Tag: Classical

The London String Quartet
145:21 (2 CDs in a single jewel case)
hyperion CDA68221

This is the seventh in a series that on completion will be a complete cycle of the Haydn string quartets played by the London Haydn Quartet (Catherine Manson and Michael Gurevich [violins], John Crockatt [viola] and Jonathan Manson [cello]). The second of two sets originally issued with a dedication to the Esterháza violinist Johann Tost, the six quartets of opus 64 were composed in 1790, being the last Haydn produced before the first of his London visits. To the great Haydn scholar H C Robbins Landon they represent the composers’ ‘greatest single achievement’ of the period, being ‘six flawless masterpieces’ and I for one am not inclined to disagree. Like the previous set composed for Tost (op 54 and 55) they are characterised by the prominence of the first violin part, and in particular the frequent examples of high lying writing, for the playing of which Tost was apparently especially noted. The famous example here is of course the imitation of the song of the lark in the opening movement of the eponymous D-major quartet (no. 5). It is therefore odd to find Richard Wigmore’s note asserting that there is no evidence to suggest that the first violin part was designed with Tost in mind.

There are, however, many more equally remarkable features in these wonderful quartets. The invention throughout maintains a remarkably high level, suggesting that even as he approached high maturity as a composer Haydn was still probing and experimenting with new ideas. One notes for example the extensive use of chromaticism, not infrequently combined with contrapuntal writing, or the greater freedom of continuing to develop themes in the recapitulation of sonata form movements – a characteristic more usually associated with Mozart than Haydn – as in the opening Allego con brio of the G-major quartet (no. 4), where the further variation of the opening motif is actually more interesting than the development itself. Equally noteworthy are the sublime cantabile movements of the same quartet and the ‘Lark’, the first a hymn-like tune later lovingly embellished, the latter another ineffably lovely movement that moves from its opening serenity to explore darker regions.

That movement, played and phrased with quite exquisite sensitivity, is one of the highpoints of a set of performance notable above all for their consistent musicality, a musicality that throughout eschews extremes of dynamics and tempo. They are indeed performances that stand at the opposite pole to such as those of the Chiaroscuro Quartet, to whose attention-grabbing and excitingly insightful Haydn I have devoted several reviews on this site. That is certainly not intended as criticism of the London Haydn Quartet, though there are occasions when they might have made rather more of the composer’s dynamic contrasts. But there is certainly no lack of character, as the witty, fleet playing the Presto finale of the E-flat quartet (no. 6) or the Mendelssohnian lightness of touch and precise articulation of the final Vivace of the ‘Lark’ convincingly demonstrate.

The use of a set of parts from an 18th century edition by the London publisher Forster is curious, not least because the notes tell us nothing about it, not even its date. It is not among editions mentioned by Robbins Landon, who lists as an ‘authentic British edition’ only a publication of the quartets published by Bland in 1791. Obviously I have no means of comparing it with my version of the quartets (Dover). I did however note several instances where second half repeat indications of sonata form movements vary, for example in the Quartet in C (no. 1), where no repeat is called for at the end of the opening movement, but given here, while the final movement does call for one in the Dover score, but it is not given here.

Ultimately, of course, such things are of little concern, particularly in the face of such quietly rewarding performances, recorded with the same refreshing lack of ostentation that is a principal feature of the playing.

Brian Robins

vol. 1/K. 304, 306 & 526
Isabelle Faust (“Sleeping Beauty” Stradivarius) violin, Alexander Melnikov fortepiano (after Walter 1795)
65:50
harmonia mundi musique HMM 902360

This is not the first series devoted to Mozart’s music for this combination of instruments but I would stick my neck out and say it will be one of the best – top of my pile to date are the witty and lively renditions by Rachel Podger and Gary Clarke, but (even on this early evidence) Faust and Melnikov will give them a run for their money and I will certainly have to make space on my shelves for the volumes that are yet to come.

Volume one combines two sonatas from his first published set (Sieber in Paris, 1778) and his A major sonata of 1787 (when he was working on Don Giovanni). This partnership (whose catalogue covers everything from Mozart to Chausson, including a complete set of Beethoven) clearly understand one another, and – acknowledging Andreas Staier as a guiding hand – they have clearly found their way into Mozart’s head, giving crystalline readings of great authority, beautifully captured by the recording team. I cannot wait for volume 2!

Brian Clark

Quartetto “Joseph Joachim”
59:30
Pan Classics PC 0379

THESE SIX QUARTETS include four which were, until relatively recently, thought to be Mozart – the correct identification of a set of parts in Padua, which featured on both composers’ travelling itineraries in the 1770s helped clear up the confusion and allow the music to be correctly attributed. Schuster was eight years Mozart’s senior and a celebrated violinist himself. On this re-release of a 2001 recording, the Joseph Joachim quartet – on period instruments – give first-class performances of these six fine works, all but one in three movements; the exception, no. 4 in A, consists of an Allegro assai and an Andantino con cinque variazioni. The recorded sounds is very crisp with lots of detail without any of the breathing noises one typically hears in recordings of string quartets.
Brian Clark

Trio Goya
96:07 (2 CDs)
Chandos Chaconne 0822 (2)

Composed during the early 1790s, the three pianos trios that would come to be published in 1795 as his opus 1 bore a dedication to Beethoven’s patron Prince Carl Lichnowsky, who probably helped fund the enterprise. In at least one sense they make a clear statement of intent, since all three are large-scale works in four movements that set out a far more grandiose stall than the modest three-movement trios of Haydn and Mozart. Yet despite their obvious ambitious scale, in other ways they largely conform to the image of Beethoven as the darling of the Viennese salons. With the possible exception of the gruffly uncompromising opening theme of the final movement of the final C minor trio – and it is surely significant that Beethoven makes little of it in the development – there is little here of the barnstorming young Beethoven of some of the early piano sonatas. Rather the general impression given is of an often exuberant good humour juxtaposed with romantic leanings of the kind found in the innocent yearnings of the Adagio cantabile of the E flat Trio (No. 1).

It is just these qualities that are to the fore in these performances by the experienced members of the Trio Goya, Kati Debretzeni (violin), Sebastian Comberti (cello) and Maggie Cole (piano). At first I found the performances a little understated and indeed the opening of the E flat Trio is rather subdued, especially given the rather dry acoustic and lower than normal level of sound. Only a slight volume boost revealed that these are in fact exceptionally satisfying and highly musical interpretations. The balance, so much easier to obtain with an instrument of the period (a copy by Paul McNulty of an Anton Walter (c. 1795), is exemplary throughout, revealing contrapuntal passages such as the development of the opening movement of the G major Trio (No. 2) in crystalline yet never purely academic detail. For an example of sheer exuberance and wit it is necessary to point no further than the Presto finale of the same Trio, which sets off like a steeplechase with wonderfully fleet playing and barely contained excitement. Later the splendid modulatory transition back to the recapitulation is given an air of breathless expectancy, while the final coda brings just one example of exquisite pianissimo playing. There is, too, a poise about the slow movements, perhaps best exemplified by the hymn-like subject of the G major’s Largo con espressione, first heard on the piano then taken up by the cello and continued with a magically beguiling concentration that captivates the listener.

Incidentally, William Drabkin’s somewhat academic notes make the surprising point that the writing for the cello in opus 1 is ‘modest’, surprising since in fact there are a number of particularly felicitous passages for the instrument, such as the beautifully played cantabile melody at the outset of the E flat Trio’s Adagio Cantabile. I was amused to find that Maynard Solomon’s fine monograph on the composer draws precisely the opposite conclusion, drawing attention to the ‘independent and occasionally florid writing for the cello’ that abounds in the trios.

This now joins the Castle Trio (Virgin Classics) as a firm recommendation for a period instrument recording of these engaging trios.
Brian Robins

Ensemble Klangschmelze
64:49
ambitus amb 96 957

THIS BEAUTIFUL RECORDING arrived only a few days ago and it has hardly been out of my player since then. Bach’s Clavierfantasie in F sharp minor Wq. 67 and Duett for flute and violin Wq. 140 are sandwiched between three of my favourite pieces by “the Berlin Bach”, his quartets [sic] for keyboard, flute and viola Wq. 93-95. I remember long ago (yes, I know I’m still a relatively young thing!) hearing them on an LP (yes, OK!) with Christopher Hogwood at the keyboard on the amazing Decca L’oiseau lyre label and being astonished by mercurial music of which I had never heard the likes, and feeling drawn into what can only be described as Bach’s fantasy world; as the insightful booklet notes note, his “trademark” is rather a lack of form. I’ve often read that it is difficult to get over one’s first impression of a piece of music; I sincerely doubt, for sure, that anyone will ever surpass Emma Kirkby’s portrayal of Dido in the Taverner Consort recording… Yet the present performers have taken music I thought I really knew and led me even further into realms of electrifying excitement; by subtly pausing on this note or that, or having the audacity to decorate an already ornate line, they keep us guessing where the composer (and they) will take us next. The engineers have done Ensemble Klangschmelze proud with a bright, lively sound world and, all in all, this is a CD that I am sure I shall continue to savour for months and years to come. Bravo!
Brian Clark