Event
Onslow and Farrenc
Naples Philharmonic Sypert Salon Chamber Music
Musicians of the Naples Philharmonic
Onslow — Woodwind Quintet, Op. 81
Farrenc — Piano Quintet No.1
Instrumental virtuosity and melodic invention come to the forefront in this playful, thoughtful and balanced program of musical rarities. The program highlights two noteworthy works from two French composers who were popular in life yet had mostly been forgotten until the 20th century.
Although he was often praised by his musical peers, George Onslow’s music, especially later in life, was considered too intellectual for mainstream audiences. His Woodwind Quintet, featured on this program for example, came as a late-in-life surprise to many of his contemporaries. Known primarily for his string quartets and quintets, the pianist, cellist and composer notably abstained from the bold harmonic experiments found in his most of his string works and instead favored a fluid, transparent style in his Woodwind Quintet that gives each instrument an opportunity to sing. Despite praise from the likes of Robert Schumann, Franz Liszt and Frédéric Chopin, and drawing comparisons to Beethoven’s quartets, Onslow’s reputation declined after his death until commercial recordings of his music began to emerge in the late 1900s.
Like Onslow, Louise Farrenc’s musical and compositional career had been held in high esteem by peers and colleagues, but she was mostly forgotten after her death in 1875. Prior to Farrenc’s arrival on the Parisian scene, one of the few women praised for both her compositions and concert performances was Clara Schumann. While compositional writing was a career dominated by men, Farrenc’s talent could not be denied. As a young adult, she started writing strictly for the piano, but as she grew as a pianist and composer, she sought greater challenges and found success writing chamber music. In her First Piano Quintet, Farrenc demonstrates her skill in writing for an ensemble, creating various textures and carefully integrating each instrument with prodigious balance and consideration. While highly respected during her time, like Onslow, Farrenc was mostly forgotten after her death. In the late 1900s, a new interest in women composers led to the rediscovery of many of her works.
