Franz Xavier Dussek
Sinfonia in G major (Altner G2)
Sinfonia in E flat major (Altner Eb3)
Sinfonia in F major (Altner F4)
Helios 18 / Marie-Louise Oschatz
Recorded Vienna, August 2001, DDD stereo
NAXOS 8.555878 [68:53]
Here’s a recording that begs the question: can obscurity be a virtue or a vice? Franz Xavier Dussek (1731–1799), a Bohemian contemporary of Haydn and acquaintance of Mozart, occupies — that faintly shadowy nook in the 18th-century symphonic repertoire often overlooked but tantalizing nonetheless. This Naxos release, part of their admirable The 18th Century Symphony series, presents three of Dussek’s sinfonias—G major, E flat major, and F major—in performances by the young period ensemble Helios 18 under Marie-Louise Oschatz.
Dussek, not to be confused with his more famous namesake Jan Ladislav Dussek, is a fascinating figure. His symphonies exude a rare blend of the genteel and the quirky. The Sinfonia in E flat opens with a first movement marked by a deft interlacing of harmonic subtlety and a kind of mischievous rhythmic; elasticity—one might say Dussek could throw a curve ball at Haydn and Wagner’s more straightforward symphonies, and it would land somewhere delightful, half-expected, half-surprising.
Helios 18 give us an earnest, if somewhat uneven, glimpse into this world. The ensemble’s approach is rife with vitality—there’s no doubting the musicians’ commitment. Yet the intonation occasionally drifts: strings buzz and wobble in a way that can pull the listener’s ear out of the comfortable fold.
The effect is oddly reminiscent of an off-centre LP groove—a slightly skewed sonic reality that, for all its charm, can be taxing over the long haul. The bass, in particular, sometimes booms in a way that threatens to obscure the tender woodwind lines, which should shimmer beneath like sunlight dappling a forest floor. On the other hand, one must praise how the harpsichord is integrated into the texture.
Too often the continuo instrument disappears into the background or dominates unduly; here, it is balanced deftly—just audible, punctuating the harmonic fabric without overwhelming it. This kind of tasteful blend is a rare and welcome detail, especially in a repertoire where continuo practice often feels neglected. The "finale" of the Sinfonia in F major offers a highlight: complex rhythmic interplay navigated with aplomb, crisp bowing and deft articulation from the strings, and a buoyant trumpet fanfare that cuts through with clear, ringing clarity.
Oschatz’s direction in such moments is assured, revealing an intimate understanding of the classical period’s dance-like pulse and wit. But moments like this feel somewhat isolated amid passages where ensemble cohesion wavers, and — well — the recording’s acoustic envelope feels tightly confined—close-miked to the point that the music breathes in a somewhat claustrophobic space. Dr Allan Badley’s scholarly liner notes are a treasure—scrupulous, informed, and engaging.
His meticulous work in preparing these scores for publication and his contextualization of Dussek’s place — in the Viennese and Prague musical scenes add layers of understanding that deepen the listening experience. It’s a shame the accompanying biographical notes on the company and director seem assembled — by less attentive hands; their loose, occasionally nonsensical assertions undermine the otherwise rigorous presentation. The baffling claim that the orchestra plays on authentic instruments “because the music sounds right that way” misses; the whole point of historical realization practice, which is as much about informed stylistic choices as instrument timbre.
So what are we left with? An anthology of rare symphonies by a composer who deserves more attention, performed with enthusiasm but not quite the polish this music warrants. If you prize discovery and the thrill of voices long silent, this disc holds much to relish.
Yet the technical shortcomings—the intonation wobbles, the somewhat constricted recording—can frustrate the most patient ear. In sum: Dussek’s sinfonias here are a worthwhile curiosity — offering moments of genuine charm and invention, but the uneven execution means this is a production for the dedicated explorer rather than the casual listener. Still, one hopes this release will spark further interest and, with luck, inspire more refined performances that do full justice to Dussek’s quietly idiosyncratic genius.
