charming compositions that perfectly accomplish their intent. All 6 of his duets are in 2 parts, a slower first movement immediately followed by a faster closing one. This attacca connection is often strengthened by ending the 1st section on an unresolved chord with the resolution coming with the start of the ensuing movement. Examples of this are found in the very first duet in C Major, and in the E Minor duet, No.4.

His contrapuntal skill is on fine display in the rich density of the `Allegro moderato' of C Major duet, the languid `Andante' of the third duet, which is in A Minor, in the melancholic `Poco vivace' that closes the aforementioned duet in E Minor, and in the sprightly final `Allegretto' of the 5th duet in G Major. Other highlights include the triple metered `Andantino' that opens Duet No.3 in F Major, a courtly dance that exudes elegance, and the elegiac `Adagio' of the G Major duet, a movement that relies more than most on melodic invention. And the set closes with the bright `Allegro' of the 6th duet in D Major, which features unexpected syncopation, light and dancing.

Little is known about Anton, his older brother. His Divertimento in F Major is a brief 4 part work that employs an unusual trio of stringed instruments. When the light entertainment of the Sunday afternoon drawing room moved outside, often the lighter sound of the duet was bolstered by the addition of a bass voice, sometimes a bassoon, here a double bass.

After a sturdy opening 'Allegro', a stately `Minuetto' follows. Especially noteworthy is the contrasting trio in D Minor. Accompanied by pizzicato violin, a passionate cello solo is the unexpected highlight of the work. Following a somewhat pedestrian `Andante', a jovial `Presto' closes the disc on a decidedly upbeat and breezy note.

The recording by Hungaroton is terrific, providing depth and definition. Maria Zsiri Szabo on violin and Gyorgy Deri on cello deliver sensitive, energetic readings of these utterly delightful works. While they may never replace Sunday afternoon sports, they are worth a listen.