Presents
Anton Titz
String Quartet No.7 in G Major-New Edition
There is some confusion over the last name of Anton Titz (1742-1810). The family name was originally Dietsch and both of his father’s siblings, an uncle and aunt with whom he was raised, had the name Dietsch. In various parts of Germany D and T were often interchangeable when appearing at the beginning of a word. He appears to have gone by Tietz until he emmigrated to St. Petersburg in 1771. Most of his published works which appeared after this time bear the name Titz and he became known by both Tietz and Titz. Trained as a violinist in Nuremberg, he moved to Vienna where thanks to his friend Gluck, one of Vienna’s leading opera composers, Titz gained the patronage of the music lover Prince Lobkowitz. As a result of his appearances as a performer at Lobkowitz’s soirees, Titz was invited to St Petersburg where he remained for the rest of his life. There, he played an important role in Russia’s musical life as a leading violin soloist. He was said to be a virtuoso by those who heard him play during his prime. He also worked as a composer and concert manager and was responsible for introducing the latest works of Mozart and Haydn, both of whom he knew personally, to Russian high society. Additionally, his own compositions were frequently performed not only in Petersburg but throughout Europe where he achieved a considerable reputation.
He is thought to have composed 12 string quartets. Six appeared in 1781 and were dedicated to Prince Dmitri Golitsyn. They are generally considered to be the first string quartets composed in Russia, albeit by a German. Then three more appeared in 1802 and were dedicated to Tsar Alexander I, and finally in 1808 a final three appeared and were dedicated to Alexei Teplov. It was about this time that the famous violin virtuoso and composer Ludwig Spohr concertized in St Petersburg. He wrote that while Tietz was no great violinist (perhaps not surprising since Titz was over 60 at the time), he was certainly a composer of genius as his many works attested.
String Quartet No.7 in G Major is the first of
the set of 3 which appeared in 1802 and is the most ambitious of the set.
The writing is quite interesting as it combines concertante style with the
more updated polyphonic approach of Haydn and Mozart. The music is clearly
in the Vienna Classical Style, resembling that of Franz Krommer, the
Wranitzky brothers and Haydn rather than that of Mozart. Each instrument is
given generous solos, in this respect, the cello is especially well served.
Even Mozart’s so-called cello quartets (K.575, 589 & 590) do not allow the
cello to lead to such an extent. The work opens with a short and gentle
Adagio introduction. It leads to a rousing Allegro which opens with a
lengthy cello solo that briefly quotes Mozart’s G Major Violin Concerto,
K.216. The music sails along effortlessly with rushing passages
interspersed by more singing episodes. In the lovely second movement,
Adagio, the style is more Haydnesque. Telling cello solos punctuate the
proceedings at various intervals. The short Allegretto which comes
next is a typical Haydnesque minuet. In the finely contrasting trio section,
the cello Presents
the brief melody. The work concludes with a buoyant,
dancing Rondo. First the violin and then the cello take turns
presenting what is clearly folkloric material. Our new edition is based on
the Paris Simrock edition of 1802.
Parts: $24.95
