Ok. But doesn't this make any composer transitional, especially Beethoven himself who took Haydn's and Mozart's style as his starting point (had to really, what else was he to do?) and whose influence was felt by every composer throughout the 19th century. Indeed Onslow would then be less transitional than Beethoven (or Reicha) since his music was respected by the likes of Schumann but not used for inspiration (having suggested the two cello quintet combination to Schubert--if indeed Schubert took it from Onslow--is not a sterling record as to effect on the afterworld). Or does the "transitional" epithet apply to the valleys, but not to the mountains tops?
As to recordings of quartets: The one I mentioned (op 21, 2 in e-minor) remains unrecorded as of last time I checked, the only "recording" is on the catalogue website of Silvertrust Editions: Soundbites for each movement of about two minutes each from a private recording of a reading session by amateurs. Suspiciously error free for a reading session I would say but rather wooden and not doing justice to the music.
I think this thread will probably soon have run its course. My goal was really to "set the record straight" on Onslow in the sense that he was primarily a composer of chamber music, i.e. the bulk of his music is chamber music and it is more impressive than his symphonies.
May I close with a suggestion? There seems to be a tendency among the public to respond to someone's post on some composer by mentioning other composers and setting up (inadvertently I am sure) a competition on who has the best composer. Would it not be better to start a new thread in these cases? Unless the intention is to make a point about--in this case--Onslow like Alan Howe did.
As to recordings of quartets: The one I mentioned (op 21, 2 in e-minor) remains unrecorded as of last time I checked, the only "recording" is on the catalogue website of Silvertrust Editions: Soundbites for each movement of about two minutes each from a private recording of a reading session by amateurs. Suspiciously error free for a reading session I would say but rather wooden and not doing justice to the music.
I think this thread will probably soon have run its course. My goal was really to "set the record straight" on Onslow in the sense that he was primarily a composer of chamber music, i.e. the bulk of his music is chamber music and it is more impressive than his symphonies.
May I close with a suggestion? There seems to be a tendency among the public to respond to someone's post on some composer by mentioning other composers and setting up (inadvertently I am sure) a competition on who has the best composer. Would it not be better to start a new thread in these cases? Unless the intention is to make a point about--in this case--Onslow like Alan Howe did.