The particular charm of this music is that it is simultaneously
domestic and romantic. The guitar is at its heart rather than
the piano - all the pieces avoid the use of instruments such
as the piano or, for that matter, the cello, which are non-portable.
That two of the pieces carry the title notturno and one that
of serenade implies the possibility of outdoor performance; the
guitar’s intimacy here suggests a degree of privacy in
performance: the garden, as it were, rather than the concert
stage. The nocturnal moods correspond, of course, to romanticism’s
fascination with shadows and twilight, expressed here in music
of gentle meditations on transience and the sweetness of melancholy
rather than in music of grandeur, emotional extremes or large-scale
structures.
To describe this music as domestic involves the recognition that
the ‘house’ (the domus) might be a palace, since
one of the composers involved is no less than Archduke Rudolph
of Austria, youngest son of Emperor Leopold II and perhaps Beethoven’s
most significant patron (as well as Beethoven’s composition
student). Certainly Beethoven dedicated more works to him than
to anyone else. His Serenade is a thoroughly competent piece,
which makes attractive use of the colours available from the
largest ensemble heard here and has some decidedly pleasant themes.
It breathes a kind of generous humanity and dignity which is
very attractive. Hardly a ’lost masterpiece’ but
music which did a job in its own time and can still do one -
played on my iPod it soothed the nerves on a hectic train journey!
Wenzeslaus Matiegka belonged to what was a rather different social
world. Born in Bohemia studied law at the University of Prague
before taking a job with Count Kinsky on his estate at Clumetz,
a job found for him by his private music teacher, Abbé Joseph
Gelinek. The lure of music proved rather greater than that of
a career as a lawyer and in 1800 Matiegka moved to Vienna, initially
working as a teacher of guitar and piano before, in 1817, obtaining
the post of choral director at the parish church of St. Leopold
in the suburb of Leopoldstadt,. But the appointment seems to
have lasted only a few years and the last six or seven years
of his life appear to have been lived in considerable poverty,
with the composer struggling to support his family in the years
before his death. Though he found it difficult to make his way,
financially speaking, in a world which was changing rapidly,
both socially and musically, Matiegka’s talents were real
enough, as is well evidenced by the Notturno recorded here. The
work is made up of series of movements and the title is editorial
rather than original (but largely apt). The piece begins with
a theme and four variations and these are succeeded by a minuet,
a dance alla zingarese and a march. The unusual combination of
instruments makes possible some intriguing effects and colours,
the contrast of guitar and horn often effective and the resulting
music thoroughly distinctive. The third movement (zingara) has
some lovely lyrical writing, especially for the horn and the
clarinet and the final march has wit and charm.
Relatively little seems to be known of Joseph Kreutzer: born
illegitimately, he became a violinist and spent some years as
concertmaster of the Dusseldorf orchestra - though being a difficult
and litigious man - and was an early teacher of Norbert Burgmüller.
His Trio for flute, clarinet and guitar is a well constructed
piece in three movements which, while it is unambitious, has
more than a few attractive passages and is eminently listenable
throughout. It is played here with attractive lightness of touch
and fluidity.
The fourth of the composers represented brings us back to Beethovenian
associations - Anton Diabelli. As a young man Diabelli established
himself in Vienna as a teacher of guitar and piano and as a proficient
arranger and composer. After working as a proof-reader for a
music publisher, he set up his own business and the publication
of substantial and serious works by important composers was cross-subsidised
by the publication of many popular pieces for home music-making.
It has been suggested that it was the popular presence of Mauro
Giuliani in Vienna from 1806 to 1819 which did much to make the
instrument popular and to make clear to Diabelli the commercial
advantages in writing - and publishing - works for it, something
which Diabelli did very extensively. A favourite combination
of instruments was that of flute and guitar as heard in the Notturno
recorded here. Mirjam Nastasi and Sonja Prunnbauer bring technical
assurance and apt sensibilities to the performance of this music,
responding to its intimacy and sense of scale but also acknowledging
its relative sophistication. They resist any temptation to over-inflate
the piece, while not treating it casually either - they seem
to have the balance just right, in more senses than one.
This is a CD of engaging music, music which has no great pretensions
and makes no excessive claims for itself, but constantly satisfied
ear and mind when played and recorded as well as this.
Glyn Pursglove