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Bohuslav MARTINŮ (1890-1959)
La
Revue de Cuisine (1927) [15:33]
Sextet (1929) [15:48]
Four Madrigals (1937) [20:56]
Nonet (1959) [16:39]
Ensemble Villa
Musica
rec. Furstliche Reitbahn, Bad Arolsen, April and November 2002
and December 2005 (La Revue, Nonet) MUSIKPRODUKTION DABRINGHAUS
UND GRIMM MDG 304 1439-2 [69:30]
Very
disappointing. Ensemble Villa Musica are a decent chamber
group but I felt only two or three of the sixteen movements
spread throughout this disc were taken at genuinely workable
tempi. Furthermore there’s a drab sense of horizontal unengagement
that spells death to Martinů’s rhythmic zest and articulacy
of attack.
I’d rather like to leave
it there but some supporting evidence is in order. The Nonet
should snap, crackle and pop, even though it was one of his
last completed scores. Instead we have a very polite delineation
of the notes – expert in its way – but with very little behind
them. I suppose there must be some precedent for the slow
tempo for the Andante, though I’ve never heard a reading
quite so slow – but the important matter is that the ensemble
doesn’t thereby bring it to emotive life. The recording doesn’t
aid sharpness and transparency of attack it’s true but just
listen to the Czech Nonet, for whom it was written, to hear
how it should go – I should add that this was a later 1970s
line-up of the Nonet and the performance can be found on
Campion RRCD1314.
The Madrigals are again
far too slow and uninflected. Rhythms are smoothed out and
generic. All the jazzy lines are polished out of all recognition.
The tempo these fellows take the Four Madrigals had me devoutly
wishing for a variable speed player; I’m sure it’s the first
time the third has ever sounded like Hindemith. Lest I be
thought only to promote native performances – I admit I generally
do – the Dartington Ensemble on Hyperion CDA66133 really
digs into the music and brings it strongly alive; and theirs
is an all-Martinů programme as well.
Let’s
skip the Sextet. It’s so sleepy and undernourished a performance
it barely makes it to the speakers – this work can teem with
character and panache, especially when Panenka and the Prague
Wind Quintet get going on it on Supraphon. La Revue de Cuisine
is one of Martinů’s best-known works but stick to Rauch,
Sádlo et al on Supraphon or the Saint Paul Chamber
Orchestra and Hogwood on Decca, if you prefer an up-to-date
recording. This way you’ll be spared some halfhearted playing.
They reprise the slow tempo syndrome once more – this time
the Tango is so horribly slow it grinds comprehensively to
a halt.
All right, you’ve had enough
of this and so have I. Time to move on.
Jonathan Woolf
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