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Reviewer: Raymond
Tuttle
Who was Jiránek? There once
was a composer called Antonín Jiránek who may or may not have lived in
Dresden and died there in 1791. Some of his published music survives. Other
than that, we know very little about him. There was, however, at least one
František Jiránek (1698–1778) in Dresden—a violinist who played in the
orchestra of Heinrich, Count von Brühl. Might he and Antonín have been the
same individual? There also was a František Jiránek who was active in
Prague, who played in the orchestra of Count Václav Morzin and who was sent
to Venice, where he appears to have worked under or with Vivaldi. These two
František Jiráneks appear to have been the same person, but this is not
certain. Further uncertainties surround several of the works on this CD. Was
the Violin Concerto in D composed by Vivaldi, co-composed by Vivaldi and
Jiránek, or solely the work of the latter composer? And, while some of the
concertos on this disc are almost certainly by Jiránek, others are
questionable.
None of this would matter very
much, of course—at least to collectors—were this music not so likable. Most
of these concertos sound as if they could have been composed by Vivaldi. The
Violin Concerto in D and the Bassoon Concerto in G are especially redolent
of the Red Priest. In the first movement of the former, the violin swoops
down and rises up as gracefully as a bird, and with something of the
excitement of a rollercoaster ride. In the latter, the bassoon burbles good-humoredly.
The two oboe concertos are a bit less typical of Vivaldi, perhaps. I
particularly like the slow movement of the Oboe Concerto in B♭, with its
insistent bass line and celestially soaring line for the soloist. The
equivalent movement the Oboe Concerto in F is a lovely pastorale. One’s time
is not wasted hearing these works; they are not second-rate. If you like
Vivaldi, you will like this CD.
This music is played with
great affection by the Collegium Marianum, a Prague-based ensemble founded
in 1997, and led by flutist Jana Semarádová. Nothing sounds routine or
uninspired, and all of the musicians are in full tonal control of their
period instruments. Oboist Xenia Löffler makes an especially positive
impression in her two concertos. This is another release in Supraphon’s interesting Music from Eighteenth-Century Prague series. With projects like this one you’re never sure if you’re scraping the bottom of the barrel or skimming off the cream, but I am happy to report that, in this case, it is much more the latter than the former. | |
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