September / October 2014

Ignacy Dobrzynski's String Quintets

Ignacy Feliks Dobrzynski (1807-67) was the son of a kapellmeister to a Polish count who held much the same duties that Haydn did with the Esterhazys. Training from his father and experience with the count’s orchestra provided Dobrzynski’s early musical education. Later he went to the Warsaw Conservatory and studied piano and composition with Josef Elsner. He was never able to achieve any success in his native Poland where his works were often criticized as being inferior to those of German masters. Yet during his tours to Germany, his works were highly praised, and critical reviews in newspapers, such as those in the influential city of Leipzig, were very favorable.

Dobryzynski's String Quintet in F Major, Op.20 dates from the late 1830’s. We need not look beyond its dedication “a Monsieur George Onslow” to determine the inspiration and model that must have served for Dobrzynski. Onslow, of course, was the best-known composer of works for this genre at this time. (Schubert’s great quintet still laid undiscovered—it was not published until 1853). Despite the dedication, the writing does not resemble that of Onslow. The first movement, Allegro moderato, stylistically shows a considerable affinity with the music of Spohr, especially in the way long running passages are handed off from instrument to instrument. The lovely melodic writing also resembles that of Spohr. The only thing really missing is Spohr’s trademark use of chromaticism. Particularly admirable is the way Dobrzynski makes excellent use of his second cello, a technique he probably did learn from studying Onslow’s double cello quintets. This is a very engaging and well-executed movement that holds the listener from start to finish. Next comes a Minuetto, Allegro moderato in the early romantic style. Here again, one is reminded of Spohr's tuneful chamber music. The main theme is graceful and elegant and has a vague Polish flavor to it. With its chromatic and descending introduction, reminiscent of Onslow, the third movement, Andante, Doloroso ma non troppo lente, is immediately captivating and is followed by a gorgeous main theme. This is very fine string writing. The finale, Vivace assai, is a kind of polacca of the sort Spohr might have written. Very melodic and full of energy, it provides a suitable conclusion to what is a good quintet. While this quintet often reminds one of Spohr by the virtue of its melodies it never sinks to the level of mere imitation. Although intended for two cellos, the publisher insisted upon and received a version for two violas so that it can be played by either combination.

Dobrzynski's second String Quintet in a minor, Op.40 was published in 1848 but could well have been written earlier. The first cello is entrusted with the presentation of the lyrical and somewhat sad main theme to the opening Allegro espressivo e sentimentale, before the others join in. The poignant first theme and its entire treatment sounds shows the influence of George Onslow. The second theme is of a very different sort, direct from the Italian opera of the time. It reminds one of the lovely cello melody in the trio of the third movement of Verdi’s quartet, then yet to be composed. One wonders if Verdi every heard this work. The lovely slow movement, Andante cantabile ed espressivo, also seems to take Onslow for melodic inspiration. Both cellos are used to maximum advantage in presenting the theme. The use of a very dramatic and stormy interlude is also a technique which Onslow often used, but make no mistake, this is not imitation and this first rate writing can clearly stand on its own. A somewhat aggressive and angry Minuetto, allegro impetuoso, follows. The cello parts are every bit the equal of the violins if not more important. Here, we find an excellent trio, full of contrast and mood. The first cello sings a lovely tune to the pizzicati of the other voices which is extraordinarily effective. In the finale, Agitato presto, the aura of Onslow hovers over this exciting and finely wrought movement. No version for 2 viola's was ever brought out and the work can only be played as a cello quintet.

Both of these fine works deserve to be heard in concert and to be played by amateurs as well  You can hear soundbites from both quintets on our website. The parts to each are available from Edition Silvertrust.