The Leipzig Circle – Volume 1
Fanny MENDELSSOHN (1805-47)
Piano trio in D minor Op. 11 (1841) [25.46]
Felix MENDELSSOHN (1809-47)
Song without Words Op. 109 (1845) [4.45]
Robert SCHUMANN (1810-56)
Piano trio in D minor Op. 63 (1847) [31.44]
Clara SCHUMANN (1819-96)
Three Romances Op. 63 [9:59]
London Bridge Trio
rec. live, April and December 2018, Royal Birmingham Conservatoire
SOMM RECORDINGS SOMMCD0199 [72:17]
When Robert Schumann met Felix Mendelsohn for the first time in 1835 there seems to have been a mutual respect which turned to friendship. Schumann wrote, “I told him I knew all of his compositions well; he responded with something quite modest. The first impression was of an unforgettable man.” (though, inevitably, they fell out later).
The world-famous pianist Clara Schumann must have been equally impressed by Fanny Mendelssohn, Felix’s sister, whom she described as “undoubtedly the most distinguished woman musician of her time”, even though she was merely an amateur.
Listening to the opening item on “The Leipzig Circle” will convince you, too. Her Piano Trio Op. 11 is stunningly good – at least as good as anything brother Felix was writing. It opens with an eleven-minute tour de force, closely argued, formidably melodic, and constantly flowing. Perhaps the andante espressivo and allegretto Lied aren’t quite in the same class (though they are pleasant) but the final allegretto moderato, with its skipping “Hungarian” patches, is delightful. Alas, this was written in the final year of Fanny’s life; who knows what she might have gone on to achieve?
I’ve known this work since 1996, when it appeared on a disc attached to the BBC Music Magazine. It was played then – very well – by the Ambache Chamber Orchestra and Ensemble. Then, just this year, it once again appeared on a BBC Music Magazine disc, recorded in St George’s Bristol by the group appearing on this disc, the London Bridge Trio.
It has to be said that the Bristol recording is streets ahead of the Somm one, recorded at the Royal Birmingham Conservatoire. The sound on this disc is both very close and quite resonant. Paradoxically, this increases the excitement in the first movement, where the feeling of constriction heightens the drama. In the long run, though, it just isn’t acceptable on a modern CD.
For all the quality of Fanny’s work, Robert Schumann’s first piano trio reveals just how original he was; it’s a totally satisfying experience (apart from the sound).
These two works were apparently recorded live – there is applause on the disc. The shorter works by Felix Mendelssohn and Clara Schumann were recorded seven months later than the two trios, apparently in the same venue and with the same odd sound, though no applause.
Felix’s Song without Words, for piano and cello, is a tune which will immediately take up residence in your ear. Clara’s Three Romances are no less melodic and attractive, though I recently heard them played on the viola by Marina Thibeault (Atma ACD2 2772) which seems to add an extra dimension.
This is volume 1, which presumably means there will in future be even more out-of-the-way recordings, and I look forward to them. Let’s hope, however, that the sound gremlins can be defeated.
Chris Ramsden
