The Brodsky Quartet makes its intentions clear from the first
bars of Debussy’s Opus 10 String Quartet: this
is by no means going to be an atmospheric echo of impressionism,
but an interpretation in which every single stress and emotive
extreme is going to be exploited and laid bare. The Brodsky
players do plenty in terms of colour, carefully defining sonorities
and throwing up contrasts of dynamic not only through weight
of bowing, but also through changes of timbre and layering of
textures. This gives the music an added sense of detail, as
well as highlighting expressive points.
There are numerous excellent recordings of Debussy’s String
Quartet around, and while still a very noble account, even
that with the Alban Berg quartet on EMI (see review) now sounds a bit smooth and slick by comparison after some time
with this new Chandos recording. Another old favourite recording
of the String Quartet is that with the Chilingirian Quartet,
which can be had as a bargain from EMI Classics for Pleasure.
The ensemble is superbly well integrated, and plays with the
most natural sense of phrasing you’ll hear anywhere. Comparing
this with the Brodsky Quartet makes the Chilingirian Quartet
sound almost generalised in terms of sound. This closely observed
and intensely prepared approach might have ended up sounding
picky and analytical, but the urgency and drama in the first
two movements is compelling, and the feel of warm expression
in the third movement, including some portamento slides, is
irresistible. The bluesy parallel progressions which open the
fourth movement are also done with some cheeky but understated
note-bending which I confess to finding marvellous - it’s
certainly a different and more daring approach than from the
Chilingirian players. Needle sharp rhythmic observation and
tonal nuance again characterises the more vif sections
later on in the movement. This is a recording which will still
have plenty to offer even in ten years from now, and fans of
the work should sally forth and acquire forthwith.
Originally for harp and string orchestra, the Deux Danses
is a work which pops up now and again in programmes with harp
concertos. Written for a now obsolete design by Pleyel for a
fully chromatic harp, the work is playable on the pedal harp
which is now the instrument of choice, but with a cathedral
organist’s deftness of foot required in some sections.
The arrangement for string quartet with added double bass works
very well, and the Brodsky Quartet prove sensitive accompanists,
warming their tone to match the rounded sonorities of the harp.
This is a performance of grace and charm which can certainly
beat many an orchestral recording for transparency and expressive
communicability.
The second of the two main works on this disc is the Piano
Trio, written when the composer was but a lad of eighteen.
Recommended by his piano teacher to Tchaikovsky’s patroness
Nadejda von Meck, Debussy travelled with her and her children
in 1880, giving lessons and sight-reading piano parts at chamber
music evenings. Debussy’s own work for this setting is
a romantic charmer, full of lovely tunes and imitative exchanges
between the instruments, and the performers here communicate
all these aspects of the music perfectly. The balance between
piano and strings is ideal, with no one instrument too prominent,
and if anything Jean-Efflam Bavouzet’s piano on the less
advantageous side. There is no attempt to seek angst and drama
where none was intended, and while the music goes further than
being mere salon entertainment there is a lightness of touch
in this performance and recording which seems to take us back
in time. For this Trio the top alternative choice has
to be the beautifully made Hyperion recording made by the Florestan
Trio on CDA 67114, and I would be hard pressed to make a decision
one way or the other as to which I would prefer on a desert
island. The Hyperion recording has a warmer piano tone, but
the strings are the richer and more vibrantly eloquent with
Chandos. In the end it will be the couplings which will be the
decider, with the Hyperion disc having further trios by Fauré
and Ravel.
This programme ends with the piano solo Rêverie
in an arrangement for string quartet. This was one of several
piano pieces written by Debussy to earn some money in the salon
market, and while it is worlds away from the String Quartet
it goes well after the gentler moods of the Piano Trio.
Even with its commercial clientele in mind it is still easy
to hear Debussy’s inclination towards sophisticated harmonic
progressions and a feel for elusive and exotic atmosphere. The
string version emphasises this more than the piano original,
and to my ears more than the orchestral arrangements I’ve
heard, which emphasise the more dreamy side of the work through
added textures and the throwing of the melodies between soloists.
To sum up, this is a superb Debussy disc to have. The String
Quartet performance is the main attraction, and is superlatively
performed and recorded. None of the additional works is negligible,
and all are given eminently rewarding performances.
Dominy Clements
Chris Laurence (double-bass), Sioned Williams (harp)* ; Jean-Efflam
Bavouzet (piano)†; Brodsky Quartet 