The Austrian composer Alexander
von Zemlinsky (1871-1942) was a pupil of Robert Fuchs (1847-1927) at the
Vienna Conservatory. He became a close friend of Arnold Schoenberg and was
influenced by Gustav Mahler and Richard Strauss. He went on to hold
appointments at the German Theatre in Prague and the Kroll Opera in Berlin
before fleeing to the USA in 1938.
Perhaps his most famous work is his Lyric Symphony of 1923 but he also wrote a number of operas, choral
and vocal works, orchestral works and piano works as well as chamber works.
What a good idea then
for Nimbus www.wyastone.co.uk to
couple Zemlinsky’s Trio for clarinet,
cello and piano, Op.3 written in 1896 with Brahms’ well known Clarinet
Quintet, Op. 115 written just five years earlier in 1891. Clarinetist Emma
Johnson www.emmajohnson.co.uk joins
pianist John Lenehan http://johnlenehan.weebly.com and the Michelangelo String Quartet www.michelangelostringquartet.com/cms on this new release.
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| NI6310 |
Emma Johnson has already recorded a memorable disc of works
by Brahms, Mendelssohn and Schumann with John Lenehan (NI6153) http://theclassicalreviewer.blogspot.co.uk/2012/05/genius-of-brahms-with-emma-johnson.html
. The Michelangelo String Quartet was formed in 2002 and consists of members
already distinguished as soloists and chamber musicians and teachers, Mihaela
Martin and Daniel Austrich (violins), Nobuko Imai (viola) and Frans Helmerson
(cello).
Whilst Zemlinsky’s Trio was an early work, Johannes Brahms’ (1833-1897) Clarinet
Quintet in B minor, Op115 (1891) comes from the end of his compositional
life. The Michelangelo String Quartet bring some fine textures to the opening
of the Allegro to which Emma Johnson
soon adds her lovely tone. There are moments of fine incisiveness as well as a
lovely blend of instrumental timbres, particularly in the more reflective
moments. There is some lovely interplay between strings and clarinet with these
players bringing a lovely sensitivity to this music with fine care of dynamics
and tempi.
Emma Johnson brings a lovely melancholy to the opening of
the Adagio – Più lento with a subtle
support from the muted strings of the quartet. She brings her distinctive tone
to the lovely little decorations that appear with an almost improvisatory feel.
This is a particularly wonderful performance of the slow movement with some
beautifully conceived string passages towards the wonderful coda.
The Andantino – Presto
non assai, ma con sentimento brings a lovely light fluency and a terrific
flow. There is a beautifully fleet trio section with more fine interplay
between strings and clarinet as well as some lovely rich mellow clarinet
passages.
In the Con moto these
players bring lovely sonorities to Brahms’ opening theme before bringing some variations
which are full of fine varying textures. There is a lovely moment when the
final variation switches to a waltz rhythm with a lovely flow, fine harmonies
and textures, beautifully done before the first movement is recalled and we
approach the subdued coda.
This is a very fine performance full of charm, depth and
lovely textures.
With the Allegro man
non Troppo – Andante of Alexander
von Zemlinsky’s Trio for clarinet, cello and piano in D minor, Op.3 (1896) Emma
Johnson, John Lenehan and Frans Helmerson bring some beautifully mellifluous
sounds to the opening before the music soon takes off with some particularly
strong playing from these artists. They find so much of Zemlinsky’s passion and,
as the music progressively increases in power, each of these fine players brings
their own impassioned intensity. They
take the listener through some moments of beautifully woven musical lines and
textures before building through passages of some complexity and volatility. Emma
Johnson reveals some exquisite phrasing with these artists building this
movement impressively.
John Lenehan opens the Andante
– Poco mosso con fantasia, gently revealing Zemlinsky’s lovely harmonies before
the clarinet of Emma Johnson enters followed by the cello of Frans Helmerson to
take the melody gently forward. There is a lovely conversation between clarinet
and cello before, centrally, the con
fantasia section brings some fine, restrained power. Later there is a lovely
hushed section exquisitely done by these players and a lovely gentle coda.
The bubbling Allegro
has an irresistible theme but Emma Johnson soon brings a longer breathed,
flowing melody to which the piano and cello add a lovely texture. The opening re-appears
before the clarinet and cello have a dialogue over a piano accompaniment. These
players weave some very fine passages before the opening theme leads to the quiet
coda that ends on a sudden louder phrase.
This is a lovely work given an impressive performance by
these fine artists.
The recording made at Wyastone Leys, Monmouth, UK is excellent
and there are excellent booklet notes from Emma Johnson.
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