Felix MENDELSSOHN (1809-1847)
Lieder ohne Worte (Songs Without Words)
Book One, Op. 19 (1829-30)
Book Two, Op. 30 (1833-34)
Book Three, Op. 38 (1836-37)
Book Four, Op. 53 (1839-41)
Book Five, Op. 62 (1842-44)
Book Six, Op. 67 (1843-45)
Book Seven, Op. (1834-45)
Book Eight, Op. 102 (1842-45)
Roberte Mamou (piano)
rec. no details given.
MERIDIAN CDE 84576/7-2 [66:53 + 54:38]
Felix Mendelssohn’s forty-eight exquisite Songs Without Words
met with mixed opinions when they originally appeared. Composed throughout
the 1830s and into the early 1840s, Mendelssohn seemed to defy the penchant
of the day to compose the kind of ultra-virtuoso works that had made Franz
Lizst and the like international sensations. These little gems are certainly
based on the lied, and often take on the typical three-part song form in which
the opening material returns with some sort of variation. Also, as in many
songs, Mendelssohn provides an introduction and a postlude - the lovely Op.
30, No. 3 is a fine example. Schumann was led to speculate that the composer
might have even had a text in mind when he conceived each piece and simply
left it out when he composed the music.
In spite of their simplicity of harmony and clarity of melodic line, there
are many technical challenges in this music. Left hand accompaniments are
often made of wide leaps that begin with a low octave followed by a full chord
some distance away. This is not an easy thing to execute even for the finest
pianist. Mendelssohn was himself a first rate pianist and many of the songs
require fleet finger-work and the ability to fly through note-laden passages
with deft ease. Yet even in the more speedy ‘songs’, there is
never a lack of beautiful melody. The slower works are almost hymn-like in
their serenity.
Roberte Mamou is new to me, but certainly no disappointment. She has ample
virtuoso technique and displays a sensitivity to balance and inner voices
that is quite refreshing. There is the occasional tendency to over-use rubato,
making Mendelssohn’s more classically-orientated style come across too
much like the more blatantly romantic works of say Schumann or Chopin. That
is a small complaint in what is on the whole a splendid two hours of music-making.
It would be easy enough to fall into a sort of sameness trap in these works
given their similar style and structure. Ms. Mamou, however finds the individuality
in every song, making each little moment fresh and pleasant.
Meridian does not provide recording dates or locations, and the program notes
are, well, long. There is a lot to cover, but I have never been fond of blow-by-blow
descriptions of music. I find that most listeners are smart enough to figure
out what is going on by using their own ears, and I confess that it was a
labour to get through all the descriptions. A good proof-reader would have
been nice too as the typos are fairly abundant.
Recorded sound is of the first order. There is plenty of warm reverberation
and yet there is perfect clarity as well, nicely accenting Ms. Mamou’s
fine ability to sing with her instrument. Her biography touts her recent Mozart
sonata recordings, comparing them amusingly to those of the late Glenn Gould.
One can’t quite imagine how anyone could perform Mozart and remind the
listener of Gould’s highly idiosyncratic playing, but that’s a
discussion for another page.
In all, this set is a worthwhile investment; an ample helping of beautiful
music played beautifully.
Kevin Sutton
An ample helping of beautiful music played beautifully. Ms. Mamou has the
goods and delivers them with style and ease.