title: Fit for a King

text:
While in the employ of King Carlos IV of Spain, Gaetano Brunetti (ca.1734-1798) composed most of the 50 some string quartets that he is known to have written. He played 1st violin, the King participated as the other violin while Francesco, Brunetti's son played cello. Their respective strengths and weaknesses dictated the way the compositions were structured. For more biographical information, see my reviews of [[ASIN:B00005QHS3 Brunetti: String Quartets /Schuppanzigh Quartet]], and [[ASIN:B001UUN9ES Brunetti: 3 Symphonies]].

Only 4 of Brunetti's quartets are in a minor key. Written in A Minor, Op.2, No.4 is one of them. Conceived as a grand opera in 4 movements, the work places the Minuet as the 2nd movement, rather than the more traditional 3rd. This is contemplative writing, suited to spending a rainy afternoon pondering the meaning of life, but is it fit for a king?

Although the initial `Allegro moderato' showcases the lead violin with the other three voices serving as background accompaniment, the `Minuetto' features the lower strings in the elegiac intro, performed in such a deliberate manner that the meter is indistinguishable. Once the sharply contrasting trio bursts forth, the familiar 3 beat rhythm is established.

Also in triple meter, the following `Andantino' saunters forward, led once again by the 1st violin. Even here, the leisurely pace of the performance is quite elastic as the performers set up the urgent `Presto' that closes the work. The hushed tone belies the muscular energy of this terrific finale. Barely a minute and a half, it leaves the listener wishing for more.

Composed in 1774 within months of the A Minor quartet, the G Major of Op.3, No.6 uses only 2 movements. The first is a measured `Andantino con variazioni'. The viola opens with the 2nd violin presenting a lovely triplet dominated 2nd episode. The cello steps forward to deliver a bravura display before the lead violin tops them all with a precisely executed passage of high difficulty to bring the movement to a satisfying end. Still led by the primary violin, the closing `Allegro' uses the other 3 voices for counterpoint and melodic development to introduce more textural variety.

The 2nd pair of quartets were written much later, perhaps as late as 1792, and adhere to a 3 movement structure. The B Flat quartet, Op.8, No.7, opens with a bright `Allegro maestoso', and while powered by the first violin, the individual part writing is both more differentiated and more technically demanding. Particularly noteworthy is a sparkling solo in the bass line, carried effortlessly by cellist Guillermo Martin Gamiz.

With a spotlight on the lead voice and only minimal attention on the other instruments, the aria-like `Largo sosenuto' slides in and out of melancholy minor using a deliberate tempo that allows for maximum emotional exploration before drifting to a tranquil close. A jaunty `Allegro molto' closes the quartet in a playful vein. Once again, the 1st violin presents and develops the melodic ideas, and save for one marvelous exchange with the cello, the other voices supply simple accompaniment.

Marked `Allegro maestoso', the opening section of the D Major quartet, Op.8, No.10 is structured like a violin solo with the 2nd violin and lower strings providing orchestral support, and the occasional echoing counterpoint . Predominately in minor, the following `Largo cantabile' is a heartfelt eulogy by the weeping first violin. A vigorous `Allegro vivace' completes the quartet employing a distinctive musical technique known as an anacrusis. Using the unstressed pickup note as a signature motif gives this rambunctious finale a frisky hide and seek character that acts as an exclamation point on the entire CD.

While the focus is on the accomplished 1st violin of Miguel Romero Crispo, the high spirited work of the Carmen Veneris quartet is to be applauded. The recording by MDG is excellent, open and spacious, allowing the strings to glisten. This one is a keeper.


title: Not Haydn, but Close

text:
Growing up as the son of the oboist for the famed Mannhein orchestra, Franz Beck (1734-1809) became a student of the leader, Johann Stamitz. Nearly an exact contemporary of Joseph Haydn, Beck has suffered by comparison in the years since. Both worked for long periods of time away from the centers of musical activity. Both employed wind instruments with flair and originality. Both used increasingly independent part writing and remarkable harmonic progressions. Why Beck stopped writing symphonies after his high quality Op.4 compositions were published in 1766 is a complete mystery.

Bold unison chords start the vigorous 'Allegro maestoso' of the 1st Symphony, written in the bright key of D Major. Hushed strings back the dialogue between the paired horns and oboes, grounded by a single bassoon amid syncopated rhythms and hromatic accents. Intriguing interplay between the violin sections marks the relaxed 'Andante' as flowing winds and a discreet harpsichord lurk behind the strings. Airy and spacious, the 'Minuetto' finds the oboes taking the lead in the charming contrasting trio while the sprightly 'Presto assai' features pulsing horns and a memorable driving bass line.

After an enthusiastic intro, oboes present the main theme in the hearty 'Allegro moderato' that opens the symphony in B Flat, No.2 of the set. Winds assume the spotlight for much of this opening movement, notable also for the use of long crescendos, long a favorite technique of his teacher at Mannheim. Unlike his earlier Op.3 works, here Beck prefers more gradual dynamic changes, giving these symphonies a smoother contour, although unexpected harmonic shifts are frequent. Winds are absent from the delicate 'Andantino', but quite prominent in the sturdy 'Minuetto'. Horns herald the opening lines while a delightful wind trio led by the oboes creates an oasis in midst of the dancelike rhythms. A wonderful counter melody in the bassoon underpins the upper winds as furious fiddling and engaging syncopations drives the raucous 'Presto' that concludes the work.

A bright horn fanfare gives the brisk 'Allegro ma non troppo' of the F Major Symphony a highly festive air. Beneath the glossy melodic surface, this marvelous opening movement suffers from an embarrassment of riches. A vestige of the baroque, a harpsichord continuo supports the softer sections while rising triplets in the violins power the slow crescendos that characterized the famous orchestra of his former teacher. Impressive oboe interludes, countermelodies in the lower strings and bassoon add to the appeal. Written for strings only, a relaxed 'Andante arioso' follows. Whooping horns initiate the charming 'Minuetto vilanesco' with the oboes taking charge during the contrasting trio. Mincing winds combine with the harpsichord to set up the jaunty finale, a triple metered 'Presto ma non troppo' that launches into a full blown romp with the entrance of the bleating horns.

Although Beck apparently never composed another complete symphony, he didn't stop writing. The vivid Overture to the minor keyed "L'isle deserte" hints at what might have been. Penned in 1779, the subdued open doesn’t foreshadow the frantic fiddling the violins supply or the wonderful bassoon passages that color the dark undertones before the single movement glides to an ominous end.

Finely detailed, the 2006 recording by CPO is excellent, sharp enough that the inhalation that the wind players take prior to the initial note of the 3rd symphony in F Major is clearly heard. Ably led by Michael Schneider, the skilled musicians of La Stagione Frankfurt bring a crisp immediacy to the works by Beck. Had he continued to compose symphonies beyond the mid 1760's, we might have had a rival to Haydn's preeminence of the genre.


title: Beethoven’s “Most Beloved Brother”

text:
In a letter, Beethoven referred to Franz Hoffmeister (1754-1812) as “my most beloved brother”. His fond reference may have more to do with the fact that Hoffmeister published his 1st Symphony and his 2nd Piano concerto rather than any affectionate sentiment. Besides running his publishing house which is still in existence today as the London firm of Peters Edition Ltd., Hoffmeister also wrote a little music. At least 8 operas, as many as 66 symphonies, about 57 string quartets and numerous other chamber works have been credited to him. Counted in in that impressive output are at least 25 flute concertos, including the 3 here.

Probably written some time before 1800 and published in 1803, the C Major Concerto is listed as No.16. Trumpets and tympani give substance to the orchestral introduction of the opening ‘Allegro’, a sharp contrast to the long fluttering entrance of the flute. Characterized by a festive tone and a broad expansive sweep, this first movement features splendid work by the soloist, especially in the final cadenza, which incorporates elements of the opening theme. Written in C Minor, the dark ‘Adagio’ drops the drums and brass to achieve a tragic air. Languid and sensuous, the central section brightens into the key of E Flat with some gorgeous tonality from the solo wind before a somber ending. With the full orchestra, the final ‘Rondo’ is direct and straightforward, employing a bouncy irrepressibility that not even a brief excursion into A Minor can dim.

Dating from 1793 if not earlier, the concerto in G Major sports a leaner sound than the first work as the strings are accompanied only by horns and oboes. A sprawling ‘Allegro’ opens, noteworthy for its juxtaposition of the wide ranging symphonic passages against the more nimble, intensely lyrical work of the flute. The concluding cadenza exhibits some outstanding work by the soloist, Bruno Meier, not surprising since he wrote it, as he did all the solo cadenzas on the this recording. Composed in G Minor, the elegiac ‘Adagio’ seems to unfold as a funeral march. As the music shifts into B Flat, the grief disperses, but only fleetingly before the gloom descends for the final notes. A chirping flute initiates the closing ‘Rondo Allegretto’. Darting in and out of the more structured orchestral sections, the solo wind presents a wide array of virtuosic episodes in the carefree finale of the concerto recorded as No.22.

Penned in D Major, Concerto No.17 was likely written before the other two offerings. Buttressed by oboes and horns, the quirky ‘Allegro’ starts with a formal orchestral introduction, but soon deteriorates into a startling hesitancy. Restarting with renewed vigor, the surprising timidity returns and only dissipates when the flute finally enters, bringing a resolute assurance to this clever 1st movement. Over delicately plucked strings, a gentle flute carries the ensuing ‘Romanza: poco Adagio’, one of the high points of the disc. Elastic phrasing allows the soloist to explore the subtleties of this jewel, venturing into darker regions as the music shifts into a minor keyed interlude. Using a precise, clipped attack, the jaunty ‘Rondo Allegretto’ concludes the recording. Offering a bravura display of technique and rhythmic dexterity, the sprightly episodes roll by, retaining a relentlessly sunny tone.

On his 14 carat gold flute, Bruno Meier is superb. Nearly as good, the Prague Chamber Orchestra supplies sensitive and thoughtful backing while the 2013 release by Naxos is excellent, placing the solo wind front and center without shortchanging the symphonic support. One of the most popular composers during the Viennese Classical period, Hoffmeister fell into obscurity upon his death. He deserves better, and this second volume of his flute concertos, all world premieres, goes a long way to correct that oversight.


title: Loose Ends

text:
In the 17th and final volume of the ambitious task to record all of the 135 violin concertos of Giuseppe Tartini (1692-1770), L’Arte dell’Arco continues to impress. Although eight members of the group are listed, seldom do they all play at the same time as judicious use of the chamber organ and harpsichord lend an appealing sparseness to these works. As in most of the prior sets, the concertos are grouped by the approximate date of Tartini’s composition. All 11 concertos in this volume are works from his 2nd creative period, which was from ca.1735 to 1750. Unpublished during his lifetime, the scores have come down to us in manuscript form, some having only one surviving copy, others being available from more than one source. As in previous volumes, L’Arte dell’Arco has included available alternative movements, here a triple metered 'Grave' as a substitute for the central section of the concerto in G Major, D.80.

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 eight members of L'Arte dell'Arco play almost 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 3 of the concertos. In many of the earlier recordings, he flashed a sparkling, energetic attack that was most effective in the faster outer movements. The amiable final 'Allegro' of the D Major Concerto, D.36 finds him displaying his brilliant technique, particularly in the final cadenza. However, in the deliberately paced 'Allegro non presto' that opens the concerto in G Major, D.80, he seems almost lethargic in the solo passages.

In contrast, he pours more feeling into the slower middle sections, reaching for greater depth of feeling. Actually written in D Minor, the somber 'Larghetto' of the D Major Concerto just mentioned is a sublime example where his soft vibrato enhances the bittersweet mood. Another superb instance is the E Major 'Grave' of the concerto in A Major, D.98. Here, he employs space and silence to frame the subtle nuances he brings to the solo sections.

It is with these leisurely central movements that many critics believe that Tartini's compositions set themselves apart from others’ works. In the adagios, L'Arte dell'Arco's use of meager orchestration heightens the variety of textures exhibited by the soloists and allows the best work on the CD to emerge. The just mentioned ‘Grave’ with only a pair of strings for accompaniment is an excellent example. And using a broad range of symphonic support in the faster outer sections further sharpens the contrast with the more deliberate middle ones.

Giovanni's brother, Federico Guglielmo generally shows a smoother, more legato hand, which is on fine display in the haunting ‘Allegro’ that starts the recording as the opening movement for the A Minor Concerto, D.114. His relaxed approach is also evident in the bright 'Allegro' that closes the concerto in B Flat D.121 while a more delicate touch fills the feathery 'Grave' from D Major Concerto, D.32.

As in the previous volume, the third violinist Carlo Lazari has the lion's share of the 11 concertos with a total of five. A fondness for trills and other filigreed embellishments enliven his work, which is most readily apparent in the leisurely middle section. The minor keyed 'Largo' from the concerto in D Major, D.25 offers a fine illustration of the soaring lyricism of his adagios, as does the fragile 'Grave' of E Major Concerto, D.51. But on this recording, he also brings a sometimes ferocious attack to the faster outer sections. Both the swirling finale of the C Major Concerto D11 as well as the jovial 'Allegro' that opens the concerto D.6, also in C Major show him at his searing, passionate best.

Both warm and richly detailed, the 2013 recording by Dynamic is excellent, seamlessly blending the three soloists with the orchestral support of L’Arte dell’Arco. Tying up loose ends by collecting all of remaining violin concertos into this final installment, the mammoth undertaking to record Tartini's entire output has reached a triumphant conclusion.


title: Coronation Quartets Continued

text:
A number of famous composers wrote string quartets to commemorate the coronation of Frederick Wilhelm II when he ascended to the throne of Prussia. Mozart and Haydn each honored the king with a set, Haydn’s were his Op.50, but the first to present his gift to the successor to Frederick the Great was Ignaz Pleyel (1757-1831). And it wasn’t a measly set of three, or even 6 string quartets. It was an unheard of set of 12. The second 3 of those twelve are presented here.

All are in three movements, and follow the traditional ‘fast-slow-fast’ pattern. Despite being a student of Haydn, Pleyel went his own way with his quartets. Rather than offering thematic or motivic development, he preferred to present a revolving series of new melodic ideas with interior structural experimentation and finely crafted harmonic detail. Being based in Paris for much of his life influenced Pleyel as his style resembled the “quatours concertant” favored by the French audience. Instead of a conversation among 4 equals, that particular style employed an alternating solo voice supported by the other three instruments, often with an emphasis on the 1st violin.

Written in C Major, the initial quartet begins with a lighthearted ‘Allegro con spirito’. With the lead violin in charge, a sequence of playful call and answer exchanges unfolds. Dotted with silences, sudden accents and just a hint of malice, this impressive first movement shifts vividly into minor just before the final coda. In a mournful C Minor, the following ‘Adagio cantabile’ is one of the highlights of the recording. Echoed in the cello, the solo violin shines in a stunning display of deeply felt pathos with minimal support from the middle voices. Smoothly transitioning from the somberness of the preceding section, a subdued ‘Allegro’ opens the finale before a lively county dance evolves, concluding with a surge of joyous unison.

Elastic phrasing creates a shy hesitation in the ‘Allegro non troppo’ of the A Major Quartet. Rushing triplets in the 1st violin balances that with spontaneous bursts of energetic enthusiasm as all four voices advance the musical ideas. Penned in E Major, a dreamy ‘Romance cantabile’ follows, a showcase for the lead violin. Amid plucked accents in the bass line, the gorgeous 2nd movement slips into minor as the middle instruments assume the melodic responsibility and the top voice soars overhead in obbligato. Colored by unexpected harmonic shifts, a frisky ‘Rondo Allegro’ closes the work.

Featuring extended solos from all 4 instruments, the bright ‘Allegro’ that opens the quartet in E Flat is most striking with the cello and the first violin in the lead. Dramatic descents into minor keyed passages and full stops in the musical flow are among the superb effects of this splendid first movement. The compound section that concludes the quartet begins with a ‘Menuetto’ structured as a theme and variation. Again, the four voices share in the spotlight. While there are bravura flourishes in the solo passages, these works were composed for gifted amateurs and the technical demands are made with that limitation in mind. Brimming with syncopated good humor, a sprightly ‘Presto’ brings the quartet to a delightful end, but not before a witty coda that is a nod to his famous teacher.

Recorded in 2009 but not issued until 2012, the recording by CPO is first rate, with excellent detail and more than adequate depth. Skillfully led by the brilliant violin of Ingeborg Scheerer and supported by the sturdy cello of Nicolas Selo, Pleyel Quartett Koln presents this second set of the coronation quartets in a terrific light. Judging from these works, Pleyel deserves consideration in the pantheon of Classical Era masters.


title: A Friend to CPE

text:
A child prodigy, Ernst Wilhelm Wolf (1735-1792) was born near Gotha in Germany. Once CPE Bach heard some of his compositions, they developed a live long friendship. Known for his vocal works, Wolf also wrote instrumental music, at least 35 symphonies, many keyboard compositions, and 12 surviving string quartets. Three of the 5 quartets on this recording are from his Op.3 set, published in 1785.

Written in B Flat, the first quartet begins with a moderately paced intro. After a striking unison phrase, the schizophrenic ‘Allegro assai’ kicks into high gear with the 1st violin leading the charge. Amid scurrying violins, rolling triplets from the viola, a bravura solo emerges in the bass line. Interspersed with more contemplative interludes, the unison phrase returns periodically to energize this marvelous opening movement. Shifting into F Minor for the following ’Adagio’, Wolf plumbs the depths of despair, again employing the lower strings in vital roles. Listen for a splendid cello passage in the very deepest register of the instrument. A merry ‘Allegro con spirito’ concludes the quartet with busy finger work from all four voices.

Dark and foreboding, the initial theme of the moody ‘Allegro assai’ of the G Minor Quartet, Op.3, No.3 is presented by the lead voice, then developed by all. Characterized by adept contrapuntal writing, the tone brightens and then reverses as the key changes from minor to major, and then, sometimes within a measure or two. Offering a graceful respite, the G Major ‘Andantino’ is a triple metered contrast to the stormy outer movements. Bursting from the silence between tracks, furious fiddling drives the agitated ‘Allegro piu tosto presto’ to a terrific finale, with a sudden stillness echoing after the last notes.

Unpublished during Wolf’s lifetime, the Quartet in C Major likely was written in 1789, and may have been his last. The measured ‘Allegretto’ features sharply delineated counterpoint with the viola assuming high prominence as it jousts with the upper strings. Opening in an ominous C Minor, the ensuing ‘Largo’ slides into E Flat as this pensive 2nd movement unfolds. With the viola again taking a solo turn, it reverts to minor and drifts to a somber close. Light and lilting, a triple metered ‘Presto’ brings the quartet to a festive end.

Lower strings kick off the swirling ‘Allegro’ that starts the D Minor Quartet, with the viola presenting the initial melody. Dense fugal passages populate this intricate 1st movement, which often finds the cello falling silent or using a sustained pedal note as the upper three voices assume dominance. A stately ‘Poco lento’ follows. Interweaving melodic lines feature paired voices, recombining in constantly shifting alignments as this relaxed middle movement develops. A vigorous unison phrase unites the brisk ‘Allegro con spirit’ that ends the work as a series of dissimilar episodes flash by.

Penned in E Flat, an easy ‘Allegro’ opens the final quartet, No.3 from the Op.3 set. An engaging dialogue between the first violin and viola is soon joined by the cello as a complex tapestry of superb counterpoint emerges. Gorgeously serene, the muted ‘Adagio’ in A Flat is one of the highlights of the disc. With alternating bittersweet passages in minor, this superb section ends all too soon. Resembling a joyous country dance, the triple metered ‘Poco presto’ carries the quartet and the CD to a bright and bubbly close.

Clear and detailed, the recording by CPO is up to its usual excellent standards. Sporting the name of one of the Classical era’s brightest lights, who now is barely recognized as a master of the string quartet, Pleyel Quartett Koln sparkles as it shines a spotlight on another forgotten composer. Led by the outstanding first violin of Ingeborg Scheerer, the German based group has unearthed these 5 excellent quartets by Wolf. They deserve to be heard.


title: Go East, Young Man

text:
Trained in Vienna, Franz Xaver Gebel (1787-1843) was born near Breslau in what is now Poland. After study with Johann Georg Albrechtsberger and others, he went east to Moscow in 1817, where he spent the rest of his life teaching piano and composition. He also sponsored chamber music concerts that included his own works as well as those of Beethoven and other Classical masters with a young Mikhail Glinka and Alexander Borodin in the audience. Several of his string quintets have been published previously, but this is the world premiere of his only known string quartets.

Written during his time in Vienna, the D Major Quartet opens with the cello presenting the initial theme in a jovial 'Allegro vivace' that unwinds at a decidedly leisurely pace. As the other instruments join the skipping motif, the intensity increases while maintaining a playful undertone. During the restless development section, the outer voices explore distant tonalities through numerous key changes as the interior ones provide harmonic support.

Buzzing flurries of notes propel the following 'Minuetto'. Marked 'Presto', it uses elastic phrasing and a relentless energy to demonstrate an affinity to the scherzos of Beethoven and Mendelssohn amid striking dynamic changes and sharp rhythmic accents. An expansive cello leads into the broad 3rd movement, a tender 'Andante' penned in A Major. Excursions into minor lend a wistful air as the delicate mood is frequently pierced by dissonant chords marching by. It's a stunning section, one of the best on the recording. A swirling 'Presto' concludes the work. With the venturesome lead violin shadowed by the bass voice, the middle instruments spiral in and out, creating a relentless finale characterized by recurring passages in minor.

Published in Moscow around 1840, the quartet in E Flat was probably composed 20 years before. While not as daring as the earlier work, it does show a mature deftness that echoes the late Classical era, particularly in the engaging 'Allegro con brio' as the 1st violin leads the other voices through an intricate series of modulations. In C Major, the gentle 'Largo con expressione' features a splendid central section that shifts to a dark C Minor, employing a hovering accompaniment that contrasts with the melancholy solo passages.

Bold and vigorous, the scherzo-like 'Minuetto' in G Minor contains charming interior melodic lines nicely interwoven with the insistent lead violin. Shifting back to E Flat, the contrasting trio is a breathless whirl of overlapping threads that returns to G Minor for the final notes. Displaying the high spirits of a Russian folk song, the closing 'Allegro' uses syncopation and unexpected rhythms to fashion an invigorating conclusion.

With the prominence given to the first violin, the German based Hoffmeister Quartet has chosen to alternate their violinists with each Gebel composition, Christoph Heidemann taking the D Major Quartet while Ulla Bundies assumes responsibility for the one in E Flat. Both violinists are excellent. Released in 2014, the recording by Profil Hanssler is fine, although I might have preferred more delineation in the middle strings.

Franz Xaver Gebel was a little known contributor to the Austro-German influence on the music scene in Moscow, and these rarely heard quartets deserve more than a cursory listen.


title: A Pleyel Sampler

text:
Austrian born but based primarily in France, Ignaz Pleyel (1757-1831) first studied with Jan Vanhal before becoming Joseph Haydn’s favorite student. Widely assumed to be the composer most likely to take his teacher’s place, it didn’t quite work out that way, despite composing some 850 works. Among that dizzying array are 41 symphonies, 17 string quintets, dozens of assorted trios and duets, at least 70 string quartets, various concertos, operas, cantatas and music for Masonic rituals.

According to the accompanying notes, the Flute Quartet in B Major was transcribed by Jean Pierre Rampal from one of Pleyel’s piano trios. Strings introduce the primary theme before the flute takes over in the opening movement, a triple metered ‘Allegro’ with a frothy elegance. Cascading triplets spill from all three upper voices, and although the flute and violin engage in playful interplay, sometimes in tandem, sometimes in call and answer, the solo wind is clearly the star. As the flute floats overhead in an aria-like solo, the string trio anchors the stylish ‘Andante’. With the joyful bounce of a rustic dance, the single wind initiates the lively ‘Presto’ which features some fine fiddling, especially from the vigorous cello.

Although listed as a symphony in A Major, the sparse orchestration and the total lack of any wind voices make it possible to mistake the following composition as a string quartet. With only instrument for each voice, the sound is bit threadbare, but such practice was common during the Classical era. Moreover, the addition a double bass firmly grounds the work and buttresses the cello lines. A memorable phrase from the 1st violin sparks the energetic ‘Allegro con spirito’. Pleyel often wrote virtuosic passages for the highest string, and that tendency is on full display here with chains of spiraling triplets leading high on the E string. Although relegated to secondary roles, both the viola and the 2nd violin shine in their solo sections, as well as filling the countermelodies with verve and passion.

Filled with airy melodies and filigreed string work, the triple metered ‘Andante’ feels like an oasis after the more challenging opening allegro. Subdued grace characterizes the following ‘Minuetto’. Long streaming melodic lines, gentle silences and elastic phrasing combine with a striking interlude in minor to create an outstanding 3rd movement, one of the high points of the recording. A rousing country dance closes the symphony. Structured as a rondo, the brisk ‘Allegro molto’ features a dramatic pause before each restatement of the theme giving the finale shape and definition, and serves as a jumping off point to renew the exuberant drive. Each voice distinguishes himself in the solo episodes, with the blazing first violin and a sturdy cello particularly noteworthy. And after the rollicking fun, the unexpectedly calm end comes as an amusing surprise.

Written in D Major, the energy never flags in the 1st movement of the Sinfonia Concertante, a boisterous triple metered ‘Allegro’. Winds add to the orchestral color, and although marked for dual solo parts of violin and cello, the lower string plays a subordinate role in this infectious opening. A vivacious flute contributes to the playful mood in the following ‘Minuetto’, accompanied by a discreet harpsichord for the first contrasting trio while the cello leads the lower strings in an attractive 2nd trio. Also in triple meter, the resolute ‘Adagio’ features a wonderful minor keyed interlude, a call and answer passage between the winds and strings that fashions a peek-a-boo effect woven with a gossamer thin delicacy. Led by the blistering pace of the first violin, the closing ‘Allegro’ is a delightful romp. Amid the abrupt dynamic of this rondo structured finale is an outstanding episode featuring the hushed urgency of the oboe.

While the 1993 issue by Koch International may not quite have the crystal clarity of more contemporary discs, the recording is fine. And the work by Moscow Concertino is excellent, with special note to the first violin of Evgueni Bushkov, the agile flute of Viktor Ponomariov, and the fine cello of Viktor Kozodov. While he never quite assumed the stature of his famous teacher, Pleyel wrote an extraordinary number of first rate compositions, and this recording offers a fine sampling.


title: Coronation Quartets

text:
When Frederick Wilhelm II ascended to the throne of Prussia, a number of famous composers wrote string quartets to commemorate his coronation. Haydn and Mozart each honored the monarch with a set, but the winner of the race to be the first to present his gift to the successor to Frederick the Great was Ignaz Pleyel (1757-1831). And it wasn’t a measly set of 3, or even six quartets. It was an unheard of set of 12. The first three are presented here.

All are in 3 movements, and follow the familiar ‘fast-slow-fast’ pattern. Despite being a student of Haydn, Pleyel went his own way with his quartets, focusing on interior structural experimentation and the presentation of new melodic ideas rather than thematic or motivic development. Written in B Flat, the 1st quartet opens the ‘Moderato’ with the principal violin in the lead and the cello offering important contributions. Unusual harmonic modulations characterize this graceful first movement as Pleyel unveils one beguiling melodic line after another, all done with stylish elegance.

Like a sacred hymn, the reverent ‘Adagio ma non troppo’ unfolds with the cello supplying a solemn countermelody. After the 1st violin delivers the initial theme in the brisk closing ‘Allegro’, the viola presents the 2nd one, not once, but twice. And just prior to the final coda, Pleyel inserts a third melody, this one more tuneful than either of the earlier themes.

In the genial ‘Allegro’ that begins the G Major Quartet, the lead voice soars high on the E string before falling silent as the lower strings assume control. After a spirited dialogue, a false ending pays homage to his former teacher. A gentle ‘Adagio’ ensues with the middle strings sharing the spotlight with an ethereal 1st violin. At times, this second movement comes to a complete stop, allowing the notes to shimmer. Light hearted and playful, a delightful ‘Rondeau’ in triple meter closes the work. Shifting into double time, the lead voice spews flurries of notes prodding the other instruments to pick up the scurrying phrases until it reaches a marvelous buzzing climax with a bravura flourish in the bass line.

Under a quirky hushed urgency in the 1st violin, frantic lower strings start the splendid ‘Allegro agitato’ of the quartet in D Minor. After a viola solo in F Major and an operatic passage from the cello, the violins return to direct the movement, which explodes into a 4 voice chattering section. Reverting back to the intensity of D Minor, the elaborate and highly dramatic scenario comes to a swaggering end. This terrific first movement is followed by a somber ‘Adagio non troppo’ that turns frisky in a brief middle passage. An ambivalent ‘Rondeau Allegretto’ concludes as all four voices given a chance to exhibit their virtuosic skill. In a brisk triple meter, the finale displays moments of frivolity interspersed with passages of near tragic seriousness.

With its depth and fine detail, the recording by CPO is excellent. Ably led by the flashing violin of Ingeborg Scheerer, Pleyel Quartett Koln offers a convincing argument for placing these coronation quartets by the group’s namesake in the pantheon of Classical Era masters.


title: The Last Quartets

text:
At the end of his long life, Ignaz Pleyel (1757-1831) was still composing music, more for himself than for his public. Successful businesses of piano manufacturing and music publishing had allowed him to retire and live comfortably in the countryside outside of Paris. Among his prolific output of some 850 works are about 50 symphonies, 48 piano trios, 17 string quintets, dozens of duos and trios, and 70 string quartets. The three on this recording were the last he ever wrote. Two were published around 1810 in his typical 3 movement format while the final quartet was discovered unfinished and in scattered manuscripts among his papers.

Calm and relaxed, the tasteful opening 'Allegro' of E Flat Quartet, Ben 368 is deceptive. After the initial statement of the theme by the 1st violin, the cello answers and the pace accelerates through a minor keyed interlude before the two voices switch roles. With an emphasis on melodic invention and graceful lyricism, Pleyel doesn't disappoint as virtuosic flashes from the lead voice and a swirling duet between the lower strings enliven this splendid first movement before it glides to the tender close.

Shifting to B Flat, a lovely 'Adagio' employs a plucked bass to ground the sweet singing of the lead voice that soars high on the E string as the interior instruments provide gentle counter melodies. In homage to his teacher Haydn, Pleyel uses false endings both here and in the previous movement to extend the tension and supply an occasional wink. A lilting 'Rando' in 6/8 time finds the violin skipping high above the rocking accompaniment from the other three voices. Delivered with vigorous precision, long unison phrases punctuate this genial finale.

An utterly beguiling melody from the first violin begins the elegant 'Allegro molto' of the quartet in D Major, Ben 369. First developed by the sturdy cello, the theme spins around all four voices, playfully exchanged and expanded as this charming 1st movement progresses. Over pizzicato support, a dainty lead violin starts the leisurely 'Minuet' which is structured as a theme with variations. Each voice has ample opportunity to stretch out and deliver impressive solos. Especially haunting is the gypsy tinged passage from the viola, done in a striking minor key. And totally unexpected is the ending on an open cadence, which launches immediately into the animated 'Rondo'. Amid quick starts and sudden stops, bursts of energetic fiddling power this rousing finale.

Written in G Minor, the final quartet is crafted in four movements, with the initial 'Allegro non troppo' in the unusual time signature of 12/4. By using a fugal interweaving of the opening bars, Pleyel creates a swirling tapestry with all 4 instruments. As the intensity accelerates, sections of frenetic bow work drive this stunning 1st movement as the music comes to a complete halt before restatements of the original melodic lines. A single long spiraling unison phrase signals the conclusion before drifting to the final somber notes. Dual violins begin the muted 'Menuet'. As the lower strings enter, the urgency picks up only to fade in and out before the violin led trio in G Major deftly appears.

Also in G Major, the tender 'Andante cantabile' is organized as a theme and variations. Once the lead voice has introduced the main refrain, he offers ornate embellishment overhead as the other instruments hold forth. Lead by a brawny cello, dotted with vigorous unison phrases, and characterized by dense intertwining of the melodic threads, the closing 'Vivace' forms a memorable end to the disc.

Despite a slightly metallic sheen, the 2012 recording by ARS Produktion is excellent, sharp and well defined. Founded in 1947, the current version of the Czech based Janacek Quartet is superb, with special mention to the soaring first violin of Milos Vacek. If you've never heard the string quartets of Ignaz Pleyel, this is a fine place to start. And then just work backwards.


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: Waiting for Brunetti

text:
Italian born Gaetano Brunetti (ca.1744-1798) joined Luigi Boccherini and Dominico Scarlatti at the Spanish court in Madrid by 1762. Writing exclusively for the royal family and the imperial court, he composed some 450 works, including at least 40 symphonies. Few were published in his lifetime, and only recently have his compositions begun to become available for publication.

Having found the only previously available CD of Brunett’s symphonies an absolute delight, I eagerly awaited this release. But something is missing.

Written in the middle of the 1780’s, they all follow the familiar 4 movement format, a pair of faster outer sections framing two leisurely interior ones. Most distinctive are his third movements. Instead a triple metered minuet, he substitutes a bucolic dance like section in duple meter written for a wind quintet with a contrasting middle passage for strings in minor. Listed as No.9, the symphony in D Major employs robust tympani in the opening ‘Allegro con spirito’, apparently an unusual instrument for Brunetti. Alternating vigorous passages with more finely nuanced sections, as well as a wide range of dynamic contrasts, it relies upon harmonic shifts and repetitive phrasing, often grinding to a complete halt before starting up again. Upper winds assist the violins in creating a sense of hovering expectations in the following ‘Larghetto con moto’, one that is never quite fulfilled. With a brisk pace that is almost too fast for the lower winds, the brief ‘Quintteto’ is a joy. Accentuated by distant percussion, the minor tinged interlude finds the strings taking charge before the wind band returns. Oboes lend a festive air to the ‘Allegro non molto’ that concludes the symphony, generating a nice contrast to the darker passages in minor before the finale comes to a rather odd abrupt end.

Broad and expansive, the ‘Largo sostenuto’ of Symphony No.21 in E Flat serves as a short intro to the regal, but somewhat plodding ‘Allegro vivace’. A measured tempo seems to hamper the energy, leaving little contrast to the unhurried ‘Andante grazioso’ that ensues. Filigreed passages for the paired oboes enhance the delicacy, although the relaxed pace of the 2nd movement often causes it to dawdle. By comparison, the wind dominated ’Quintetto’ is positively driven, and the enthusiastic strings in the minor keyed central section juice the tempo even more, creating what may be the high point of the CD. Spirited horns overwhelm the more fragile strings in the closing ‘Allegretto’, a rondo that explores its repetitive rhythmic phrases most effectively when hushed urgency dampens the brass.

In C Major, the final offering is the 29th symphony, with a genial ‘Allegro spiritoso’ in triple meter that opens with horn calls. The gently rollicking tempo slows, but never relents, giving this 1st movement a rhythmic impetus that is lacking in most of the recording. Hesitant, with starts and halting stops, the following ‘Larghetto’ lacks what the preceding section featured - a pulsing through line that energizes the music. What it does contain is excellent writing for the upper strings with colorful wind orchestration and excellent minor keyed passages. By juxtaposing the lower strings against the violins, Brunetti creates a sense of rhythmic dislocation in the rustic ‘Quintetto’. And the playful energy accelerates when the strings enter, while the creating an urgency in this fine 3rd movement. Penned in 6/8 time, the concluding ‘Allegro non Molto’ features subtle dynamic contrasts and the framing of one orchestral section against another. The result is inventive if somewhat disjointed.

Released in 2015, the recording by Lindoro is subdued, leaving the strings often sounding recessed. By sacrificing energy in favor of nuance, the direction of Gustavo Sanchez leads the Camerat Antonio Soler to explore the subtleties of Brunetti’s music with a sometimes lackluster result. For a different take, catch the Concerto Koln version [[ASIN:B000001WR1 Brunetti: 3 Symphonies]].


title: Echoes of the Greats

text:
Born in Bonn to a musical family, Ferdinand Ries (1784-1848) arrived in Vienna penniless with a letter of introduction to Beethoven, who had been taught by Ries’ father. Working as a secretary and copyist, Ries became a student and eventually one of Beethoven’s closest friends.

Both of these piano trios follow the traditional 3 movement structure, fast slow fast, although the early Trio in E Flat, Op.2 employs a slight variation. Haydn often began his symphonies with a leisurely intro, but seldom if ever did he start one of his 45 piano trios that way. Ries does, opening his compound first movement with a somber ’Adagio con moto’ in minor before giving way to the following ‘Allegro’. As a student of all 3 instruments, he gives the string voices more responsibility and uses them with more assurance than did Haydn, particularly the cello.

As the jaunty ‘Allegro’ develops, the piano assumes the lead role while the string duo interjects their own musical ideas. Drifting back into minor and a more contemplative tone, the movement features several false endings, possibly as a homage to Haydn, and covers a wide range of moods as it assumes a symphonic sweep foreshadowing the coming Romantic sensibility.

Tinged with the melancholy of minor, the dramatic ‘Andante’ contains a strummed final chord in the primary theme, revealing a decidedly Spanish flavor. After a lovely interplay between the two strings, the keyboard reasserts control as the movement shifts in and out of major, delving into introspective meditation before a striking conclusion with a pianissimo pizzicato exclamation point. Initiated with the ebb and flow of darting finger runs, a light hearted ‘Rondeau Allegro’ closes the trio. Amid playful call and answer exchanges, the deft fleetness of the keyboard recalls the glittering artistry of Mozart.

In stark juxtaposition to the lightness of the earlier work, the Op.143 trio begins in the dark key of C Minor, and was likely penned between 1814 and 1824 while Ries was living in London. Showing the bold confidence of a mature composer, in the opening ‘Allegro con brio’, he employs abrupt dynamic changes, turn-on-a-dime rhythmic shifts and sudden mood alterations. In addition, he gives the strings more responsibility, using them to present and develop musical ideas as the piano exhibits the fiery passion so characteristic of Beethoven.

The lyric sweetness of the following ‘Adagio con expressione’ is light years from the stormy outer movements. Despite an ominous undertone that never quite dissipates, a smooth serenity permeates the section, carried chiefly by the ever flowing keyboard. Drifting slowly to an apparent tranquil close, a rising chromatic scale heralds something very different and leads directly into the explosive beginning of the concluding ‘Prestissimo’. Reminiscent of a macabre dance, the catchy initial melody careens into wild carnival ride through a kaleidoscopic array of unexpected modulations, sudden transitions, and unlikely harmonic shifts. It’s a terrific ending.

The recording by CPO is superb, intimate and detailed, allowing the three members of the Mendelssohn Trio of Berlin free reign to present these works in the best possible light. Stephan Picard on violin, Ramon Jaffe on cello and Andreas Frolich on the keyboards are to be congratulated for bringing what is apparently the only recording of Ries' trios to life. Although echoes of the great Classical era composers can be heard, here Ries finds his own voice.


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: 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: On the Cusp of the Classical Era

text:
Son of an amateur violinist, Andrea Zani (1692-1757) showed an early talent for the stringed instrument. Aside from the approximately 8 years he spent in Vienna between 1728 and 1736, Zani lived his whole life in and around his hometown of Casalmaggiore in the northern Italian province of Cremona. A set of 12 of his compositions were published in 1729 as Op.2, including 6 chamber symphonies and 6 violin concertos. Five of those 6 are on this recording, all following the familiar `fast-slow-fast' format.<br /><br />Written in A Minor, Concerto No.1 opens with a spirited `Vivace', the counter melody being carried first by the cello, then by the viola and finally by the 2nd violin. While not requiring quite the ostentatious virtuosity of his contemporary Vivaldi, his solo passages do demand a high level of technical competence, as the impressive flurry of notes over the sustained pedal tone of the lower strings in the cadenza demonstrates.

Over strummed accompaniment by an archlute and theorbo, the deliberate tempo of the following `Largo' gives the slower movement a somber gravitas. A triple metered `Spritoso' closes the work. Using a gently rocking rhythm, the 3rd movement features orchestral passages that employ an individual instrumental differentiation that allows for more transparency into the internal structure of the writing. Often, these tutti sections form the emotional highlight of Zani's movements, as they do here.

Concerto No.6 in E Minor follows, starting with a lively `Allegro' and characterized by a dazzling display from the solo violin. In the solemn 2nd movement `Largo', unison violins alternate with the strummed basso instruments to provide support for the restless, bittersweet solo voice. With much combining and realigning of the accompanimental parts, the triple metered `Allegro' brings the concerto to a rollicking end as the soloist tosses off string crossing arpeggios with aplomb.<br /><br />A bright `Allegro' begins the fifth concerto, composed in G Major. Featuring rapid fire double stopping from the lead violin, this 1st movement also employs a remarkable interplay among the other voices, foreshadowing the conversational style between equals that would come to characterize the string quartet. The cello in particular assumes more importance than in other sections.

Melancholy and leisurely, the ensuing `Largo assai' is a jewel. Over simple rising arpeggios in unison violins, the solo voice soars high overhead, a plaintive cry that is absolutely heart wrenching. Characterized by a genial but insistently driving rhythm in the lower strings, a triple metered `Allegro' concludes the work. Amid high speed double stops and challenging string crossings from the violin, the sweeping orchestral section feature an echo from the viola here, a brief countermelody from the cello there.

Despite being in G Minor, the opening `Allegro' of Concerto No.3 in surprisingly cheerful. With a barely discernable rhythm, the following `Largo assai' is a prayerful lament. The climax occurs when the lower strings fall silent, leaving the mournful solo voice accompanied by unison violins. A fugue opens the final `Allegro', which at times sounds like a sinfonia with a violin obbligato as the orchestral passages are more engrossing than the solo work.

In the bright key of C Major, the 4th concerto starts with a rousing `Allegro'. After a hushed `Adagio' with prominent lower strings, the final `Allegro' opens with another fugal passage with the solo notable for an extended series of triplets delivered against the duple beat.

With just the right dash of virtuosity from soloist Alessandro Ciccolini, the 8 person troupe Compagnia de' Musici presents these works by Zani with spirit and verve. The recording by Pan Classics in Zani's hometown of Casalmaggiore sounds a bit thin, but the lack of vibrato as well the sparse forces employed on this important disc probably contribute to that impression. If your knowledge of the late Italian Baroque violin concerto begins and ends with Vivaldi, Locatelli and Tartini, give Andrea Zani a listen.


title: Early Russian String Quartets by

text:
Dietzsch, Titz, or Dietz? The few compositions that have survived are under the name 'Titz', including this first volume of his 12 string quartets.

Born in Nuremburg in 1742 and orphaned as a child, Anton Ferdinand was taken in by an uncle named Dietzsch, who was a painter. When the boy showed no interest or inclination toward the visual arts, the older man abandoned him. It wasn't until another relative named Dietzsch, a spinster aunt who was also a painter, offered him a home where he began studying the violin. Proficient enough to earn a living as a violinist at 17, he moved to Vienna and became friends with Christoph Willibald Gluck. In 1771, a high Russian magistrate heard him perform and offered him a position in the Imperial Orchestra of St. Petersburg. It was in the capacity as a chamber musician of Catherine the Great that he wrote these works.

A mournful `Adagio' opens the first quartet, No.4 of the six composed in 1781, which is in C Minor. This brief intro flows directly into a sprightly `Allegro', which slips in and out of major. The 1st violin takes the melodic lead with the other voices offering accompanimental support, although the cello often underlines passages with a virtuosic flourish. Frequent use of powerful unison phrases unify this combined first movement which slides seamlessly into the following 'Allegretto', a measured triple metered dance with a decidedly melancholy mood and a contrasting trio that brightens only slightly.

Marked `Cantabile', the 3rd movement unfolds at the same leisurely pace, with the lead violin singing the melody. The middle strings provide an undulating accompaniment while the bass line supplies a counter melody. A darkly dramatic unison phrase begins the final movement, an `Allegro con Spirito'. Heralding a strikingly different mood, a lightly tripping line emerges in the 1st violin, playful and coy. The viola offers an elegiac version before the cello brings an even more somber interpretation, before the violin returns high on the E string. The memorable opening passage returns with theatrical intensity to close the work, which may be the highlight of the recording.

Softly seductive, the initial bars of the opening `Allegro' of the D Minor quartet of the 1781 series brighten when the 1st violin enters with a busy melody. Accelerating and then slowing, this ebb and flow creates a dramatic effect that heightens the somber mood. A leisurely `Rondo' closes this 2 movement work. Employing a stately triple meter that slides in and out of major, Titz makes extensive use of fermatas, crafting a sense of suspended animation. Listen for a marvelous cello solo as one of the episodes.

In G Major, the 1st quartet of the trio written in 1802 starts with a curtain raiser, a prayerful `Adagio' that ends with the viola stepping forward to present the primary theme of the `Allegro' that follows. Complex interplay characterize this 2 part movement, requiring virtuosic displays from all four voices and showing a developmental step up from the earlier compositions. And although this quartet is the only one composed in a major key on the disc, passages frequently drift into the melancholy of minor.

A sleepy `Adagio' creates a background for the deeply poignant 1st violin. The mood darkens when the cello takes center stage before floating to a placid close. Against strummed accompaniment in the lower strings, the triple metered `Allegretto' features a contrasting trio in in G Minor with the violins trading lilting melodic lines. A rollicking `Rondo' closes the work, with fine country fiddling from all four instruments. Even during this boisterous finale, clouds pass as the music often dips into minor before coming to a surprisingly playful end with 3 sharp pizzicato notes.

In the A Minor quartet, No.3 of the 1802 set, a brief but gloomy `Siciliano affettuoso' serves an introduction to the urgency of the `Allegro di molto agitato' that follows. The 1st violin takes such precedence over the other voices as to make this extended opening movement sound like violin concerto. Counterpoint in the bass line undergirds the unhurried middle section. Written in A Major and labeled `Romance', it features a breathy lead violin with delicate ornamentation. Returning to A Minor, a gypsy-tinged `Polonaise' closes the recording with the 1st violin again leading the way. Characterized by virtuosic excursions and a remarkable elasticity in tempos, employing abrupt decelerations, then gradually speeding up to reach a satisfying conclusion.

On the Profil label, the crisp recording is exceptional. Using gut strings and little vibrato, the Hoffmeister Quartet delivers a fine performance of these little known works, allowing the nuances of Titz' writing to shine. Particularly noteworthy are the violinists, Ulla Bundies and Christoph Heimann, who alternate lead duties on this disc.

Anton Ferdinand Titz may be the father of the Russian string quartet, and volume 1 of this 3 part set is an excellent place to start.


title: More than an Opera Composer

text:
Born in Bergamo, Gaetano Donizetti (1797-1848) wrote string quartets, 18 in all. While this output may be dwarfed by the 65 or so operas he composed, that they exist at all may be a surprise. Mostly written in his youth while he was waiting for his first opera commission, the surest way to fame and fortune for a young composer, they exhibit the promise that he was later to fulfill in the opera house.

String Quartet No.7 in F Minor was composed on the occasion of the death of a close friend of his patron, Johann Simon Mayr. A work with a programmatic purpose, each of the four movements is subtitled to trace the events of his death. After a brief introduction, the 1st movement `Allegro vivace - agitatissimo' has an urgent flurry of repeated notes before bursting into a lyrical 2nd theme. Representing the man's illness and the fervent prayers of his family that he regain his health, it precedes the somber "Adagio ma non troppo' which marks his death. The plaintive notes of the 1st violin lead to unexpected explosion of repeated 32nd notes that signify his passing while the poignant `Presto' that follows illustrates his wife's despair and the concluding "Marcia lugubre- maestoso' is a funeral march with a solemn finality.

Not as ambitious is the Quartet in B Flat, No.8. A short introduction also opens this work, but with significant pauses that portend the rhythmically symmetrical first theme. The syncopated 2nd motif creates a pleasing contrast as the four members of the wonderfully named `Revolutionary Drawing Room' skip back and forth between the two themes in the opening `Allegro'.

The 2nd movement `Aleghetto' features a marvelous series of plucked bass runs under the softly undulating lead violin. A dancing, lilting melody dominates the following `Minuetto', and foreshadows the numerous `Bel Canto' tunes that would make Donizetti famous. Characterized by a mischievous exchange between the cello and 1st violin, a lighthearted "Presto' closes the quartet.

Written in D Minor, Quartet No.9 begins with a dirge-like theme that morphs into a series of skittering scales from the 1st violin, before a brief development section precedes the final bars. A reverent `Larghetto' precedes the 3rd movement `Minuetto', delivered with courtly elegance and grace. After a stately beginning, the concluding `Allegro vivace' draws the entire work to a vigorous close.

The CPO recording is bright and clear, while the adroit work of the 1st violinist Graham Cracknell leads the adept quartet, the Revolutionary Drawing Room. These compositions do not rival the high artistry of the Viennese masters, but they do show a budding composer with exuberance and skill developing his craft.


title: String Quartets from a Forgotten Italian

text:
As a student of Giuseppe Tartini and Pietro Nardini, Bartolomeo Campagnoli (1751-1827) came from a long line of Italian violin virtuosi. It is no surprise that these 6 string quartets are characterized by a dominant 1st violin. What is surprising is that these works have languished in the Berlin Staatsbiblotek since becoming part of King Friedrich Wilhelm II's personal library. This recording marks their debut.

A fluffy `Allegro' of Quartet No.2 in B Flat establishes the lead violin as the primary voice, although the lower strings are given occasional flourishes, including a lovely viola solo. While not a true adagio, the following `Andante moderato' does provide enough of tempo change to contrast with the faster outer sections of this traditional 3 movement work. When the passage dips into minor, just a touch of melancholic whimsy emphasizes the cantabile voice of the violin.

Featuring a scurrying viola, the rustic "Rondo Allegro' closes this brief 3rd movement. Again using a minor key change for dramatic contrast, the 1st violin takes charge for the final restatement and the rather abrupt end. This somewhat perfunctory conclusion seems to be characteristic of Campagnoli as almost all of 6 quartets feature an extremely brief coda.

The middle strings come to the forefront in the sunny `Allegro spiritoso' that begins Quartet No.5, composed in F Major. With the lead violin supplying a busy obbligato above, the primary melodic line includes lots of notes as well, another distinctive element that Campagnoli favors. A flowing `Andante follows with the viola providing a charming countermelody. A country inspired dance concludes the work, another `Rondo Allegro' with the merry 1st violin leading the festivities. Dotted with restless triplets, this 3rd movement contains false endings that set up darkly tinged interludes in minor.

Marked `Largo', a somber theme with variations opens the C Major Quartet, No.6. Each voice has ample opportunity to shine in extended solos as this single movement is longer than two full quartets of the set. Here partial to pizzicato accompaniment, Campagnoli alternates vigorous virtuosic episodes with languid, sonorous ones.

The stately "Allegro maestoso' that follows features brief excursions into minor, while the concluding `Allegro moderato' is characterized by more independent string writing, although the lead violin still predominates. By using back to back allegros, the natural contrast afforded by differing tempos between sections is lost, leading to a certain repetitiveness. The same observation can levied against the entire set.

Written in E Flat, a triple metered `Allegro' begins Quartet No.4. Using alternating descending triplets, a genial swaying duet develops between the lead voice and the viola. A sober `Andantino' offers the 1st violin a chance to display a gorgeous singing tone while the closing `Allegro moderato' presents an intricate interplay among the four instruments.

The G Major quartet, No.3 in the set features the cello in a more important supporting role, often supplying a stirring countermelody. Full of grace and delicate elegance, the triple metered `Larghetto' is succeeded by rousing `Presto assai'. A memorable unison phrase unites what may be the highpoint of the entire disc as the muscular tempo drives this 3rd movement to its closing bars.

Insistent repeated notes power the initial `Allegro' of the final Quartet, No.1 in D Major, while a softly plucked bass line underpins the gentle `Andante con moto'. A triple metered `Rondo Allegro' sweeps to a gracious finale, clouded only briefly by a minor keyed passage before arriving at another seemingly hasty coda.

Founded in 2012, the young Ensemble Symposium acquits itself well, particularly the lead violinist, Igor Cantarelli. Special note should go to the violist, Simone Laghi, who developed the Berlin manuscripts into performance shape. The recording by Brilliant is fine, although somewhat thin as the bass line is occasionally lost amid the treble dominated tones.

This is a welcome addition to the Classical era string quartet literature, a glimpse of the world outside the Austro-Germanic axis where singing melodies are favored over intricate development. Bartolomeo Campagnoli is another forgotten Italian composer who deserves a listen. This disc is a good place to start.


title: Supplanted by Beethoven

text:
Trained as a violinist, Andreas Romberg (1767-1821) began touring Europe at age 6 with his cousin Bernard who was a cellist. Well regarded during his lifetime, he took Haydn’s mature works as his model for his 30 string quartets. But as Beethoven became more popular, Romberg‘s reputation declined. That inverse relationship is dramatically revealed by the number of his public performances, which decreased in direct proportion to the string quartet performances of his more famous contemporary. All written in minor keys, the three quartets were composed at different times during his lifetime and follow the usual 4 movement pattern with the minuet as the 2nd section.

Likely written between 1806 and 1810 as No.1 of the Op.30 set, the B Minor Quartet opens with an elegiac ‘Allegro moderato’. Pathos is evident from the very first notes as the cello and middle strings provide swirling counterpoint and elegant interweaving lines with the lead violin. Striking unison passages delineate the extensive development section which uses the interjection of major keyed phrases as dramatic contrast. One of those unison passages brings this impressive 1st movement to a rousing close.

Restrained grace characterizes the ‘Minuetto’ with marvelous work from the cello amid softly syncopated rhythms. Shifting into a brighter B Major, the contrasting finds the 1st violin venturing high on the E string. A grand swooping transition sends the 2nd movement back to the primary theme and the somber close. Broadly elastic phrasing gives the E Minor ‘Adagio cantabile’ a genteel delicacy, one of the highlights on the disc. Featuring interwoven melodic lines, all 4 voices shine in this stunning display with the lead violin sliding into a soaring obbligato and each instrument emerging in kaleidoscopic fashion. Returning to B Minor, the gypsy tinged ‘Vivace’ spends almost as most time in E Major. With the feisty 1st violin in front, swift syncopations dot this spirited finale.

A low groaning begins the subdued ‘Allegro’ of the quartet in G Minor, No.2 of Op.16 which was probably penned sometime around 1805. With the lower strings spiraling around the restless lead voice, the melodic phrases seem to fit together like a jigsaw puzzle. A hushed ‘Minuetto’ follows. Feathery texture from the lower strings creates a filigreed fragility that the G Major trio shatters. With a restless lead violin driving the dance like middle section, the abrupt pizzicato accents are a jarring but welcome touch.

The leisurely ‘Grazioso’ is written in E Flat and structured as a theme and variations, which grow increasingly complex as the importance of the lead violin fades and the secondary voices surface. A robust ‘Rondo allegro’ concludes the quartet with the 2nd violin assuming nearly as much prominence as the first. Among the ebb and flow of subtle dynamic shifts, a vigorous fugal passages is stunning.

Published in 1802 as Op.2, No.2, the opening ‘Allegro’ of the A Minor Quartet starts with a haunting 2 ½ measure phrase, and then abrupt silence. With a slight variation, the sequence is repeated, setting up a marvelous 1st movement. The 1st violin dominates the other voices more than in the other compositions, freely moving in and out of E Major, sometimes within the same phrase. Working the instrument’s lowest register, the cello initiates a splendid passage with the viola as an echo deep within the extensive development section. Contrapuntal from the very beginning, the following ‘Minuetto’ finds the bass voice supplying the initial response to the 1st violin. The lower strings provide strong support throughout as the viola takes charge in the delightful contrasting trio, which is in A Major.

Using a shyly hesitant 6/8 time signature, the tender ‘Andante’ features each voice in an appealing series of solos. Sliding into minor from the original C Major creates a bit of drama, while the sweeping cello turn is particularly notable. Mostly employing the upper register, the sudden swoops of low notes become much more memorable. By the time the final note arrives, the slowed pace has made the triple meter barely recognizable. With a flashing violin in the lead, a brisk ‘Allegro’ returns to A Minor to close the work. Brief passages in major punctuate the development section before a burst of frenzied fiddling brings the finale to an animated conclusion.

Crisp and sharply detailed, the 2001 recording by MDG is excellent. The technical demands that Romberg places on all four voices are challenging, and the members of the Leipzig Quartet rise to the occasion by highlighting the rich textures and intricate structure of Romberg's work without obscuring the appealing melodies. While it’s regrettable that these excellent quartets have been overshadowed by Beethoven’s deserved acclaim, we are fortunate to have this superb recording.


title: Out of Haydn's Shadow

text:
Nearly an exact contemporary of Joseph Haydn, Franz Beck (1734-1809) has suffered by comparison. Both toiled for long periods away from the centers of musical activity. Both used wind instruments in original ways. Both employed striking harmonic progressions and increasingly independent part writing. Had Beck continued to compose symphonies past the 1760's, our opinion might be different today.

The son of an oboist of the famed Mannheim orchestra, Beck became a student of the leader, Johann Stamitz. After further study with Baldassarre Galuppi in Italy, he moved first to Marseilles, and then on to Bordeaux where he lived for 30 years. All of these influences found their way into his music, which included at least 24 symphonies.

Published in Paris in 1762, the 3 works on this disc form half of the original set. With paired oboes and horns supported by a single bassoon, Beck employs his limited wind resources in a wide variety of ways. Listed as No.6, the three movement D Major Symphony opens with a stirring 'Allegro con spirito', at times using the horns in counterpoint to a melody carried by the oboes, while doubling the accompanying strings in a more conventional way at others. With a subtle underpinning from a harpsichord, the delicately serene `Andante poco adagio' unfolds with strings only, occasionally dipping into the melancholy of minor. The winds and horns return for the muscular `Presto' that closes the work.

In the vigorous `Allegro' that begins Symphony No.2 in B Flat, energetic strings support the winds as well as the reverse with melodic responsibility passing back and forth. With a dramatic opening in minor, the pensive `Largo' expands over softly undulating lower strings while making particularly adept use of silence. Using broad sweeping strokes, the following `Minuetto' deftly inserts counterpoint into the fabric of the music while the wind dominated trio is a radical departure from earlier practice. Horn fanfares, pounding quarter notes and typical Mannheim crescendos drive the finale, an animated `Prestissimo'. At the halfway point of the movement, listen for the triple tonguing of the horns delivered at a blistering pace.

Correctly listed on the back cover of the recording as Symphony No.1, the F Major composition starts with a jaunty `Allegro', which finds the horns and oboes trading phrases while the upper strings offer a running commentary. Employing abrupt dynamic changes so favored by the symphonists of the `Sturm and Drang' school, Beck achieves a wide array of orchestral colors with only minimal forces in this 1st movement. After a tranquil `Andante grazioso', trumpeting horns mark the beginning of the majestic `Minuetto'. Oboes lead the contrasting trio with muted horns as a delightful echo. Although the concluding `Presto' begins somewhat restrained, the hushed urgency of the strings power this 4th movement.<br /><br />An ominous 'Largo' in C Minor begins the overture to `La mort d'Orphee', a compound one movement work written much later in Beck's career. A pizzicato accompaniment to the solo bassoon sets up the rousing `Allegro' that follows. Somber undertones remain as the composition shifts into major, driven by syncopated horns, only to return to the menace of the opening section before the boisterous final notes.

The recording by CPO is excellent, crisp and finely detailed while under the taut direction of Michael Schneider, La Stagione Frankfurt crackles. Franz Beck may have penned symphonic works during the later stages of his life. Unfortunately, only a handful of works have survived from his stint in Bordeaux. So we are left with these fine samples of what he did accomplish in the early stages of the Classical era symphony.


title: A Pleyel Sampler

text:
Austrian born but based primarily in France, Ignaz Pleyel (1757-1831) first studied with Jan Vanhal before becoming Joseph Haydn’s favorite student. Widely assumed to be the composer most likely to take his teacher’s place, it didn’t quite work out that way, despite composing some 850 works. Among that dizzying array are 41 symphonies, 17 string quintets, dozens of assorted trios and duets, at least 70 string quartets, various concertos, operas, cantatas and music for Masonic rituals.

According to the accompanying notes, the Flute Quartet in B Major was transcribed by Jean Pierre Rampal from one of Pleyel’s piano trios. Strings introduce the primary theme before the flute takes over in the opening movement, a triple metered ‘Allegro’ with a frothy elegance. Cascading triplets spill from all three upper voices, and although the flute and violin engage in playful interplay, sometimes in tandem, sometimes in call and answer, the solo wind is clearly the star. As the flute floats overhead in an aria-like solo, the string trio anchors the stylish ‘Andante’. With the joyful bounce of a rustic dance, the single wind initiates the lively ‘Presto’ which features some fine fiddling, especially from the vigorous cello.

Although listed as a symphony in A Major, the sparse orchestration and the total lack of any wind voices make it possible to mistake the following composition as a string quartet. With only instrument for each voice, the sound is bit threadbare, but such practice was common during the Classical era. Moreover, the addition a double bass firmly grounds the work and buttresses the cello lines. A memorable phrase from the 1st violin sparks the energetic ‘Allegro con spirito’. Pleyel often wrote virtuosic passages for the highest string, and that tendency is on full display here with chains of spiraling triplets leading high on the E string. Although relegated to secondary roles, both the viola and the 2nd violin shine in their solo sections, as well as filling the countermelodies with verve and passion.

Filled with airy melodies and filigreed string work, the triple metered ‘Andante’ feels like an oasis after the more challenging opening allegro. Subdued grace characterizes the following ‘Minuetto’. Long streaming melodic lines, gentle silences and elastic phrasing combine with a striking interlude in minor to create an outstanding 3rd movement, one of the high points of the recording. A rousing country dance closes the symphony. Structured as a rondo, the brisk ‘Allegro molto’ features a dramatic pause before each restatement of the theme giving the finale shape and definition, and serves as a jumping off point to renew the exuberant drive. Each voice distinguishes himself in the solo episodes, with the blazing first violin and a sturdy cello particularly noteworthy. And after the rollicking fun, the unexpectedly calm end comes as an amusing surprise.

Written in D Major, the energy never flags in the 1st movement of the Sinfonia Concertante, a boisterous triple metered ‘Allegro’. Winds add to the orchestral color, and although marked for dual solo parts of violin and cello, the lower string plays a subordinate role in this infectious opening. A vivacious flute contributes to the playful mood in the following ‘Minuetto’, accompanied by a discreet harpsichord for the first contrasting trio while the cello leads the lower strings in an attractive 2nd trio. Also in triple meter, the resolute ‘Adagio’ features a wonderful minor keyed interlude, a call and answer passage between the winds and strings that fashions a peek-a-boo effect woven with a gossamer thin delicacy. Led by the blistering pace of the first violin, the closing ‘Allegro’ is a delightful romp. Amid the abrupt dynamic of this rondo structured finale is an outstanding episode featuring the hushed urgency of the oboe.

Although the 1993 issue by Koch International may not quite have the crystal clarity of more contemporary discs, the recording is fine. And the work by Moscow Concertino is excellent, with special note to the first violin of Evgueni Bushkov, the agile flute of Viktor Ponomariov, and the fine cello of Viktor Kozodov. While he never quite assumed the stature of his famous teacher, Pleyel wrote an extraordinary number of first rate compositions, and this recording offers a fine sampling.


title: Never a Dull Note

text:
As Joseph Haydn’s favorite student, Ignaz Pleyel (1757-1831) was widely assumed to be the composer most likely to take his place. Mozart certainly thought so when he wrote his father in 1782 “Pleyel should replace Haydn for us”. Among his 850 works are 41 symphonies, 17 string quintets, dozens of assorted trios and duets, at least 70 string quartets, and various concertos. The late Dieter Klocker has unearthed 3 here and adapted them for the clarinet, the last being a double concerto masquerading as a sinfonia concertante.

Confusion exists whether Pleyel originally wrote Concerto No.1, Ben 106 for a flute, a cello or a clarinet. Published in 1799 in C Major, it appeared simultaneously in all three versions. The current edition is transcribed for B Flat, and opens the expansive ‘Allegro’ with an elegant orchestral intro. With just enough shading in minor to lend contrast, the writing offers a wide ranging exploration of the clarinet’s register and tonal palette, a stunning display that Klocker handles with almost casual aplomb. An unexpected pleasure is a brief duet with a single oboe that teeters on the verge of becoming morose, but Pleyel’s underlying cheerfulness is seldom hidden for long.

Relaxed and fragile, a triple metered ‘Adagio’ follows. Chromatic tinges from the solo wind bring a nuanced depth of emotion while the finale is a perky ’Rondo’. Written in 6/8 time, it allows the soloist ample opportunity to exhibit his formidable technique and a sly sense of humor.

Likely written in 1788-89, the 2nd concerto Ben 104 is also composed in B Flat. A regal ‘Allegro vivace’ opens the work with broad dramatic symphonic strokes that complement spiraling melodic lines from the clarinet, as well as an impressive cadenza that bristles with dazzling brilliance. Long sustained notes hovering over the orchestral support was a favorite device of Mozart, and Pleyel employs it to stunning effect on the triple metered ‘Adagio’, which is actually penned in E Flat.

The concluding ‘Rondo’ begins with the clarinet presenting the sunny theme in the very first measures. Using a variable tempo, the single wind slides through the initial solo section which evolves into an intimate conversation between the soloist and the symphonic voices. Accelerating through an appealing minor keyed interlude into a 2nd solo, the bright rondo melody re-emerges as the finale hurtles to the rousing finish.

Titled Sinfonia Concertante No.2 in B Flat of 1791, Ben 112, the original scoring was for a violin and viola, and the solo parts reflect a dominance accorded the lead voice. The 2nd clarinet is often relegated to playing a third below, sometimes following in tandem, sometimes in a call and answer format, but always as a subordinate to the principal. A joyous orchestral intro starts the bouncy ‘Allegro’ with important contributions from the symphonic winds, horns shining in the opening and paired oboes in the section following the initial solos. Pleyel’s playful writing tends toward the clarinets’ lower register, and features a particular engaging final cadenza with the solo winds swirling around each other.

Nominally listed as a single movement, the finale is really in two sections, a ‘Rondo moderato’ with a charming and somewhat rustic theme and a triple metered ‘Allegro assai’. With the lead clarinet even more prominent and the 2nd voice acting as a foil, the writing lacks the interest of the initial ‘Allegro’. At the 5:30 mark, the paired clarinets slide smoothly into the rollicking conclusion, picking up speed and appeal as the music careens toward the closing notes.

Did Dieter Klocker ever make a bad recording? His warm inviting tone and his spectacular technique saturate this fine disc. Under the sensitive direction of Sebastian Tewinkel, the Southwest German Chamber Orchestra of Pforzheim supplies admirable support without overshadowing Klocker, while the 2007 recording by CPO is first rate. If Dieter Klocker ever did record a dull note, it’s not on this excellent CD.


title: Flute Concertos from a Violin Master

text:
Bohemian born Franz Benda (1709-1789) came from a musically talented family that is still prominent today. Trained as a violinist in the linage of Giuseppe Tartini, he entered the service of Frederick the Great in 1732 where he remained until his death, playing some 50,000 concerts. Besides 17 symphonies, the vast majority of his compositions place his favored instrument in the spotlight. All written before 1762, these 3 flute concertos are exceptions.

One of his best known works, the concerto in E Minor is a delight. While Benda was noted for the depth of feeling and intense lyricism of his adagios, the faster outer movements here are the standouts. Over shimmering lower strings, the bold ‘Allegro’ immediately grabs the listener with widely leaping intervals and a jagged theme that is immensely appealing. Skillfully interspersed between with the breath pattern of the soloist, the orchestral strings often supply harmonic support to the single wind instrument while at others offering a direct challenge to the lively melodic lines. Featuring a bright tone and assured technique, Andras Adorjan is fine in the dazzling solo cadenza.

Showing vestiges of the Baroque, a harpsichord continuo discreetly underpins the following ‘Adagio un poco andante’, which shifts to a slightly brighter G Major. With a gentle vibrato, the solo flute weaves delicate and airy phrases above the symphonic strings. Delivered with sharp precision, the closing ‘Presto’ returns to E Minor and features a memorable melody in a rollicking 3/8 time signature. Long spiraling flurries of notes contrast with the arpeggio driven theme, employing a rhythmic playfulness on the way to the rousing unison conclusion. It’s a splendid finale.

A marching ‘Allegretto’ opens the A Major Concerto which finds the harpsicord more prominent than in the outer sections of the previous concerto, especially during the series of extended finger runs. Fluid work from the soloist characterizes the flute passages while insistent lower strings drive this resolute 1st movement. Using a lovely glittering tone that is especially attractive on the longer sustained notes, the single flute sparkles in the fragile ‘Adagio’ which is composed in E Major. A restless theme in 12/8 powers the finaIe, a lively ‘Vivace that employs the agile flute darting in and out of the energetic strings.

Written in dark A Minor, the third concerto starts with a dramatic ‘Allegretto ma non troppo’. The gloomy mood lifts as the key changes to major and the broadly jumping notes keep marching onward, punctuated by sharp dynamic shifts. Delicately filigreed, the following ‘Affetuoso’ is a triple metered charmer in C Major, full of grace notes and shy hesitations with a solo cello supplying a subdued counter melody. Clipped and detailed, the ‘Vivace Scherzando’ features brisk interplay between a perky flute and the vigorous orchestral support. While the energy never flags amid the syncopated exchanges, the single wind loses some of its crispness amid the faster solo sections before the finale comes to a rather abrupt end.

Recorded in 1986, the DDD release by ORFEO lacks the crystal clarity that we’ve come to expect from more recent digital engineering. But under the spirited direction of the late Milan Munclinger, the Ars Rediviva Ensemble of Prague offers a vivid reading and Andras Adorjan rises to the occasion, presenting these flute concertos by Benda in an excellent spotlight.