music concerts by Gothenburg Symphony Orchestra.
Mahler 9 Elder
New Lyrita Release
and Cello Concertos
Lyrita New Recording
OF THE MONTH
Ritchie Symphony 4
OF THE MONTH
Johann Baptist VAŇHAL (1739-1813)
Flute Quartet in B flat major Op.7 No.2 (Weinmann Vb:Bb1)
Flute Quartets in G major Op.7 No.3 (Weinmann Vb: G1) (c.1771) [21:45]
Flute Quartets in C major Op.7 No.6 (Weinmann Vb: C1) (c.1771) [20:02]
Janaki String Trio
rec. Grace Church-on-the-Hill, Toronto, June 2006
NAXOS 8.570234 [61:04]
chamber music includes a folio of works for flute and amongst
those are seventeen Flute Quartets. They were clearly popular
in their day having been published by more than one publisher
and were written either for flute or for oboe. One even exists
in a version for Clarinet Quartet. The set was originally
published in 1771 but this recording prefers to use the more
influential Sieber edition of 1772.
the performances and each of the three quartets prove attractive.
The players of the Janaki String Trio and flautist Uwe Grodd
play on modern instruments and do so with deft sensitivity.
There is little in the way of pyrotechnical frisson – the
Viennese muse here is full of proportion, equilibrium and
expressive contouring, all garnished with lyrical affection.
The solo instrument’s integration into the texture is exemplified
by the opening Moderato of the B flat major where we find
an aloofly elegant presentation of melody lines and a text
book working out of themes. The slow movement of the same
quartet is richly lyrical and the succeeding scherzo fluent,
genial and full of expertly judged voice distribution.
G major quartet represents another facet of Vaňhal’s
command of chamber textures and rhythms – the natural buoyancy
of his material. The Allegro moderato springs along with
zest but controlled elegance. Note the pointed cello lines,
so adroitly brought out by Arnold Choi, and Serena McKinney
and Katie Kadarauch’s violin and viola statements. Doubling
of the melody line is done with matching tonal reserves – small
scale playing and rightly so. The pert Minuet of the C major
has its counterpoint in the more ebullient moments of the
Presto finale. Counter-lines are well brought out and Grodd
once more ensures that his role is never one that draws undue
attention to himself at the expense of his colleagues.
has used this recording location before and it absorbs the
playing without magnifying it unduly. The handy notes also
disclose that these are world premiere recordings.
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