Unerhörte Schätze (Unheard-of Treasures)
Amanda MAIER-RÖNTGEN (1853-1894)
Violin Sonata in B minor (1873/4) [18:36]
Clara SCHUMANN (1819-1896)
Romanze, Op. 22 No. 1 [2:45]
Amy BEACH (1867-1944)
Romance [5:54]
Lili BOULANGER (1893-1916)
D’un matin de printemps (1918) [4:48]
Nocturne (1911, arr. cello and piano) [3:07]
Dora PEJAČEVIĆ (1885-1923)
Piano Trio in C major, Op. 29 (1910) [34:19]
trioW
rec. 2018/19, Ackerschuene Concert Hall, Marienmünster Abbey
NAXOS 8.551438 [69:57]
The programme of this release seems to me to present something of a dilemma. On one hand, it is good that these five women composers, especially Maier and Pejačević, are receiving attention. However, is it good that it is felt necessary that they receive “special treatment”? Would it not be better for these undoubtedly fine compositions to stand alongside equally “unheard-of” Romantic era chamber works written by men, showing that there is, of course, no difference in quality?
Of the five composers here, the least known are Maier and Pejačević, so it is good that their works are the major pieces. Let me address them first. I encountered the music of Amanda Maier in a DB Production release from a few years back of her very Mendelssohnian Violin Concerto, written when a student in Leipzig, and a much later Piano Quartet, which showed her true qualities (review). Violin sonatas are not among my frequently listened-to works, but the character and depth make this certainly worth hearing. That it was written during her student days at the same time as the concerto is quite surprising, as it is certainly more original and substantial.
Like Boulanger and Maier, Dora Pejačević died young, in her case from complications during the birth of her first child. Her music is starting to become better known, thanks mainly to the efforts of the CPO label, which was the first to record her trio (review). trioW’s version is, as far as I can tell, the only other. I hadn’t heard the work before, but had read good reports of her music, and I can report that they are well-founded. Yes, Brahms is an influence but not an overwhelming one – Pejačević clearly has her own voice. The slow opening of the work does bring the first Brahms trio to mind, but only briefly. Each of the four movements provides something to enjoy, but the third movement Lento is the standout – overflowing with beautiful melodies, and contrasted with a brief central faster section. It may not be a masterpiece, but it certainly deserves more attention than it has received thus far.
The miniatures by Schumann, Beach and Boulanger are as you would expect: brief, not too deep and pleasantly enjoyable. It is odd, and in fact rather disappointing, that only one of the set of three Romanzen by Clara Schumann has been included here; there is more than enough space on the disc to accommodate the other two. Given these recordings were made before April 2019, there cannot be a COVID-related reason, as there was with a recent recording that I reviewed which was short on run time because of cancelled recording sessions. It must be said that Boulanger’s D’un matin de printemps can hardly be said to be “unheard-of”, given that Presto lists 24 currently available recordings. Her Nocturne has been arranged for cello and piano (from its usual guise with either flute or violin and piano) which provides some variety from the previous 30-plus minutes of violin and piano, before we head into the trio. It probably reflects my preference in string sonatas that it is my preferred work of the four.
trioW are a German ensemble, the name stemming from the fact that the surnames of each member starts with a W. The trio’s Facebook page directs you to the webpage of duoW, which comprises violinist Katharina Wimmer and pianist Ingrid Wendel. While I suspect it was a coincidence when these two joined forces in 2013 and inspired their duo name, I wonder whether the inclusion of cellist Stefan Welsch in 2018 was a little more managed. As far as I can tell, this is their first recording, and they give good accounts of each work.
The booklet notes, in three languages, allocate half a column to each composer, and most of that to a brief biography, with only a sentence given to the music. I was taken to task recently by a label for commenting that it was surprising that no information was provided about the performers: the point was made quite fairly that it was available on their website where it could be updated. I will simply mention that each performer gets a full column in the notes. The sound quality, in the much-used Marienmünster Abbey, is all one could want.
David Barker
