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Johann Gottfried MÜTHEL (1728-1788)
Concertos and Chamber Music CD 1
Polonaise in G major for Flute, 2 Violins, Violoncello and Harpsichord [3:24]
Duet in C major for 2 Harpsichords [19:11]
Sonata in D major for Flute and Harpsichord [16:01]
Polonaise in F major and B flat major for 2 Violins and Violoncello [3:08]
Sonata in F major for Harpsichord (pub.1756) [15:26] CD 2
Concerto in B flat major for Harpsichord and Strings [25:15]
Concerto in E flat major for 2 Bassoons, Strings and basso continuo [25:00]
Concerto D minor for 2 Bassoons, Strings and basso continuo [24:15]
Gregor Hollmann (harpsichord) Bernward Lohr (harpsichord II)
Rhoda Patrick; Frances Eustace (bassoons) Musica Alta Ripa
rec. 25 May 1988 and 5-9 December 1992, Dabringhaus und Grimm Audiovision,
Bachstrasse 35, Detmold. MUSIKPRODUKTION
DABRINGHAUS UND GRIMM MDG3090452-2 [60:34
+ 74:53]
Johann Gottfried Müthel was born into a
period in which the younger generation of composers was seeking
ways to grow beyond the perceived conservatism of J.S.
Bach’s baroque “scholarly” style. Lothar Hoffmann-Erbrecht
succinctly describes the most significant musical trends
in his booklet notes for this release, those in which
for instance C.P.E. Bach sought to bring a greater
emphasis in emotional sensitivity; “Empfindsamkeit”.
The attempt was made to create a more expressive art
with wider flexibility and a general expansion of forms
and the direct communication of mood through compositional
and performance techniques. Composers were restricted
to a certain extent by the desires of their employers,
but as part of the creative engines in high society
they could become leaders in the in-and-out tides of
ever-changing fashion.
Müthel straddled the world of the old and the new
like few others, having been one of the blind old polyphonic
master J.S. Bach’s last pupils. He subsequently became
acquainted with wider styles on travels through cultural
centres such as Dresden, Hamburg and Potsdam, by the
end of which he would have encountered musical worlds
which included the expressive keyboard writing of C.P.E.
Bach. Müthel soon broke free of court exclusivity,
and made a career in Riga as, among other things, organist
of St. Peter’s church. Isolating himself from offers
of work in Germany, he eventually projected a somewhat
eccentric image to the outside world. For instance,
he apparently refused to give piano recitals other
than in winter, when the snow muffled the clattering
of passing coaches in the streets outside. This seems
quite a sensible idea to me, like not trying to do
recording sessions when building works are in progress.
A rare surviving letter shows Müthel to have a sharp
clarity of vision when it came to his own work ethic,
criticising composers who are too prolific, and pointing
out that one who works “more sparingly and only when
the mind is rested... will think and write in a new
and vigorous manner.” In this way, Müthel shows the
way for the ideals in originality of much later composers
and artists, something like that ‘emotion recollected
in tranquillity’ idea. This is also an explanation
for the relative rarity of his works when compared
with J.S. Bach or Telemann.
Müthel’s composition is largely instrumental, and
the collection on this 2CD set covers a substantial
amount of solo and chamber music, with the second disc
concentrating on concertos. Müthel’s important contribution
to piano music is represented by the Piano Sonata
in F which shows an awareness of C.P.E. Bach in
the principal theme of the first movement, but nonetheless
shows a strong sense of individual character. The composer’s
own virtuosity at the instrument must have been prodigious,
and the central Largo e staccato is filled with
highly eloquent, almost operatic rhetoric and drama.
The harpsichord sound is full and dynamic, with plenty
of shifts in register – more than adequate for expressing
music which embodies the “Sturm und Drang” to which
it belongs. Lighter sounds emanate from the three popular Polonaise dances
in the programme, and Musica Alta Ripa’s compulsive
spirit with those energetic rhythms give one some idea
as to why this genre of music caught on in such a big
way in this period.
The Duett for two harpsichords has its precedents
in works by J.S. Bach and others, but sees Müthel transporting
the older concerto forms for this kind of work into
the newer sonata form. Entrancing dialogue, sweeping
bravura gestures and plenty of rhythmic and harmonic
subtlety make this a work which can grab the attention
on numerous repeated hearings, and the final Allegro movement
is particularly groovy. The Sonata for flute
and continuo is particularly demanding for the soloist,
but Karl Kaiser’s traverso sails untroubled through
reams of embellishments and trills. The structure of
this sonata is unusual, ignoring the conventional fast-slow-fast
pattern of movements, adopting instead an Adagio-Allegro
ma no troppo-Cantabile structure. Again, the work holds
ones attention via a seemingly endless resource of
surprises and unpredictable twists and turns.
The influences of J.S. and C.P.E. Bach on Müthel’s
concertos provides a basis for their broad structure,
but sees the composer freeing and extending the relationship
between soloist and orchestra. The B flat major Concerto
for harpsichord and strings is full of complexities,
which introduce some of the stormier writing of Vivaldi
to some extended ‘recitative’ style and more lyrical
passages for the soloist.
The earthy sound of the two soloists in the Concerto
for two bassoons, strings and basso continuo provide
a healthy contrast to what might otherwise have become
a harpsichord-heavy programme. The interplay between
the two instruments can become an almost comic battle
of virtuosity in the opening Allegro, or an
animated conversation between two old men in the recitativo sections.
The slow movement is unexpectedly expressive, full
of suspensions and chromatic shifts. The 3/8 finale
is a joyous romp, with the soloists finally unifying
in a satisfying musical friendship.
The key of D minor frequently had connotations of
dark passions in the 18th century tradition,
and the Concerto for harpsichord, 2 bassoons, strings
and basso continuo has a seriousness of aspect
which supports this. Moody drama seems to evoke sweeping
cloaks and masked villains in this music, and while
the thematic material is often lead by the first violin
there is often much busy passage work for the lower
instruments, providing darker colours than with the
other concertos.
There are a few alternative recordings of Müthel’s
work around, but none of which gather so much of it
into one place as this set. Listed as a new release
but with a 1994 copyright date on the packaging I’m
not sure quite how this adds up, but in any case this
is a lively programme of some of the juiciest pre-classical
post-baroque music you will find anywhere. This musical
period was the one I attempted to study as a rather
badly prepared 1st year B-Mus student at
the R.A.M., and I might have fared better had I been
more aware of the kind of music Johann Gottfried Müthel
has to offer. With more easily categorised composers
infesting the catalogue with increasing multiples of
over-familiar works, this is one release which may
go some way towards redressing the balance in favour
of those who occupy the under-researched period between
the baroque and the classical. The performances are
all excellent, and the recordings first class.
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