Paul WRANITZKY (1756-1808)
Orchestral Music – Volume 3
Mitgefühl Overture (1804) [8:22]
Symphony in D, op. 25 ‘La Chasse’ (publ. 1793) [23:31]
Die gute Mutter Overture (1795) [3:53]
Symphony in C, op. 33/2 (publ. 1798) [32:44]
Czech Chamber Philharmonic Orchestra Pardubice/Marek Štilec
Rec. 2020, House of Music, Parbudice, Czech Republic
NAXOS 8.574289 [68:49]
Brian Wilson reviewed the first two releases in this series (Volume 1 ~ Volume 2) and I direct you to the first of those for some background information on Wranitzky’s life. The three volumes form part of a new Naxos series entitled “Czech Masters in Vienna”. The first release, in 2020, was of four symphonies by Leopold Kozeluch (review).
I tend to think of Viennese music of this era as being divided into two groups: Mozart and Haydn’s in one, and everyone else’s in the other. This latter group consists of music that is characterised by being pleasant and graceful but where one composer’s work is indistinguishable from another’s. Now having listened to this disc, I may have to revisit that classification as I have been very impressed by what I’ve heard here. In the Venn diagram of Viennese Galant era music, I think Wranitzky may fit into a small point of intersection, where we can find some music of genius, some of the merely adequate, and a lot that is very good. These works maintain a consistent vitality and freshness, inventive rhythmic patterns in the faster movements catching the ear. Wranitzky’s skill in writing for the winds is most impressive.
I won’t attempt to analyse each work in any sort of detail, limiting my comments to a few highlights and points worth making. Mitgefühl (Compassion) iss a Liederspiel, a form of Singspiel where existing poems are set to music and framed in a simple pastoral plot. The overture which begins the CD made me pay attention straight away, as it emanated quality immediately. However, of most interest was a seven-note melody taken from the final chorus in the full work, which is used repeatedly throughout the eight minutes. Its melodic progression, other than the last note, is highly reminiscent of the music from the Hallelujah chorus in Messiah for the words “He shall reign …”. I’d say identical but don’t have the scores to prove it. I was surprised that the notes didn’t mention it.
The opening Allegro maestoso from the D major symphony would not seem out of place in a Haydn symphony, even one of the famous ones, such is its quality. The rest of the work may not quite reach that level but still remains very good; the finale begins with the hunting horn motif that gives the work its title. The C major symphony is a substantial work at over 30 minutes, but doesn’t outstay its welcome; the writing for solo wind instruments in the Adagio is quite lovely.
Marek Štilec and his Parbudice players have certainly been busy in the last few years, and their playing is very fine indeed – none of the thin string tones that used to characterise eastern European ensembles on early Naxos releases here. The Naxos engineers have also done an excellent job in presenting a very natural sound. The notes present a good amount of biographical information on the composer, useful background on each of the works and the right amount, for me, of musical analysis. If one is so inclined, one can download the scores for free from the Wranitzky Project website (though at time of writing only those for the works on the first two volumes are currently available).
I requested this CD expecting an hour’s pleasant but not attention-grabbing music, but have been delighted to be proven wrong.
David Barker
