Carl Heinrich GRAUN (1703/4-1759)
Trios for 2 Violins & Basso
Trio in A (GraunWV A:XV,13) [11:42]
Trio in D (GraunWV Cv:XV,100) [16:38]
Trio in c minor (GraunWV Av:XV,19) [16:15]
Trio in D (GraunWV Av:XV,23) [14:54]
Trio in E (GraunWV Av,XV,27) [15:46]
Les Amis de Philippe (Anne Schumann, Dorothea Vogel (violin), Monika Schwamberger (cello), Ludger Rémy (fortepiano))
rec. 6 - 9 November 2006, studio, Radio Bremen, Germany. DDD
CPO 777 423-2 [75:40]
Trios for Violin or Viola & Clavier
Trio for violin and keyboard in A (GraunWV C:XV,90) [23:50]
Trio for viola and keyboard in B flat (GraunWV A:XV,16) [16:13]
Trio for violin and keyboard in A (GraunWV A:XV,13) [12:58]
Trio for violin and keyboard in b minor (GraunWV C:XV,92) [14:58]
Les Amis de Philippe (Anne Schumann (violin), Eva Salonen (viola), Ludger Rémy (fortepiano))
rec. 16 - 19 October 2008, studio, Radio Bremen, Germany. DDD
CPO 777 633-2 [68:24]
These two discs shed light on an interesting and important aspect
of music history: the development of the baroque trio sonata to the
sonata with obbligato keyboard. It is demonstrated here with trios
from the pen of the Graun brothers. They played a leading role in
German music life in the mid-18th century.
The names of the two brothers appear on the title pages of both discs.
The reason is that by and large we do not which of them wrote which
work. Apparently their handwriting is not known: their music has only
been preserved in copies. Most pieces are signed with di Graun
or del Sig.re Graun. Johann Gottlieb was a celebrated violinist
and composed mostly instrumental music, whereas Carl Heinrich was
successful as a tenor and wrote a large number of operas, cantatas
and sacred music. Even so, it would be wrong to suggest that all the
instrumental works were written by Johann Gottlieb. The numbers (GraunWV)
refer to a catalogue of the oeuvre of the Grauns, put together by
Christoph Henzel. He made a clear distinction between pieces which
can be attributed to Johann Gottlieb (A), Carl Heinrich (B) or one
of them (C). The small letter "v" indicates that the attribution is
not 100 percent sure.
The fact that many of their trios are available in a pretty large
number of sources bears witness to their popularity. Almost none of
them were ever printed in their lifetime. It was mostly music for
the growing amateur market which was published, and the trios by the
Graun brothers were technically too demanding to be suitable for non-professional
players. The first disc includes five trios for two violins and bc.
As the original manuscripts have not been preserved it is impossible
to say when they were written. However, the copies can sometimes be
dated and that gives at least some indication as to date of composition.
The disc opens with the Trio in A which is available in a copy
from around 1730. Even if that was not known its texture is traditional
baroque: it has three movements in the order: fast - slow - fast.
This was quite common at that time, reflecting the form of the Italian
solo concerto. The ensuing Trio in D must have been written
not later than 1750. It is also traditional in that it follows the
structure of the Corellian sonata da chiesa. The three other
trios are more modern and have the order of movements which was to
become the standard in the mid-18th century: slow - fast - fast. The
slow movements in these trios are particularly expressive. A good
example is the affettuoso from the Trio in D (GraunWV
Cv:XV,100). It is in the fast movements that these trios show their
adherence to the German counterpoint tradition. The mixture of traditional
and modern elements is one of the features of the instrumental music
of the Graun brothers. Some of these fast movements are highly virtuosic.
The second disc includes four trios for a melody instrument and obbligato
keyboard. This was to become the standard in the last quarter of the
18th century, when many sonatas for keyboard and a melody instrument
were written. However, these trios by the Grauns are different from,
for instance, the sonatas for keyboard and violin by Mozart or even
the piano trios by Haydn. Most of these are adaptations of sonatas
which were originally written for two instruments and basso continuo.
That has left its mark in the fact that the keyboard is not as dominant
here as in the sonatas or trios from the late 18th century. In that
repertoire by and large the melody instruments don't have a very virtuosic
part to play. That is not the case here: the violin parts are no less
demanding than in the trios of the first disc. Some trios were conceived
as sonatas for a melody instrument - mostly a violin - and keyboard,
but even those exist in alternative versions for two instruments and
basso continuo. Especially interesting in this regard is the Trio
in B flat which is scored for viola and obbligato keyboard. However,
the right hand of the keyboard part has the addition "violin", which
indicates that this trio can be played as a 'traditional' trio sonata
as well. The fact that this trio is scored for viola is another notable
aspect as this was an instrument which was to become more important
during the mid-18th century.
The Grauns don't appear very often on concert programmes. It is to
be hoped that this will change, because these two discs include some
of the best chamber music written in the mid-18th century. For players
these pieces are highly rewarding. They are technically challenging,
but also musically very satisfying, and full of expression. This very
fine repertoire receives outstanding performances. The playing of
the violinists and violist is brilliant, and the pathos of the slow
movements is fully explored. The choice of keyboard is questionable
in some cases. Ludger Rémy argues that the fortepiano was quite
common at a relatively early time in Berlin where the Grauns worked.
It would be different if this music had been written for amateurs.
Among those the fortepiano was probably very rare until the last quarter
of the century. Even so, the trios which very likely date from the
1730s would probably have been better served by a harpsichord.
However, this is a small detail which doesn't reduce the value of
these two recordings. These two discs are highly important and make
one understand why the Graun brothers were such celebrities in their
time.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
These two discs include some of the best chamber music written in
the mid-18th century.
See also review of 777423-2 by Glyn Pursglove
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