Pál Hermann (1902-1944)
Complete Surviving Music Volume 2
Duo No.2 for violin and cello (1929-30)
Suite for solo violin (1919)
Invenzioni a tre voci (1922)
Duo No.1 for violin and cello (1920)
String Trio (1921)
Piano Trio (1924)
Marko Komonko (violin), Theodore Kuchar (viola), Denys Lytvynenko (cello), Myroslav Drahan (piano)
rec. 2021, Concert Hall, Lviv Philharmonic, Lviv, Ukraine
TOCCATA CLASSICS TOCC0585 [62]
The first volume in this series (review) was somewhat speculative, given that the 1925 Cello Concerto (Hermann was a distinguished cellist) was heard in a reconstruction by Fabio Conti, made in 2016-2017. The second volume, however, presents a sequence of works that have not needed such surgery; indeed, three are heard in world premiere recordings.
It’s understandable that Toccata has taken the option of first programming the more equable Duo No.2 of 1929-30 rather than the First Duo of 1920, which is a much more death-laden and wintry teenage utterance. The later Duo is a fully-formed work with a notably arresting start, Kodály-like in its folkloric impress, rhythmically emphatic, intense but approachable. These qualities run throughout the work and include the refined lyricism of the central slow movement and the brilliantly effective dance of the finale, deep rooted in the Hungarian soil, which bursts into life with giocoso flair. The 1919 Suite for solo violin was written when Hermann was still only 17 and is suitably youthful, from the ceaseless activity of the ‘Turkey in the Straw’ Little Waltz movement, through the uncertain direction of the Lento, and then on to the quizzical Burlesque conclusion.
The two little Invenzioni a tre voci are likely to have been academic Bachian studies but are worth hearing for evidence of Hermann’s technical accomplishments, though the earlier First Duo is far more representative of his compositional directions. This dour work possesses elliptical qualities that, for instance, in the Allegretto finale, seem to be on the verge of breaking out into folkloric cadences but resist the temptation. From around the same time comes the String Trio, cast in one movement but – even at eight minutes – fairly obviously sub-divided into a conventional form. The violin’s aerial sportive qualities over accompanying pizzicati are indicative of a generally lyrical and dance-laden work well worth getting to know. It doesn’t outstay its welcome.
The last work is the 1924 Piano Trio, which at twelve minutes is another concise utterance. It conforms to Hermann’s propensity for introspection and on-a-knife-edge emotive states. The piano writing is notably – it’s that word again – elliptical, and the extreme chromaticism of the writing sets a challenge to the listener. It’s clear that Hermann was, compositionally, attuned to developments in Central Europe – to Schoenberg, especially, whom he had already met by this time – and these influences have begun to infuse his writing.
Documentation, recording and performances alike are outstanding. Don’t overlook the fact that the violist is Theodore Kuchar, better known as an inspirational conductor. He plays his part in the success of this disc and shares the honours with violinist Marko Komonko, cellist Denys Lytvynenko and pianist in the Trio, Myroslav Drahan.
Jonathan Woolf
