This Super Audio
compact disc from the independent German label Musikproduktion
Dabringhaus und Grimm label (MDG) features the
prolific Trio
Parnassus in their thirtieth release for the label. Augmented
by violist Hariolf Schlichtig, Parnassus perform not only
Robert Schumann’s renowned Piano Quartet in E flat major,
Op. 47 from 1842, but also his youthful C minor Piano Quartet,
a hidden gem composed thirteen years earlier. Until recently
the C minor score was thought to be unplayable, however,
this is the first recording in Joachim Draheim’s new, and
as yet unpublished, edition.
The Piano Quartet in C minor was an early work by the highly
gifted but inexperienced teenage Schumann. The autograph
score, which did not come into the possession of the Bonn
University Library until 1974, was found to be full of errors
and gaps. At certain points the score is unclear owing to
innumerable mistakes such as wrong notes, missing accidentals,
vague rhythms, incomplete and inaccurate articulation and
dynamics. A whole page which contained the close of the first
movement is missing from the score, as are string parts from
the last 18 bars of the trio and most of the left-hand
piano part. Wolfgang Boetticher’s edition published by Heinrichshofen
of Wilhelmshaven in 1979 and presented in its mutilated form
proved to be unpopular, unsatisfactory and consequently was
largely ignored.
Fortunately the C minor Quartet has now been refurbished
and rendered playable on the basis of additions and corrections
undertaken
by musicologist Dr. Joachim Draheim in close collaboration
with the Trio Parnassus. The C minor Piano Quartet was finally
given its first performance in Draheim’s edition by the Trio
Parnassus in Stuttgart in 2005. Schumann’s fledgling score,
full of youthful impetuosity and imperfections, is a stroke
of genius and its richness of invention will surprise and
provide considerable rewards.
The first movement marked allegro molto affettuoso is in sonata form
and the menuetto: presto is a virtuosic canon scherzo in
Beethovenian style. Significantly Schumann wrote in
his diary that here in the trio of the scherzo he
felt that a Romantic spirit, different from his old
music, opened itself to him and a new poetic life seemed
to reveal itself. The slow movement andante, introduced
with a remarkable viola solo, has an orchestral fullness
that threatens to go beyond the realms of chamber music.
The concluding movement rondo is a rhythmically succinct,
demonic perpetuum mobile, containing some brighter
episodes.
The great energising force behind Schumann’s mature music
was his love for Clara Wieck. After the couple had married
in 1841
he produced his first two Symphonies, an Overture, Scherzo and
Finale, Op. 52 and the first movement of his celebrated
Piano Concerto in A minor, Op. 54 in less than twelve months.
The following year Schumann fell briefly silent. Clara was
away on a concert tour to Denmark and throughout the spring
he stayed behind in Leipzig and drowned his melancholy in “beer
and champagne” and studied the scores of Beethoven, Haydn
and Mozart. As soon as Clara returned his creativity boiled
over anew; in seven weeks in June and July 1842 he completed
his three String Quartets, Op.41; he wrote his celebrated
Piano Quintet in E flat major, Op.44 in 19 days in September
and October; and on 24 October began his Piano Quartet
in E flat major, Op.47, completing it a month later.
It is not surprising that the E flat Piano Quartet turned
out as it did, composed under the inspiration of Schumann’s
feelings for Clara and under the discipline of his recent
study of the classical masters. The E flat Piano
Quartet is less expansive, less flamboyant than the better-known Piano Quintet,
but the score belongs in the same aristocratic class and displays a special
effort by this essentially epigrammatic composer to grasp classical structure.
The opening movement, marked sostenuto assai – allegro ma
non troppo,
is spaciously conceived and is marked by powerful climaxes.
A Mendelssohnian scherzo: molto vivace derives
a great deal of charm from a recurrent staccato phrase
used to link each section. The andante with
its romantic main theme is simply a love-song. The instruments
take turns to sing and embellish the sweet, heartfelt melody,
and at the centre of the movement withdraw into a warm and
intimate passage of Beethovenian nobility and pathos. Borne
on by the full flood of his inspiration and conceived to
flow beautifully the finale: vivace is richly
figured and counterpointed.
Named after Mount Parnassus near Delphi, the seat of the
Muses in Classical Greece, the Trio Parnassus was founded
in 1982
by cellist Michael Groß. The remaining ensemble members are
violinist Yamei Yu and pianist Chia Chou who are joined on
this release by violist Hariolf Schlichtig. Although Michael
Groß often uses a baroque cello, the players all use modern
strings and bows, avoiding the period performance practice
that has become so fashionable today. Groß views that, “The
steel strings of a string instrument and the tonal capacity
of a grand piano require a completely different sense of
sound than gut strings or a Hammerklavier.” With this
blend of the historical and the modern Trio Parnassus has
developed an unmistakable sound of their own.
On this MDG release the Trio Parnassus wholeheartedly embrace
the carefree and buoyant mood of Schumann’s music. They demonstrate
fine playing that effectively blends vitality and control
together with a high intelligence. Their quality is at once
evident in the opening movement of the E flat major Quartet
which they realise with intelligent sensitivity. The Trio
provide a lively spring to their step in both scherzos with
interpretations that offer apt spontaneity. Parnassus play
each of the slow movements gently and reflectively with a
special mellowness. I especially enjoyed their buoyant and
irresistible playing of the closing movement of the E flat
major score which is beautifully paced and coloured.
The booklet notes by musicologist Joachim Draheim, which
are translated from the German, are helpful and reasonably
interesting.
I found the sound quality to be well balanced and bright
and clear.
Benchmark status is rightly awarded to the account of the Piano Quartet in
E flat major, Op. 47 from the Beaux Arts Trio and violist Samuel Rhodes
on a generous Philips Duo 456 323-2. C/w Piano Quintet,
Op. 44; Piano Trio No. 1, Op. 63; Piano Trio No. 2, Op. 80 & Piano
Trio No. 3, Op. 110. This evergreen analogue
account from Beaux Arts was recorded at the Amsterdam Concertgebouw in
1975 and is distinguished for its refined musicianship and security of
ensemble.
These
enjoyable performances of Schumann’s two Piano Quartets from
the Trio Parnassus will fit comfortably on my record shelves. Schumann’s
fledgling C minor Piano Quartet proves to be an attractive
and worthy addition to the chamber répertoire.
Michael
Cookson
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Trio Parnassus:
(Yamei Yu (violin); Michael Groß (cello);
Chia Chou (piano); Hariolf Schlichtig (viola)) 
[59:37]
