Composer: Giovanni Francesco Giuliani, Giovanni Hoffmann
Works: Quatuor en Ré majeur, Quatuor en Sol majeur, Quatuor en La majeur, Quatuor en Fa majeur, Quatuor en Ré majeur
Performers: Quatuor PlectrArchi
Recording: Recorded c1990
Label: Pavane ADW 7224 [66.14]
The disc under review features the works of two underappreciated composers from the late 18th to early 19th centuries, Giovanni Francesco Giuliani and Giovanni Hoffmann. While Giuliani is somewhat recognized, often confused with his namesake mandolinist, Hoffmann remains shrouded in obscurity, with scant details available about his life and works. The quartet format, particularly with its combination of violin, viola, mandolin, and lute, offers a unique sound palette that reflects the lighter, more divertimento-style compositions of the period. This recording brings to light the charm and intricacy of their chamber music, inviting listeners to explore a repertoire that frequently exists in the shadows of more celebrated composers of the classical canon.
The Quatuor PlectrArchi handles these works with both technical precision and stylistic flair. Their interpretation of Giuliani’s Quatuor en Ré majeur showcases the ensemble’s ability to balance the lyrical qualities of the viola, played by Lucienne Lovano, against the nimble passages of the mandolin and lute. The Allegro is particularly engaging, with Lovano’s expressive phrasing elevating the dialogue between the instruments. However, it is the abrupt and amusing conclusion of the movement that truly delights, exemplifying Giuliani’s wit. The subsequent Minuet and Variations display a commendable level of sophistication, with melody and accompaniment intricately woven, yet it is the Sol majeur’s Allegro that reveals a touch of Mozartian lyricism, particularly in its playful Rondo finale, where Giuliani’s deft hand at integrating a Turkish march adds a vibrant dimension.
Hoffmann’s works, characterized by more conventional four-movement structures, present their own challenges and rewards. The Allegro Molto of his Quatuor en Fa majeur proves demanding, as the rapid tempo can lead to a fragmentation of melodic lines, yet the ensemble’s dynamic control allows for a certain clarity amid the complexity. The Menuet, while stately and reminiscent of Haydn, feels somewhat stagnant, lacking the buoyancy that one might hope for in such a dance-inspired movement. The Romance from the Re majeur quartet, however, introduces a welcome drone figure in the viola, enriching the harmonic texture and demonstrating Hoffmann’s understanding of coloristic possibilities within the ensemble.
Recording quality is commendable, with a well-balanced sound that allows the instruments to resonate with clarity. The engineering captures the subtleties of pizzicato and arco passages effectively, though at times, the dynamics could be more pronounced to enhance the contrasts inherent in the compositions. The notes accompanying the recording, while informative about the performers, fall short in providing a deeper historical context or analysis of the music itself, which would have enriched the listener’s experience.
While neither composer achieves the status of the imperishable masters, their works reflect the craft and ingenuity of their time. This recording serves as a valuable exploration of their music—works that are not only diverting but also reveal layers of sophistication and charm. The performances by Quatuor PlectrArchi are consistently engaging, with a few interpretive choices that warrant reflection. Their adept handling of these lesser-known quartets invites a renewed appreciation for the breadth of chamber music in this era.
