Ignaz PLEYEL (1757-1831)
Prussian Quartets 10-12
String Quartet Ben. 340 in G major [17.57]
String Quartet Ben. 341 in C minor [18.00]
String Quartet Ben. 342 in D major [18.10]
Pleyel Quartett Köln
rec. 27-29 August 2019, Deutschlandfunk Köln Kammermusiksaal, Germany
CPO 777 779-2 [54.20]
Pleyel as composer is perhaps a rather neglected figure today, though his life would make an interesting historical novel, and his music is anything but negligible. He studied with Haydn from 1772, and there are touches in these quartets reminiscent of, rather than derived from, the master. Perhaps it is no surprise that Brahms’ Variations on a Theme of Haydn probably misattributes a piece by Pleyel. Pleyel’s life began in Ruppersthal in Lower Austria, the 24th of 38 children of a schoolmaster (I am still trying to work out the arithmetic…). From 1783 to 1795 he was based in Strasbourg and his business skills were quickly apparent. His own tour to London, at the same time as one by Haydn, made his fortune. Buying a chateau on his return was probably not the wisest move as France went into the Terror, deeply suspicious of wealth, and he was seven times brought before the Committee of Public Safety. Not being daft, he riposted by composing super-patriotic pieces, including a hymn sung in the Temple of Reason, a hymn to the Supreme Being, and a piece on the capture of Toulon. Thereafter, he succeeded as a businessman, with highly successful music publishing and piano making businesses. Composition tapered off in later years.
His style is marked by an elegant simplicity and an ear for a catchy turn of musical phrase. Absence of too much technical difficulty ensured continuing popularity, not least among amateur musicians. In the Prussian Quartets, written by 1786, his personal style is apparent, with a clear melodic line developed by one of the four instruments, and decorated by the others. Slow movements illustrate the technique splendidly: the ear and brain do not struggle to follow musical argument, and Pleyel’s melodic gifts provide variety through subtle variation in themes. His confident handling of the dynamics of a string quartet are the result of sensitivity to the distinctive character of each instrument. Unusually, he does not find it necessary to follow the usual four movements: the G major and D major quartets are in three movements (Allegro-Adagio-Rondo), while the lovely C minor is in only two – a Moderato, followed by Tempo di Minuetto: Moderato.
Performances by the Pleyel Quartett Köln, playing period instruments (not copies) bring out many treasures, allowing the music to breathe naturally and effectively. This issue completes their survey of the 12 (see review of one of the other volumes). Perhaps these might be reissued with the current album as a box set.
Production standards are characteristically very high, with fine recorded quality and admirably clear and detailed notes by Allan Badley.
It must be said that these quartets do not plumb the depths of a Beethoven or Shostakovitch – they aim to please - and provide nothing but delight.
Michael Wilkinson
