Here is the latest entry in the fascinating Naxos series of
recordings by lesser-known composers of the 18th
century symphony. Franz Xaver Dussek - also listed as František
Xaver Dušek in other recording and in Grove Music Online
- showed musical talent at an early age. With the financial
support of a patron, Dussek was sent to the Jesuit Gymnasium
to further his studies and after graduating travelled to Prague
to study with Franz Habermann. Later he moved on to Vienna,
studying keyboard and - most likely - composition with Georg
Christoph Wagenseil. Dussek was well known and respected as
both a freelance teacher and a performer, dividing his time
between Prague and Vienna. Allan Badley in his liner-notes reveals
that the Mozart family befriended the Dussek family, and that
Franz’s success as a freelance musician may have strengthened
Mozart’s resolve to get out of Salzburg and live in Vienna.
Most of Dussek’s symphonies were composed during the 1760s
and 1770s. A majority are in three movements (fast-slow-fast),
though several adopted the newer four movement model. A fine
example of the latter is the other Naxos recording of Dussek
Symphonies or Sinfonias on 8.555878 (2002). In his liner-notes
to the new recording, Badley points out that “Although
Dussek’s symphonies and string quartets were composed
before the emergence of the fully-fledged classical style of
the 1780s, they exhibit a number of quite progressive tendencies.”
These include a preoccupation with musical unity, long development
sections that often elaborate both themes from the exposition,
occasional use of a slow introduction in the opening movement,
and a greater use of wind instruments.
The four symphonies recorded here are well conceived, featuring
singable melodies, interesting development of material, and
an engaging use of instrumental timbre. They just lack that
last ounce of magical essence that sets similar works by Dussek’s
better known colleagues apart. So much has been written, trying
to explain the genius of Mozart and Haydn, and really, when
it comes down to it, there is some touch of genius we hear in
those two classical composers that often seems not as present
in men such as Dussek. A Mozart melody or a Haydn harmonic twist
stays in our memory in a way that does not happen with these
works.
This is not meant to be dismissive, though I am sure it sounds
that way. This was an enjoyable hour of listening, and I would
be happy and surprised to hear any of these works in concert.
I certainly enjoyed these performances more than on the previous
Naxos release. That recording featured Helios 18 conducted by
Marie-Louise Oschatz, in performances that were accurate and
efficient, but lacked that last ounce of zealous inspiration
fully to reveal the full import of the music. That is not the
case here, where the Helsinki Baroque Orchestra’s playing
is far more committed and polished. Allegros move along with
plenty of fire and energy - cellos and bass really sustaining
forward momentum with crisp articulation of their line - while
the slow movements display the true sense of give and take that
comes when players are genuinely listening to one another. The
ensemble offers up some lovely rich timbres, especially because
several of the movements feature divided violas. The final movements
are taken at quite a pace, without ever sounding breathless,
articulation always clear, and the hairpin dynamics wonderfully
realized. These are players who enjoy and believe in the music,
and that is the exact kind of advocacy this music deserves -
and needs.
The Naxos engineers have captured the orchestra in sound that
is a tad too bright and close; I would have appreciated a warmer,
more resonant acoustic. Such an analytical recording would readily
reveal any deficiencies in ensemble or intonation, but that
is not an issue with these talented Finnish musicians. Yet it
seems churlish to complain: here is music that is rarely heard,
yet surely deserving of a larger audience, in first-rate performances
featuring excellent energetic playing, all at budget price.
CD collectors owe Allan Badley, his music publishing company
Artaria - which produces new editions of most of the music recorded
in this 18th Century Symphony series - and Naxos a large debt
of gratitude for sharing this music with us. I eagerly anticipate
the next release in this rewarding series.
David A. McConnell
Helsinki Baroque Orchestra/Aapo Häkkinen