Robert SCHUMANN (1810-1856)
Fünf Stücke im Volkston, Op. 102 [15:25]
Adagio und Allegro, Op. 70 [8:53]
Fantasiestücke, Op. 73 [10:30]
Märchenbilder, Op. 113 [15:33]
Johann Sebastian BACH (1685-1750)
Suite no. 3 for unaccompanied cello, BWV 1009, arr. Schumann for cello and
piano [19:37]
Martin Ostertag (cello), Kalle Randalu (piano) (members of Ensemble Villa
Musica)
rec. 17-19 December 2009 (Schumann); 21 December 2010 (Bach), Ackerhaus der
Abtei Marienmünster. DDD
MUSIKPRODUKTION DABRINGHAUS UND GRIMM GOLD MDG 3041648-2 [70:30] 
It was while Schumann was studying the piano with Frederich Wieke that he
injured his right hand, making a career as a pianist impossible. The instrument
that he took up at that stage was the cello. That experience stood him in
good stead when writing the Cello Concerto in A minor, Op. 129, and the works
on this disc. These comprise the Fünf Stücke im Volkston, the cello versions
of the Adagio and Allegro and the Fantasiestücke, and an arrangement for cello
of the Märchenbilder, which was originally written for viola. One of
Schumann’s arrangements of the Bach Suites for unaccompanied cello, for which
he provided a piano accompaniment, rounds off the disc.
Fünf Stücke im Volkston (Five pieces in folk style) is Schumann’s sole surviving
composition for cello and piano. The other works on this disc are either the
cello versions of works which could be played on several instruments, or,
in the case of the Märchenbilder, an arrangement by Martin Ostertag.)
Ostertag and Randalu take a fairly gentle approach to the first movement;
the interplay is sensitive, but I felt that they could have adopted a more
earthy style. The middle movements display Ostertag’s fine legato playing,
with smooth chords. There is some fine dynamic shaping, particularly in the
minor episode of the second movement. The last movement is played more alla
rustica, which suits the character of the music. The Adagio and Allegro
begins in similar fashion, with attractive lyrical playing from Ostertag;
the Allegro is more assertive with the fast bowing precisely done.
The opening of the Fantasiestücke (Fantasy pieces) is taken at quite a deliberate
tempo. The dynamic shaping is beautifully carried off, but the piece could
use a little more fantasy. The middle movement is more animated; Randalu’s
accompaniment has an attractive silvery tone. The finale is played with vigor
and sensitivity, and Ostertag leans on the accents to give some extra character.
The Märchenbilder had been arranged for cello in the nineteenth century
by the cello virtuosi Piatti and Hausmann, but the arrangement here is by
Martin Ostertag.
The performance features delicate interplay between the duo partners, with
the phrases being carefully shaped. Ostertag’s double-stopping in the second
movement has a martial character. These pieces all display fine chamber music
playing, with Randalu providing discreet support throughout.
Rostropovich made a celebrated recording of the Fünf Stücke im Volkston in
1968, with Benjamin Britten. Rostropovich gives his usual larger than life
performance, in notably more vigorous style than Ostertag. However Rostropovich/Britten
take almost three minutes longer overall, the difference being mostly in the
third movement, which certainly lives up to its marking of Nicht schnell.
Jacqueline du Pré’s recording of the Fantasiestücke with Daniel Barenboim
finds her at her most expressive, and her reading has the freedom and fantasy
that I felt a little lacking from the present performance. However she is
more backwards in the balance than Ostertag, and Barenboim’s accompaniment
is on the narcissistic side when set beside Randalu’s subtle contribution.
The disc concludes with Schumann’s arrangement for cello and piano of J.S.
Bach’s Suite no. 3 for unaccompanied cello. Schumann’s piano part is unobtrusive,
mainly reinforcing the cello and not competing with it. This arrangement is
obviously a relic of a previous era in performance practice, when it was felt
necessary to adapt Baroque music to contemporary tastes, and is interesting
for that reason. Ostertag shows that he is a fine Bach player; he keeps his
bow light for the most part, and his phrasing is not too legato.
MDG has a philosophy of producing recordings in the acoustics of specially
chosen concert halls, without the use of reverberation, filters or limiters.
The recording certainly has a natural balance, and an attractive warmth that
does not sound at all artificial.
Guy Aron
This disc is a useful collection of Schumann’s chamber music for cello, and Ostertag and Randalu offer performances that are sensitive and unaffected.