Wilhelm Kienzl(1857-1941)
     String Quartets 1-3

String Quartet No.1 in B flat minor, Op.22
String Quartet No.2 in C minor, Op.99
String Quartet No.3 in E flat major, Op.113

Thomas Christian Ensemble
Thomas Christian, 1st Violin
Melina Mandozzi, 2nd Violin
Ferdinand Erblich, Viola
Michael Hell, Cello
Recorded Castello San Polo, Rosso, Italy, June 2001
CPO 999805[77:42]

Summary: One of CPO's less attractive offerings

Wilhem Kienzl was born in rural Austria to parents in the legal profession.
Since his father was an amateur musician and his mother an occasional
actress, they quickly recognized their son's musical talent and mentored
his study with music teachers in the area.  In 1876, Kienzl went to
Vienna and earned his doctoral degree three years later in the field of
musical declamation.

Kienzl became well-known as a conductor, writer, and composer of operas,
piano music, and numerous songs.  He maintained a romantic musical posture
throughout his life, being a rather sedentary individual (physically and
mentally).  This lifestyle and the clinging to tradition certainly
contributed to his loss of reputation as the 20th century progressed.
Although the waiting period between Kienzl's 1st and 2nd String Quartet
was nearly 40 years, you will hardly notice any difference in style.
Kienzl was rooted in the heart of the romantic era; a world war, Schoenberg,
Zemlinsky, Mahler, etc., had zero impact on his music.  Essentially, we
have here three string quartets of great similarity.  The 2nd String
Quartet has more angst than the 1st owing to war and loss of friends,
but the romantic style never is altered.

There are positive aspects of the disc.  Kienzl knew very well how to
write music for four voices and in a highly melodic manner.  The result
is that each of the 12 movements has some endearing qualities.  However,
there is also a very syrupy element to his compositions which sometimes
gushes over in an unattractive and illogical manner.

How does the Thomas Christian Ensemble treat Kienzl's music?  If anything,
the group oozes sentimentality at an even greater intensity than Kienzl
calls for in the scores.  This applies especially to Mr. Christian who
also can sound sour at times.

I suppose that I am not painting an inviting picture of either the music
or the performances.  The fact is that I find the disc disappointing.
There are dozens of excellent recordings of string quarets from the late
romantic period which take precedence over the Kienzl disc - Schmidt,
Bonnal, and Zemlinsky come immediately to mind.

Don's Conclusions: Good writing and nice melodies can't offset Kienzl's
sentimentality and refusal to progress in his compositional style.  Add
in performances that can certainly be improved upon, and this disc rates
a very low priority.  I'll definitely be removing it from my music
library, since I don't see myself ever playing it again.  However, those
who like tear-jerker material might think better of the msuic than I do.

I do strongly recommend you set aside any thoughts of Kienzl and pick
up a disc of Puccini and Catalani music for string quartet performed by
the Quartetto Puccini on ASV 909.  This is delightful music played with
a wonderfully sunny approach; a Puccini student work is much more rewarding
than a Kienzl string quartet from his early or mature periods.

Don Satz
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