Harmonia Mundi http://store.harmoniamundi.com
have recently released the second instalment
of a series of discs featuring the concertos and trios of Robert Schumann (1810-1856) played by Alexander Melnikov www.artsmg.com/Piano/AlexanderMelnikov,
Isabelle Faust http://artsmg.com/Strings/IsabelleFaust/index.html
and Jean-Guihen Queyras www.jeanguihenqueyras.com
with the Freiburger Barockorchester www.barockorchester.de
conducted by Pablo Heras-Casado http://pabloherascasado.com
.
This new disc brings
us the Piano Concerto in A minor, Op.54
together with the Piano Trio No.2 in F
major, Op.80 with Melnikov playing an Erard fortepiano of 1837 and a
Streicher fortepiano from 1847, both part of the collection of Edwin Beunk www.fortepiano.nl .
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| HMC 902198 CD + DVD |
The idea for this project arose during a tour on which these
artists performed Schumann’s Trio Op.80. They conceived the idea of placing his
works for piano, violin and cello in a broader context and to illuminate them
mutually in order to allow listeners to gain a deeper understanding of his
music. They soon decided to play the works on these recordings using historical
instruments, fortepiano, stringed instruments with gut strings and orchestral
forces to match. Pablo Heras-Casado and the Freiburger Barockorchester were
chosen as the partners for this project.
For the Piano
Concerto in A minor, Op.54 (1841–45)
Melnikov plays an Erard fortepiano of 1837. By that date Erard had
developed the double escapement mechanism which allowed the same note to be
repeated very quickly and with no consequent loss of dynamics.
Certainly this Erard projects itself wonderfully, providing
some fine tonal qualities across the range. The Allegro affetuoso brings a crisp, precise opening from soloist and
orchestra with a fine tautness of ensemble. There is a terrific balance of
individual instruments and soloist. Melnikov produces some beautifully
articulated passages with a real legato line, combining real poetry without
bursts of emotional intensity. Heras-Casado and the Freiburger Barockorchester
prove to be the perfect partner, with this conductor drawing some especially
fine textures and dynamics as well as a terrific tautness. In the cadenza
Melnikov extracts some quite lovely tones and textures from his instrument
before a very fine fluent and crisp coda.
Melnikov brings a light, crisp touch to the Intermezzo. Andantino grazioso with an
almost playfully flexible tempo whilst the Freiburger Barockorchester provide exquisitely
turned phrases. Both soloist and orchestra bring a real charm and fantasy to
this movement before leading into the finale.
Melnikov and the orchestra bring a real rhythmic swagger to
the Allegro vivace with some
beautifully broad piano passages showing all that this Erard can do. Soloist
and orchestra respond perfectly, the orchestra’s transparent string textures are
particularly fine. These players bring a real life and joy to this movement
with Melnikov providing a terrific rubato. There are some lovely little quiet
moments for piano and orchestra where the rhythmic motif is pointed up as well
as some lovely sonorities as the Freiburgers accompany Melnikov towards the
coda, nicely pointed up by timpani.
This is a Schumann A minor concerto to stand alongside the
finest modern instrument performances. The recording from the Teldex Studio,
Berlin, Germany is first rate.
For the Piano Trio
No.2 in F major, Op.80 (1847) Alexander Melnikov turns to a Streicher fortepiano
made in Vienna in 1847. He is accompanied by Isabelle Faust who plays a
Stradivarius of 1704 and Jean-Guihen Queyras who plays a Gioffredo Cappa cello
from 1696.
As the Sehr lebhaft opens
these performers show intuitive precision and tautness with a fine rhythmic
lilt that drives the flow. They provide a fine control of dynamics with some
particularly lovely quieter moments and some lovely subtle harmonies. But it is
the rhythmic forward propulsion that marks this performance.
The second movement Mit
innigem Ausdruck brings an exquisite, gentle ebb and flow. There are more
lovely hushed textures with these players revealing much lovely detail. The
tone of the Streicher instrument is lovely, its lighter tone blending
beautifully with the strings. In the later sudden dynamic outburst these artists
bring great sounds before allowing the music to resume its gentle flow.
This trio bring an intimacy to the In mäßiger Bewegung that is most appealing, a lovely weaving and
blending of textures and some lovely little dynamic surges. They shape this
movement beautifully, with some glorious sonorities in the coda.
The fortepiano quickly takes off followed by the cello and
violin in a forceful and energetic Nicht
zu rasch. These players weave a terrific sound as they hurtle after each
other in some terrific passages before a sparkling coda. The instruments add so
much to the texture in this fine performance.
Those who are still not convinced by period performances may
well find themselves bowled over by the sheer musicality of these performances.
There are excellent booklet notes with details of the
instruments used.
As a substantial bonus this new release comes with a DVD
recording of a live performance of the concerto from the Berliner Philharmonie.
This performance has many of the same qualities as the CD studio recording though
with Melnikov and the orchestra pointing up the dynamic contrasts even more
dramatically, particularly in the first movement.
See also:
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