The combination of just two instruments
– a violin and a cello – might not seem such an attractive
proposition for an entire CD. Looking at the seriously heavyweight
programme on offer will provide some reassurance, but you
have to hear Zimmermann and Schiff to really appreciate what
a rich soundworld can be created with this instrumentation.
Frank Peter Zimmermann
and Heinrich Schiff both make their ECM debuts on this CD,
with an involving duo recital recorded in the gorgeously resonant
monastery of St. Gerold and Frankfurt’s Festeburg Church.
“A whole series of outstanding masterpieces have been written
for this format,” Heinrich Schiff tells us, “works that are
outstanding not only in the oeuvres of the composers concerned
but in the chamber music repertoire altogether. This applies
especially to Honegger and Martinů, whose chamber music
is under-acknowledged. Evidently the combination of violin
and cello spurs composers to master the huge challenges of
two-part writing, whether as one oversize solo instrument
(in duplicate, so to speak) or with an almost orchestral richness,
so that we seem to be hearing a string quartet in miniature.”
Indeed: take Honegger’s
Sonata VI and play it to even a fairly knowledgeable
friend. I’m willing to bet that, other than in places where
the two instruments are sparring contrapuntally, many will
take more than a little convincing that this is no less than
a trio. Those of you who find Honegger’s orchestral work less
appealing will be instantly charmed by the graceful lyricism
and unassuming, playful nature of much of this music.
The relatively
open nature of the Honegger plays well against the pungent,
plangent and intensely close-knit harmonies of the first of
the two movements of Martinů’s Duo No.1. After
this typically involved Preludium there are some fascinating
effects to be heard in the chasing lines of the Rondo.
Like the Honegger, this is superbly well written for the combination,
and this also being from the vintage of such pieces as ‘Revue
de Cuisine’ there are also some light touches of jazz as well.
This programme
is one which was chosen to span the centuries, and with various
kinds of polyphony and counterpoint on offer from the other
composers it does seem logical to take some movements from
J.S. Bach’s Kunst der Fuge. The only problem with this
is that, with so much going on in the other pieces, Bach’s
pure canonic writing sounds – dare I say it – a little thin.
In a way these movements form a little light relief in the
programme, framing Matthias Pintscher’s grim Study I for
“Treatise on the Veil” like crusty farmyard loaf on a
sandwich of black light. Frank Peter Zimmermann gave the premiere
of Pintscher’s ‘en sourdine’ for violin and orchestra 2003
in Berlin, and with Schiff sharing a high opinion of the young
composer’s music it was logical that this would result in
a commission. The piece was inspired by the often calligraphic
art of American artist Cy Twombly, and the two instruments
are in a constant state of veiled flux, with barely a conventional
note in the whole piece between them. Whispering col legno
effects, muted strings, whistling flautandi and
flageolet sounds disorientate the listener, creating an unusual
and interesting atmosphere, but giving little on which to
gain a foothold. ‘It’s all decoration and no cake’ said my
mate Frank the sanguine cellist, and I have to say I can but
agree.
Zimmermann and Schiff have been playing together for over
twenty years and, having performed the Brahms Double Concerto
together frequently, realized that “we simply had to play
duos, especially the Ravel Sonata, one of his best and most
adventurous works, almost verging on Schoenbergian terrain.
It exploits every stylistic device to the utmost, it’s inventively
written throughout, and it’s extremely demanding.” This is
indeed a virtuoso showcase for any duo, and these two players
revel in the piece’s depth, tuning the most complex of passages
with pinpoint accuracy and defining each phrase with expressiveness
beyond logic. Ravel stated, “I believe this sonata marks a
turning point in the evolution of my career. Reduction here
is pushed to the extreme. Renunciation of harmonic charm;
an increasingly marked reaction towards melody.” This is not
to say that the music is particularly ‘difficult’ for an audience,
though is does lack the overt Gallic attractiveness of the
Honegger. As with any composer confronted with creating substantial
work from minimal resources, Ravel explores, refines and searches
– discovering new terrain before our very ears. The journey
reads like a novel, with an abundance of lively character,
a wealth of emotional turmoil and a satisfyingly rousing conclusion.
The origin of the instruments used by the players here gives
this excellent recording some added allure. Both men play
Stradivarius instruments dating from the year 1711 – Zimmermann
a violin formerly owned by Fritz Kreisler, Schiff the renowned
‘Mara’ cello. This is one of those rare discs which comes
out and surprises you every time. The sheer technical brilliance
of the musicians is fundamental, but by no means the raison
d’être of the programme. Each work has its own strength,
function and contribution to make, allowing both for a pleasurable
home concert or some in-depth dipping, either of which will
prove potently rewarding. You can stuff the luxury of string
quartets - this is the CD which proves that less can be more.
Dominy Clements
for
details
Frank Peter Zimmermann (violin)
