Robert SCHUMANN (1810-1856)
Piano Concerto in A minor,
op. 54 (1845) [31:38]
Piano Trio No. 2 in F major, op. 80 (1847) [26:09]
Alexander Melnikov (fortepiano); Isabelle Faust (violin); Jean-Guihen Queyras
(cello)
Freiburg Baroque Orchestra/Pablo-Heras Casado
DVD: Live performance of the concerto
rec. 2014, Teldex Studio (CD), Philharmonie Hall, Berlin (DVD)
HARMONIA MUNDI HMC902198 [57:47 + DVD: 35:40]
This is the fourth release by these three soloists where
a concerto and piano trio have been coupled. The first two were the Dvořák
violin and cello (review)
concertos with the Third and Fourth trios, respectively. The Piano Concerto
missed out, which might be more a comment on the First and Second trios. After
quite an interval, they have moved onto Schumann, starting with the Violin
Concerto and the First Trio released earlier this year (review).
Each recording has been enthusiastically welcomed. The Cello Concerto and
Third Trio will be released next year.
The Schumann piano concerto was the work that transformed my musical listening
from the popular music of the 1970s and 1980s to classical. It remains very
much at the forefront of my favourite works. I have collected ten or so recordings
of it (Argerich/Harnoncourt, Janis/Reiner, Cliburn/Reiner, Hewitt/Lintu, Pires/Gardiner
among them), but remain loyal to my first purchase, the classic Murray Perahia
version with Sir Colin Davis and the Bavarian Radio Symphony.
When this new one appeared on the review lists, I requested it for three reasons:
the concerto, the performers and the accompanying trio — for my continuing
survey of piano trios. I didn’t take the time to check the details,
and was rather disappointed to find that Alexander Melnikov was playing a
fortepiano, an instrument that has not endeared itself to me. Secondly, the
small, baroque-sized orchestra, as good as the Freiburger are, was a concern.
I thought I might have to ask Len Mullenger to re-offer it for review.
However, my misgivings were totally unfounded. The 1837 Erard instrument sounds
absolutely magnificent, quite clearly the most rich-sounding one of its type
I have heard. It is far better than the 1828 Graff used in the trio’s
Beethoven recording (review).
Indeed, the difference between the Erard and a current grand piano is not
that great. Similarly, the forty-strong orchestra makes plenty of sound when
necessary: the famous opening bars lose nothing to the big bands.
Schumann’s orchestration is frequently described as overly thick, and
there have been a number of attempts to solve this in the symphonies with
smaller, historically-informed orchestras (Herreweghe – review;
Dausgaard – review).
If there has been a similar approach to the concerto before this, I am not
aware of it.
Melnikov is a little faster than most in the opening Allegro affettuoso,
though Argerich is quicker and Perahia only five seconds slower. There are
numerous moments of great beauty throughout, though occasionally there is
a lack of tenderness, which is perhaps due to the nature of the instrument.
The changed timbre of the orchestra, especially the winds and brass, was fascinating
and thoroughly enjoyable. The Intermezzo is simply a delight: no more need
be said.
However, the same cannot be said of the Allegro vivace which closes
the work. Melnikov is very slow at more than 12 minutes, almost two minutes
more than Perahia who is not known for especially fast tempos – and
it is not successful. At times it is more Allegro amabile, and I
wished for more power and passion. I had similar reservations about last year’s
Pires/Gardiner (review),
and she is more than a minute faster than Melnikov in this movement. The final
pages are a case in point here: rather than the joyous, headlong rush to the
end, there was a sense of reserve, of holding back, which didn’t work
for me. I should say that Brian Wilson (Download
News 2015/8) found this approach "very effective".
Am I convinced? Not really, but I think it is a version that will grow on
me. If you have doubts, try to find it on a streaming service such as Spotify,
and give it a full listen – 30 second samples will not be enough.
Schumann’s chamber music is dominated by the wonderful Quintet, and
his three trios are less obvious in their charms, but they are there if you
take the trouble to look for them. Faust, Queyras and Melnikov, here playing
a 1848 Streicher fortepiano, are ideal guides. They produce a leaner, but
not thinner, sound than the Florestan Trio, but in such a sunny work, this
is a virtue. The slow second movement has a quite striking stillness, which
I haven’t heard in other performances. As with their Fourth Dvořák
Trio, I have to conclude that this is a contender for “best in class”.
The bonus DVD – the price is no different to the Dvořák releases
mentioned above which don’t have an accompanying video – is of
a live performance of the concerto in the Hall of the Berlin Philharmonic.
Melnikov is not a flamboyant performer, but he is expressive, and while I
am not usually a great one for watching videos of concert performances, I
was drawn in by this. The picture quality was less sharp than I would expect
for a film made last year, but the directing was unobtrusive. Stuart Sillitoe
remarked in his review of the first release in this series that he would have
preferred the Trio to be the work featured on the DVD; I totally agree.
The notes, in French, English and German, are detailed and informative, and
the sound quality of the CD is all one could hope for.
David Barker
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