This
is the second release on the independent
designer record label Onyx from the Nash Ensemble,
who are renowned as one of Britain’s finest chamber ensembles.
Their first Onyx release was Mark-Anthony Turnage’s Chamber
Works, with soprano Sally Matthews, on Onyx 4005.
The
London-based Nash Ensemble celebrated their fortieth anniversary
in the 2004-05 season and have gained an impressive reputation
for their consistently memorable performances. I especially
enjoy their performances of the classical repertoire and have
had the good fortune to see them perform the Mendelssohn Octet
at the Wigmore Hall earlier this year.
In
a six-year period between 1839 and 1845 Mendelssohn wrote
two of the finest piano trios in the repertoire. These two
can stand comparison with Beethoven’s finest: ‘The
Ghost’ and ‘Archduke’ written 1808-11; Schubert’s
B flat and E flat from 1828; Schumann’s
three composed 1847-51 and Brahms’s from 1854-86.
In
1832, when he was 23, Mendelssohn wrote to his sister Fanny,
“I should like to compose a couple of good trios.”
Not long after his marriage to Cécile Jeanrenaud, Mendelssohn
did finally compose these two, the first in 1839 and the second
in 1845.
The
Piano Trio No. 1 was composed in the cities of Leipzig
and Frankfurt. It was an immediate success and has proved to be one of his
most perennially popular scores. Mendelssohn’s friend Ferdinand
Hiller stated, “I was tremendously impressed with the fire
and spirit, the flow and, in short, the mastery to be heard
in every bar.” Cast in well balanced proportions
the joyous and exuberant four movement work is exquisite and
remains the most admired of the pair. It has an abundance
of charm and appeal that has maintained its eminent status
in the chamber music repertoire. The part for piano is more
prominent than the more discreet involvement of the violin
and cello.
In
the lengthy opening movement Molto allegro ed agitato
the players are thoughtful and secure, although a touch tentative,
especially in the early section. The second movement Andante,
a delightful Song Without Words, is performed
with remarkable sensitivity. The piano playing of Ian Brown
is peerless in the Andante. Nimble and effervescent
playing is on display in the demanding and sparkling third
movement Scherzo and in the final Rondo marked
Allegro assai appassionato the players provide a robust
and confident performance.
The Piano Trio No. 2 was composed in 1845 in Frankfurt and dedicated to the composer Louis
Spohr. At this time in Mendelssohn’s
life his already delicate health was deteriorating and he
was experiencing an overwhelming strain from dividing his
time between his responsibilities in Berlin, Leipzig and London. In addition
he was still grieving over the death of his father and his
mother’s fragile health was cause for concern. Mendelssohn was bedridden when
he commenced the C minor score and it is no surprise
to discover that the work, over extended stretches, sounds
like a musical account of those extremely difficult days.
In many ways the C minor is superior to its predecessor
although the delights do not reveal themselves as easily.
The
playing from the Nash in the extended first movement is smooth
and expressive, although the piano does tend to dominate the
delicate balance. The Andante espressivo is given a
meditative and solemn reading and in the energetic and intricate
third movement Scherzo the trio are playful and energetic,
remaining in total control. In the Finale, Allegro
appassionato the players convey determination and adroitness,
and bring the score to a thrilling conclusion.
Mendelssohn
composed his Variations concertantes for cello and piano
in 1829. The work was written for his brother Paul who must
have been a very fine cellist if he was able to do justice
to this attractive and lyrical score. Paul Watkins and Ian
Brown provide an impressive performance that is alert, characterful
and vivacious.
These
are top class performances blending a broad and vivid spectrum
of colours. Especially appealing is the trio’s joy and playfulness
in the Scherzo movements. These interpretations are
not my first choice versions but they are right up there with
the very best available. However, if this was my only version
of the two Piano Trios I would not be disappointed.
This Onyx release has a decent balance overall with reasonably
clear sound, although there is some blaring in the forte
passages. The booklet notes are a credit to the author
Joanna Wyld.
The
competition in the catalogues for the Mendelssohn Piano
Trios has become fierce and I am able to suggest three
alternative versions, none of which include the substantial
filler, the Variations concertantes as offered on this
Onyx release. My first choice recommendation is from the galácticos
trio of Fischer, Gilad and Müller-Schott who give superb readings
of these often underrated scores (PentaTone SACD PTC 5186
085). Their security of ensemble is breathtaking and one can
detect a compelling sense of enjoyment. These 2006 Cologne
performances surpass the best of the available versions. Smart contemporary presentation, interesting and detailed annotation,
excellent sonics together with superb performances made this
my joint Record of the Year for 2006.
One
of the finest alternative recordings, featuring controlled
energy and judicious selection of dynamic contrast, is from
the Gould Piano Trio, recorded in Potton Hall, Suffolk in
2000 on Naxos 8.555063. The outstanding Gould Trio is an improving
ensemble that I have seen perform live several times. Since
this Naxos recording they have engaged the services of cellist
Alice Neary. In recital the Goulds attain a consistently high
level of performance. A couple of months ago I attended one
of their recitals at Kendal, Cumbria and once again the standard
of music-making was exceptional.
In
addition, I highly rate the award-winning readings from the
Florestan Trio on Hyperion CDA67485. Recorded in the Henry
Wood Hall, London in 2003, the Guardian reviewer was accurate
with his description, “The Florestans keep textures light
and transparent. Both performances are models of Mendelssohn
interpretation.”
Extremely
fine performances of these three Mendelssohn chamber scores
from the Nash Ensemble on Onyx.
Michael
Cookson
The
ONYX Catalogue
The Nash Ensemble:
(Marianne Thorsen (violin); Paul Watkins (cello); Ian Brown (piano))
