Slowly the musical world is getting to grips with George Onslow,
a French composer with an English background whose achievement
in the field of chamber music is quite unprecedented in French
music of his time. Indeed, he was sometimes known as the ‘French
Beethoven’, a little over the top perhaps, but one can see why
for this is big stuff, with large aspirations, always seeking
to find new expression. Onslow was never afraid of going for the
big gesture, and he usually achieved it.
The, very good, notes in the booklet tell us that
the Trio, op.83 is probably Onslow's last work. It certainly
has a maturity about it which would lead one to believe this
to be true. The melodies, and Onslow could invent a soaring
melody which sings on strings, are very full and long breathed,
the first movement is particularly blessed with this kind of
melodic invention and the working out is dramatic and very terse.
You can understand the Beethoven epithet. The slow movement
is very Beethovenian indeed, a richly textured adagio, of great
depth and feeling. A very short, but quite demonic scherzo,
dominated by hard, dry, pizzicato, is chilling and disturbing
and the finale is a fast chase moto perpetuo type of
movement, and breathless with it. This is a big romantic work,
slightly out of time, perhaps, for its gestures are decidedly
classical but what a piece – that we are only getting to hear
it now is only for the better for this is fine stuff and should
be heard.
The second of Onslow's Trios, op.3 comes
from the other end of his career and is firmly rooted in late
Haydn/Mozart/early Beethoven and it has a charm about it which
is delightful. Occasionally one feels Onslow trying to move
in new directions, making his material more dramatic, using
his deveopment sections to create tension and excitement. He
is doing all he can to move out of the classical style. The
melodic invention isn't as broad as in the later work, how could
it be?, but it is strong and engaging. The first movement is
very Beethovenian the slow movement sad and full of the most
heart rending harmonies, the scherzo humorous and the finale
a romp. There's a lot of Beethoven all the way through but it's
still the work of an original hand and the surprise ending is
a sheer delight.
The
performances are excellent, the players believe totally in the
value of this music, and so they should, and they give marvellous
performances of total commitment. The recording shows a very good
balance between the three musicians and the notes are excellent.
Volume 1, from these same players (CPO 777230–2)
was superb (see review)
and this is a worthy follow–up. Don't miss this wonderful, and
very interesting, composer.
Bob Briggs
Trio Cascades (Katrina Schulz (violin); Inka Ehlert (cello); Thomas
Palm (piano)) 
