Played on period instruments, Voces Intimae has recorded Schumann’s
first and third Piano Trios. They use a violin by A. Mariani
(1648), a copy of a C. Bergonzi cello from the late 1700 and
a J.B. Streicher fortepiano (1847).
Another disc would have accommodated the Piano Trio No. 2 in
F major, Op. 80 and the Fantasiestücke for piano, violin
and cello, Op.88. There is also Theodor Kirchner’s arrangement
for piano trio of the 6 Études in Canonic Form, Op.
56. Schumann’s works for Piano Trio were greatly inspired by
the chamber music of Haydn, Mozart, Beethoven, Mendelssohn and
Schubert; all of whom he passionately revered.
The four movement Piano Trio No. 1 was a present for his wife
Clara’s twenty-eighth birthday. Of the three Piano Trios this
is the longest, most symphonic and most reflective in character,
regarded by many as the greatest of the three. Clara recorded
in her diary that, “The first movement is one of the most
beautiful that I know.” The lengthy opening movement feels
symphonic in texture, breezy, ebbing and flowing in intensity.
In the hands of Voces Intimae the music feels attractive rather
than having the beauty that Clara heard. The Scherzo
gallops carefully along leaving me wanting additional forward
momentum. Its relatively calm central section soon gives way
to the return of the surging writing. Like an extended lament
the third movement felt sorrowful, rather than exuding the deeply
aching melancholy that the finest versions convey. The Finale
here conveys a sense of regaining strength and energy. I was
left feeling that an input of extra boldness and vigour was
required.
Following the Piano Trios in D minor, Op. 63 and F major, Op.
80 it was four years before Schumann in 1851 wrote his four
movement Piano Trio No. 3. Amiable and high-spirited
this G major score made quite an impression on Clara
who commented, “It is unique, full of passion, through and
through …” In the highly passionate opening movement with
its sweeping lines the finest versions communicate a convincing
sense of torment. With Voces Intimae I felt merely apprehension
and loneliness. The refined and sensitive second movement has
a stormy central section that rudely interrupts the mood before
the gentle dance returns. Curiously paced and agitated the Scherzo
would have felt more convincing with extra energy. The Finale
is played with a moderate degree of spirit but I wanted it to
overflow with joy and highlight the uplifting bursts of energy.
Schumann however ensures that a sense of restlessness is never
far way.
I wanted Voces Intimae to provide a wider dynamic range and
broader contrasts of tempi to accord with the firebrand Schumann’s
passionate Romanticism. Sadly there was insufficient intensity,
deeply felt passion and spontaneity to their playing to emphasise
the extremes of emotion that the finest interpreters like the
Beaux Art Trio communicate. Recorded in the FWL Studios, Leipzig
the sound quality was slightly congested with the instruments
not as vividly clear as I wanted. The balance left the recessed
cello sounding rather muffled. I usually love the sound of music
played on period instruments but the recording failed to allow
the instruments appealing sonority or purity of intonation.
The fortepiano by J.B. Streicher (1847) is somewhat woody and
‘clompy’ making it generally uncomfortable on the ear.
I can highly recommend the wonderful set of Schumann’s Piano
Trios from the masterful Beaux Arts Trio. Recorded in 1971
at La Chaux-de-Fonds, Switzerland the polished trio play with
remarkable expression, liveliness and refinement. As one would
expect from a 1971 recording the Beaux Arts play on instruments
with modern stringing. Now over forty years old these evergreen
accounts belie their age with the recordings sounding extremely
impressive on Philips 456 323-2 (c/w Schumann Piano Quintet,
Op. 44, Piano Quartet, Op. 7). Also worthy of praise
is the Florestan Trio who play the three Schumann Piano Trios
beautifully throughout and with considerable expression. They
use modern instruments. The Florestan was recorded in 1998 at
St. George’s, Brandon Hill, Bristol and in 1999 at the Henry
Wood Hall, London. These are on two separate discs: Piano Trios
No. 1 and No. 2 recorded in 1998 on Hyperion CDA67063 and Piano
Trio No. 3 on CDA67175 (c/w Schumann Piano Quartet,
Fantasiestücke). More recently I have enjoyed the set
of Schumann’s Complete Works for Piano Trio played
on instruments with modern stringing on EMI Classics 0 94180
2. Recorded in 2009/10 at Østre Fredrikstad Kirke, Fredrikstad,
Norway the trio are pianist Leif Ove Andsnes, violinist Christian
Tetzlaff and cellist Tanja Tetzlaff. These players evince natural
musicianship in stirring and highly satisfying performances.
After four decades the Beaux Arts Trio remains supreme in this
repertoire.
Michael Cookson
Voces Intimae (Riccardo Cecchetti (fortepiano); Luigi de Filippi
(violin); Sandro Meo (cello))