The
Piano Quintet in D minor is actually a transcription of a better-known
piece - better known for Hummel, that is - the Septet in D minor,
Op. 74. I was brought up on the CRD/Nash Ensemble LP, currently
on CRD 3344, a version full of light and space. All credit to
the Vienna Piano Quintet for treating their reduced version
as if it is a pure work for their forces, and as a result giving
an account of high strength as well as sparkle; try the second
movement for oodles of the latter. The pianist, Yoko Fog Urata,
is fluent and her tone, on the Bösendorfer, is light and yet
not insubstantial.
The
string instrumentalists play with great character. Try the contrasting
section of the second movement, for example, which seems set
to move into a cross between Ländler and Lullaby at any second!
The Andante con Variazioni third movement exudes charm with
only a suspicion of heaviness to the statement of the theme.
The finale seems rather earth-bound though. As other performances
reveal this not to be the case, the performers must take the
blame. The cello melody just before the two-minute mark is lovely,
however - beautifully accompanied by the piano, as well.
The
E flat minor work is 'pure' Hummel, and not only in the sense
of being a non-recycled piece. Despite the key signature, it
is clear that skies will not remain darkened for long, or if
they do then the darkening is not too serious. There are some
über-approachable tunes here, to balance the moments
when things threaten to become too brow-furrowed.
Again,
the Menuetto comes second. Not many minuets are marked 'Allegro
con fuoco', though. Despite the marking, the Vienna ensemble
is quick without much fire, preferring to stay on the playful
path; the tossing about of small fragments between piano and
strings presumably swung the balance. It is interesting how
the Largo begins as if it is to consider great things – but
it only lasts 2:49 and so is more of an introduction into the
Allegro agitato finale. The Vienna Piano Quintet capture the
finale's spirit well. The theme threatens to move into joviality
at any semiquaver, yet Hummel reins it into the prevailing agitato
mood. This is a performance that contends realistically with
the Schubert Ensemble of London's account on Hyperion Dyad.
The
recording is good without being outstanding - very occasionally
there is a tendency towards crowding in the rare thicker textures
- but do not let that put you off a most appealing release.
Colin Clarke
Peter Wächter (violin);
Helmut Weiss (viola); Jörgen Fog (cello); Manfred Hecking (double-bass))
