This continues an important Stanford chamber music series for Naxos (
review). The same players are certainly no strangers to the
music having already recorded the Piano Trio No. 1 in E flat major, Op. 35
and Piano Quartet No. 2 in C minor, Op. 133 in 2009 (
review) and the
Piano Trio No. 3, Op. 158 in 2006.
It is heartening to see that the Stanford chamber music continues to be
recorded. In the last decade or so a reassessment of the composer has been
taking place primarily due to a considerable number of new CD releases and
the publication of two substantial biographies by Jeremy Dibble and Paul
Rodmell. Naxos can take credit for bringing Stanford’s music to the public’s
attention with a number of excellent recordings of the symphonies (
1 & Clarinet Concerto ~
2
& 5 ~
3 & 6 ~
4 & 7) ~
unaccompanied sacred music and the
Requiem. I have read that the remaining string quartets from
Stanford’s set of eight are now being recorded. This leaves primarily the
eleven operas to be recorded which seems an increasingly unlikely project in
the prevailing economic climate.
The earliest work here is the
Piano Quartet No. 1 in F major, Op.
15 that Stanford completed 1879 with a dedication to his friend Ernst Franck
a conductor and composer. The same year the work was premièred at Hans
Richter’s series of Festival Concerts in London with pianist Xaver
Scharwenka, violinist Hermann Franck, violist Benno Hollander and cellist
Auguste van Biene. This work is evocative of the Austro/German style of
Mendelssohn and also Brahms but without the textural weight. The opening
Allegro con brio is upbeat with a squally disposition at times.
Next comes the mainly excitable
Scherzo with its contrasting
central episode of tranquillity. Heartfelt, introspective and agreeable the
Poco adagio never becomes too passionate and the determined
Finale:
Allegro con brio again sports that characteristic
squally quality.
Written in the period 1898-99 the
Piano Trio No. 2 in G minor,
Op. 73 bears a dedication to Stanford’s friends, the Berlin Trio. In fact,
the 1899 première was given by the newly-formed London Trio: pianist Amina
Goodwin, violinist Theodore Werner and cellist William Whitehouse. Marked
Allegro con brio in the Mendelssohnian mood, the opening
establishes a sense of cascading movement. The writing is imbued with a
warm, near affectionate quality. Tender and verging on the passionate the
absorbing and reflective
Andante is reminiscent of Brahms.
There's also a slight undertow of melancholy. The uplifting Scherzo
overflows with ideas and contains some lovely writing which is vibrantly
played. The
Larghetto introduction to the
Finale swiftly
switches to Stanford’s distinctive rather impulsive, stormy quality.
The Gould Piano Trio with violist David Adams in the Quartet are clearly
well prepared and astutely capture the innate charm of these works. I was
stuck by the outstanding playing - consistently engaging, always intelligent
and constantly assured. The sound quality although dry is quite acceptable
with a splendid balance. The tone of the strings comes close to sour and the
piano has a very slight woody quality. Overall I’m sure this late-Romantic
music would have benefited from a warmer ambience.
Michael Cookson
