Jean-Baptiste KRUMPHOLTZ (1747-1790)
Sonate No. 1, Op.13 [11.28]
Sonate No. 3, Op.13 [14.44]
Sonate No. 1, Op.17 Comme en scène de demi-caractère [28.02]
Jan Ladislav DUSSEK (1760-1812)
Canzonetta [4.19]
The Lass of Richmond Hill [3.40]
Barbara Plachá (harp)
rec. Domovina Studio Prague, November-December 2019
ARCODIVA UP0216-2131 [62.51]
This has been a daily delight since my copy reached me for review: an essential purchase for harp lovers, but with an appeal much wider than that.
Historically, the programme is fascinating. Jean-Baptiste Krumpholtz (or Krumpholz) was a native of Budenice, near Zolonice, and later performed as a member of the Esterházy court orchestra (1773-6), and is believed to have taken some lessons in counterpoint from Haydn. Thereafter, he toured Europe as a virtuoso harpist, before drowning himself in the Seine, after his wife eloped to London. His works include 52 sonatas, 6 concertos and various other pieces for the harp, and some chamber works, all involving the harp. No less significantly, in both Paris and Metz he worked with leading harp manufacturers to improve the construction of the instrument. He pioneered various techniques, some of which are explained in the accompanying notes.
This recoding uses a harp built by the Parisian firm of Renault and Chatelain in 1779, with a single-action pedal: it was restored in Germany in 2019: notes give very full details of the instrument and its restoration. The sound is clear and beautifully, and in these performances the possibilities offered are lovingly exploited.
One of the problems of the harp, and of harp recitals, is that it is a bright instrument. One cannot imagine an Eighteenth or Nineteenth Century composer turning to it for a solo work filled with angst and fury (though some reader of this review will doubtless put me right). This can lead to a recital having a surfeit of beauty – an oyster with no grit. But there is no lack of variety or character here, especially as Krumpholtz injects so much variety into his works. The schooling in counterpoint, whoever provided it, brings so many benefits. All three pieces have their own charm, with the 4 movement Op.17 work, from 1789, especially characterful, not least in the lengthy third movement, marked Allegro assai, which develops in fascinating ways.
The connection between Krumpholtz and Dussek is the subject of speculation. One version is that it was Dussek with whom Anne-Marie Krumpholtz eloped, a tale repeated in the notes. The account is disputed, not least as Anne-Marie reached London in 1788, and Dussek did not arrive until May or June 1789. Dussek had a rather rackety personal life, as well as a degree of vanity – it was he who first performed his piano solos side-on to the audience, enabling them to appreciate his profile. His works, principally for piano, are often very original, and he is worthy of more frequent performance. He composed various works for the harp – the two short pieces here are both delightful and accomplished.
Barbara Plachá is a splendid guide to this repertoire, precise in fingering, alert in her attention to tempo and phrasing. She has a clarity of purpose which gives due weight to the articulation of each note, while bring out the contrasts of tempo which are significant to both composers.
Sheer delight!
Michael Wilkinson
