CLASSICAL NOTES

By Nick Boston

REVIEWS

Duo Brüggen-Plank Sonatas for Violin and Piano: Beethoven, Voríšek, Archduke Rudolph of Austria (Audax ADX13727).

The Duo Brüggen-Plank are German pianist Henrike Brüggen, and Austrian violinist, Marie Radauer- Plank. For their first recording with Audax, they have decided to place the last of Beethoven’s violin sonatas – the Sonata No. 10, Op. 96 – alongside a sonata in the same key, Op. 5, composed by Jan Václav Hugo Voríšek

(1791-1825). Both works were dedicated to Archduke Rudolph of Austria (1788-1831), a great musical patron, and piano pupil of Beethoven, and the Duo also include a sonata by him here too. The Beethoven Sonata is beautifully calm, yet no less challenging for that. The first movement is full of delicate conversation between the two instruments, and here, Radauer- Plank’s sweet tone is matched by beautifully warm and smooth runs in the piano part. Brüggen then gently opens the second movement with its hymn-like idea, with the violin joining in with a rocking countermelody. The brief scherzo dances by, before the final set of variations on a cheerful theme.

The Voríšek Sonata is very different in atmosphere, right from its mysterious, dramatic opening leading into a totally contrasting galloping allegro. The movement is bright and melodically inventive, and Radauer-Plank is particularly sweet at the top of the range. An energetic, scampering scherzo follows, with sudden halts and interesting rhythms. The slow movement is somewhat unsettling, with low, gently pulsing rumbles from the piano, over which the lyrical violin melody rises serenely.

The finale is perhaps where Voríšek’s weaker invention shows up the most – less melodically inventive, with expected harmonies on the whole – yet it brings proceedings to a fun conclusion overall. The Archduke’s Sonata again has a dark, turbulent opening, soon swept away by a virtuosic, ebullient allegro, with a rippling piano part. The slow movement that follows is expressive and heartfelt, with freer invention and harmonies that rock back and forth. Brüggen’s piano textures are warm and rich here, and the Duo find a perfect nostalgic sweetness. The minuet and its two Trios is playful if not particularly revolutionary, but the finale is great fun, with flourishes of fantasia-like piano episodes between returns of the punchy theme.

The Duo set off at a pace, and play with great drive and energy, with some blistering playing from both in the final gallop. Ultimately, neither of these works can compete with Beethoven’s ethereal calmness, but they have much to offer nonetheless, especially given these highly engaging performances.

Doric String Quartet British Oboe Quintets (Chandos CHAN20226).

The wonderful Doric String Quartet has joined forces with oboist Nicholas Daniel for a glorious collection of British Oboe Quintets. They open with Arnold Bax’s (1883-1953) Quintet. Like most of the works here, this was written for the great oboist Leon Goossens. After a warm string opening, the oboe launches into a winding, sensuous melodic line, and immediately the warmth and incredible smoothness of Daniel’s tone is apparent.

The middle movement’s quiet, folk-like melody emerges on the violin over rich harmonies. The oboe eventually enters, darkly improvisatory, and with uneasy string textures, Daniel’s effortless birdlike melismatic lines soar. A joyful jig concludes proceedings, with oboe and violin taking turns, and the pizzicato strings having great fun here. The harmonies get darker and more unsettled, however, and calm is never quite convincingly restored, despite the flourish to finish.

Next comes Gerald Finzi’s (1901-1956) single movement Interlude. This for me is the highlight here – Daniel and the Dorics capture perfectly Finzi’s darkly introspective and nostalgic mood, right from the atmospheric string opening. As with much of Finzi’s instrumental music, there is an expressiveness that occasionally breaks the surface with full passion, but the lid always goes back on, and the players judge this perfectly here, allowing the music to ebb and flow.

The final pulsing bars under the high sustained violin are enchanting. For somewhat lighter relief, they follow this with Vaughan Williams’ (1872-1958) Six Studies in English Folksong, originally for cello and piano, but here in Robert Stanton’s 1983 arrangement for cor anglais and string quartet. All using original folksong tunes, they allow Daniel to shine on the mellow cor anglais, and by and large, the strings play a supporting role. Aside from the last of the set, they are all quite leisurely, with Vaughan Williams’ trademark strolling rhythms. Daniel plays with an open simplicity, allowing the tunes to speak for themselves, before they all then play with the final spiky jig, before even that dies away to nothing.

Then to Arthur Bliss’ (1891-1975) Oboe Quintet. An intriguingly mysterious violin duet sets the tone for a darkly uneasy opening movement. In the slow movement, Daniel’s long sustained oboe lines are incredibly even, all the more impressive given the slithery string chords shifting beneath. The finale by contrast has immediate driving string energy, and the oboe picks up the pecking, virtuosic material as they lead into the jig – Connelly’s Jig to be specific.

The playful dance is dovetailed with the darker opening energy, and the Dorics give an edge to their string playing as things get wilder, almost chaotic. After a brief quieter section with pizzicato strings and fragments of melody passed around, there is a frenetic coda to finish, topped by a spiky flourish from the oboe. The disc concludes with two arrangements of Two Interludes from Frederick Delius’ (1862-1934) final (and unsuccessful) opera, Fennimore and Gerda.

Here, Daniel is privileged to play Goossens’ own instrument, and the tone here is noticeably different, with a warm, quavering vibrato and open resonance. Both Interludes are gentle and expressive, with Daniel again demonstrating those lyrically expressive long lines, particularly in the serene second Interlude. All in all, this is a very special recording of some glorious music, and Daniel and the Doric String Quartet excel throughout.

Dmitry Smirnov J S Bach, Bartók, Schneeberger (First Hand Records FHR117).

Russian violinist Dmitry Smirnov has paired Bartók’s (1881-1945) Sonata for Solo Violin with Bach’s Partita No. 2 for his debut recording with First Hand Records. He has performed both works together live, interspersing the movements, but here they appear separately – although of course, you could experiment with playing the tracks in a different order. There is a kind of logic to this – it’s hard for any solo violin sonata not to have some heritage line back to Bach, and Bartók’s opening movement, written in the style of a chaconne, although not strictly following its form, links with the final great chaconne of Bach’s Partita. Bartók composed his Sonata for Yehudi Menuhin in 1944, and of course it is highly virtuosic, with fiendish scale passages, use of harmonics and rapid trilling.

Smirnov is darkly evocative in the opening movement, with great dynamic contrasts, and an eerily quiet slither towards the movement’s conclusion. Dynamics are key in the second movement’s spiky fugue, and Smirnov expertly brings out the contrast between the different fugal lines. He then deftly winds the spooky melody of the third movement through the full range of the instrument, ending with wasp-like trilling, leading to the buzzing finale. Smirnov’s Bach took me a little while to get used to, however. It is quick, especially the final chaconne, and while you can’t argue with the incredible virtuosity he demonstrates, occasionally these rapid tempi lead to a tendency for elements to feel a little throwaway.

The overall approach is light, even playful, as in his delicate ornamentation in the allemande. Again, he brings that lightness to the final mammoth chaconne. As a result, it doesn’t have the profundity of some performances, and yet the mesmerising arpeggios and whirlwind runs are highly impressive, and it is a refreshing contrast to many weightier interpretations out there.

He then concludes his disc with a Sonata for Solo Violin by the Swiss composer Hansheinz Schneeberger (1926-2019), with whom Smirnov studied in his final years. Schneeberger was a highly successful violinist, and he premiered Bartók’s Violin Concerto No. 1, as well as recording Bach’s Solo Sonatas & Partitas. So there is a clear line here, and one can hear the influence of both composers in his sonata here. Following a cadenza-like emphatic opening, the highly virtuosic material winds and twists, with some highly lyrical moments too – Smirnov’s tone here is beautifully sweet.

Throughout the work, chromatic ideas slide, defying harmonic clarity, and yet there are also occasional flashes of diatonic brilliance, particularly in the central allegro. The final movement’s constant movement is given a flowing energy by Smirnov. An effective work, performed here with great precision and virtuosity, bringing Smirnov’s display to a strong conclusion.

BRIGHTON EARLY MUSIC FESTIVAL

Brighton Early Music Festival, October 20-24. After a successful outing with its first Midsummer Season, BREMF is back with a short series of live concerts.

The festival opens with the welcome return of former cofounder of the festival, Clare Norburn, with her new ‘concertplay’, I, Spie, following the life of renaissance composer and lutenist John Dowland in the murky world of espionage in Elizabethan England – ‘think Spooks, 16thcentury style’! Nicholas Renton directs, and Clare sings, with The Telling providing Elizabethan tavern, street and courtly music. And the audience get to vote on Dowland’s fate, and how the show should end (7.30pm, Wednesday 20, St George’s Church, Brighton).

BREMF Consort of Voices returns, directed by Deborah Roberts, with an expanded version of their summer concert celebrating two renaissance composers who died in 1521. Josquin & Fayrfax 500 explores the richly scored polyphony of these two composers, one English and one pan-European, as well as elegies on Josquin by Vinders and Gombert. After a successful outdoor concert, it will be great to take this music into the resonant acoustic of St Martin’s Church in Brighton. (8pm, Thursday 21).

Early music trio Canzona are joined by bass-baritone Stuart O’Hara for Myths & Legends of Classical Antiquity, with elegant French baroque music by Rameau, Clérambault, Marais and Leclair. In the miniature dramas of Clérambault and Rameau’s Cantates, they explore the abduction of Orithie, the courting of Thétis by Jupiter and Neptune, and the life of Hercules.

From Marais, they give us Theseus’ battle with the Minotaur in the labyrinth, and they also perform virtuosic instrumental works by Leclair and Rameau (7.30pm, Friday 22, St Martin’s Church, Brighton).

As with every BREMF, the showcase of new and emerging young ensembles, BREMF Live! is an event not to be missed. Many previous participants, including the Marian Consort, Spiritato!, the Fieri Consort and Ensemble Molière to name but a few, have gone on to great things, so it’s fascinating to be in at the start with such talented musicians and groups. This year, three groups will be showcasing their work – the Arculo Consort of Viols, Lilium Convallium, and the Swan Consort (4pm, Saturday 23, St Martin’s Church, Brighton).

And finally, the wonderful Joglaresa return to tell us tales of weird and wonderful miracles in Five Marian Legends. Murderous and wrongly imprisoned knights are rescued and cured of their lusts, and their programme also includes dance songs and reflections on our own temptations and mortality. If you have never seen Joglaresa perform, they are not to be missed. Directed by Belinda Sykes, they are also joined by the BREMF Community Choir (7.30pm, Sunday 24, St Martin’s). Tickets: www.bremf.org.uk.

CONCERTS

The London Philharmonic Orchestra returns to Brighton to perform Brahms’ Tragic Overture and his Symphony No. 4, conducted by Robin Ticciati, along with Mozart’s Piano Concerto No. 20, with pianist Leon McCawley (7.30pm, Saturday 9, Brighton Dome). Tickets: 01273 709709, www.brightondome.org.

They also visit Eastbourne, this time conducted by David Murphy, to perform Sibelius’ Finlandia and his Symphony No. 2, as well as Chevalier de Saint-Georges’ Violin Concerto, with Randall Goosby on violin (3pm, Sunday 10, Congress Theatre, Eastbourne). Tickets: 01323 412000, www.eastbournetheatres.co.uk.

The Baroque Collective Singers, directed by John Hancorn, perform Rossini’s Petite Messe Solennelle, with Nancy Cooley on piano and Nicholas Houghton on harmonium. Soloists are Alexandra Kidgell (soprano), Rebecca Leggett (mezzo soprano) and Simon Madge (bass). There will be two performances at 6pm & 8.30pm (Saturday 2, St Michael’s Church, Lewes). Tickets: www.thebaroquecollective.org.uk

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