Sir Philip Ledger – A Musician’s Legacy
Edward ELGAR (1857-1934)
Piano Quintet in A minor, op. 84 (1918-19) [35:23]1
Antonín DVORÁK (1841-1904)
Piano Quintet No. 2 in A major, op. 81 (1887) [32:36]2
Sir Philip Ledger (piano)
Alberni Quartet
rec. live, Matt Thomson Concert Hall, Royal Scottish Academy of Music &
Drama, Glasgow 1 7 November 2001, 2 9 November 2001
DDD
ROYAL CONSERVATOIRE OF SCOTLAND / NIMBUS ALLIANCE NI6220 [68:05]
Of the first movement of his Piano Quintet (tr. 1) Elgar wrote ‘It is strange
music ... ghostly stuff.’ It has a haunting quality because its themes not
only return but expand and transform. The theme heard in fragmentary fashion
in the introduction is only fully revealed as the fourth theme at 5:01. Meanwhile
there has been a first theme at 1:22, resolute and rather craggy from the
Alberni Quartet and Philip Ledger. There’s then a second theme at 2:11, which
they present as conscious of its own insubstantiality. The third theme (3:05)
they reveal as more ardent, impulsive and insistent despite its salon flavour.
Their flow and seamless progression is convincing even if the climax of the
development is for me a little lacking in tonal impact. This might be because
the clean and clear recording is in a rather dry acoustic. That said, it doesn’t
mar an arrestingly fiery recapitulation of the first and second themes before
the second is repeated in more cajoling manner. The third theme returns less
grand but warmer in articulation. The introduction returns as coda and the
haunting continues. Ledger and the Albernis take us on this journey clear-sightedly
with an easy-going reflection that can also burst into present passion. For
me they have the Elgar idiom just right: there’s an element of reticence amid
the emotion. I compared the recording first published in 1985 by the Medici
Quartet and John Bingham (Meridian CDE 84502). They more overtly dramatize
the music: the second theme is deliciously curvaceous, the third over-milked,
but the fourth radiantly calm. Their development has more urgency and excitement
though the phrasing is perhaps over-deliberate. The airier Meridian recording
is beneficial.
To the glorious slow movement Ledger and the Albernis bring tenderness and
an intensely caring quality together with a sufficiently stately flow. Elgar’s
Adagio is here no more than Adagietto, timing at 11:12.
This makes the musical line satisfyingly clear as is the way one part supports
another in turn in the expansive opening theme. There’s also a fine contrast
in what is a second section of reflection and commentary rather than a second
theme. This is begun with the piano’s 4-note rising figure answered by falling
strings before the violin presses on with a new, solemn statement. The opening
theme returns in the development with a gnarled nature and then passionate
transformation. It reappears in the recapitulation, calm and sunnier than
before and now triumphant. You note the delicacy of Ledger’s rising motif
at its return. Bingham and the Medicis take this movement Molto Adagio,
timing at 13:26. It’s lovingly savoured with every nuance and accent caught
and firm, rich lower-string playing. Some sequences have a touch of the mechanical
in this distillation and the climax of the development can’t be quite so impetuous.
The second section is less contrasted than Ledger/Alberni.
A slide into the first movement introduction to begin the finale (tr. 3) is
soon dismissed by a theme presented by Ledger/Alberni with a sterling resolution,
a kind of epic defiance. The second theme (2:15) is hardly a theme at all
but a rising and falling that is almost imperceptibly enlivened by syncopation.
The first movement’s fourth theme is re-introduced in a calm but sure flow
with a muted first violin sigh at its end and snatches of the first movement
third theme. These recollections are handled with a sure delicacy by Ledger/Alberni
before a softly opening recapitulation leads to a spirited climax. Bingham/Medici
savour this movement a mite more leisurely in tempo and with more deliberate,
rhetorical pointing of accents, notably in the second theme. They lack the
sheer sweep of Ledger/Alberni but their first movement fourth theme has a
benign stateliness which is very alluring. The playing of Bingham/Medici has
more beauty of tone and line than Ledger/Alberni but the latter offer more
fire and conviction of progression.
Structurally the Dvorák quintet tends towards the conventional but will always
be more popular because of the strength of its melodies. In mood it’s just
as open to varied interpretation. Ledger and the Albernis adopt an easygoing
yet reasonably progressive tempo for the first movement. Its first theme on
the cello is mellow, followed by a spirited tutti then more reflection
before an airier repeat of the first theme on piano and then first violin.
An exciting dance rounds off this section. The second theme is presented by
the viola (2:08), with a touch of edge not in the first theme, but defused
when it is repeated by first violin and then piano. That edge returns in the
recapitulation and is fully developed to a firm climax. This is a hearty performance,
but to gauge how idiomatic it is I compared the 1966 recording by the Smetana
Quartet with Pavel Štepán (Testament SBT 1074). They have more warmth and
finesse in the presentation of the first theme, a closing dance exciting but
at the same time disciplined and a wider-eyed development which commands more
attention.
The dumka slow movement from Ledger/Alberni (tr. 5) is notable for the delicacy
of its piano opening and a wry experience, yet also warmth, in the viola and
then first violin commentary. The slightly faster second section (2:28) is
rhapsodic - freer. The piano takes over an ambling melody but the strings’
semiquaver accompaniment is full of life as if to stoke the following treatment
of the opening melody by all the strings. This is capped by a first violin
descant. There’ a heart-rending intensity at this point and it returns at
the close. In the mean-time there has been a Vivace (6:02) in which
Ledger/Alberni find gypsy abandon. I prefer their account of this movement
to that of Štepán/Smetana who begin with dogged endurance and make more of
a joyous contrast of the second section but without Ledger/Alberni’s airy
relaxation. Their later treatment of the opening melody is clear in texture
but rather Spartan in manner while their Vivace section is lighter
and of less substance.
The Ledger/Alberni Scherzo (tr. 6) is notable for its kick. It’s taken at
an exuberant pace. There’s a real sense of purpose to the second theme on
the viola (0:37) and snowy adornments in thirds from the piano. Some edge
remains even in their generally smiling and serene Trio. Štepán/Smetana are
neater, less fresh in the Scherzo. Their sleepier Trio has more mystery to
it. The progress of the finale (tr. 7) is addressed with gusto and crisp attack
throughout by the Albernis and Ledger’s contributions sparkle. Merriment,
exuberance and edge abound, also variety. For instance, the episode (1:18)
is graceful at first, then bold and fanfare-like. Štepán/Smetana favour a
more controlled manner which brings greater contrast, more mischief in the
humour, a rather arch treatment and latterly more calm.
These Ledger/Alberni performances are released in memory of Philip Ledger
and honour him in the integrity of the playing. The players blend and complement
one another. These accounts don’t aim for beauty of tone and texture, but
through experience and character convince you that the music matters. They
make a worthy tribute to a fine musician.
Michael Greenhalgh
A worthy tribute to a fine musician.
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