Early, Classical and Beyond

Forgotten chamber works with oboe from the Court of Prussia
Christopher Palameta; Notturna
Deutsche Harmonia Mundi 19075821552 (naxosdirect.com) 

The Montreal-born, Paris-based musician Christopher Palameta is widely fêted for oboe performances that are suffused with equal amounts of aesthetic beauty and historical rigour. Working since 2007 to broaden world understanding and appreciation for the music of German Baroque composer Johann Gottlieb Janitsch, Palameta has mined Janitsch’s repertoire, finding rarely heard chamber pieces that are now welcome additions to the canon of Baroque works. Collaborating on record here with the chamber music collective Notturna – which Palameta directs – Janitsch’s music, along with selections by Johann Gottlieb Graun and the little-known Christian Gottfried Krause, are captured beautifully on this 2018 release. The recording is certain to expand Palameta’s reputation as a singular musician dedicated to 18th- and 19th-century period piece work that showcases the oboe, and should be greeted enthusiastically by fans of early music.

Although music from this era could certainly be opulent and regal – the decorative ornamentations of the melodic line mirroring the exaggerated royal lifestyle, dress and mannerisms –Janitsch plumbs a galant style that fetishizes authenticity and aims for a return to more simple music-making practices. In fact, blurring the lines between the professional and amateur, Janitsch led community-wide sessions for musicians at a variety of levels to perform together called “Freitagsakademien” (Friday academies).

Like many composers of the Baroque era, Janitsch was indentured to royalty (in this case Frederick the Great, King of Prussia) and while his compositional style reflected the changing aesthetics of this time period, his considerable output was well supported by Frederick’s strong patronage of the arts and music. Thanks to Palameta, Jan Van den Borre, Catherine Martin, Emily Robinson and Brice Sailly, this important and underrepresented music lives on for future audiences.

Kreüsser – 6 Quintettos Opus 10
Infusion Baroque
Leaf Music LM223 (leaf-music.ca/product/lm223/))

Thanks to the Montreal-based ensemble Infusion Baroque, Georg Anton Kreüsser (1746-1810) joins the list of composers whose works were lost to us until diligent research brought them to light. Kreüsser himself did not deserve to be lost – his music flourished in Mainz while he was konzertmeister of its Kapelle. His musical education took in Bologna and Amsterdam and it was there that he met Wolfgang, Leopold and Marianne Mozart – and the admiration was mutual as Leopold noted, which makes Kreüsser’s disappearance even more surprising.

The Quintettos feature flute and the four instruments of a traditional string quartet, a rare combination as most similar works follow the flute, violin, viola, cello model of Mozart’s flute quartets. It is Alexa Raine-Wright’s flute-playing that dominates this CD: listen in particular to the Tempo di menuetto of the Quintetto in C Major and the lively Allegro moderato of the G Major. Strings do, for all that, enjoy considerable prominence. For example, the violin and viola playing of the Allegro moderato and Allegretto in D major are highly enjoyable.

Overall, the Quintetto in G Major is the most spirited of the six on the CD, whichever instrument is being played. For intensity and gravitas, however, the Adagietto of the E-flat Major is highly worthy of the music of this period. All in all, a spirited and successful attempt to restore Kreüsser to the ranks of 18th-century composers of note.

Péchés – Rossini Salons & Horn Virtuosi
Alessandro Denabian; Lucia Cirillo; Francesca Bacchetta
Passacaille 1039 (naxosdirect.com)

Luigi Legnani – Rossini Variations
Marcello Fantoni (guitar)
Naxos 8.573721 (naxos.com)

If you were an educated music-loving dilettante living in Italy during the early 19th century, musical evenings might well have been a primary source of entertainment. And if you happened to know a horn player, a soprano and someone adept at the keyboard, the pieces on the delightful new disc titled Péchés d’Opéra on the Passacaille label might well have been the type you would have chosen for an evening’s program. It features natural horn player Alessandro Denabian, pianist Francesca Bacchetta (performing on an 1823 fortepiano) and mezzo-soprano Lucia Cirillo in an engaging program of duets and trios. Sins of Old Age was the name Rossini gave to numerous compositions for small ensembles he created long after he ceased writing operas. The charming and lyrical Prelude, Theme and Variations for horn and piano is one of them, which not surprisingly, has a very vocal quality about it. Denabian handles the virtuosic melodies with apparent ease, no mean feat on a natural (i.e. valveless) instrument. Less well-known composers include Antoine Clapisson and Frederic Duvernoy whose duets are performed with a particular bravado with Bacchetta providing a stylish and solid accompaniment. The group expands to include a soprano soloist in pieces such as Fuis, laisse-moi by Donizetti and the most familiar piece on the disc, Una furtiva lagrima from his opera L’elisir d’amore. Cirillo delivers a solid performance with well-balanced phrasing, subtly nuanced. My only quibble is that at times her voice tends to overshadow the other musicians, but in no way does this mar an otherwise fine performance.

Remaining in the land of olive trees, a Naxos recording titled Rossini Variations presents music by Luigi Legnani, whose name is undoubtedly forgotten today. Nevertheless, during his lifetime, Legnani – an almost exact contemporary of Rossini – was famous as a virtuoso guitarist, composer and instrument maker. The disc features guitar transcriptions and variations on music from Rossini operas performed by guitarist Marcello Fantoni. To reduce full-scale orchestral works for a solo guitar would take considerable skill. Nevertheless, the enjoyment of this disc is twofold – not only are the compositions finely crafted, but they are also well performed. In Fantoni’s competent hands, the guitar becomes a complex and expressive instrument, whether in the familiar overture to William Tell or the more obscure Variations on O quanto lagrime from La Donna del lago. While he possesses a formidable technique, his performance is never mere virtuosity; rather, he lets the music speak for itself.

Two fine discs with music from sunny Italy to cast away the winter darkness – both recommended.

Dvořák – Piano Trios 3 & 4
Christian Tetzlaff; Tanja Tetzlaff; Lars Vogt
Ondine ODE 1316-2 (naxosdirect.com/items/dvorák-piano-trios-nos.-3-4-467122)

Violinist Christian Tetzlaff, cellist Tanja Tetzlaff (his sister) and pianist Lars Vogt are three of the most eminent and sought-after performers in classical music, gracing the world’s most prestigious stages, both as soloists and chamber musicians. They are the crème de la crème.

With their 2015 release of the Brahms piano trios having garnered a Grammy nomination, the Tetzlaff-Tetzlaff-Vogt (T-T-V) Trio once again dazzles in their new recording of two Dvořák piano trios: No. 3 in F Minor and No. 4 in E Minor. The latter, also known as the “Dumky Trio,” consists of six movements, each one a “dumka,” a musical term taken from the Slavic folk tradition. Under Dvořák’s treatment, each movement comprises alternating, strongly contrasting passages, from moody and melancholic to rhythmically exuberant.

These two Dvořák masterpieces are brought to extraordinary life by the consummate musicianship of Tetzlaff, Tetzlaff and Vogt. Their virtuosic playing is muscular, raw, dramatic, intensely expressive – ideal for the sweeping, rhapsodic and near-symphonic – Brahmsian – F Minor trio. Written a few months after the death of Dvořák’s mother, the heart-achingly beautiful third movement is exquisitely executed by the T-T-V Trio.

As for the “Dumky,” with so many recordings of this beloved trio available, one might think that nothing new could possibly be brought into the recording studio. But one would be seriously mistaken. In the impeccable hands of the T-T-V Trio the “Dumky” is revelatory: fresh and exhilarating, reflective, tender and radiant. This CD is a must!

Bruckner – Quintet in F Major; Ouverture in G Minor (Large Orchestra versions)
Prague RSO; Gerd Schaller
Profil Edition Hanssler PH16036 (haensslerprofil.de)

Featuring conductor Gerd Schaller’s new arrangement – the first for large orchestra – of Anton Bruckner’s String Quintet in F Major (1878), this disc counts as a major success. Already Schaller has recorded the Bruckner symphony cycle; here he adds the composer’s major chamber work, in orchestral garb. The Prague Radio Symphony Orchestra’s immaculate performance is well-paced, the musicians rising to the technical and interpretive challenges of this premiere; they produce excellent tone quality at all dynamic levels. The string quintet was composed following Bruckner’s Fourth Symphony revision. Schaller’s well-informed arrangement really sounds like a Bruckner orchestral work of that era.

The pastoral first movement sets out the orchestral palette, with comforting strings followed by more varied winds, leading to brass climaxes at pivotal points. Then the Scherzo-Trio adds witty contrasts – pauses and harmonic surprises. The acclaimed Adagio makes a profound centrepiece, the organ-like orchestration reminding me that Bruckner’s genius in improvisation was legendary. Next comes Schaller’s interpolation of a shortened version of the Intermezzo that Bruckner originally composed as a simple alternative to the Scherzo-Trio. Although I don’t see the interpolation as necessary, it does serve as a transition in emotional terms from the Adagio to the Finale, whose charming opening alternates with knotty wide-ranging passages. In closing, the Quintet’s material is wonderful in both the chamber work and this orchestral arrangement; Bruckner’s early Ouverture in G Minor (1863) merely adds to the disc’s attractions.