The superb Kalichstein-Laredo-Robinson Trio is heard in all of Schubert's music for Piano Trio- the two great masterpieces (the B-flat and E-flat Trios), as well as the rarely played "Sonatensatz" and Notturno. In addition, Sharon Robinson and Joseph Kalichstein perform the lovely "Arpeggione" Sonata. This specially priced release includes notes by Schubert specialist, Malcolm MacDonald.

 

C. SCHUMANN Piano Trio in g. SCHUBERT String Quartet No. 13 in a, “Rosamunde” . String Trio in B? • Gunilla Süssman (pn); Antje Weithaas, Christian Tetzlaff, Gergana Gergova (vn); Rachel Roberts, Wolkver Jacobsen (va); Alban Gerhardt (vc) • DEUTSCHLANDFUNK 8553294 (68:40)


Reading almost anything written about Clara Schumann, I am reminded somehow of Anne Brontë, a fine novelist who was the talented sister to two geniuses. Anne can’t win in the critical world, and Clara, who besides being reputedly one of the best pianists of her era was one of its better composers, can’t win either. The annotator to this collection of live performances from the Spannungen Chamber Festival virtually apologizes for Schumann as a good student who, sad to say, never learned “that rules are meant to be broken.” It strikes me that, living with Robert Schumann, and hearing his works, Clara Schumann had plenty of opportunities to realize that rules could be broken. Perhaps his pathology made her leery of going outside certain boundaries. Nonetheless, I find her Piano Trio a mostly pleasing work with touching themes that aren’t necessarily developed as compellingly as those of the greatest of her contemporaries. But the Finale is memorable and lively.


Schubert is the greater companion here. The String Quartet is played almost carefully, or at least to my mind with not the most desirable fervor. Lines meant to fade sensitively seem rather to peter out. I prefer my recordings by the Italian Quartet, the Guarneris and the Emerson Quartet. The playful String Trio is performed well, but still I would pick up this disc mainly for the Schumann.


FANFARE: Michael Ullman

Florence Malgoire’s ensemble Les Dominos pays tribute to Jean-Philippe Rameau in the 250th year since his death with very rarely played repertoire. + These Concerts de Monsieur Rameau are, in fact, transcriptions in six parts of the Pièces de Clavecin en Concert that Rameau had conceived at the outset from his harpsichord pieces with accompaniment by violin or flute and bass viol. + The original adaptations by M. Decroix (1768) are quite enigmatic, and Les Dominos’ reading of it combines the strings with two emblematic instruments of Rameau’s orchestra: flutes and bassoon.

HAYDN Piano Trio in Bb, Hob XV:20. ROSSINI Duo for Cello and Double Bass. SCHUBERT String Quartet No. 14, D 810, “Death and the Maiden” • Martin Helmchen (pn); Veronika Eberle, Antje Weithaas, Christian Tetzlaff (vn); Rachel Roberts (va); Marie-Elisabeth Hecker, Tanja Tetzlaff (vc); Alois Posch (db) • AVI-MUSIC 8553259 (66:11) Live: Heimbach 6/6-10/2011


The three concert performances on this disc derive from an annual chamber music festival entitled “Tensions [ Spannungen ]: Music in the Heimbach Hydropower Station,” which does in fact take place in a functioning hydroelectric installation, built in 1904 in Art Nouveau style and located in Germany’s Eifel region. Lars Vogt, the festival’s artistic director, writes in his introductory notes that the title is “not only an allusion to the electric current normally produced in this…installation but also to the underlying musical tensions and contrasts in the festival’s music program.” Electricity, in the figurative sense, is certainly a feature of the excellent performances on this disc.


The Haydn Trio offered here, No. 20 according to Hoboken but No. 34 in the Landon listing, is a relatively late work, one of a group of three trios written in 1794, during the composer’s second visit to London. Its three movements total just over 13 minutes in this performance by violinist Veronika Eberle, cellist Marie-Elisabeth Hecker, and pianist Martin Helmchen. Their rendition is excellent, predictably larger-scaled and more assertive than the fine period-instrument recordings by Trio 1790 (CPO) and by Patrick Cohen, Erich Höbarth, and Christophe Coin (Harmonia Mundi), achieving an ideal combination of energy, exuberance, precision, and elegance. The crystalline clarity of Helmchen’s pianism and the perfect intonation and burnished tone of the string players further contribute to the success of this performance.


Unlike his string sonatas, Rossini’s Duo for Cello and Double Bass is not an early work but rather dates from 1824, when the composer was already approaching the end of his operatic career. It was written for a well-known double bass virtuoso of the time, Domenico Dragonetti, who, according to the notes, lived from 1763 to 1841 but performed in the presence of Berlioz in 1845, making him one of several musicians who have been credited in print with performing after death. (Other sources indicate that his actual death date was 1846.) This instrumental combination might seem unpromising and be expected to yield a dull, boomy sound, but in Rossini’s hands it actually works quite well. Cellist Tanja Tetzlaff assumes the lead role that would go to a violin in a more conventional ensemble, but the playing of bassist Alois Posch is supple and euphonious. Together the instruments produce a warm, throbbing sonority, and this being Rossini, there is plenty of engaging melody in the three movements of the piece.


To conclude the program, violinists Antje Weithaas and Christian Tetzlaff, violist Rachel Roberts, and cellist Tanja Tetzlaff deliver a performance of Schubert’s “Death and the Maiden” Quartet that is of astonishing power and intensity, with urgent tempos, forceful attacks, strong dynamic contrasts, and explosive climaxes. In taking the lengthy exposition repeat, unlike most competitors, these players prolong the first movement to over 15 minutes, which may not sit well with those who feel Schubert goes on for too long, but that is not a viewpoint I share, and in any case the performance is so gripping that no one is likely to complain of monotony. Although their treatment of tempo is not rigid, the Heimbach musicians, unlike many ensembles, relax only slightly in the more lyrical portions of the movement. Their urgency and vehemence continue into the Andante con moto second movement, where most ensembles opt for a more relaxed, lyrical approach. An unusually forceful and angry Scherzo is followed by a headlong and vehement finale. Technically, the playing is of a high standard in terms of intonation, articulation, and tone quality, although it is not note perfect, as is understandable given the live concert setting and the extremely intense, highly charged nature of the interpretation. Also notable is the unusually open and detailed texture of this performance, in which the contribution of each instrument can be heard distinctly.


There are many fine recordings of “Death and the Maiden,” but I do not know of another that matches this one for intensity and dramatic power. In contrast, that of the Alban Berg Quartet (EMI) flows smoothly and mellifluously, with a blended sonority. The Budapest Quartet (in its 1953 Columbia recording, available from ArkivMusic) is also comparatively genial and lyrical. The Emerson Quartet (DG) and the Juilliard Quartet (in its 1959 RCA recording, reissued by Testament) get a bit closer to the Heimbach approach but still do not match its relentless drive, towering climaxes, and searing passion. The Heimbach performance is greeted with thunderous applause and foot-stamping at the end, as it should be.


In addition to the quality of its performances, this disc benefits from excellent, realistic sound that positions the musicians precisely in a spacious acoustic and is vivid, well balanced, and free from harshness. The concert audience is very quiet, except for its enthusiastic applause after the performances, although faint background noise may be heard during silences and in quiet portions of the Schubert. This is an outstanding release, and I strongly recommend it to all lovers of chamber music.


FANFARE: Daniel Morrison

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A slightly older contemporary of Vivaldi, Alessandro Marcello is a less well-known composer of the early eighteenth century, whose home town was Venice and whose younger brother was the more prolific Benedetto. These well-crafted concerti, the most famous works among his output, are sadly infrequently performed. The six 'La Cetra' concertos are unusual for their wind solo parts, instrumental contrasts and combinations, and use of counterpoint within a broadly, Vivaldian style. They provide a cross-section of Marcello's instrumental style of composition and can be seen as a last outpost of the classic Venetian baroque concerto. This was a popular CD on its original release, and is sure to be welcomed as a re-issue at Classics price.

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"When Debussy's String Quartet is so often partnered on disc by Ravel's, a considerable chunk of the enjoyment to be had from this recording is down to the simple fact that it's a Debussy-only programme. It's true that Debussy left slim pickings for chamber string ensembles, but the Brodsky Quartet have shown here what musical riches are possible with the combination of Debussy and string quartet forces when a bit of lateral thinking comes into play, together with a few guest artists...Just when works suitable for string quartet really are running out, in steps Brodsky viola player Paul Cassidy with his string quartet arrangement of Rêverie, originally for solo piano. Written contemporaneously to the Quartet, Debussy may have intended it as little more than a charming salon piece, but Cassidy's scoring is so similar to that of the quartet that the work has taken on a new identity. Far from feeling like an “And finally...” bonbon, its new gravitas makes it a fitting bookend to the programme, a partner to the Quartet, and an unexpected delight."

- Charlotte Gardner, BBC [04-18-2012]

The Brodsky Quartet celebrates its fortieth anniversary this year. Formed in 1972, the Quartet quickly emerged at the forefront of the international chamber music scene. It has performed more than 2000 concerts and made more than fifty highly acclaimed recordings. Now exclusive Chandos artists, the Brodsky players are releasing their second album on Chandos with guest soloists Jean-Efflam Bavouzet and the harpist Sioned Williams.

The Trio for piano, violin, and cello is an early work, written before Debussy established his own very distinctive musical language heard in pieces such as La Mer. Another early piece, Rêverie, for piano, was written by the young, struggling composer at a time when he was trying to make a living in Paris. The easiest market to break into for a composer was the salon, where songs and not-too-taxing piano music were in demand. Rêverie was one of several charming and tuneful works that Debussy wrote for this scene.

In a somewhat different league, the String Quartet is considered a defining work in the history of chamber music. Sensual and impressionistic, it employs a cyclic structure that constituted a split from the rules of classical form and pointed the way forward. In the words of Pierre Boulez, Debussy freed chamber music from ‘rigid structure, frozen rhetoric, and rigid aesthetics’.

The Deux Danses, made up of the ‘Danse sacrée’ and ‘Danse profane’, complete the disc. At the end of the nineteenth century, the Parisian instrument makers Pleyel invented a ‘chromatic harp’ which dispensed with pedals and achieved the full chromatic compass from two rows of strings that slanted across one another. Debussy was approached to write two pieces intended for a final examination of the Pleyel model. ‘Danse sacrée’ makes use of Church modes, while ‘Danse profane’ is a kind of sarabande. The ‘competition’ aspect of the pieces is highlighted by the fact that, after the opening introduction, the harpist has no more than six bars’ rest. As it happened, the Pleyel model never caught on, and the works are now always performed on a pedal harp.

Recording information: Potton Hall, Dunwich, Suffolk, England (01/19/2009-01/21/2009).

Even listening "blind," I suspect I'd have pegged these as Russian performances. The opening 'cello phrase of the D minor Trio is distinctly melancholy; the violin, taking up the same theme, infuses the vaulting leaps with yearning; and the arrival of the "tutti" at 1:11 is rather grand -- or, at any rate, as grand as three instruments can make it.

So it goes. The Borodin Trio's heightened emotional scale doesn't turn Mendelssohn into Tchaikovsky, as one might fear, but the more turbulent passages of the D minor's first-movement development do suggest a sort of Slavic Beethoven. The pianist launches the Andante con moto tranquillo with a simplicity that recalls the Songs without Words, but the string players take over on the repeats with a saturated, vibrant tone, and the more unsettled second theme rises to unusually impassioned climaxes. The Scherzo comes off as both playful and trenchant, echoing its Midsummer Night's Dream counterpart in spirit. The Finale is cogent and persuasive, with the climaxes again bringing an added touch of grandeur and breadth. It's an impressive and satisfying performance, though likely to disconcert those who think of Mendelssohn's output as uniformly graceful and featherweight.

Stylistically, the C minor Trio's outer movements follow more or less conventional patterns -- or perhaps I'd simply gotten used to the Borodin's expanded sense of scale -- but the playing still has its uniquely reflective moments. The Andante espressivo again juxtaposes the piano's gentle rocking rhythm with more heartfelt, sustained string playing; the players really bring out the expressive weight in the development's string of secondary modulations. This Scherzo, taut and volatile, recalls its counterpart from the Octet. The Finale's main theme, with its triple rhythm, has a nice swing; the players lean on their agogic stretches to maintain a firm propulsion.

The sound quality is big, warm and vivid to match the performances, avoiding the excessive ambient resonance that would characterize Chandos's orchestral recordings. This budget-price reissue merits a warm welcome.

-- Stephen Francis Vasta, MusicWeb International

Bax's fine Quintet, its three movements composed in 1922, is the weightiest piece here, with numerous melodies that sound like Irish folktunes but are apparently original. The first movement has a rhapsodic introduction, the last is in the character of an Irish dance. As in the Harp Quintet (reviewed on page xxx) the textures are remarkably varied, and in the central Lento a long initial passage for strings alone is balanced by oboe cadenzas, solo and accompanied. Next in musical interest stands the Moeran, a quite powerfully moody single movement that passes through several distinct yet related areas of expression. Lacking the poetic imagination of these two works, Gordon Jacob's Quartet is still excellent, its four movements being written with clarity, economy and a ready invention. Like the Bax, it was designed for Leon Goossens.

Holst's contributions date from 1896, although the Pieces were revised in 1910. As Colin Matthews's sleeve-note honestly admits, there is nothing of the mature composer here, though he was already a deft craftsman. These performances, too, are most expressive and in general well recorded, although I feel that the oboe is rather forward in Bax's Quintet.

-- Gramophone [2/1985]

BEETHOVEN: String Quartets, Vol. 5

KLAVIERSTUCKE

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Sir Andrew Davis takes his multi-award-winning Elgar discography to the next level with breathtaking interpretations of Falstaff, Elgar’s most accomplished and characteristic work, and several orchestral songs, with exemplary support from the BBC Philharmonic, all recorded in surround-sound. Owing to its technical challenges and more complex harmonic language, the composer always had a high opinion of Falstaff, saying that he had enjoyed writing i Gramophonet ‘more than any other music I have ever composed and perhaps for that reason it may prove to be among my best efforts’. His earlier music for Grania and Diarmid pays tribute to the Irish legend of Diarmuid and Grainne; the Funeral March is probably Elgar’s noblest creation, and echoes the popular Pomp and Circumstance Marches. The various less well-known songs, given heroic interpretations by the baritone Roderick Williams OBE, span the multiple facets of Elgar’s style, from the stern and dramatic impressions of Op. 60 to the satirical and impish jollity of ‘Kindly do not SMOKE’.

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REVIEW:

This is a superbly perceptive traversal of Elgar's Falstaff, evincing a strength of purpose, emotional candor, and meticulous attention to detail. Right from the outset there's an irresistibly idiomatic swagger, acquity, and temperament. Baritone Roderick Williams is at his eloquent best in an attractive selection of orchestral songs.

– Gramophone

"The term 'fantasia', in music, mainly refers to a free type of structure. Throughout history, the genre has allosed composers to jot down their musical ideas directly, like an improvisation, just as they first spring to mind. The fantasia became a popular instrumental genre in the 1800's, when it started to feature the dreamy, 'phantastic' element even more prominently; the piano and its universe of polyphony likewise played an essential role. The fantasia was thus an ideal genre for Scumann, whose music I view as the quintessence of German High Romanticism. Schumann's music is full of expression and driven by passion; at the same time it is disarmingly honest and private. Its textural sonority is full of variety, yet it always remains decent and straightforward, never attempting to posture with easy, flashy, superficial effects or by adding purely virtuosic embellishments. In my imagination, this music often evokes placid romantic scenes imbued with good-naturedness and a certain vulnerability: people of the simple classes, courtly settings, flowery childish joys, or the secretly shared yearnings of two lovers. It is as if such figures or allegories were placed in the midst of mysterious landscapes, lovingly painted with an eye for detail, and impressively set to music. Schumann often used teh word "Fantasy" in the titles of his works - frequently as part of a compound noun, Fantasiestüc, or also sporadically Fantasietanz (dance). The music in such pieces is often of choice quality and profoundly expressive... (Eckardstein)

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With Horn6, Joachim Ba?nsch presents the sound world of his instrument to the listener in all it's variety, ranging from solo works and original compositions to six-part arrangements. The recording was completed with the help of multi-track equipment. Ba?nsch notes: 'Dauprat's Sextet has fascinated me since my student days. Again and again, our concert performances of the sextet have come to grief, and even today we consider it barely playable on account of it's enormous technical challenges. I hired a sound engineer and spent two weeks recording it at a church in the Provence region of France.'

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This album is the first volume in the Centaur Steven Staryk Retrospective. Staryk is former concermaster of the London Philharmonic, Concertgebouw Orchestra of Amsterdam, Chicago Symphony, and Toronto Symphony.

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