Paul WRANITZKY (1756 - 1808)
String Trios
Trio in E flat, op. 17,2 [19:48]
Trio in F, op. 3,1 [17:15]
Trio in G, op. 3,3 [18:58]
Ensemble Cordia (Stanley Ritchie (violin), Stefano Marcocchi (viola), Stefano
Veggetti (cello))
rec. 2 - 4 September 2010, Eroica-Saal, Palais Lobkowitz, Vienna, Austria.
DDD
BRILLIANT CLASSICS 94339 [56:02]
The string trio is derived from the baroque trio sonata for two treble instruments
and basso continuo. When in the course of the 18th century the basso continuo
became obsolete, the third part was usually played by the cello or - especially
in southern Germany and Austria - the violone. At the end of the century the
second violin was gradually replaced by a viola. The great classical composers
didn't contribute that much to a genre which was especially popular among
amateurs. Haydn composed no string trios and Mozart wrote just one. However,
Beethoven composed no fewer than five.
This disc includes three such trios from the pen of Paul Wranitzky who composed
more than thirty in total. He was of Moravian birth and was educated as a
violinist. At the age of twenty he settled in Vienna where he was active until
his death. In 1785 he became music director at the court of Count Johann Baptist
Esterházy, a distant cousin of Haydn's patron. Through his employer
he became a member of the Freemason lodge which also numbered Mozart among
its members.
Wranitzky soon became the proverbial spider in the web in the Viennese music
scene. He was a member of the orchestra which played in two court theatres,
and later became its director. In this capacity he conducted the first public
performance of Haydn's oratorio Die Schöpfung and the première
of Beethoven's first symphony. He also became secretary of the Tonkünstler-Societät,
a charitable organisation of professional musicians. Moreover, he was heavily
involved in the music-publishing business. He had close ties to the printer
Johann André in Offenbach and acted as his unofficial agent in Vienna.
Wranitzky was also active as a composer. From 1789 he wrote at least one work
for the stage every year. Moreover he composed 51 symphonies and a large amount
of chamber music, among them forty string quartets. His music found wide dissemination,
but was quickly forgotten after his death.
All the three trios on this disc are recorded here for the first time. The
trios in E flat and in G are in four movements, the Trio in F has three. The
role of the various instruments differs from one movement to the next. They
usually share thematic material, but sometimes one of the instruments plays
a notable role. The opening statement of the first movement from the Trio
in G is given to the viola, whereas the development section is opened
by the cello. The latter has a particularly dominant role in the adagio from
this trio.
The second movement from the Trio in E flat is marked as 'un poco adagio';
it has a couple of striking dramatic phrases. The trio ends with an energetic
allegretto. The Trio in F begins with an andantino with variations.
The closing allegro is notable for its strong contrasts. The Trio in G
also ends with an allegro, with a short slow section halfway. It is a brilliant
and sparkling Kehraus.
The Ensemble Cordia provides technically outstanding performances in compelling
interpretations. I have reviewed several previous recordings by this ensemble,
with chamber music by Platti and concertos by Telemann, which I rated highly.
This time they are joined by the American violinist Stanley Ritchie, a veteran
in historical performance practice, who is now in his late 70s. He is still
going strong as his playing on this disc shows.
The recording was made in the Eroica Saal of the Lobkowitz Palace in Vienna
where Beethoven's Eroica symphony was first performed. Obviously this
is considered one of the virtues of this recording as it is mentioned in the
frontispiece of the booklet. I can understand that it is exciting for musicians
to play and record in that venue. Acoustically however it is far less satisfying.
There is too much reverberation. I am not sure whether this kind of repertoire
was played in this sort of venue in Wranitzky's time, but then these would
have been attended by an audience and that has a strong influence on the acoustic.
I would have preferred more intimate surroundings.
It didn't spoil my enjoyment, though. These trios are substantial contributions
to the genre of the string trio and they are given compelling performances
by the Ensemble Cordia.
Johan van Veen
http://www.musica-dei-donum.org
https://twitter.com/johanvanveen
Substantial contributions to the genre of the string trio.
Comment received:
In his review of Wranitzky string trios posted today, Johan van Veen makes
the surprising claim that "Haydn composed no string trios". According
to the Haydn scholar H.C. Robbins Landon, he in fact wrote as many as 33 divertimentos
for string trio (Hob.V), most of which have been recorded by the Wiener Philarmonia
Trio on the Camerata label. Admittedly all but one of them are for two violins
and cello or bass, with only one (Hob.V:8) including a viola in the manner
of the modern string trio. Nevertheless string trios they certainly are -
there seems to be no suggestion that they should be 'completed' by the addition
of a keyboard continuo.
Mr van Veen also slightly understates Mozart's contribution to the genre.
In addition to the late string trio divertimento K563, he also wrote (but
did not complete) a sonata for two violins and cello, K266, and produced a
set of six preludes and fugues for the modern string trio line-up, K404a.
The latter are mostly arrangements of pieces by J.S and W.F Bach, though four
of the preludes are apparently original music. These pieces can, or could,
be obtained as part of a Philips double CD of Mozart's string trios and duos,
in recordings by the Grumiaux Trio and the ASMF Chamber Ensemble. I dare say
there are other recordings too.
Best regards
Rob Sykes
My remarks in regard to Mozart and Haydn were partly based on the liner-notes
of the booklet, written by Davis Wyn Jones. I quote: " Paul Wranitzky's
interest in the string trio is particularly striking. They are all scored
for violin, viola and cello, ot the more old-fashioned combination of two
violins and a cello. Haydn
was not interested in the new combination and Mozart wrote only one trio (...)."
It all depends on how one defines the string trio, both in scoring and in
form.
Johan van Veen
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