Georges ONSLOW (1784-1853)
String Quintet Op.78 (1848) [25:00]
String Quartet Op.8 No.1 (c.1812) [20:58]
Gérard Jarry and Yvon Caracilly (violins); Serge Collot and Bruno Pasquier
(violas): Michel Tournus (cello)
rec. 1972
EDITIONS ANDRÉ CHARLIN CCV1002 [46:00]
There are a number of recordings now of Onslow’s extensive chamber music
- quartets and the various quintets prominent amongst them - but things were
rather different in 1972 when these recordings were made of the music of the
‘French Beethoven’. This transfer faithfully replicates the original
source material, with the collateral result that it only lasts 46 minutes,
should that be a concern.
The two works here come from either end of Onslow’s compositional life.
The Quintet is a late work, written in the Revolutionary year of 1848, five
years before the Anglo-Frenchman’s death at the age of sixty-nine. Onslow
varied the forces for which he wrote when composing for quintets, sometimes
including a bass, but here he writes for a standard string quartet plus second
viola. It’s played in this recording by the illustrious Bruno Pasquier
who joins colleagues led by that splendid fiddler Gérard Jarry. Some
may remember him for his many collaborations with Rampal, Paillard, Pludermacher
and other illustrious names from French music. As well as leading these two
Onslow performances he also recorded the same composer’s Trio in F,
Op.83 with Beläk-Zbar and Tournus.
The Quintet opens with pious warmth and considerable lyricism which, despite
Onslow’s reputation for occasional polyphonic density, emerges as a
primary feature of the composition. The ‘patetico’ elements in
the first movement are richly conveyed by the ensemble, a richly voiced group
it’s a pleasure to encounter again, and they dig into the Scherzo
with vitality and élan. The Romanza is actually, as these things
go, quite sinewy. It’s tautly argued too, especially when the voices
double, and the bass line is pointed with such muscular strength. The finale
unleashes some dynamism as well as little fugitively humorous moments as well.
This is a work that rewards close listening and study. It’s played,
as suggested, quite marvellously.
The String Quartet dates from around 1812. Don’t be alarmed by the supposedly
Beethovenian length of the first movement, as listed on the jewel case. Shave
ten minutes off its alleged 16 minute length and you’ll have it right.
This is another expert and persuasive work, though it rather lacks those points
of timbral colour that give the Quintet such a personalised feel. Still, Onslow
shows in the Adagio that he had always been expert at that sense of
warm piety which is here a servant of tautly compressed and rich polyphony.
There’s also plenty of bite and brio in the finale, though I won’t
be arguing that the quartet is the superior work.
Once more the performance is ideal in its stylistic acumen. This is a splendid
restoration and well worth your time.
Jonathan Woolf
A splendid restoration and well worth your time.