Józef ELSNER (1769–1854)
Trois quatuors du meilleur goűt polonois op. 1 (publ. 1798)
String Quartet in F-dur, Op. 1 No. 1 [21:40]
String Quartet in A minor Op. 1 No. 2 [22:08]
String quartet in D-dur, Op. 1 No. 3 [19:34]
Mikołaj Zgółka (1st violin)
Zbigniew Pilch (2nd violin)
Dominik Dębski (viola)
Jarosław Thiel (cello)
rec. 25-27 August 2020, Main Hall of the National Music Forum, Witold Lutosławski, Wrocław
CD ACCORD ACD279 [63:39]
Józef Elsner doesn’t have the highest profile amongst Polish/Silesian composers beyond or even within their homeland, but he was among many other things a teacher to Chopin, who dedicated his First Piano Sonata to him. Elsner travelled throughout Europe and worked in Bohemia and Germany before settling in Warsaw, where he became a central part of that city’s musical life. His work was much involved in efforts to develop Polish music, including the establishment of the first music conservatory in Warsaw, the organising of countless concerts as well as a considerable amount of journalistic activity.
These quartets have only come to light very recently. It was not until 2012 and 2013 that a new catalogue of Elsner’s instrumental works was created, and research done by Dr. Julia Gołębiowska saw the completion of the Viennese musical source used in this recording for the String Quartets Op. 1 less than a decade ago.
This world premiere recording of Elsner’s Op. 1 string quartets, subtitled “in the best Polish taste”, demonstrates Elsner’s knowledge of the French genre of quatours concertant aimed at salon entertainment. Mixed with classical string quartet forms, this style had already become well established in Vienna by the time Elsner composed his Op. 1, and it is likely that he picked up this influence during his stay there in 1789-91.
The impression these works give is therefore not very distant from the divertimentos of Haydn and Mozart, being generally light in mood and avoiding complex polyphony and lengthy sets of variations. What makes these works significant are the references to Polish dances that Elsner weaves into their movements, which has to be counted as “a phenomenon of exceptional value on the map of Polish music.” These ‘polonaise’ elements can be stylised and refined, as well as using more direct references which his countryfolk would surely have recognised, such as the quotation of a popular song Pije Kuba do Jakuba in Op. 1 No. 2. Period conventions are observed for the most part, but there are some fascinating harmonic touches, unexpected melodic inflections and moments of genuine wit that keep us alert and guessing as to what might come next. If sampling this recording I would guide you towards the quite remarkable first movement of the quartet Op. No. 3, which has some gorgeously outspoken folk-music moments and plenty of delicious surprises.
This is a very fine recording set in a nicely resonant acoustic. I would have to say that the performances themselves are serviceable, indeed ‘rustic’ rather than inspired. These are all expert performers in the early music field, and the playing is in period style on what sounds like gut strings. There are however some moments of dubious intonation, and the feel of a virtuoso ensemble at the top of their game is reduced by some scrappy passages and some odd inflections in the upper registers. The booklet notes are in Polish, German, and idiosyncratically translated English. Never mind, a world premiere of some genuinely lost 18th century repertoire is always of some value. These quartets are a delight from beginning to end, and they deserve any and all of the attention they can get.
Dominy Clements
