Presents
George Onslow
String Quintet No.22 in E flat Major, Op.57
For 2 Violins, Viola & 2 Cellos or Cello & Bass
Onslow's 22nd String Quintet dates from 1836. It is without question one of his most exciting and one of his best works. It was dedicated to the prominent French violinist Eugen Sauzay. After its publication, it was performed by several well-known players and always to great acclaim, more than holding its own against such quintets by Mendelssohn and Beethoven which sometimes appeared on the same program with it.
It is hard to believe that a composer whose chamber music Schumann and Mendelssohn ranked with that of Mozart, Beethoven and Haydn could fall into obscurity. Perhaps no composer, more than George Onslow (1784-1853), illustrates the fickleness of fame. His 36 string quartets and 34 string quintets were, during his own lifetime and up to the end of the 19th century, held in the highest regard, particularly in Germany, Austria and England where he was regularly placed in the front rank of composers. His work was admired by both Beethoven and Schubert, the latter modeling his own 2 cello quintet (D.956) on those of Onslow and not, as is so often claimed, on those of Boccherini. Publishers such as Breitkopf & Härtel and Kistner were among many which competed to bring out his works. Such was Onslow’s reputation that he was elected to succeed Cherubini as Director of the prestigious Académie des Beaux-Arts, based on the excellence of his chamber music. Onslow’s writing was unique in that he was successfully able to merge the drama of the opera into the chamber music idiom perfected by the Vienna masters.
Although the first 3 of Onslow's string quintets were for the standard 2 violins, 2 violas and cello, thereafter, his quintets, with the exception of his last three, were for 2 cellos and one viola. Onslow began providing alternative bass parts to all of his subsequent quintets, in lieu of a second cello, after hearing the famous bassist Dragonetti substitute for an absent second cellist during a performance of his tenth string quintet.
The opening bars of the first movement, Allegro non tanto vivace, begins in quite unusual fashion with a series of pizzicatti answered by chords in the lower voices. The movement procedes genially but gathers momentum as several series of arpeggio triplets are passed from voice to voice. The cello, from time to time reintroduces the pizzicatti heard in the opening bars. The second movement, Adagio, begins in a very solemn, almost funereal mood with the cello opening affairs. The dark mood remains throughout, at times rising to a painful lament and then sinking back into a quiet lyricism. The Scherzo, allegro which follows begins with an energetic downward plunging theme creating instant excitement. The mood oscillates between playful and frantic. There is a nicely contrasting, wayward trio. The finale, Allegro grazioso pastorale, begins in the fashion of a barcarolle, with a gently rocking accompaniment over which a lovely and delicate melody softly played. All is peaceful and calm as one would expect in a pastorale. But eventually a more thrustting episode interruptes, however it quicly becomes rather elegant graceful rather than slashing.
It will triumph if performed in concert and it is not beyond the scope of experienced amateurs
| (A) 2 Violins, Viola & 2 Cellos-Parts | $29.95 |
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| (B) 2 Violins, Viola, Cello & Bass-Parts | $29.95 |
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| (C) All Six Parts | $36.95 |
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