Gaspard FRITZ (1716 - 1783)
Sinfonia in G, op. 6,3 [12:52]
Sinfonia in A, op. 1,6 [11:28]
Sinfonia in g minor, op. 6,6 [14:11]
Sinfonia in F, op. 1,5 [11:35]
Sinfonia in F, op. 6,5 [15:53]
La Stagione Frankfurt/Michael Schneider
rec. 17-19 March 2011, Alte Kirche, Boswil, Switzerland. DDD
CPO 777 696-2 [66:22]
One may sometimes wonder why the appreciation of music or performances is
so different from one reviewer to the other. There can be various reasons
for that, one of them being a difference in taste. It wasn't very different
in the past, when there was no such thing as a recording. Take Gaspard Fritz,
for instance. The English journalist Charles Burney visited him in Geneva
in 1770. At his request Fritz played "one of his solos, which, though extremely
difficult, was pleasing; and not withstanding his time of life, he still performs
with as much spirit as a young man of twenty-five". He adds that "his bowing
and expression are admirable". Fritz's playing didn't meet with universal
approval, though. When he performed at the Concert Spirituel in Paris in 1756
the reception wasn't overly enthusiastic. This is mostly attributed to his
Italian style of playing, but that seems questionable. After all, Italian
music was well appreciated by Paris audiences at the time, and the Italian-influenced
sonatas by Leclair went down very well with them. Another contemporary stated
that his ornamentation was excessive and that he sometimes lost his rhythm.
That said, he certainly was appreciated, both as a composer and as a teacher.
Handel assessed his sonatas op. 1 - two of which are played here - positively,
and he was a much sought-after teacher of the English community in Geneva.
He received his first lessons from his father Philipp, who was from the German
town of Celle and had settled in Geneva as a music teacher. He continued his
education with the then famous violinist Giovanni Battista Somis in Turin,
and returned to Geneva in 1736-37. He had close connections to the Common
Room of Geneva, a group of English residents who organized musical and theatrical
performances. The dedications of Fritz's printed works indicate that he moved
among the upper echelon of society in Geneva.
This disc includes five compositions from different stages in Fritz's career.
They are all called 'sinfonia', but that is not correct as far as the op.
1 is concerned. It is a set of six works which were printed in 1742 in London
under the title of Sonate a quattro stromenti, scored for two violins,
viola and basso continuo. The use of the word 'sonata' could indicate that
they were in the first instance intended as chamber music. However, a performance
with more than one instrument per part is certainly legitimate. They are in
three movements. The opening movement of the Sinfonia in A includes
some short solo passages for the violin. The slow movements of these two sinfonias
for strings are quite expressive, reflecting the Empfindsamkeit which
was in vogue in the mid-18th century. The opening movement of the Sinfonia
in F has a rather nervous character, another feature of many orchestral
works of that time.
The three symphonies from op. 6 are from a much later date. They are likely
the set of six symphonies whose publication Fritz announced, when Burney met
him. That suggests they were written not before the late 1760s. They are scored
for two flutes, two horns, strings and bc. In the symphonies in G major and
G minor the opening movements are dramatic, due to the treatment of dynamics
and an effective use of the horns. The latter's role is different in the opening
allegro from the Symphony in F in which they, together with the flutes,
introduce a lyrical element which is full of contrasts. The slow movement
of the Symphony in G contains much expression thanks to frequent suspensions
and sighing figures. The slow movement from the Symphony in g minor
suggests a scene in the countryside, which is depicted by the flutes and the
strings playing pizzicato. The Symphony in F is in four movements and
includes a menuet and trio. This was not common at the time, but would become
standard in the classical era.
There are clear similarities between these symphonies and orchestral works
by composers from the Mannheim school. Interestingly, the first symphony from
the op. 6 set was published in modern times by Hermann Scherchen, who thought
Fritz's symphonies were in some respects more original than those by the Mannheim
school. That was based on his assumption that they were written before 1760,
but it is now generally assumed that they are of a much later date. At the
time of their printing, after 1770, they were less remarkable. Even so, there
is every reason to appreciate this recording because these are very fine works
which don't deserve to be ignored. La Stagione Frankfurt delivers in a fine
and pleasing way. Now and then I felt that more could have been made of the
score, especially in the string sinfonias. On balance this is a most enjoyable
disc, though, and I definitely hope that the remaining pieces from these two
sets will appear on disc.
For those who would like to hear more from Fritz, I would mention a recording
of the Sonatas op. 2 which was reviewed here
and here.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
A recording of fine works by a little-known composer.
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