RECORDING OF THE MONTH
Robert SCHUMANN (1810-1856)
String Quartet no. 1 in A minor, Op. 41/1 [24:34]
String Quartet no. 2 in F major, Op. 41/2 [24:07]
String Quartet no. 3 in A major, Op. 41/3 [28:16]
Quatuor Hermès (Omer Bouchez (violin); Elise Liu (violin); Yung-Hsin Lou
Chang (viola); Anthony Kondo (cello))
rec. June 2014, Paroisse Protestante Luthérienne de Bon-Secours, Paris
LA DOLCE VOLTA LDV17 [74:46]
Robert Schumann’s three string quartets were composed during a creatively
fertile two month period in 1842. Begun in the June, they were completed
quickly and premiered in the September of the same year. The idea for their
composition was first mooted in a letter to his future wife Clara Wieck as
early as 1836. There the composer expressed a desire to write quartets,
wanting to stretch himself further, considering writing only for the piano
somewhat restricting. Prior to their composition, and in preparation for his
own efforts, Schumann set about studying the quartets of Haydn, Mozart and
Beethoven, together with the contrapuntal music of J.S. Bach.
It is curious to me that these wonderful works have remained on the
periphery of the standard chamber music repertoire for so long. No. 3 is
probably the best known, and has established some sort of foothold, though
all three remain on the margins of the composer’s output. Perusing my
shelves, it is evident that the quartets have been reasonably well served
with first class recordings on CD. I have acquired several fine versions
over the years, most notably the Zehetmair Quartet’s traversal on ECM which,
disappointingly, is confined to Nos. 1 and 3. Others that I have found
particularly compelling are the Melos on DG, the Cherubini on EMI and, for
those of a period-instrument persuasion, the stunning Eroica Quartet’s cycle
on Harmonia Mundi. As regards the much fêted recording by the Quatuor Ysaÿe,
sadly our paths have never crossed.
Each of the quartets is in four movements. In the first quartet,
Schumann’s admiration and interest in Bach the contrapuntalist is in
evidence in the slow A minor canonic introduction. This opens out into a
fast F major movement. Each of the works employs a Scherzo, marked Presto in
the first two quartets. In Op. 41 No. 1 this is Mendelssohnian in character,
evoking the spirit of ‘A Midsummer Night’s Dream’. In No. 3 it is
unconventional, having a Trio with a fugato. In the second and third
quartets, the slow movements are the longest. In No. 2, this takes the form
of a Theme and Variations. The Adagio of No. 3 opens with a hymn-like theme,
which becomes mournful in character. As with many composers, the finales
didn’t come easily, yet with Schumann they are a success and serve to
provide an overall balance.
What leaps out at me when I listen to these performances is the warmth,
intimacy and commitment of these young players. They have an instinctive
feel for these quartets and are able to engage with the narrative of the
music, effectively conveying the wealth of emotions contained therein. Joy,
sadness, exuberance and introspection – it’s all there. Tempo choices,
dynamic range and phrasing are all judiciously chosen. Intonation and
ensemble is immaculate. Clarity of texture and line is at all times
achieved. The slow movements are eloquent, expressive and intensely lyrical
and realized with poetic engagement. The fast movements are vigorous,
dazzlingly virtuosic and rhythmically propulsive. The recorded sound
couldn’t be bettered. I can think of no better advocates for this sadly
misunderstood music.
The Quatuor Hermès came together in 2008 at the National Conservatory in
Lyon, where they were studying. Since then they have taken prizes in Lyon
(2009) and Geneva (2011), in addition to garnering rave reviews for concerts
in Washington and New York. This is their first recording with La Dolce
Volta, however, I gather that they have already recorded a CD of Haydn and
Beethoven on Nascor NS10. On the evidence of this Schumann recording I have
no doubt in my mind that we are going to hear much more from this accomplished
ensemble.
Stephen Greenbank
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