Sergey TANEYEV (1856-1915)
Violin sonata in A minor (1911) [25:00]
Piano Trio in D, Op. 22 (1908) [40:02]
Piano Quartet in E, Op. 20 (1902-06) [45:27]
Piano Quintet in G minor, Op. 30 (1910-11) [47:04]
Alessandro Deljavan (piano), Daniela Cammarano (violin), Paolo Castellitto (viola), Andrea Agostinelli (cello), Daniele Orlando (violin)
rec. 2013, Teatro Comunale di Atri, Teramo, Italy
BRILLIANT CLASSICS 95766 [3 CDs: 157:39]
This Brilliant Classics set comprises Taneyev’s four chamber works with piano, all splendid examples of Russian late-romantic repertoire. These recordings on three CDs are a reissue of those originally released in 2015 on the Italian label Aevea (AE15004-005), where they were in fact squeezed onto two CDs.
Taneyev studied at the Moscow Conservatory from the age of ten, his teachers including no lesser figures than Nicolai Rubinstein for piano and Tchaikovsky for composition. Taneyev’s composing prowess has been long overshadowed by the popularity of his contemporaries Mussorgsky, Rimsky-Korsakov, Glazunov and most significantly Tchaikovsky. Today Taneyev is probably best known as the teacher of Lyapunov, Glière, Scriabin, Medtner and Rachmaninov, who regarded Taneyev as “the most cultured musician of his time.” Sometimes referred to as the ‘Russian Brahms’, Taneyev wrote four symphonies. While his music is becoming much better known on record I still rarely, if ever, encounter it in the concert hall or in chamber recitals. Taneyev wrote a fine body of chamber music, numbering some twenty works – well exemplified by the four here.
The opening work on the set is the Violin Sonata in A minor from 1911. Designed in four movements, the score is described as ‘of medium difficulty’ and there’s an absence of virtuosic display. Of note are the opening movement. Allegro, which is mainly agitated, ranging from the windswept to relative calmness, and the Menuetto, in a baroque style that continues into the Finale. The violinist Daniela Cammarano and the pianist Alessandro Deljavan play well although I find this to be a generally uninspiring work, lacking individual character and emotional depth. The Piano Trio, Op. 22, completed in 1908, is a large work, cast in four movements. Described by Prokofiev as “bold, elegant and lively” the trio soon fell out of the repertoire. Taneyev’s predilection for switching between stormy emotional outbursts and musing passion of considerable intensity is strongly marked here. The only exception is the Andante espressivo movement, which is calm, relaxing and less demanding in feeling.
The earliest work on the release is the Piano Quartet, Op. 20, completed in 1906. Using a three movement design and lasting over forty-five minutes, the score leaves an agreeable impression and is effectively played. Notable, in both the opening and closing movements, is Taneyev’s characteristic Romantic writing of a squally, brooding, passionate intensity. The enjoyable central movement, Adagio, piu tosto largo, is calm and affectionate with contrasting gusty and agitated sections.
The final work on the set is the mighty Piano Quintet, Op. 30 completed in 1911. Considered by some as a masterpiece, I’ve even seen it acclaimed as the greatest Russian piano quintet. In four movements and taking forty-seven minutes to perform here, this striking score makes a considerable impression. The composer makes full use of the extra possibilities afforded by the instrumentation of four strings and piano. Brahmsian in quality, the opening movement, lasting an impressive twenty minutes alone after its slow and thoughtful introduction, has a vital, unyielding quality and is strongly passionate. Standing out starkly is the dashing high spirits of the Scherzo, with its slight martial quality in writing where the piano part rather dominates the strings. The central passage of quiet introspection augments the effect of the wonderful writing.
The string players give reasonably full and expressive performances throughout and I am impressed by their rapport with the pianist Alessandro Deljavan. One senses the players’ clear focus and affinity with the music. On the downside, string intonation isn’t always perfect. This is especially noticeable in the Adagio of the Piano Quartet. Recorded at the Teatro Comunale di Atri, Teramo I have no real problems with the sound quality which has reasonable clarity and is well balanced. Zachariah Stoughton is the author of the first-class essay, which is the same as that used for the original Aevea release.
Regarding recommended recordings of the Piano Trio and Piano Quintet, undoubtedly the best known and in my view the finest accounts were recorded in 2003 at Vevey, Switzerland by a starry cast of soloists: Mikhail Pletnev (piano), Vadim Repin (violin), Ilya Gringolts (violin), Nobuko Imai (viola) and Lynn Harrell (cello) on Deutsche Grammophon. Such beautifully expressive and stylish playing, tight ensemble and exemplary intonation with gratifying sound quality are positive attributes for Pletnev and his string players. Recorded live in 2016 at Music@Menlo, Chamber Music Festival, California there is a worthy account of the Piano Quintet performed by Wu Han (piano), Arnaud Sussmann (violin), Sean Lee (violin), Paul Neubauer (viola) and David Finckel (cello) on the label Music@Menlo (c/w Dohnányi First Piano Quintet, Op. 1).
The recordings of the Piano Trio and Piano Quintet reissued on Brilliant are enjoyable but, unless you are particularly want the Violin Sonata and Piano Quartet as well, this is not the album I would choose, despite its competitive price.
Michael Cookson
Previous review: Stephen Barber
