Classical Music

Founded in 2005, the Escher String Quartet is still a young ensemble as string quartets go. It has nevertheless become established as one of the most exciting quartets around, both in its home country, the U.S.A., and elsewhere, recently being shortlisted for a BBC Music Magazine Award. With their début disc on BIS, the Eschers launch a three-disc cycle of Mendelssohn’s string quartets, including the unnumbered String Quartet in E flat major and – on coming instalments – the four pieces for string quartet Op.81.

Reviews:

This is full-blooded quartet playing in the grand, classic manner; extrovert and eloquent. Rich tone, good balance and a particularly noteworthy expressiveness from the first violin, Adam Barnett-Hart, who offers that rare ability not only to sing but also to speak through the instrument.

– BBC Music Magazine

The Escher are fervent advocates of the E flat Quartet, imbuing the slow movement with a luxuriant warmth. There's no doubting the players' musicianship or technical ability, which are caught with admirable immediacy.

–Gramophone

The Eschers sound warm, relaxed and responsive to all of Mendelssohn’s expressive nuances. They lavish full, red-blooded tone on the slow movement of the genial Quartet No 1, and in the restless Quartet No 4 they keep the momentum striving forward, with first violinist Adam Barnett-Hart spinning long, seamless phrases.

– Guardian (UK)

MENDELSSOHN: 7 Characteristic Pieces, Op. 7 / Fantasia, Op.

MENDELSSOHN: Sonata in B-Flat Major / Fantasies, Op. 16

As I remarked last November when Vol. 1 of this cycle appeared, the multiplicity of notes in Mendelssohn’s piano music sometimes lays him open to the charge of ‘note-spinning’. So what higher praise for Frith than to say that thanks to his fluency, tact and fancy, not a single work in this second volume seems to outstay its welcome.

The unchallengeable masterpiece, of course, is the Variations serieuses, so enthusiastically taken up by Clara Schumann, and still a repertory work today. Frith characterizes each variation with telling contrasts of tempo and touch without sacrificing the continuity and unity of the whole. Equally importantly, never for a moment does he allow us to forget the serieuses of the title. I was no less impressed by his sensitively varied palette in the early E major Sonata (unmistakable homage to Beethoven’s Op. 101) so often helped by subtle pedalling. But surely the recitative of the Adagio at times needs just a little more intensity and underlying urgency.

Of the miniatures the six Kinderstucke (“Christmas Pieces” – written for the children of a friend) emerge with an unforced charm. As music they lack the romance of Schumann’s ventures into a child’s world, just as the Three Studies do of Chopin’s magical revelations in this sphere. However, Frith’s fingers never let him down. In the first B flat Study he even seems to acquire a third hand to sustain its middle melody. For sheer seductive grace, the independent Gondellied haunts my memory most of all, here with its melody so gracefully floated over a gently gliding bass. With pleasantly natural sound in its favour, too, this disc could surely sell at more than its modest price.'

-- Joan Chissell, Gramophone [5/1996]

MENDELSSOHN: 6 Preludes and Fugues, Op. 35 / 3 Caprices, Op.

Classical Music

MENDELSSOHN: Piano Sextet, Op. 110 / Piano Quartet No. 1

Classical Music

These are three of the masterpieces by Mendelssohn. Alon Goldstein is one of the finest young pianists performing today. Yoav Talmi and the Israel Chamber Orchestra deliver superb, committed performances.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

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MENDELSSOHN Piano Concertos: No. 1; No. 2. Rondo brilliant • Martin Helmchen (pn); Philippe Herreweghe, cond; Royal Flemish PO • PENTATONE 5186 366 (SACD: 55:02)


I was introduced to these two delightful concertos by Murray Perahia and Neville Marriner in their 1975 CBS (Sony) release, and these quicksilver performances are still what I hear in my head when I think of these works. Perahia’s performances remain in the catalog, and despite brightly lit analog sound, are very much in the running for finest recording of these lighthearted showpieces. I was equally taken with the Schiff/Dutoit versions when they made their appearance on CD in the early days of digital, Schiff being, if anything, even more brilliant and fleet of finger. Thibaudet’s (and Blomstedt’s) big-boned traversal of these scores was less pleasing at first, though the extra weight certainly does not come at the expense of dazzling passagework. Thibaudet’s Mendelssohn, played “as fast as possible provided that the notes can be heard” as the composer preferred, simply strikes me as a bit aloof, impressive as it is.


No one would ever call this new recording by the talented young (at 28) German pianist Martin Helmchen aloof. The 2001 Clara Haskil competition winner, an exclusive PentaTone artist, has now recorded seven releases with the Dutch label, including some very fine Schubert chamber and solo music, two Mozart concertos of notable lucidity, and an acclaimed release of the seldom-recorded Dvo?ák Piano Concerto. The delicacy of touch and graceful phrasing of the Mozart, in particular, promised an interesting outing with the Mendelssohn, and so it has turned out. Helmchen is not as flashy as Perahia or Schiff, preferring to emphasize warmth and expressiveness over precision and sheer velocity, though he lacks neither. There is an appealing geniality to the opening movement of the Concerto No. 1 that gives a good impression of the performances to come. The lovely but rather indulgent poetics of the Andante raise some concerns about fussiness, and the fanfare leading into the Presto finale—shades of A Midsummer Night’s Dream —could be more brilliant, but overall the soloist compensates with playing of sensitivity and, in the finale, dazzling energy.


As with the very different Thibaudet, though, it is the D-minor Concerto that responds best to this artist’s approach. The initial darkness is emphasized by Helmchen’s understated opening, but the proceedings don’t stay low-key for very long. Like the French pianist, he sees this as a much more substantial statement than anything in the rather frivolous G-Minor Concerto, so he and Herreweghe give it weight but refuse to drive the movement as hard as Thibaudet does. It and the following Adagio are lovingly shaped, with more rubato than either Schiff or Perahia allow themselves. Helmchen and company round things off with a Presto scherzando that, after the opening bars, is less about digital fireworks than amiable farewells. Nicely done. The seldom-heard Rondo brilliant is primarily about fireworks, however, and both soloist and orchestra indulge themselves enthusiastically.


Helmchen has the notable quirk of underlining quieter passages by exaggerating the dynamic and slowing the tempo, in a couple of instances almost to a stop. The effect borders on the precious, though I can’t say it ever crosses the line. Some will see it as exquisite, or spiritual, and I won’t argue. Some listeners may object to the orchestra’s restrained application of vibrato, and the hard sticks used on the timpani. Others may feel that the accompaniment is a little too discreet compared to Marriner or Blomstedt. Still, if Helmchen won’t displace Perahia and Schiff in the pantheon, he certainly can join them as a compelling alternative. And given the sound of this release—warm, detailed, nicely balanced, and with just the right amount of sharpness to the piano to make it sparkle—this may well be the audiophile’s first choice.


FANFARE: Ronald E. Grames

REVIEWS:
American Record Guide (11-12/97, p.156) - "...It is as if a mere reading
of the notes on the page in metronomic precision qualifies as a
performance. The result is enough to make one hate Mendelssohn organ
works..."

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

It is hard to fault this Carus release of Mendelssohn's Paulus ... a must for any collection of sacred music.

Specialising in spiritual choral music from all periods the Carus label continue their impressive series of Mendelssohn sacred choral works with the oratorio Paulus (St. Paul); their eleventh volume under the baton of Frieder Bernius.

The oratorios Paulus and Elijah are two mainstays of the genre that secured Mendelssohn’s fame in the restorationist Germany and Victorian Britain, where they were frequently performed at numerous music festivals and sometimes conducted by the composer. In spite of the forceful and enduring backlash against things Germanic and Victorian that prevailed in Britain following the outbreak of the Great War, Paulus and Elijah have remained perennially popular with the British provincial choral societies. On the other hand, owing mainly to changes in music fashion, Mendelssohn’s impressive output of psalm settings, motets, cantatas, Walpurgisnacht and the Lobgesang - works that figured so prominently in the European music life of the 1830s and 1840s - are either largely forgotten or rarely performed.

According to biographer Michael P. Steinberg, "Paulus was written in the aftermath of Abraham Mendelssohn’s death and as a tribute to his memory." Musicologist Edward Dannreuther opined that Paulus was written probably for festival concert performance purposes with a devotional spirit rather than purely for ecclesiastical reasons. Mendelssohn’s sacred choral music contains a special and unique appeal. At its very best it is convincing and expressive, bright and airy in tone with a gentle serenity and a rare beauty.

Mendelssohn composed the oratorio Paulus for solo voices, chorus and orchestra between 1834 and 1836. Assisted by Pastor Julius Schubring, he prepared the text from the Bible centring the oratorio on the book of St. Paul and focusing on the martyrdom of St. Stephen and the conversion of Saul of Tarsus.

Paulus was a tremendous success at its première at the Lower Rhine festival in Düsseldorf, Germany in 1836 and gave the twenty-seven year old Mendelssohn his international breakthrough. In the eyes of musicologist Francis Toye, for Mendelssohn the triumph of Paulus, "eventually established him, in England in particular, as the legitimate successor to Handel." Many performances soon followed throughout Europe, Russian and also in the USA. Probably Mendelssohn’s most admired score in his lifetime, composer Robert Schumann remarked upon the, "indelible colour of instrumentation" and the, "masterful playing with all the forms of the art of composition" describing it as a, "jewel of the present." However Paulus has not achieved the same enduring level of greatness as that of his later oratorio Elijah; a more mature score that is performed more often with a far larger number of available recordings. Paulus is cast in two large sections. According to music writer David Ewen the first section is, "essentially dramatic" and the second section, "lyrical and contemplative".

Section one of Paulus contains numerous highlights and is the more successful of the two parts. I was struck by how much the robust and elaborate opening chorus Herr, der du bist der Gott (Lord, Thou alone art God) (track 2, CD1) reminded me of Handel’s coronation anthem, Zadok the Priest (HWV 258). The splendid declamation of the soprano Maria Cristina Kiehr in the aria Jerusalem, die du tötest die Propheten (Jerusalem! They that killest the Prophets) (track 7, CD1). The shock and abhorrence from Werner Güra in the tenor aria, Und sie steinigten ihn (And they stoned him) (track 9, CD1) is memorable. A true high spot is the sequence of soothing strains from the chorus in Siehe! Wir preisen selig, die erduldet haben (Happy and blest are they who have endured!) (track 11, CD1). Also notable is the remorse and sorrow from Michael Volle in the bass ‘rage’ aria Vertilge sie, Herr Zebaoth (Confound them all, Lord Sabbath) (track 12, CD1). Volle’s outburst of anger and loathing in Gott, sei mir gnädig nach deiner Güte (O God, have mercy on me) (track 18, CD1) must also be mentioned. Here one cannot fail to be impressed by the excellent woodwind accompaniment. Another highlight is the bass aria Ich danke dir, Herr, mein Gott! (I praise thee, O Lord, my God!) where Saul’s prayer is answered by the mixed chorus.

Section two of Paulus is generally considered to be of reduced dramatic quality and consequently is of rather less interest than the opening part. I should just mention the reverential and moving duets for tenor and bass So sind wir nun Botschafter an Christi Statt (Now we are Ambassadors in the name of Christ) (track 3, CD2) and Denn also hat der Herr geboten (For so hath the Lord himself commanded) (track 9, CD2). Then there’s the dramatic and powerful, extended bass aria from Michael Volle in Ihr Männer, was macht ihr da? (O wherefore do ye these things) (track 14, CD2). Werner Güra in the tenor cavatina, Sei getreu bis in den Tod (Be thou faithful unto death) (track 18, CD2) is impressive. Here I was struck by the superb playing by the soloist in the obbligato cello part. The strength and intensity of the two mighty and compelling final choruses is noteworthy: Sehet, welch eine Liebe uns der Vater erzeiget (See what love hath the Father bestowed on us) (track 21, CD2) and Nicht aber ihm allein, sondern allen (Not only unto him) (track 23, CD2).

Argentinian soprano Maria Cristina Kiehr, who sings both the soprano and alto parts, rises to the tough assignment and proves impressive. Her captivating performance was appropriately reverential, blended with impressive clarity of enunciation and creamy timbre. Güra provides an enthusiastic contribution with his bright and medium weight tones, of a certain Italianate quality. These contrast splendidly with Volle’s memorably rich and characterful bass.

Bernius’s direction is impressive in every way. The playing of Deutsche Kammerphilharmonie Bremen is never overwhelming but always high on sensitivity; containing an especially moving directness of expression. The sound quality on this SACD, which I played on my standard players, is first class and especially well balanced. I enjoyed the exemplary essay in the booklet from musicologist R. Larry Todd, however, there are several errors in the accompanying liner notes.

With regard to alternative recordings of Paulus I have considerable affection for the 1995 Montreux version under the direction of Philippe Herreweghe. The quartet of soloists: Melanie Diener (soprano); Annette Markert (mezzo); James Taylor (tenor) and Matthias Görne (baritone) are joined by the Collegium Vocale Gent; La Chapelle Royale and the Orchestre des Champs-Élysées on Harmonia Mundi HMC901584.85.

Another alternative version of Paulus from my collection that I can recommend is the 1994 Dvo?ák Hall, Prague performance from the baton of conductor Helmuth Rilling. The talented quartet of soloists is Juliane Banse (soprano); Ingeborg Danz (alto); Michael Schade (tenor); Andreas Schmidt (bass) with the Gächinger Kantorei Stuttgart; Prager Kammerchor and the Czech Philharmonic Orchestra on Brilliant Classics 99953 c/w Elijah, Op. 70.

It is hard to fault this Carus release of Mendelssohn’s Paulus which is a must for any collection of sacred music. I look forward to Frieder Bernius’s forthcoming recording of Elijah, Op. 70, also on Carus.

-- Michael Cookson, MusicWeb International

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Classical Music

MENDELSSOHN Cello Sonatas: in B?, op. 45; in D, op. 58. Variations concertantes, op. 17. Assai tranquillo. Lieder ohne Worte, op.19a/1,3,6 (arr. Piati); op.109 • Antonio Meneses (vc); Gérard Wyss (pn) • AVIE 2140 (72:45)


As Chopin’s works for cello owe their genesis to his association with Franchomme, so Mendelssohn’s pieces were written with specific cellists in mind. The charming and brilliant Variations concertantes (1829) and the First Sonata (1838) were written for the composer’s talented younger brother, Paul. In the interim, Mendelssohn composed the charming albumblatt, known as the Assai tranquillo , as a gift for his Düsseldorf colleague, Julius Rietz. The weightier Second Sonata, from 1843, is dedicated to Count Mateusz Wielhorski, who became a professional cellist on his retirement from the Russian army and eventually an important patron of music in St. Petersburg. Mendelssohn’s last work for cello and piano, the poetic Song without Words , op 109, is dedicated to Lisa Cristiani, one of the few women cellists of the time. Three of the piano solo Songs without Words , transcribed by the cellist Alfredo Piatti, who was much admired by Mendelssohn when they met in London, are interspersed among the original works on this disc.


The distinguished Antonio Meneses—a celebrated soloist and, since 1998, cellist with the Beaux Arts Trio—is a near-ideal interpreter of this important Romantic repertoire. Commanding a rich and varied tonal palette, Meneses approaches Mendelssohn’s essentially lyric expression with poise and equilibrium. This does not mean that passion and drama are given short shrift. In the Scherzo of the D-Major Sonata, the cunning pizzicatos verge on the sinister, only to be dispelled by the flowing cantabile of the trio. During the ensuing Adagio, one of the most beautiful slow movements in Mendelssohn’s chamber music, the cello interrupts the piano’s chorale figure with a series of recitatives. Meneses imbues these passages with a poetic utterance that is disarming in its intensity. His reading of the op. 109 Song without Words is the finest I can remember. Though Gérard Wyss’s piano-playing may lack a certain polish and finesse, his musical instincts are acute, and he remains the sensitive and supportive partner throughout.


Musically speaking, these performances will comfortably take their place alongside other admired readings of the repertoire, including those of Mischa Maisky and Sergio Tiempo (DG 471565) and János Starker and György Sebok (Mercury 434377). The recording, however, made in England in June 2007 at Potton Hall, Suffolk, doesn’t seem to do full justice to Meneses’s wonderful sound. It’s difficult to tell if poor microphone placement or a problematic acoustic space is the culprit, but presence and blend are lackluster. Stephen Pettitt contributed the informative and inviting notes.


FANFARE: Patrick Rucker