Writing about Wranitzky's chamber music in the last part of the 19th century, the famous Belgian critic and musicologist Fetis recalled:
“The music of Wranitzky was in fashion when it was new because of his natural melodies and brilliant style…I recall that, in my youth, his works held up very well in comparison with those of Haydn. Their premature abandonment of today has been for me a source of astonishment.”
Paul Wranitzky (1756-1808, Pavel Vranický in the Czech form) was born in the town Nová Ríše (then Neureisch) in Moravia. At age 20, like so many other Czech composers of that period, he moved to Vienna to seek out opportunities within the Austrian imperial capital. Wranitzky played a prominent role in the musical life of Vienna. He was on friendly terms and highly respected by Haydn, Mozart, and Beethoven, who preferred him as the conductor of their new works. Wranitzky was, like so many of his contemporaries, a prolific composer. His chamber works number over 100. Although some scholars believe that Wranitzky studied with Haydn, there is no proof of this. But there can be no question that he studied and was influenced by Haydn’s quartets. Like Haydn, Wranitzky’s quartet writing went through many stages of development, beginning with the pre-classical and evolving to the finished sonata form of the late Vienna Classics. The majority of Wranitzky’s quartets are set in the three-movement format of the Parisian quatour concertant. In these works, he explored the emerging Romantic style with (for the time) daring harmonic progressions, theatrical gestures, and virtuoso display.
Op.16 No.5 is the fifth of a set of six published in 1790. It can be argued that they were in advance of the works of any other composer from this period, including Haydn, with the exception of Mozart. Of particular interest is the fine use Wranitzky makes of the cello. This is somewhat surprising since, unlike his Op.23 quartets, he was not commissioned to do so by the cello-playing King of Prussia. One can hear this early on in the opening Allegro non troppo. It begins calmly in somewhat stately fashion. The middle movement, Andate sostenuto, is played muted. The main theme begins quite lyrically, but it is the unusual accompaniment that attracts one's attention. The finale, Rondo Allegro, immediately attracts one's attention by virtue of the pizzicato accompaniment to the catchy main theme.
We have reprinted the original 1790 edition, and obviously, it does not read like a modern edition. While we have cleaned much of the detritus from the copy, here and there, you will find a spec or two. Out of print for at least 150 years, we are pleased to reintroduce this work, which is not only historically important but can serve as a fresh alternative to the inevitable Haydn or Mozart when a work from the classical era is desired.
