SEEN AND HEARD INTERNATIONAL

Schubert and  Beethoven : The Nash Ensemble; John Mark Ainsley (tenor) Wigmore Hall, 6.10. 2007 (ME)

Schubert Sonatina in D for violin and piano: ‘Auf dem Strom’ for tenor, ‘cello and piano: Arpeggione Sonata in A minor.

Beethoven Piano Trio in B flat, ‘Archduke.’

This concert was part of a typically innovative Nash Ensemble series, ‘Around Schubert,’ exploring, as the introductory note explains, ways in which Schubert’s presence ‘may invite us to listen out for what is special, quiet and unexpected’ in the other composers whose works feature in the series – that special something is beautifully characterized as ‘the Schubertian privacy, the emotional complexity, the lone voice, that belonged to them as well.’

We began with a sprightly performance of the Sonatina, one of those pieces which give the lie to the notion that’ There is no happy music,’ and which provided a showcase for the dazzling playing of Marianne Thorsen. Then we were back in more quintessentially Schubertian territory with ‘Auf dem Strom,’ here given with a ‘cello as companion to the wanderer rather than the original horn. The work was finely played by Paul Watkins and Ian Brown and wonderfully sung by John Mark Ainsley, the voice richer and deeper than when I last heard him perform it, and the expressiveness unequalled – the vocal colouration at lines like ‘Wo ich ihre Liebe fand’ and ‘Durch das grau gehobne Meer!’ was all that one demands from great Schubert singing, and the tone was an ideal blend of the melancholy and the hopeful. The first half of the concert closed with a rather busy performance of the Arpeggione Sonata – it’s a fiendish work, and even Watkins seemed stretched by it at times, although the glorious slow movement provided some of the most eloquent ‘cello playing you are ever likely to hear.

The evening’s main work was the ‘Archduke’ trio, which I am told is the favourite trio of many music lovers: to me, it is, like most of Beethoven’s works, wildly over-rated, but on this occasion the Nash Ensemble made a powerful case for its greatness. There was no chance of day-dreaming during the energetic, pulsating Allegro, and the Andante achieved the aim of this whole series – it reminded you of the close links between Beethoven and Schubert in its intimacy and exquisite sadness. Exciting musicianship from a group who have yet to disappoint, and an enticing start to the series, which will include such delights as songs from ‘Schwanengesang’ performed by Wolfgang Holzmair on December 1^st – highly recommended.

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