Felix MENDELSSOHN-BARTHOLDY (1809-1847)
Octet in E flat major for strings, Op. 20 (1825) [33:02]
Sextet in D major for piano and strings Op. 110 (1824) [29:12]
I solisti Filarmonici Italiani
Jolanda Violante (piano)
rec. 4-7 May 2009, Studio Magister, Preganziol, Italy
CPO 777 524-2 [62:28]
This is an intriguing and, in my opinion, highly successful release. Mendelssohn’s
youthful masterpiece, the Octet in E flat major for strings, Op. 20,
has been recorded too many times to mention, but this recording gives us an
excuse to buy it all over again. There is a tradition of performing the piece
through the conjoining of two more or less established string quartets, though
a glance at the catalogue shows plenty of chamber music ensembles pared down
from larger orchestras or specialist chamber groups who have recorded the
piece. The ‘string project’ recorded listings already have a top
recommendation by the Emerson
Quartet, but this has essential differences to the release at hand. While
not accusing other ensembles of lack of sensitivity to Mendelssohn’s
idiom, the members of I solisti Filarmonici Italiani approach this music very
much with ‘period performance’ in mind, working forward from experience
as musicians in the field of baroque music and using instruments with gut
rather than metal strings. This is by no means an over-sanitised ‘early
music’ performance of the Octet however, and while there is some
restraint in terms of vibrato, the playing is more typically red-blooded and
full of the high spirits this music demands.
I have to say I do quite like the effect this ensemble brings to this music.
The opening has a rousing character which makes you want to carry on listening,
and by and large the rewards and returns are equal to this promising start.
The irrepressible energy of the opening movement is reined in by soulful moods
in the Andante, given plenty of expression in this recording without
laying on the sentiment with a trowel. The Allegro leggierissimo also
works well, with a nice layering of sustained notes without vibrato a tonal
halo around the thematic banter from the rest of the players. The articulation
can be a bit scratchy here and there, and this is something which is a bit
of a blemish with the final Presto. In this case the busy notes of
the opening cellos are less distinct than I’ve heard elsewhere, though
the high-octane pace is compelling and attractive most of the time. With a
somewhat dry acoustic, in the end this recording doesn’t quite top the
sensitivity of touch and transparency which can be found on that of another
recording for which I have a good deal of affection, that with ensemble Hausmusik
on the Virgin Veritas label. It doesn’t miss the mark by very much however,
and if the ‘period’ approach attracts then this recording is unlikely
to disappoint.
With the added sonority of a double-bass and the sparkle of a piano, the Sextet
Op.110 is an entirely different prospect, though written a year before
the Octet and when the composer was only 15 years old. Here, the period
approach is compromised somewhat by the use of a Steinway from 1928 rather
than a replica of an instrument contemporary with Mendelssohn’s time.
This is a fine sounding instrument however, and does have a more sympathetic
singing tone than you would be likely to find with a later model. The piano
blends well with the string sonorities, and the chamber-music feel of the
piece - the interaction of equal instruments rather than a concerto-like soloist-accompaniment
relationship is nicely balanced in this case.
Looking at a release on the Delos label with this identical coupling of works
performed by the Lincoln
Center Chamber Music Society the differences between this and what might
be called a ‘period’ performance become clearer, and with the
subtle little string inflections of a movement such as the Menuetto
less encumbered with wide vibrato. I do like the transparency of the Lincoln
Center recording however, and honours are even with this movement’s
Schubertesque ‘trout’ gestures from the piano and in many other
crucial little moments.
The rather marginal differences in performance style between quoted references
and other favourite recordings are ones which allow this fine CPO recording
to exist and thrive alongside these established releases, and its inherent
high quality makes it recommendable in its own right.
Dominy Clements
A recommendable alternative with a period approach.