Composer: Franz Xavier Dussek
Works: Sinfonia in G major (Altner G2), Sinfonia in E flat major (Altner Eb3), Sinfonia in F major (Altner F4)
Performers: Helios 18, conducted by Marie-Louise Oschatz
Recording: Recorded in Vienna, August 2001 – DDD Stereo
Label: NAXOS
Franz Xavier Dussek (1731-1799), a Bohemian composer whose work flourished in the second half of the 18th century, emerges from the shadows of the classical repertoire with the release of this disc, featuring three of his symphonies. The absence of extensive recordings highlights the rarity of this collection, which positions Dussek alongside contemporaries such as Vanhal, Wagenseil, and even Mozart, with whom he had personal acquaintance. This recording, part of Naxos’s commendable series exploring the 18th-century symphony, invites a fresh examination of Dussek’s idiosyncratic contributions to the genre.
The performances by Helios 18, under the baton of Marie-Louise Oschatz, exhibit a spirited interpretation of Dussek’s works, albeit with certain reservations regarding technical precision. The Sinfonia in E flat major, for instance, opens with a first movement that captivates through its inventive orchestration and harmonic twists, revealing Dussek’s ability to blend charm with a sense of playful absurdity. The orchestra’s enthusiasm shines through, especially in the lively exchanges between strings and winds, yet moments of intonation issues disrupt the overall flow, akin to listening to a slightly misaligned record. These inconsistencies are particularly evident in the more demanding passages, where the ensemble’s cohesion falters.
The recording quality itself presents a mixed bag. While the harpsichord, an essential instrument for the period, is well-integrated within the orchestral texture, the overall sound lacks the necessary spatial depth and clarity. The bass often overwhelms, leading to a boom that obscures the nuanced interplay of orchestral voices. This imbalance detracts from the overall listening experience, particularly in the finale of the F major Sinfonia, where the rhythmic complexities, though handled with vigor, can be lost amidst the aural muddiness. The engineering choices seem to have favored a certain warmth, but at the cost of clarity, leaving one yearning for a more refined acoustic space.
Against this backdrop, the interpretative decisions made by Oschatz and her ensemble are commendable, yet they occasionally tread a fine line between spirited execution and technical precision. The delightful quirks in the music, such as the unexpected harmonic shifts and playful motifs, are brought to life, reflecting Dussek’s sense of humor that parallels Haydn’s own. However, the interpretative vigor sometimes gives way to a lack of cohesion, particularly in transitions between sections, which can disrupt the musical narrative.
The scholarly notes provided by Dr. Allan Badley serve as a solid foundation for understanding the historical context of these works and the significance of Dussek’s contribution to the symphonic repertoire. They highlight the composer’s distinct voice within the classical canon, yet the disc itself leaves one with the impression that Dussek’s music, while delightful, could benefit from a more polished and nuanced performance. The challenges posed by the orchestra’s intonation and the recording’s sound quality ultimately hinder the full appreciation of these engaging symphonies.
Dussek’s works, with their inventive character and humorous touches, are deserving of greater recognition, and this recording presents a valuable, albeit imperfect, step toward that goal. The potential for a more authoritative and refined interpretation remains, suggesting that further exploration of Dussek’s symphonic output could be both rewarding and illuminating. The disc stands as a testament to the charm of an overlooked composer, but it also underscores the necessity for a more committed and technically proficient approach to fully realize the music’s inherent delights.
