The fourth installment of Rendez-vous with Martha Argerich brings new fascinating recordings from the international Festival Martha Argerich in Hamburg, showcasing a superb lineup of soloists among which Lily, Sascha and Mischa Maisky, Edgar Moreau, Rosanne Philippens, Akane Sakai, Michael Volle and Sergio Tiempo. Particularly noteworthy are the highlights of a Chopin evening showcasing some of the most remarkable laureates of the Chopin Competition (Warsaw). This box set is a triumphant celebration of Martha Argerich's incomparable artistry and of the remarkable circle of musicians she is collaborating with.
Led by the Russian-born violinist Sasha Jacobsen, the Musical Art Quartet was was one of the preeminent quartets established in the US. In fact, the famed cellist Gregor Piatigorsky proclaimed that the Musical Art Quartet was the greatest quartet he ever heard. First violinist Jacobsen made numerous solo recordings before he established the Musical Art Quartet, but is probably best known as the fourth and final name of the popular Gershwin song "Mischa, Jascha, Toscha and Sascha", the forenames of four renowned Russian-Jewish violinists: Elman, Heifetz, Seidel and Jacobsen. Furthermore, the violist in the Musical Art Quartet was none other than Louis Kaufman, a major violin soloist in his own right. Jacobsen formed the Musical Art Quartet in 1926, and this CD features the ensemble's complete recordings of quartets by Haydn and Schubert made for the Columbia label in the late-1920s. Their recording of Haydn's Cmajor Quartet, op.54 no.2, is the first complete recording of a Haydn quartet ever made. Although the Quartet lasted for over two decades, this CD contains the group's only recordings of the quartet repertoire. Supplementing this historic CD release are comprehensive notes by the chamber music expert Tully Potter.
I made my first public appearance as a soloist the same year I graduated and pursued advanced studies in Copenhagen with Emil Telmányi and in Berlin with Willy Hess from 1919 until 1921, and when I returned home, I succeeded in securing a position as a violinist in the Royal Danish Orchestra." But already not long afterwards in 1923 he presented himself as a candidate for the leader of the Berlin Philharmonic, which after the death of Artur Nikisch in the previous year now had Wilhelm Furtwängler as it's chief conductor. He won the position over 14 competitors and relates himself: "That was quite something for an enthusiastic young violinist! From the last desk of the second violinists on Kgs. Nytorv to the highly responsible first desk in Bernburger Strasse, enjoying a close working relationship with such a great figure as Wilhelm Furtwängler.
The 'heavenly lengths' Schumann loved in late Schubert are as much in evidence in the sublime G major quartet as in the other large-scale works of Schubert's final years. The Takács Quartet's earlier Hyperion recordings of Schubert were hailed as 'near ideal' and 'superlative' and this new release is every bit as fine.
You may feel drawn to this disc out of a sense of duty. You know that you ought to know more of Schubert’s overtures than the so-called “Rosamunde” or the Overtures in the Italian Style. So you put this disc on – and are immediately transported with a sense of sheer delight. What is more, this continues throughout the disc as one engaging work follows another. At the end you pour yourself another cup of Earl Grey and start again. Well, at least that was my experience.
You may know all of these early works already and have scores or good recordings of them, in which case none of this will come as a surprise. For those who do not, let me explain that the nine overtures on this disc are all relatively early works written for a variety of purposes. Some are for operas or plays, some are concert works, and the last was probably written for a Cantata in honour of the Chief Inspector of Elementary Schools, a man also in charge of the fund for teachers’ widows. Despite that it is a very engaging piece. The notes by Keith Anderson helpfully explain the origins of each Overture, but I doubt whether you would be able to distinguish which is which without those notes. They are however unfailingly attractive, most with slow introductions followed by sonata-form movements. If you enjoy Schubert’s first three Symphonies, you will certainly enjoy these pieces which are very much in a similar vein and with similar virtues, especially in respect of the very characteristic scoring. Over and over again the listener will find themselves delighted by a turn of phrase, an unexpected harmony or deft orchestration.
Although clearly this is essentially down to the composer, much of the pleasure of the disc is also due to the bright but affectionate performances by the Prague Sinfonia, an expanded version of the Prague Chamber Orchestra. Christian Benda comes from a very distinguished family of Czech musicians and directs performances that are just right for these pieces, avoiding on the one hand blandness and on the other excessive point making. The recording quality is clear and full.
You will have gathered by now that I have had considerable pleasure from this disc. Completeness can be a mixed blessing, but on this occasion I am very glad that Naxos have decided to do this in respect of a category as unexpected as Schubert’s Overtures.
