Franz Alexander Pössinger (1766-1827)
Three Duos for Violin and Viola Op. 4:
Duo No. 1 in E flat
Duo No. 2 in in F
Duo No. 3 in B minor
Katja Grüttner (violin), Christian Goosses (viola)
rec. 2021, Andreaskirche, Berlin-Wannsee, Germany
Reviewed as a 16-bit /44 kHz WAV download
Musicaphon M56996 [41]

In the course of the 18th century the importance of music to be played in domestic surroundings strongly increased. Georg Philipp Telemann was one of the composers who provided amateurs with music that was technically interesting, but not too challenging. In the second half of the 18th century, some genres, such as quartets for a wind instrument, became especially popular among amateurs – in particular the transverse flute and strings, but also string duos and trios. Haydn and Mozart are among the composers who wrote such pieces. The present disc includes three duos for violin and viola by a composer who has been completely overshadowed by these two masters and Beethoven. In that respect, he shares the fate of many composers who in their own time were highly respected. It is telling that Franz Alexander Pössinger has no entry in my edition of New Grove.

Pössinger was born in Vienna and studied counterpoint and composition with Johann Georg Albrechtsberger. In 1786 he joined the orchestra of the Hoftheater. In 1798 he entered the Hofkapelle as player of the violin and the viola; he held this position until his death. Pössinger made a name for himself as an arranger of large-scale works, such as operas by Mozart, Beethoven, Boïeldieu, Rossini and Weber. He cooperated with Beethoven: he made a version of the latter’s fourth piano concerto for pianoforte and string quintet before the concerto was published. He also transcribed Beethoven’s symphonies for string quartet.

However, he was also respected as a composer in his own right. His oeuvre includes an oratorio, concertos for transverse flute, oboe and violin as well as secular and sacred vocal works. The main part of his oeuvre consists of chamber music for various scorings, such as string trios, quartets and quintets, trios for flute, violin and viola as well as duos for two violins and for violin and viola. Among the latter are the duos Op. 4, which are the subject of this recording by Katja Grüttner and Christian Goosses.

They were published in 1802 in Vienna and responded to a growing interest in music that could be played at home. Sylvie Kraus, in her liner-notes, points out that this demand for such music was partly inspired by the political situation in Austria. “When the restoration of absolutism was decided at the Congress of Vienna in 1815,  Prince Metternich campaigned vehemently for the implementation of the resolutions. His goals were the enforcement of princely rule, the abolition of newly gained democratic rights, the suppression of liberal movements among the people and the persecution of those who wanted to build up a liberal Europe. (…) These restrictive, reactionary policies, combined with an elaborate state spying system, forced people to withdraw into the comfort of their homes and the non-political socializing of their families. The time of the apolitical, righteous ‘good’ citizen was born: the Biedermeier.”

Considering that these duos were published well before the Vienna Congress, it is questionable whether they can be ranked among the repertoire connected to the Biedermeier. According to New Grove, this label is given to music written between 1815 and 1848, the year of the revolutions. Obviously, these dates should not be taken too strictly. However, much of the music which is associated with the ‘Biedermeier’ style, is – sometimes wrongly, but certainly sometimes rightly – seen as comfortable, easy to grasp and without much depth – in short: superficial. Pössinger’s duos are much better than that.

Duos for violin and viola were very popular. Among the best-known composers of such pieces were Ignaz Pleyel and Alessandro Rolla – two other composers who are still on the margins of modern concert life. Pössinger’s duos are technically challenging, which makes clear that these are not intended for the common amateur, but rather for more advanced players, including professionals, who preferred to play in the intimacy of the homes and salons in Vienna.

The duos Nos. 1 and 2 are in three movements, the last in two. There is some imitation between the two instruments, but they largely follow their own route. The opening movement of the Duo No. 1 in E flat already makes clear that this is not easy music. The second movement has the addition cantabile to the tempo indication larghetto and that expresses its character rather well; it includes a contrasting middle section. The last bar is played pizzicato. The third movement is in the form of a rondo, which was very common at the time. The opening rhythmic figure is regularly repeated.

The first movement of the Duo No. 2 in F includes many dynamic markings and syncopated rhythms, whereas in the second movement the rhythms increase in complexity. The last movement is another rondo and include wide leaps and acciaccaturas.

The Duo No. 3 in b minor opens in fortissimo and includes many strong contrasts and syncopations. The second and last movement is again characterised by wide leaps. The tempo indication is presto, but the middle section is marked un poco adagio.

These three duos are very entertaining, and one can only be happy that they have been recorded. The above-quoted Sylvie Kraus brought them to the attention of Katja Grüttner and Christian Goosses, and that was a good decision, as they are the perfect interpreters. They both have credentials as performers of baroque and classical music on period instruments, and that shows here. They are perfect partners in the realization of these scores. There is a good balance between the two instruments, tempi and dynamics are well thought out. The only regret is that this disc is so short. I would have liked some other pieces to make for a more decent duration.

It is to be hoped that a modern edition will be available some time, because these duos are fine material for modern performers. Duos for violin and viola are probably not that often performed these days, which, as this recording shows, is a shame.

Johan van Veen
www.musica-dei-donum.org
twitter.com/johanvanveen

Buying this recording via a link below generates revenue for MWI, which helps the site remain free.