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Onslow - Violin Sonatas Op.16 (moderntimes_1800)

APE = 341 mb | MP3 VBR (lame -V2, ~192kbps) = 119 mb

Recorded 2007 | Released 2008

"A fascinating release." - Musicweb International

"Recommended." - Fanfare

Diapason d'Or

Personnel:

moderntimes_ 1800

Ilia Korol: violin

Norbert Zeilberger: pianoforte

Recording:

5-7 November 2007, Beethovensaal Heiligenstadt, Wien

Challenge Classics CC 72196

Info:

George Onslow was a French pianist-composer with a British father. He was born in 1784 and later studied pianoforte in London with Dussek and Cramer and composition in Paris with Reicha. In the course of his life, Onslow primarily wrote chamber music, string quintets and quartets and piano quintets, duos and trios, and a few symphonies. This brought him fame in Europe, above all in Germany, Austria and England. He also wrote three operas, but these were not really successful. The Duos op.16 were written in 1819 and published a year later in Vienna. The string instrument printed on the score is designated as "violin, viola or violon-cello", but Ilia Korol opted for the violin, as he feels that the violin provides a better contrast to the partially dense structure of the piano part.

Modern Times_1800 is a young Austrian chamber orchestra based in Tyrol comprising international specialists. It was founded in 2003 by Ilia Korol and Julia Moretti who set out to form an ensemble from a new generation of musicians, proficient both in historical performance and in the music of the 20th century.

Track listing:

1. Sonata 1 in F, op.16: Allegro

2. Sonata 1 in F, op.16: Andante

3. Sonata 1 in F, op.16: Finale. Allegretto

4. Sonata 2 in c, op.16: Allegro espressivo

5. Sonata 2 in c, op.16: Menuetto allegro

6. Sonata 2 in c, op.16: Adagio cantabile

7. Sonata 2 in c, op.16: Finale. Allegretto

8. Sonata 3 in A, op.16: Allegro vivace

9. Sonata 3 in A, op.16: Adagio

10. Sonata 3 in A, op.16: Finale. Agitato e molto espressivo

Reviews:

Musicweb International

Using period instruments it is hard to fault the commitment and sense of spontaneity of these creditable performances. Generally I found a joyful buoyancy and freshness in Onslow’s faster movements. This contrasts with the subtlety of the relaxing slow movements. The distinctive sound of the fortepiano will certainly not be to everyone’s taste. However, one’s ear does get used to a sound that can often come across as clumpy and abrasive. Despite what maybe a considerable drawback for some listeners it is fascinating to have available this combination of period instruments. It surely replicates the sound that the composer himself would have envisaged.

Fanfare

Listeners to the rich sonorities of the period instruments played by Ilia Karol (an anonymous north Italian violin from about c. 1730) and Norbert Zeilberger (a 2006 fortepiano based on a South German “corpus” from c. 1815), both being members of the period-instrument ensemble moderntimes_ 1800, might guess at once that the violin part, at least, lies generally low enough to be championed on either violin, viola, or cello. In fact, that turns out to be the case: Onslow identified the works as playable by any of the three, though Karol, one of moderntimes_ 1800’s founders, judged that the violin could achieve the greatest overall beauty of tone. Many listeners to the music may also find Onslow’s 1819 set of “sonatas” themselves somewhat schizophrenic (Viviane Niaux’s biography cited in the notes, bills him as George Onslow, Gentleman Compositeur), with a first movement in the Sonata in F Major that resembles Beethoven or Mozart, a slow movement as advanced harmonically, at least at the outset, as the Chopin to whom the notes refer, and a finale that returns to the earlier language in which most of the first movement has been couched.

The Second Duo begins with a boldly Romantic gesture (the first movement ends with appropriately stormy passagework) and adumbrates the period’s nascent expressivity in setting forth its thematic material. This Second Duo, unlike the other two, falls into four movements, with a tangy Menuetto Allegro following an ambitious and yearning Allegro almost 15 minutes long; it’s capped off by an Adagio cantabile that reverberates with faint echoes of the mood of Beethoven’s “Pathétique” Sonata, and a moody finale, it’s affekt perhaps suggested by its key. The Third Duo, in A Major, sounds not so much more brilliant as more strutting and more Beethovenian in its insistent manner. But chromatic tinges in the slow movement and the jaunty melodic twists and lighter harmonic turns of the finale mark its distance from this model, though it hardly lacks tempestuous Beethovenian moments.

Karol and Zeilberger play throughout with a sense of the music’s mercurial changes of direction. Onslow, independently wealthy, wrote to please himself, though according to the notes he didn’t have trouble in finding publishers. Karol’s violin sounds rich and reedy, with a brilliant upper register and a viola-like lower one; it’s paired effectively with Zeilberger’s bright, woody fortepiano; the recorded sound’s somewhat reverberant setting may take a bit of getting used to, but the instruments emerge with the kind of tonal opulence that would be apparent close up in a chamber setting.

The ensemble moderntimes_1800 offers music that should appeal to adventurous collectors, but Onslow’s unusual, highly personal blend of the old and the new should attract more general listeners as well. Recommended.

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