Gustav MAHLER (1860-1911)
Quartet in A minor for Piano, Violin, Viola, and Cello (fragment) (1876)
[11:38]
Robert SCHUMANN (1810-1856)
Quartet in E flat major for Piano, Violin, Viola, and Cello, Op. 47 (1842)
[26:36]
Johannes BRAHMS (1833-1897)
Quartet in G minor for Piano, Violin, Viola, and Cello, Op. 25 (1861)
[38:57]
Daniel Hope (violin); Paul Neubauer (viola); David Finckel (cello); Wu Han
(piano)
rec. live, Chamber Music Society of Lincoln Center, Alice Tully Hall, New York, 1 and 3 March 2015
DEUTSCHE GRAMMOPHON 479 4609 [77:26]
Those attending the concerts from which these recordings were taken would
doubtless have been happy to have this as a souvenir. The performances are
all more than simply professional, but does this justify releasing these for
the general public? For one thing the Schumann and Brahms piano quartets
have received a number of sterling accounts over the years. It would have to
be something special to merit this release. The rarity here is the Mahler
fragment that gives little indication of the famous composer of symphonies
and songs. It sounds more like Schumann and Brahms than Mahler and really
doesn’t do much for me. Its most unusual feature is the violin’s cadenza
later in the movement. The Chamber Society of Lincoln Center’s musicians
play it with commitment and do all they can for it.
Schumann’s Piano Quartet is one of my favourite nineteenth-century chamber
works. Although I also really admire the Piano Quintet, I have always had a
soft spot for the quartet. Wu Han and company turn in a vigorous performance
that lacks an ideal blend of sound. One is more aware of individual soloists
than a chamber ensemble. Part of the problem may be the actual recording
that highlights individuals versus the group. I compared this with my
current favourite CD of this piece, the Florestan Trio with violist Thomas
Riebl (Hyperion). They demonstrate well what’s missing here, even if at
times Susan Tomes’ piano dominates when it should accompany. Overall,
though, they are more joyous than the current artists. Their second
movement, Scherzo, is a case in point. It really sparkles with the
Florestan. Also, the sublime cello solo that begins the third movement is
played beautifully and simply without excessive vibrato. It radiates warmth,
whereas David Finckel’s, as accomplished as it is, sounds stressful with
more vibrato than is needed. My desert island choice for this work
unfortunately has never appeared on CD to my knowledge: Leonard Pennario,
piano; Eudice Shapiro, violin; Sanford Schonbach, viola; and Victor
Gottlieb, cello. I listened to my old Capitol LP and could still appreciate
the performance through all the pops and crackle. That LP had an equally
wonderful performance of Fauré’s Piano Quartet No. 1 on the reverse side.
The Florestan’s Schumann is almost as good and in much better sound. I fear
the current artists fall some way short of those others.
Of Brahms’ three piano quartets, I have always preferred the later two to
the Piano Quartet No. 1. It has always seemed to me to be too big for its
medium. Indeed, Schoenberg orchestrated it and that version has attained
notable popularity. That said, I find the orchestral version overdone with
its added percussion and will stick with the original whenever I want to
hear the piece. The present artists seem more suited to this work than to
the Schumann. They are especially convincing in the Hungarian rondo finale,
which they play with abandon. Elsewhere, though, they can sound overwrought.
Whenever the dynamics become loud, the sound turns harsh and Daniel Hope’s
violin strident. A comparison with another group of virtuosi — Emanuel Ax,
Isaac Stern, Jaime Laredo, and Yo-yo Ma (Sony) — demonstrates what is
missing here. Although the musicians in that quartet were or are stars in
their own right, they really play as a group and their blend is close to
ideal. They bring more light and shade to their account than the Chamber
Society of Lincoln Center musicians do. Again part of this may be due to the
recorded sound that emphasizes the individuals over the ensemble. Even in
the finale Ax and company impress with their more controlled martial
section, following the opening rondo theme, and then phrase the lyrical
passage lovingly before conveying well the urgency of the concluding
presto. There is not enough contrast with the present group so that
the ending loses some of its punch, even though the audience bursts in with
applause barely after the last note has sounded.
Deutsche Grammophon provides an attractive booklet with photos and fine
notes by Dr. Richard E. Rodda. This is not enough to recommend the CD,
except for those who attended the concerts or wish to hear these particular
artists in this repertoire.
Leslie Wright
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