Nonet in A minor Op.77

The young Onslow never intended to become a composer. He had studied piano with two of the best teachers in Europe, Jan Dussek and Johann Cramer. Although chamber music was particularly cultivated at his family home at Chateau Chalandrat, and copies of string quartets by both Haydn and Beethoven in Onslow’s handwriting have survived, his original intention was merely to be an amateur performer. So he had no training as a composer and once he decided to compose himself he had to set about acquiring some basic knowledge from a Treatise on Harmony by a professor from the Paris Conservatoire. After the publication of his early works he did take some instruction from Anton Reicha.Onslow was exceptional among French composers of his time in not writing extensively for opera. He did in fact compose three operas that were performed in Paris, but the competition was intense and Onslow was not temperamentally inclined to spend all year battling with opera directors, librettists, censors and singers. So for many reasons, including the desire not to be in Paris all year round, Onslow confined himself almost entirely to the writing of chamber music, As well as being a pianist he also played the cello, which perhaps explains the many dedications to famous cellists.It seems that in his later years Onslow felt completely overshadowed by the classical trio of Haydn, Mozart and Beethoven and moved away from composing string quartets and quintets into the less classical realm of piano quintets and works involving a wind quintet. The Nonet was dedicated to Prince Albert, Queen Victoria’s husband, as the Prince, himself a composer, had sent Onslow a bound copy of his works. So Onslow responded with the dedication of his largest ever chamber work.A contemporary critic pointed out that Onslow rarely let one instrument rise above the others; the underlying idea of his music is mainly one of a basic attitude of a dialogue that leads the individual motifs from one instrument to the next, allowing each one equal voice. Onslow was 64 when he wrote this work but the Nonet has all the high spirits of a young man, the overwhelming feeling is that both musicians and audience are meant to enjoy taking part in the performance. The opening movement is built on an almost symphonic scale, Onslow relishing in the exciting possibilities created by the presence of nine instruments on stage, while not forgetting the smaller combinations open to him. The scherzo is a lively movement led by a cheeky figure in the strings picked up by the winds, while the Trio is notable for a nostalgic solo theme played by the horn that is then passed around the oher instruments. The Andantino is a theme and five variations. The rather straightforward theme suddenly blossoms in the extended final variation. The Finale opens with a solemn slow introduction before the oboe leads off the main section, where melodies come tumbling out from every corner in a delightful dance.