Radu PALADI (1927-2013)
String Quartet No.1 in C minor (1956) [23:42]
Zdeněk FIBICH (1850-1900)
String Quartet No.2 in G major Op.8 H.252 (1878) [27:35]
Martfeld Quartett
rec. 28-29 June 2015, Immanuelskirche Wuppertal, Germany
COVIELLO CLASSICS SACD COV91607 [51:17]
Radu Paladi, a name new to me, had several strings to his
bow: composer, pianist, conductor and teacher. He did his musical training
in his native Bucharest, and from 1969 to 1972 conducted the Botosani Philharmonic.
His compositional oeuvre had a bias towards piano and choral genres. This
string quartet, the first of two, is the only music of his that I’ve
heard. It’s melodically orientated and underpinned by Romanian folk
elements and rhythms. Throughout his composing life Paladi tended to avoid
avant-garde trends, preferring to venture down a neo-classical route.
The sonata-form opening movement has a sense of urgency and forward momentum.
Framed in a neo-classical style, Romanian folk elements abound. The Andante
provides some contrast between the more energetic outer movements. It has
a sedate, melancholic complexion which the Martfeld Quartett convey with ardent
tenderness. The finale is vigorous, spirited and animated. I totally agree
with a previous
review that, when it comes to influences, Bartók and Enescu must be high
on the agenda. There’s an alternative recording of this Paladi work
played by the Lupot String Quartet, paired with a Saint-Saëns Quartet, on
the obscure label Ars Sonandi. As far as I can gather it’s only available
as a download, at least in the UK. I haven’t heard it to compare.
Romantic nationalism wasn’t a priority for Fibich as it was for his
teacher Bedřich Smetana and his near contemporary Antonín Dvořák.
As a result his star has never shone as brightly. His mother was of German
origin, and the influence of that country’s classical tradition stamped
its mark to a greater extent on his music. In this, his second quartet, hints
of Mendelssohn and Schumann are discernible. The main bulk of his oeuvre has
a bias towards opera and vocal genres. His second wife was a very competent
singer, and he assigned several of his operatic roles to her. His third wife
wrote the libretto for Šárka. He also composed three delightful
symphonies, symphonic poems and some piano music.
Though it would be fair to say that Fibich’s Op. 8 has never garnered
much enthusiasm from quartet ensembles — it has had a couple of outings
on CD from the Kocian and Panocha Quartets — my first encounter with
it has been positive. It was the only one of his string quartet ventures to
be published in his lifetime, and it conforms to a fairly traditional four-movement
ground-plan. The first movement begins in light-hearted vein with a melody
that could have been plucked from Mendelssohn. Tuneful and sunny, it’s
guaranteed to lift the spirits with its genial affability. The Adagio is thoughtful
in mood, and perhaps the only weakness is a rather four-square feel. For me,
it’s certainly the least successful of the four movements. The Scherzo
has a Dvořákian lilt to it, and a Bohemian folk flavour informs the finale.
Coviello’s sound quality is first-class and an ideal balance has been
struck between the four instrumentalists. The Martfeld Quartett, who play
with consummate polish and panache, have these works at their fingertips and
their virile accounts are deeply committed. These convincing performances
will surely win these lesser-known works new friends.
Stephen Greenbank
Previous review:
Dave Billinge
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