Tag: Romantic

Brodmann fortepiano c. 1820
145:43 (2 CDs)
ECM Records 481 1572
Sonatas in G D894 & B flat D960, Moments musicaux D780, Impromptus D935, Ungarische Melodie D817, Allegretto in c D915

[dropcap]T[/dropcap]he two discs inside this simple cardboard box come in blank white card covers. It took my simple intelligence a while to fathom out which disc was which, before I realised that there was one small centimetre long stripe on one side of one cover, and two on the other! I did wonder what sort of over-zealous economy drive might have necessitated this. Another, more obvious means of distinguishing which disc was which and which way to open the cardboard (let alone what items were on each disc) might have got your reviewer off to a better start. There were few economies evident in the booklet, however, with its 40 pages in both German and English. Schiff gives an account of his “conversion” to HIP and an account (with a photo) of his instrument, a Viennese fortepiano by Franz Brodmann c. 1820. There are reproductions of facsimile pages, together with 14 pages of notes on the music by Mischa Donat. The only thing lacking (a minor point) was the total disc timings. Besides the two sonatas, the gentle G Major and Schubert’s last keyboard work, the great B flat sonata, the recording includes the six Moments Musicaux (op. 94) complete, but only the second set of four Impromptus (op. 142), together with two miscellaneous pieces, a Hungarian Melody (D. 780) and an Allegretto in C minor (D. 915). The gentle, mellow quality of the instrument is evident from the start, even in the fortissimo climaxes, and the use of the una corda and moderator pedals on the instrument is particularly effective. For those who appreciate the subtleties that the best of these historical instruments of the period can produce, this is a performance to be treasured.

Ian Graham-Jones

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Brandenburgisches Staatsorchester Frankfurt, Howard Griffiths
127:34 (2 CDs)
cpo 777 607-2
+Cavatine op. 69 (Klaudyna Schulze-Broniewska violin), Cavatine op. 120 (Thomas Georgi cello)

[dropcap]J[/dropcap]adassohn’s name came up frequently when I was looking into musical life in late 19th-century Dundee; as one of the Leipzig conservatory’s professors, he taught many of the Scots students and wrote annual reports on their progress. My curiosity to hear his little-known music was piqued by the Naxos lists and they kindly sent me a review copy. The excellent booklet notes suggest that Jadassohn realised that he was not keeping pace with changes in musical fashion and that his symphonies found little favour with later audiences. There is nothing “wrong” with any of these four substantial works, and indeed there is much to admire and enjoy – he had a keen ear for instrumental colour (his textbook, “A course in instruction of instrumentation” is still readily available!) and also a strong feeling for musical architecture; every part of his creation has its rightful place. And yet there is something unchallenging and comfortable about it all; there are no great shocks or surprises. That is not to say that the music is dull or monotonous – not in the least! The most attractive material is perhaps to be found in the two solo works, like slow movements from unwritten concertos, beautifully rendered by members of the orchestra. If you find the listening experience a little intense, simply turn to the back of the booklet, where a photo of director Howard Griffiths about to perform an expelliarmus charm on someone will soon lighten your mood!

Brian Clark

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