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| NI 5916 |
So why make this version in the first place? It seems that
Schumann offered his publisher, Breitkopf, a version with string quintet and a
piano reduction. Though these two versions were not taken up, it raised in Raphael
Wallfisch’s mind the tantalising idea of a string orchestra version. Wallfisch
asked the Swiss composer, Arthur Lilienthal, to undertake the task, the result
of which is recorded here.
From the short orchestral opening of the first movement, Nicht zu schnell, the sound of the
string orchestra sounds entirely natural, the cello blending beautifully as it
enters. It is only as the movement progresses with an extended orchestral
section that the loss of bass weight and orchestral texture is noticeable.
Raphael Wallfisch brings his lovely tone and many moments of passion and
intimacy to bear. Indeed there is an intimate quality to the playing all round,
a transparency of sound and, at times, a chamber quality to this performance with
some lovely string sonorities from the orchestra.
In the Langsam – Etwas
lebhafter, both soloist and orchestra find a gentle, mellow quality, with a
beautiful warmth.
There is some beautifully crisp orchestral playing with
taut, flexible playing from Wallfisch in
the final Sehr lebhaft – Schneller, following
every nuance. There is a playful quality to his playing with the string orchestra
so lithe and flexible. It used to be one of the criticisms of this concerto
that, in order not to submerge the soloist, Schumann’s orchestration was rather
lean. The string orchestra certainly provides all the clarity you could wish
for.
Raphael Wallfisch is a fine advocate for this version and
the Südwestdeutsches Kammerorchester provides excellent support.
Wallfisch and the orchestra receive a fine recording from St
Laurentius-Kirche, Amthof, Oberderdingen, Germany.
John York (piano) joins Raphael Wallfisch for a number of Schumann’s works for cello and piano, though having said that, some are arrangements of works originally for other instruments.
Schumann’s Fünf Stücke
im Volkston, Op.102 (1849) was written for cello and piano, though a
version for violin and piano exists. Raphael Wallfisch and John York bring a
somewhat characterful feel to ‘Vanitas
vanitatum’ Mit Humor, full of peasant rhythms. A lovely mellow Langsam is quite hushed, with some
especially fine playing from these players who provide a lovely rhythmic lilt
to Nicht schnell, mit viel Ton zu spielen.
There is such taut ensemble between these players, who obviously understand
each other. There are lovely textures and some exquisite higher cello passages.
Tight ensemble is given in Nicht zu rasch
with terrific attention to dynamics and some lovely cello timbres. More
characterful playing comes in the final piece, Stark und markirt, making one wonder just what Schumann had
imagined when he wrote it, being so full of curious twists and turns.
Drei Romanzen, Op.94
(1849) is an arrangement of the original for oboe and piano, though a
version for violin or clarinet also exists. This version sits especially well
for the cello with Wallfisch and York gently rising from a softer opening of Nicht schnell before some rather
skittish passages and a gentle coda. Einfach,
innig flows forward beautifully with a lovely, simple melody. The way these
players bring out the subtle little beauties around the passionate central
section is exquisite. They bring a sense of propulsion to the Nicht schnell by holding back before
letting the music move forward. A more flowing central section also sees them
finding many lovely details.
Phantasiestücke,
Op.73 (1849) was originally for clarinet and piano but versions for violin
and cello with piano exist. There is a lovely flow in the opening of Zart und mit Ausdruck with these players
bringing so much gentle warmth as well as every little nuance. This is a
particularly beautiful piece, especially in these hands, full of sensitivity. The
beautifully Schumannesque piano part to Lebhaft,
leicht is played so well by York, with Wallfisch light and lithe in the
wonderful cello part. Rasch und mit Feuer
races forward in some of this disc’s finest playing with a terrific, taut
coda.
The Adagio und
Allegro, Op.70 in A flat major (1849) originated as a work for horn and
piano before versions for violin or cello and piano. The marking, Langsam, mit innigem Ausdruck – Rasch und
feurig – Etwas ruhiger – im ersten tempo – Schneller. (Slow, with heartfelt
expression – Fast and Fiery – Somewhat calmer – In the initial tempo – Quicker)
gives some idea of how much emotional variety Schumann crams into this short
work. The slow, heartfelt opening is exquisitely played and the ‘fast and
fiery’ section is full of panache with almost a swagger, before the calmer Etwas ruhiger and the Schneller finale.
John York has arranged two of Schumann’s Liederkreis,
settings of Eichendorff, for cello and piano. They work wonderfully well with
Wallfisch bringing some fine emotional pull and York providing extremely
sensitive accompaniment in ‘Mondnacht’
Liederkreis, Op.39 No.5 (1840). The little ‘Frühlingsnacht’ Liederkreis, Op.39 No.12 (1840) is full of joy and
passion.
These artists receive an equally fine recording from Nimbus’
Wyastone Leys venue, Monmouth, UK. There are excellent booklet notes from John
York.
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