Dimitri SHOSTAKOVICH (1906 - 1975)
Piano Quintet in G Minor, Op. 57 31.42
Marcia Crayford, Elizabeth Layton violins Roger Chase
viola
Christopher van Kampen cello - Ian Brown piano
4 Waltzes for flute,clarinet & piano (arr. Lev Atovmyan)
9.37
Philippa Davies flute,piccolo
Michael Collins clarinet - Ian Brown piano
Piano Trio No 2 in E Minor. Op.67 27.55
Marcia Crawford violin - Roger Chase viola - Ian Brown
piano
CD1 69.51
Arnold SCHOENBERG (1874 - 1951)
Kammersymphonie Op. 9 (arr. Webern) 20.50
Philippa Davies flute - Michael Collins clarinet - Marcia
Crayford violin
Christopher van Kampen cello - Ian Brown piano
Ode to Napoleon Op.41 14.32
Thomas Allen reciter
Marcia Crayford, Elizabeth Layton violins - Roger Chase viola
Christopher van Kampen cello - Ian Brown piano
Lionel Friend conductor
Verklärte Nacht Op. 4 28.57
Marcia Crayford, Elizabeth Layton violins
Roger Chase, Yuko Inoue violas
Christopher van Kampen, Moray Welsh cellos
CD2 64.42
Recorded Henry Wood
Hall, London Nov 1990 CD1.St. Martin's Church, East Woodhay, May 1990. CD2
Virgin Classics 7243 5 61760 2 7
The latest Virgin Classics bargain priced Double CD to reach me is a coupling
of Shostakovich and Schoenberg. With no obvious musical connection between
the two, the peg to hang the compilation on comes from the fact that all
the performers in the various combinations on the disc are members of the
Nash Ensemble.
As with other releases in the series, the recordings are not brand new, but
all date from 1990 and the discs are, of course, re-releases.
In Shostakovich's chronology, the Quintet and the Trio on this disc were
written after his initial venture into the String Quartet (No
1 in 1938), but before he had embarked on the remainder of the magnificent
cycle. The five movement Piano Quintet of 1940 is an intriguing
work. The mood changes of the composer, from his deep Russian angst to bitter
humour show from movement to movement in this highly varied piece. Overall
the introspection and sombreness in the work outweigh the lighter moments.
The opening Prelude leads into a slow Fugue which has as its
basis a theme to be used later in the Fifth Symphony. The quirky Scherzo
with percussive piano is typical of the composer who then writes a plaintive
melody in the Intermezzo and concludes with another highly
personal and utterly typical ending. A fascinating piece, and one
to return to. Lovers of chamber music who do not know the work should investigate
its combination of string quartet and piano and the extra tonal variety it
offers. The recording is clear and well-balanced and the performance is
excellent.
The other major work on the disc is the Second Piano Trio that was dedicated
to a close friend of the composer who had recently died. Inevitably this
musical epitaph is highly charged. The opening Andante, sparely written
and doleful, leads to a bustling, slightly sardonic, second
movement scherzo. The Largo, an elegy for the two strings with
a minimal part for the piano, is followed by an Allegretto with Hebrew
themes dominant. A powerful, almost sinister ending to an intriguing work.
Four short waltzes using material from music Shostakovich wrote for films
(of over thirty in all) complete the disc. Combinations of flute, piccolo,
clarinet and piano make up a charming interlude in typical encore pieces
that show the composer's lighter side.
The three Schoenberg pieces that make up the second disc are a curious mixture.
The Kammersymphonie (Chamber Symphony) Op. 9 was originally written
by Schoenberg for 15 solo instruments before being scored for full Orchestra.
Anton Webern's arrangement for flute, clarinet, violin cello and piano inevitably
then must lose some of the original's complexity and colouring, though,
perversely, the remaining lines can arguably be said to be more distinct.
This is a competent but uninspiring performance that fails to engage the
listener as it should.
The Ode to Napoleon Op.41 is a single movement serial piece for four
strings and piano with a reciter, whose part is carefully notated in
sprechgesang with its demanding time variations. Based upon
a polemic by Lord Byron targeted at Napoleon when he decided to call himself
Emperor, Schoenberg in 1942 updated the subject of the tirade to Adolf
Hitler. The work is approachable and has considerable interest- if
to a minority. However, as Byron's words are not included with the disc notes
(though these are written in three languages), one wonders how much effect
they would have on a non English-speaking listener. We in the UK complain
quickly if - for instance - an English translation of German lieder is not
available. As reciter, Thomas Allen is recorded set well forward and his
diction is impeccable though the subject matter called for more of a ranting,
less beautiful delivery. The tempo throughout was on the brisk side and the
instrumentalists meet the challenge head on. For collectors seeking a recording
of this work it can be safely recommended.
From the slightly known to the virtual 'pop' piece - in Schoenberg's terms,
that is. It is strange to think that a piece written over a hundred years
ago (1899 to be exact) is still not universally accepted. The knee jerk reaction
is to the name Schoenberg rather than to his music, some of which is approachable
to the listener willing to keep an open ear and mind. Like Verklärte
Nacht, for instance, which is a work with some sublime moments of great
beauty. It is more generally heard in its larger scale form than, as here,
in its original string sextet version. The reading is intense and powerful
and technically impressively played with a brightly lit recording typical
of the entire disc. Another recommendation.
Reviewer
Harry Downey
