Ensemble Cordia - Anton Wranitzky - String Quintet Op.8 No.3; String Sextet in G (2012)

After starting his compositional career writing for the Catholic Church, Anton Vranicky (1761-1820)- aka Wranitzky - had to change direction, since the reforms of Emperor Joseph II reduced the need for liturgical works in the 1780's. So he turned to the secular. Appointed as the leader of the small court ensemble of Prince Lobkowitz, the famous patron of Haydn, Beethoven and many others, he traveled among the Prince's 5 palaces, composing, arranging and playing chamber music. These two works are from that period, the very pinnacle of the Classical era.
Among those court musicians were a father and son pair of cellists who had been with Haydn at Esterhazy, Anton and Nicolaus Kraft. The prominence given to the bass lines in these compositions is a tribute to their talent, and having such accomplished musicians at his disposal allowed Vranicky to explore beyond the basic string quartet format.
The unusual alignment of the String Quintet in E Flat, Op.8, No.3 gives the work a dark, rich texture. One violin, two violas and two cellos create the opportunity for the lower strings to assume greater responsibility for carrying the melody. And although the opening `Allegro non tanto' employs the violin to present the initial thematic material, the violas frequently take center stage, trading the melodic lines back and forth as often as they provide counterpoint to the upper voice.
A stylish triple metered `Andante con moto' follows, with the violin assuming the lead and the cellos giving adroit support, punctuated with soft pizzicato. Elegant and graceful, the 3rd movement `Minuetto' is also in triple meter. The cellos establish the theme, which is soon taken up by the violas before the single violin enters and glides to a smooth ending.
The finale begins with a melancholy `Adagio con espressione', with the emotive power coming initially from the flowing bass lines, before the cellos fall completely silent to allow the soaring violin full sway. As the quintet shifts effortlessly to a lilting "Allegretto', the violas take center stage. The violins recede into the background, adorning the movement with ornamental flourishes as the lower voices are given the primary focus before coming to a cheerful conclusion.
The String Sextet in G Major utilizes a lineup that was not to find wider usage until late in 19th century, pairs of violins, violas and cellos. After an introduction by the violins, the 1st movement `Allegro' contains a wonderful, all too brief passage where the cellos trade melodic lines, which are then taken up by the violas before returning to the upper voices for the closing bars.
Carried by the violas, a somber `Andantino' is followed by a pithy 3rd movement `Adagio'. A playful, rustic `Allegretto' concludes the work. Written in triple meter, it skips along, featuring each pair of instruments in turn until it reaches the final notes, softly fading away.
These world premiere recordings by Brilliant Classics are sharp and focused, allowing Vranicky's refined artistry shine. And the skillful work of Ensemble Cordia is excellent. Particularly ear catching is the elegant 1st violin of Stanley Ritchie and the fleet fingered cello playing of Stefano Veggetti and Franziska Romaner.
The epitome of Classical era sophistication, these 2 chamber works show Anton Vranicky near top of his form. Thankfully, we have this recording of his stylish creativity.