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Robert SCHUMANN (1810-1856)
Cello Concerto in A minor, Op.129 (1850) [24:30] Johannes BRAHMS (1833-1897)
Serenade No.1 in D, Op.11 (1859) [48:26]
Natalia
Gutman (cello)
Mahler Chamber Orchestra/Claudio Abbado
rec. Teatreo Cavallerizza and Teatro Municipale Romolo Valli,
Regiio Emilia, March-April 2006. DDD DEUTSCHE
GRAMMOPHON 476 5786 [72:56]
This
product has ‘class’ stamped all over it. First of all we
have Gutman, a cellist of great repute, accompanied by the
Mahler Chamber Orchestra, from whom we have come to expect
playing of great refinement. Overseeing all, we have Abbado,
the venerable maestro known for producing performances of
intelligence and integrity. The disc appears to have originated
from the Italian wing of Universal Classics and Jazz, having
been recorded in Italy. Accordingly the booklet notes are,
somewhat unusually, printed first in Italian and then in
English. The cover artwork reproduces the detail from Klimt’s ‘Die
Musik’. The same image was used for Abbado’s Chicago recording
of Mahler’s Seventh Symphony (Abbado-Mahler; do you
see the connection?). It certainly looks rather beautiful,
with all those dark greens, blues and browns being somewhat
evocative of the music contained within.
And
then there is the programming. It is one of the great paradoxes
of commercially recorded music that the consumer would find
it desirable to buy a disc containing, for example, three
Mozart concertos, or two Beethoven symphonies, or several
Clementi sonatinas, when very few would actually want to
attend a concert programmed thus. Praise to Deutsche Grammophon
in this case for providing such a stimulating, unusual yet
entirely logical coupling of two works that have not been
as widely recorded as would perhaps be ideal. Schumann and
Brahms knew each other, of course, and the works here were
written at the end of the older man’s career and at the beginning
of the younger’s.
Schumann’s Cello
Concerto has suffered neglect in comparison to his
other concertante works. It is not a work to reveal its
treasures in a single hearing and contains little of the
free-wheeling joie de vivre of the piano concerto or
the reckless virtuosity of the Konzerstück for four
horns and orchestra. It is more introspective than either
other work and, after a few hearings, Schumann’s typical
vein of lyricism starts to become irresistible.
Composed
within an astonishingly brief two-week period shortly after
Schumann’s move to Düsseldorf in 1850, the cello concerto represents
one of his final attempts at a work in concertante form.
By this time, the composer had already begun to suffer severe
periods of depression but the new optimism generated by his
leaving Dresden seems to inspired him to a final burst of
creativity. Some commentators have identified the inward
qualities of the concerto as being a result his unstable
mental condition. That as may be, but the uninitiated should
not take this to mean that the work is desperately dark and
troubled.
The
opening Nicht zu schnell is really the only movement
where darkness can in any sense be said to prevail. Certainly
Natalie Gutman appears to see it so. Gutman’s dark, rich
and yet admirably clear tone is ideally suited to this music.
However, she comes dangerously close to distorting the shape
of the music with excessive rubato. The first subject, for
example, is pulled in all directions, not allowing a steady
pulse to be established. Throughout, Gutman manipulates rhythms
not only in the expressive lyrical passages but also in passage
work. Other cellists have fallen foul of this music in such
a way, notably Rostropovich and Maisky (both with Bernstein)
and yet so compelling is Gutman’s performance that the results
are still magnetic.
Of
course, with such flexibility from the soloist it remains
with the orchestra and conductor to introduce some kind of
stability. To say that Abbado and his forces do this magnificently
is to risk sounding predictable. Needless to say, the Mahler
Chamber Orchestra produce some lovely sounds and Abbado guides
them through a performance of admirable clarity. Abbado seems
to possess the rare ability to elucidate Schumann’s orchestration
like few others today, without sacrificing weight and body
of sound. It does of course help that he is here working
with a chamber orchestra, but just listening to his recording
of the ‘Complete works for Piano and Orchestra’ with Perahia
(Sony SK64577) confirms that he is able to exercise the
same judgement with an orchestra of the size and pedigree
of the Berlin Philharmonic.
Gutman
is, rather surprisingly, less indulgent in the central Langsam (which
follows without a break; Schumann apparently disliked applause
between movements). She really allows herself to sing in
the great lied-like melodies, and the Mahler Chamber
Orchestra once again produce some exquisite sounds (particularly
the wind section). But it is in the concluding Sehr Lebhaft that
the performance finally takes wing. There are fewer opportunities
for rubato here, and both soloist and conductor collaborate
to produce a performance of youthful enthusiasm and ardour,
without ever driving the music too hard. Indeed, Gutman allows
herself a little space here and there to draw out the humour
of Schumann’s writing. By the end of the movement we are
convinced that the cello concerto is not only neglected,
but a neglected masterpiece. There can be no higher praise
for a performance.
Those
wanting a more straightforward, less ‘sophisticated’ alternative
would do well to track down Isserlis (RCA 09026 68800-2)
or Wispelwey (Channel Classics CCS11097), but this performance
is thoroughly recommendable if the coupling appeals.
Abbado
recorded Brahms’ Serenade No.1 with the Berlin Philharmonic
over twenty years ago. Then, as now, he took a markedly pastoral
view of the piece without losing sight of its more symphonic
aspects. The Serenade had a complex gestation, Brahms originally
composing it for octet and only later being persuaded to
expand the instrumentation to chamber orchestra proportions.
In it, the composer takes the ideals of the classical serenade,
the genteel dances of polite society, and transforms them
into something approaching symphonic sophistication. A large
part of its success, therefore, is due to its eventual large-scale
scoring.
Right
from the beginning of the large opening movement, Brahms
is in rustic mode, making frequent use of bass ostinatos.
Here, and particularly in the following scherzo we
are reminded of, amongst others, Dvořák, in the folk-like
inspiration of much of the material. Indeed, the ‘open-air’,
fresh quality of the serenade as a whole would surely make
new friends for the composer amongst those who find the fuller,
more opulent textures of the symphonies a little too oppressive.
Abbado
appreciates these qualities, and also the fact that many
of Brahms’ defining characteristics are also present here.
His earlier BPO recording was highly successful, but the
passage of time and the employment of a chamber orchestra
have resulted in a reading superior on every level. The wind
players of the BPO played their numerous solos beautifully,
but their successors in the Mahler Chamber Orchestra need
fear no comparison. The main gain is in the textural clarity
of this new release. Abbado balances every strand, every
piece of counterpoint to perfection; every phrase is perfectly
judged, exquisitely nuanced. Some may find the music making
on display here a little too refined, but there is no denying
the quality of this new recording.
Deutsche
Grammophon’s recording of both works is not quite ideal;
the sound can seem a little recessed, and Gutman is placed
quite far in front of the orchestra in the concerto. Nevertheless,
this is certainly a recommendable release, perfectly tailored
for continuous listening. For those new to either work, it
would make an ideal coupling. Others may want to investigate
anyway, given the exceptional levels of artistic achievement.
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