Haydn, Richter, Mysliveček & Beethoven
Composers hailing from the now proud Czech Republic were surprisingly numerous in the 18th century and, while far from household names today, had a significant impact on some that are. These Bohemians were neither the free’n’easy chums who kissed tiny frozen hands in garrets nor the future pictorial romantics devoted to the fields and forests of their homeland. No, these guys skipped down the steps of their provincial alma maters straight onto express carriages bound for Austria, Germany or Italy, and never looked back.
Under their Germanified aliases, Franz Xavier Richter and Paul Wranitzky made good in Europe; the first as violinist/composer at the Mannheim court and the latter as Vienna’s most respected conductor (he premiered Beethoven’s 1st). In Venice then Rome, Josef Mysliveček so out-Italianed the Italians in spirited temperament (and libido) that they abandoned efforts to pronounce his surname and dubbed him il divino boemo (the divine bohemian). A dear friend and mentor to the young Mozart, their relationship touchingly survived the divino’s Lucifer-like fall from grace after a post-operative disaster left him with a Voldemortian visage and careening career.
The ensemble offers a tantalising degustation drawn from these expats’ insanely prolific works; a fascinating Richter quartet from 1757 that pre-dates Haydn’s patent on the form, a sweet palate cleansing Mysliveček Larghetto worthy of his (less nasally challenged) protégée followed by a thrilling and top-notch late quartet by Wranitzky. Love at first listen is guaranteed, so fear not!
There are old favourites too, by those who bore no trace of backwater mud on their boots, and were more than happy to wallow in Bohemian loot. The province’s Prince, Josef Franz of Lobkowitz was a sweet gentleman whose “foolish love of music” led to the creation of The Creation and many Beethoven masterworks, including his set of quartets Op.18.
The delightful 3rd of these is actually Ludwig’s first foray into the form perfected by his then aging teacher. Deceptively simple, you’d never think it would trigger in Haydn a fit of jealousy and self-doubt that led to his (contemporaneous) Op. 77 falling four works short of the six paid for by the prince. In his second to last quartet, you’ll find no evidence of waning powers, only consummate skill unmatched even by the brilliant upstart waiting in the wings. His short-changed patron could hardly complain upon hearing its sublime Adagio, Schubertian Menuetto and swirling folkdance finale.
Czech this one out.
ARTISTS
Skye McIntosh, violin
Matthew Greco, violin
Karina Schmitz, viola
Rafael Font, viola
PROGRAM
HAYDN
String Quartet Op. 77 No. 1 in G major
F.X. RICHTER
String Quartet Op. 5 No. 5b in G minor
MYSLIVEČEK
String Quartet Op. 3 No. 6 in A major 2nd movement Larghetto
WRANITZKY
String Quartet Op. 49 in D minor
BEETHOVEN
String Quartet Op. 18 No. 3 in D major
CONCERT DATES
Wednesday 29 July, 7pm, Melbourne Recital Centre
Thursday 30 July, 7pm, Gandel Hall, National Gallery of Australia, Canberra
Friday 31 July, 7pm, Berry Uniting Church Hall, Berry
Saturday 1 August, 4pm, Bowral Memorial Hall, Bowral
Sunday 2 August, 4pm, The Neilson, ACO on the Pier, Walsh Bay
