Robert SCHUMANN (1810-1856)
Adagio and Allegro, Op. 70 (1849) [9:09] (a and f)
Märchenbilder, Op. 113 (1851) [15:07] (b and f)
Fantasiestücke, Op. 73 (1849) [10:32] (c and f)
Marchenerzählungen, Op. 132 (1853) [15:45] (c, b and f)
Drei Romanzen, Op. 94 (1849) [11:58] (d and f)
Violin Sonata No. 1 in A minor, Op. 105 (1851) [16:50] (e and f)
The Nash Ensemble: (Richard Watkins (horn) (a); Lawrence Power (viola) (b);
Richard Hosford (clarinet) (c); Gareth Hulse (oboe) (d); Marianne Thorsen
(violin) (e); Ian Brown (piano) (f))
rec. Henry Wood Hall, London 12-14 July 2011
HYPERION CDA67923 [79:26]
Richard Watkins and Ian Brown open this generously packed CD with a gorgeous
performance of the Adagio and Allegro, a piece which exists in alternative
versions for violin, viola or cello but which is most effective on the horn.
Schumann composed the work for valve horn in 1849 - the same year as his Konzertstück
for four horns and orchestra. Watkins makes light of Schumann's considerable
demands on the player's breath control and of the wide range - virtually three
octaves.
Superb viola-players have sprung up everywhere in the last twenty years. Lawrence
Power is clearly among them, though I do have small reservations. I find the
beauty of his playing touched with occasional narcissism, while his tone sometimes
becomes feathery and a little lacking in body; Nobuko Imai - see below - has
more fibre. His dynamic range is wonderful, his technique masterly, so my
quibbles simply reflect the prevailing high standard of contemporary viola-playing.
The opening of the first of the Märchenbilder is justa
little “perfumed” and self-conscious. Like so much of Schumann's
music, this movement requires a special blend of fantasy and expressive freedom
which is difficult to capture. For a quite different, but utterly magical
performance of this elusive opening movement one must go to Nobuko Imai and
Martha Argerich on EMI Classics. Their phrasing is the most convincing I have
ever heard. Indeed, their live performance, throughout the four pieces, is
so much more imaginative in every way. Their greater dynamic range produces
more drama. Even these miniatures can evoke expressive worlds. Imai and Argerich
search out every aspect, making this music seem greater than one had previously
thought. I'm sure that a live performance often encourages more risk-taking,
but it also comes down to greater artistry. In the remaining movements Power
and Brown are more completely successful, the second heroic (though the viola's
pianissimo in the first episode is a little “skatey”), the third
fiery, and No. 4 resigned though not as poignant as it can be. For more inspired
music-making I would direct you to the magnificent Imai/Argerich recording
with the Piano Quintet, the Andante and Variations Op. 46, and
the Fantasiestücke Op. 73.
Discs of what might be called Schumann's chamber music for middle range instruments
do not usually include a violin sonata, but this slightly surprising choice
is very welcome. The music of Schumann's last few years is often criticised
as showing a decline in his powers, but such ideas confuse a supposed creative
weariness with a change of style - more inward and sometimes elusive. Many
of these later works, including most of those recorded here, are deeply characteristic.
Ranking high amongst them is the First Violin Sonata. Marianne Thorsen
is in a competitive field, several fine recordings of Schumann's violin sonatas
having appeared in recent years. Nonetheless, her performance is outstandingly
beautiful - ardent but never forced, and alive to all Schumann's changes of
mood. Others may reveal more passion, but Ms. Thorsen's sweeter, more chaste
approach works supremely well. This is the performance which I expect to return
to most often, and not just because it is the greatest music on the disc.
The Marchenerzählungen isthe latest and the mostdifficult
group to bring off. Again I feel that this performance is worthy but short
on imagination. As the late John Le Mesurier said of his life: “It's
all been rather lovely”, but it doesn't hold my attention. Equally,
the Fantasiestücke for clarinet and piano are very beautifully
played, but I am sure these pieces should be more emotionally involving.
Finally, the Three Romances are charmingly and sensitively played by
Gareth Hulse and Ian Brown. Hyperion's recording and balance are natural-sounding,
Richard Wigmore's notes are excellent, but Fuseli's Asssassinated Woman
and the Furies is a bizarre choice for the cover.
Philip Borg-Wheeler
An outstandingly beautiful Violin Sonata No. 1 but a good yet mixed reception
for the rest.
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