Acte Préalable continues
its exploration of little-known and,
up to now, unheard Polish repertoire.
Their rapidly-growing catalogue contains
some of the better-known Poles - Chopin
being an obvious example - as well
as a smattering of releases of Bartók
and Beethoven. However, with the apparent
embarrassment of musical riches to
be found in Poland, they have chosen
to stick with a continuing string
of world-premiere recordings of Polish
composers both new and old. Here we
have what might be the final instalment
of Lessel’s chamber music. Much was
considered lost, and his first string
quartet — only one complete movement
has survived — was a rather recent
discovery.
As mentioned in my
previous review, Lessel studied
with Haydn over the years of 1799-1809
and was considered one of his more
talented pupils. Haydn fans will find
much to like in this music. Born in
Warsaw to a musical family - his father
was also a composer - Lessel served
as Kapellmeister in Pulawy, but went
to Vienna at the age of 19 to study
medicine. Little is known about this
period of his life, but it is evident
that music won out over medicine,
in that his studies with Haydn took
place very shortly thereafter. According
to the liner-notes, the first string
quartet was composed soon after beginning
his studies with Haydn at the age
of twenty. The piece certainly bears
the mark of Haydn’s influence; a cheerful
allegro moderato with a lovely
sense of balance.
The Op. 5 Trio in
E also does not stray far in structure
and sound from Haydn, beginning with
a rollicking upward major scale. The
development section moves us into
a brief stormy passage before setting
us back into the sunny security of
the first theme. The slow movement,
titled "Rêve," begins
with the piano as the violin and cello
play quiet pizzicati. The violin
soon joins in, but Marian Wasiolka’s
cello holds the spotlight best in
this movement. The final movement,
a rondo, sports some pleasant surprises
with its rapid shifts, tinged with
Polish folk music elements and occasional
strumming.
Opening the disc
are two pieces by the little-known
Karol Kurpinski. Five years Lessel’s
junior, he seems to have more of an
eye looking forward to the tension
of Beethoven over the balance and
poise of Haydn; not to say that these
pieces don’t have a sense of balance.
It is their somewhat greater focus
on rhythmic drive that seems to point
to Beethoven. Opening the disc is
the C major Fantaisie, which opens
rather sternly, in minor mode, and
often returning to it. From the outset,
the Wilanow quartet give us some beautiful
playing — the whole disc is wonderfully
performed — and the recording aesthetic
is clean and clear. The writing here
in this piece, less so in the short
piece that follows (translated as
Musing Over the Tomb of Wanda),
reminds me of the work of Dobrzynski,
on an earlier
Acte Préalable release
I reviewed, which seems yet a further
step toward early and middle-period
Beethoven.
Overall, for fans
of early Beethoven, Haydn, and Hummel,
this is certainly a recording worth
a listen. Of recent review discs I’ve
received, this has spent the most
time in my car during commutes, and
at home — an eminently enjoyable release.
David Blomenberg
for details
Pawel Perliński (piano) 
[58:36] 
