German imprint Querstand's series devoted to the lamentably neglected
German composer Günter Raphael continues apace with this, the third
volume, quickly following on from the first and second (VKJK 1134, 1135).
Moreover, two further discs have already been released (VKJK 1221, 1234).
Until very recently, recordings of Raphael's highly engaging music were
chiefly to be found scattered piecemeal across a range of labels. Now,
however, Querstand's sudden substantial contribution to the discography adds
to a triple-disc entry of orchestral works from CPO (777563-2) and Toccata
Classics' presumably first volume of violin chamber music (TOCC 0122). All
but one of the works on this latter can be found on another CPO release
(777564-2) which, by the way, arguably trumps it twice over, featuring as it
does Raphael's daughter Christine as its star-attraction soloist and a
second CDful of music. An up-to-date discography can be found on the
Christine Raphael Foundation website
here.
It must be said that neither Querstand, CPO nor Toccata discs come
especially cheap, and prospective buyers should be aware that the Querstand
recordings are from the archives, some dating back to the early 1960s. On
the other hand, sound quality, though understandably mixed, at least remains
on the right side of acceptable, and in some cases can be qualified more
warmly still. In certain earlier recordings there is obvious background
hiss, and a mono quality (particularly in op.65/3) not indicated in the
booklet but which barely qualifies as stereo. In the Berceuse the musicians
sound as if they were at the other end of the room from the recording
equipment. Even a track like the Viola Sonata op.80, recorded in 1999, has a
narrow stereo beam, not to mention that same background hiss, albeit at less
intrusive levels. On the other hand - as is often true- well re-mastered
1970s recordings give very commendable payback. The Récitatif in
vol.3 is such a case, although it is marred by a rather obvious editing join
towards the end; ditto the atmospheric Sonatina for oboe and harp, op.65
no.2, which suffers in its turn through oboist Alfred Sous's absurdly
affected breathing.
Querstand's Volume 1 has similar shortcomings. Measured in purely
audio quality terms, volume 2 - devoted entirely to Raphael's two sets of
(45) Dialogues for two violins - is the only one of the first trio that is
entirely recommendable. However, anyone who can see (hear) past the
inconsistencies will be richly rewarded: Raphael's chamber music is concise,
impassioned, virtuosic, varied and above all kind to audiences - making use
of different styles, but nearly always based around an abundance of melody,
rhythmic vitality and tried-and-tested harmonies. Even when he incorporates
dodecaphonic elements, as in the Three Pieces in C sharp, the darkling
results still contrive to sound orthodox in terms of tonality and being
approachable.
There are in fact numerous miniature masterpieces to be found
throughout these volumes. The present disc is especially well endowed, with
barely a weak item - only the last two could be said to be inconsequential.
The sultry, pulsating Divertimento for saxophone and cello, the driving,
humorous Clarinet Sonatina, the harmonically-adventurous Viola Sonata op.80
- these and more are guaranteed audience-pleasers.
Across the five releases to date - there are surely more to come -
there are many big names to be found in the lists of performers, which says
much for Raphael's reputation among musicians. What a pity that he died
before hearing his work played with such panache and commitment for these
recordings. The anonymous German-English booklet notes offer neat, lucidly
written, generally well translated information, with a good paragraph on
each work following some general background on Raphael.
Byzantion
Contact at artmusicreviews.co.uk
