Paul Wranitzky (1756-1808)
Orchestral Works Volume 4
Das Waldmädchen (Ballet-Pantomime)
Pastorale and Allemande
Czech Chamber Philharmonic Orchestra Pardubice/Marek Štilec
First recordings
rec. 2020, House of Music, Pardubice, Czechia
NAXOS 8.574290 [73]
Paul Wranitzky was born in southern Moravia and was educated at a monastery, after which he studied theology at Vienna University, becoming director of music at the theological seminary there. Importantly, he was appointed music director to Count Johann Baptist Esterhazy of Galantha (a distant relation to Count Esterhazy, and an amateur oboe player) and of great significance in advancing his career was his enlisting with the Masonic lodge Zur gekronten Hoffnung which commissioned him to write symphonies and songs. At this time, that he studied with Kranz and Haydn. With the merging of Viennese lodges, he and Mozart became friends and he wrote improvisations of pieces by Mozart. In 1785, he became director of the orchestra at the Kärntnertheater and two years later at the Burgtheater; he held these positions until his early death aged only fifty.
As theatre director, he wrote fifteen operas and Singspiels and eleven ballets; his first stage work, Oberon, König der Elfen was premiered at Schikaneder’s company in 1789 which led to Schikaneder embarking on a series of fairy tale operas, including Mozart’s The Magic Flute in 1791. Wranitzky’s position in Viennese music became increasingly important, as he revitalised the Tonkünstler Society into which he welcomed Haydn. The great master reciprocated by allowing him to conduct performances of The Creation and Beethoven gave him the premiere of his First Symphony in 1800. He wrote a huge number of works in diverse genres, including as many as 56 symphonies and, it is said, some 73 string quartets.
It is often claimed that quantity does not always equal quality, yet he was very highly regarded. The French musicologist Francois-Joseph Fétis said of him that his creativity was of ‘natural melodies and written in a brilliant style… his works held up very well in comparison with those by Haydn. Their premature abandonment of today is for me a source of astonishment.’ During his career, his music was frequently performed and well received, yet his death in 1808 led to his legacy being overshadowed by Mozart, Haydn and Beethoven. However, his chamber music was of a very high level; music historian Ron Drummond writes, ‘I can safely say that Wranitzky’s achievement of string quartets is a greater achievement, overall, than Mozart’s.’
The ballet-pantomime Das Waldmädchen was given its premiere in 1796 at the Kärtnertortheater in a double-bill with choreography by Giuseppe Traffieri and rapidly became a remarkable box office success, getting over 130 performances. A novel was inspired by the fairy tale and was it also adapted for chamber ensembles. Several of the dances were used by composers of the day, including Beethoven, who incorporated the Russian dance in his set of 12 Variations WoO 71. Notably, inspired by Wranitzky’s stage work, Carl Maria von Weber composed his opera Das Waldmädchen in 1800. There were many productions of the ballet, some with different musical content throughout Germany, Prague and in Sweden. The most extravagant was in Munich in 1870, using acrobats and as many as forty horses.
However, when Wranitzky’s music was revived in 1816, it did not regain its former success with the public. It was cut and Joseph Kinsky wrote a new overture, finale and several dances to be added to the score. The plot is long lost but we know that among the cast of characters were a Polish prince, his Consort, Azemia, a young maiden, Petrushka, a Cossack hunter, and Monsieur Cisonne, a dancing master. The three acts take place in Prince Floresky’s dressing room in his castle, the Princess’s chamber and lastly in a great ballroom. The opening overture has a colourful, lyrical polonaise at its core, while other numbers vary between allegrettos, and andantinos, with a Cossack dance in the third act, and another Russian dance followed by a polonaise, a mazurka, and finally an allegro vivace. The writing is brilliantly inventive and colourful, and rich in harmonies - a ballet that Mozart or Haydn would have been proud of. The playing by the Czech musicians is outstanding, and it is clear that the musicians are well suited to this score and anxious to bring this music to a wider audience.
The Pastorale and Allemande was commissioned by the Empress Marie Therese; Wranitzky was one of her favoured composers. He wrote many pieces for the Court and for her more intimate musical soirées, and this piece was among the many works in her private collection. The opening Pastorale is attractive in its earthy idiom, reprising the sound of a hurdy gurdy, while the Allemande is delightfully scored for one of the Empress’s court dances.
This CD of a neglected composer is recommended for all those who love Mozart and Haydn. Listening to this music leads one to hear some of the other recordings already released by Naxos; I look forward to future releases of this important composer’s music in coming years.
Gregor Tassie
