This superb disc is an honourable successor to the famous recital
recordings that graced the Supraphon catalogue for many years.
Avoiding the now almost ubiquitous obsession with cycles, themed
releases or the dreaded compilation Supraphon have utilised their
roster of Czech and Slovak artists to produce the most delightful
and fascinating treasure trove of interesting repertoire in well-conceived
couplings. Pre-eminent amongst the violin and piano teams were
Josef Suk with Josef Hala or Jan Panenka. It is hugely to the
credit of the artists on this new disc that they fully deserve
to be mentioned in the same breath. Theirs is a very different
performing ethic to that of their senior compatriots but no less
valid.
Turning to the music there is here a fascinating mixture of acknowledged
masterpiece and unknown curiosities. There are other elements
to compare and contrast - Janáček’s Sonata
comes from the extraordinary seventh decade of his life when
he consistently found the compositional voice and musical language
for which he became famous. In contrast the other two sonatas
date from the early part of their composer’s lives and
contain music that is not always indicative of their later work.
The disc opens with the Janáček. From the strikingly
resinous first note Ženatý utilizes the full tonal
range of his magnificent Del Gesu violin to serve the wide stylistic
and emotional range of this Sonata. The writer of the liner-notes
declares the piece as “modern, non-Romantic”. Ženatý and
Kasík’s particular triumph is to show how both musically
and emotionally it sits on an historical cusp looking both forwards
and back. The second of the four movements was the first to be
written, in 1914. It aches with lyrical regret yet barely seven
musical minutes later in the fourth movement
Adagio Janáček
writes harshly manic music that looks forward to
From the
House of the Dead and many of his great late works. There
is a live recording in the Supraphon catalogue of Suk accompanied
by Firkusny which I have not heard but I doubt that he risks
hardening the tone as Ženatý does in the extraordinary
fourth movement where the ferociously shuddering (yet marked
muted) outbursts build to the final climax at around 3:12 before
spasming away into silence. For comparison I listened to Yuuko
Shiokawa accompanied by András Schiff on Decca. The technical
accomplishment there is without reproach and Schiff has an elegant
and cool approach that benefits much of the music. As a consuming
extraordinary and revelatory performance they are however left
so far behind this current disc as to almost be playing a different
piece. If the definition of a great performance or recording
is to make you realise all over again the greatness of a work
then this is a great performance - probably the best I have ever
heard.
After that it is literally a hard act for the Novák to
follow! Probably my only criticism of this disc is the programme
order. Here is a composer who has become increasingly familiar
to collectors in recent years through a string of primarily orchestral
and/or vocal recordings. As with many collectors the first piece
of his I heard was the dramatic cantata “The Storm” in
Zdeněk
Košler’s recording - again for Supraphon (see
review).
That is still one of the gems of the Supraphon catalogue and
well worth a visit if you like your choral music exciting, powerful
and post-Romantic. This violin sonata, written - with considerable
disagreement - as part of Dvořák’s composition
class when Novak was just 21 is
not a precursor to it.
It is the longest of the three sonatas here recorded; without
going back over the Janáček again - what he achieves
in 16 concentrated minutes shows amazing compositional concentration.
To be honest much of it rambles. Not that there aren’t
extended passages of power and sometime Brahmsian sweep. Again
I would disagree with the liner-note writer: I hear no Tchaikovsky
here. For sure this is a young man’s music - confident
and forceful - but nearly continuously overwritten. I have to
say that both performers but particularly the pianist Kasík
are quite superb at clarifying endlessly tempestuous and complex
figurations that weigh down the musical lines without ever obviously
benefiting the music. Towards the end of the second movement
some calm prevails and there is a very slight echo of the Dvořák
Sonatina in the third movement but this is soon swept away in
yet more flailingly dramatic yet ultimately empty gestures. That
being said - I can’t imagine a finer or better case ever
being put for this Sonata. A word at this point about the technical
aspect of the recording - gone forever are the stifled and clangorous
pianos that often plagued Eastern European recordings. The excellent
engineering has caught both performers in close but not claustrophobic
sound with a gloriously rich and even piano tone - hats off to
the piano tuner who gets a credit in the liner-notes! - revealing
inner details even when Novák is at his most verbose!
I would liken the general sound-stage to being sat in a prime
seat close to the front of an intimate chamber venue. The sound
is naturally integrated and not synthetically spread. In all
ways ideal.
Which brings us to the final Sonata as programmed - by Oskar
Nedbal, written in 1893-94 when the composer was just nineteen
years old. The least well-known of the three composers here there
was a tragic arc to Nedbal’s life which makes the power
and promise of this piece all the more poignant. At the age of
nineteen, as well as composing, he was violist in the world famous
Czech Quartet. He conducted the Czech Philharmonic for a decade
from 1896, wrote operettas and ballets that made him renowned
throughout central Europe yet on Christmas Eve 1930 he committed
suicide by jumping from the window of his dressing room at the
Zagreb Opera House. The music for which he is best known - the
extraordinarily poignant
Valse Triste comes from his ballet-pantomime
variously translated as
Johnny Simpleton. It was this
musical form that he all but invented but in turn it was swept
away by the cultural upheavals following World War I. This left
him falling back on a career conducting operetta - a genre in
turn well past its heyday. With mounting debts and a compositional
career he perceived as no longer appreciated or needed suicide
resulted. How different it must have seemed aged 19 - together
with Suk and Novák they formed the three stars of Dvořák’s
composition class. With Suk as second violin he also proved himself
one of the finest chamber players of his generation.
This Sonata
was not even his first published piece and given that it was
produced by the famous Berlin firm of Simrock it shows that to
all intents and purposes Nedbal was a young composer poised at
the beginning of an international career. Yet 120 years later
he has been all but forgotten except by relative specialists.
A rare disc of orchestral works on the ClassicO label conducted
by Douglas Bostock (see
review) emphasised the salon and lighter
element of his output and two Supraphon discs of the aforementioned
ballet-pantomimes
is pretty much all there has been. So this Sonata represents
the longest piece of abstract music with which to judge Nedbal’s
talent. He is not found wanting. In the ten minute opening movement
after almost Rachmaninovian figurations - yet written before
he could have known such things! - it soon develops into music
both powerfully urgent and lyrical. The longest of the three
first movements here, it does not outstay its welcome - a beautiful
singing second subject being one of many pleasures. With no access
to scores for the Novák or Nedbal one relies on the ear
all the more and certainly Nedbal seems to have a stronger sense
of structure and development in his Sonata than Novák.
Greater interplay between the instruments and passages of calmer
reflection allow far more air into the music. The second movement
develops a barcarolle feel and features double-stopping and melody
lines reminiscent of Kreisler. In so doing Nedbal shows an earlier
empathy for salon style music - no bad thing in itself whatever
some may feel! Throughout Nedbal doesn’t seem to feel as
obliged as Novák to ignore the folk-influenced tradition
so evident in their teacher’s work. So no surprise that
Polka-like elements should imbue the finale. Again there are
rapid piano figurations underlining the essential drama of the
piece but Nedbal is able to allow these to relax into long-limbed
lyrical lines that pull the listener forward to a hugely satisfying
conclusion. Not surprisingly for such an accomplished string-player
himself all of the music is superbly crafted for the instrument;
a discovery of a piece to which I shall return with pleasure
and often.
So, all in all an essential purchase for anyone interested in
the finest chamber music performances. I will be seeking out Ženatý’s
Foerster
concertos straight away on the strength of this disc, Czech
Romantic music or really anything beautiful. All aided by excellent
engineering and production. To summarise; a definitive Janáček,
a powerful discovery in the Nedbal and a never less than fascinating “what-might-have-been” from
Novák.
Nick Barnard