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Prinz Louis
Ferdinand von PREUSSEN (1772-1806) Complete Piano Trios Vol.2
Trio op. 3 in E flat major (ca.1799/80) [32:06]
Quartet op. 6 in F minor* (ca.1803) [37:29]
Trio Parnassus (Yamai Yu (violin),
Michael Groß (violoncello), Chia Chou (piano))
Thomas Selditz (viola)*
rec. 9-11 November 2005, Fürstliche Reitbahn Bad Arolsen MUSIKPRODUKTION DABRINGHAUS
UND GRIMM MDG 303 1361-2 [69:35]
Prince
Louis Ferdinand of Prussia was born in 1772, and was an exceptional
figure in the Prussian royal house, beyond which his reputation
also greatly extended. Robert Schumann composed variations
on a theme from the Piano Quartet Op.6, as did Beethoven’s
pupil Archduke Rudolf. Liszt published an Elégie sur des
motifs du Prince Louis Ferdinand de Prusse in 1847 after
having been intensively involved with his works in preceding
years.Schumann defined Louis Ferdinand as a “Romantic
composer of the Classical period” in his diaries, and indeed
some of his work does seem almost a generation ahead of its
time. Romantic darkness colours parts of the Quartet,
and the lyrical expressiveness and warm instrumental writing
in the Trio bear this out, for while the classical
style is pervasive, the music moves beyond formal constraints
and has at times a similar appeal as Brahms in his more contemplative
moods.
My
first response to the opening of this CD was “what a wonderful
way to discover new music!” Prince Louis Ferdinand’s work
seems to have passed me by until now, and I can’t imagine
a better introduction than this series. The Trio Parnassus
is recorded in a nicely resonant acoustic, and of course
well up to MDG’s usual high standards. I searched through
the booklet notes for some comment on the piano used, for
while the trio is known as a modern instrument ensemble the
piano sounds as if it might be at the very least an ‘older’ instrument – it
certainly doesn’t sound like a brand new Steinway, and I
for one am grateful for the fact. The piano has a pleasant,
ringing sound without too much wallop in its attack or sustained
tone – something which suits this music ideally, without
going to the lengths of seeking out (and possibly having
to endure) a contemporary fortepiano. The string playing
is dynamic and rich, expressive without being overly soloistic,
superbly articulated and phrased, perfectly balanced.
The Trio
Op.3 reveals much about Louis Ferdinand’s modern approach
to form, showing thematic relationships between movements
to create cyclic unity, introducing some fascinating harmonic
progressions, extending basic sonata form and instrumental
virtuosity in one broad sweep. The sheer quality of the
music in both these pieces stands out a mile. Louis Ferdinand’s
ability in creating moods which take the listener away
from structure and classical formality make these pieces
more memorable to me than that of many of his contemporaries,
and that’s only on an initial hearing.
The Quartet
Op.6 is probably the Prince’s best known and most overtly ‘Romantic’ work.
It is filled with a treasure trove of rich invention and
an abundance of strong motiefs, and its dramatic contrasts
and sometimes turbulent emotional content is quite a surprise.
Just looking at the scale of this work gives some indication
of the emotional weight which it carries. Lyrical expression,
and an almost literary depth of searching drama which foreshadows
the Wertherian schmerz of much later composers has
persuaded me that Vol.1 of this series just has to
go to the top of my wish list. I have no comparisons to
Trio Parnassus’ performances to hand, but find it hard
to imagine anything much better than these recordings.
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