Mindless middle-class trouble-makers hassling musicians
in the art music domain? On an almost daily basis? Seems unlikely, yet
not if the musicians have an Israeli background like the Jerusalem Quartet.
That is sufficient grounds for pro-Palestinian protesters constantly
to pursue them and attempt to disrupt their performances, as infamously
happened last year at London's Wigmore Hall, (almost) live on BBC Radio
3. The argument, such as it is, holds Israeli musicians responsible
for the actions and human rights abuses of their government. Yet the
sheer perversity of anti-Zionist demonstrators is evidenced by the fact
that the Jersualems' co-starring pianist Alexander Melnikov, born in
Russia - widely cited by NGOs and states for human rights transgressions
and authoritarianism - is free to perform virtually anywhere - Chechnya
excepted, perhaps - without disruption or aspersion. Ditto, for example,
so many Chinese musicians.
Happily, the Jerusalem Quartet are at least safer and freer in the recording
studio, and the results, as these two most recent additions to their
growing discography reveal, are very satisfying. Though this is decidedly
not the best of times to release yet more recordings of these four works
from the very centre of the chamber repertoire, such professional, attractive
performances will always find approval and a home on the shelves of
at least some collectors. For who can resist the exquisite slow movement
of Schumann's piano quartet or the sheer joie de vivre of the opening
or close of the quintet? What heart can deny the sublime lyricism of
Brahms's clarinet quintet?
For the earlier Schumann disc the Jerusalems teamed up with Harmonia
Mundi protégé Melnikov, both an exciting soloist and a
chamber player of some experience. On paper, this combination looks
a sure thing, but the reality is a little more nuanced. For one thing,
audio quality is not ideal, but actually rather fluorescent - almost
to the point of sounding raw, in fact. Moreover, the Jerusalems and
Melnikov seem to hold each other back somewhat, rather than give each
other greater impetus as might be expected. This produces a performance
which is detailed, thorough and broadly handsome, but one with little
clarity of vision. Certainly not one to value over many others already
available. Schumann must be one of the most frequently 'under-emphasised'
- or over-burnished - composers of all. These accounts, though impressive
on many levels, are broadly of that ilk.
For all his talent, Melnikov's style is possibly a little too different
from the Quartet's to make an ideal playing partner. For their latest
Brahms disc he has gone and clarinettist Sharon Kam, sister of the Quartet's
violist, has come. Arguably, however, the Quartet is at its best without
additions, when their twenty years' knowledge of each other's
modi
operandi, strengths and foibles comes into its own. That is certainly
the case in the A minor quartet, where they are the epitome of Brahmsian
classicism, stylish and composed. Or is simply it that Brahms was a
greater composer than Schumann? For even when joined by Kam for the
magnificent clarinet quintet, the solo-quartet blend is that bit more
satisfying than on the Schumann disc. Sound is better here too: still
bright, still rather unromantic, but certainly good enough for all but
the strictest tastes.
HM's glossy trilingual booklets focus on style. Roman Hinke's notes
are Teutonically pleonastic and melodramatic - describing Brahms, for
instance, as a "young firebrand" and "young daredevil" - but relevant
information is there for those prepared to filter. Biographies are bland:
Kam is "a lover of chamber music" who has been praised as "a most imaginative
and individual artist". The Jerusalem Quartet, photographed so as to
look like fashion models, are rendered inanimate: "began its training",
"in the United States, where it is increasingly present" and so on.
These recordings, however, show them to be strong, lusty advocates of
immortal music.
Byzantion
Collected reviews and contact at artmusicreviews.co.uk
