The only thing really wrong with the disc is its title. ‘Around
1900’ is a strange way to group together the Strauss (1887), Respighi
(1916-17) and – surely not! – the Rota, which was composed in
1936-37. Discs need pegs sometimes, I suppose, upon which to hang,
even if wonkily.
Isabelle
van Keulen and Ronald Brautigam approach Respighi’s sonata
with assurance; she with an expressive tone though not with
the opulent largesse of, say, Josef Suk, whose recording with
Josef Hala is a Supraphon classic. She can blanch that tone
adeptly, as she does in the central movement, but ensures
that she builds powerfully to the climax, and even if the
recording is slightly on the chilly side the expressive momentum
generated by van Keulen and Brautigam remains unvanquished.
There are some palpably original tempo decisions in the finale
where the bad tempered piano writing generates its own visceral
force. It’s magnetically interesting ensemble playing, that’s
for sure, even if some auditors may find the rubati too excessive
and the result, just a bit broken backed. Full marks for commitment
though.
Strauss’s
effusive and youthful sonata is played with.similalry fine
tone and excellent ensemble. The performance tends to cleave
to the prevailing norm in this work which is largely speaking
to eschew the kind of expansive romanticism espoused by such
as Neveu and Heifetz and instead to propound somewhat more
timid virtues. One seldom these days hears the sonata launched
with the heart-thumping elation of older players. It’s not
a question of tempo so much as intent and fluidity of tempo
relationships. On its own terms though it’s conspicuously
well played.
Which
brings us to Rota’s gloriously vivid sonata. This embraces
the porcelain lyricism of the opening movement and a sparkling
but vibrantly controlled finale. In between comes one of the
loveliest things you’ll hear this side of Heaven, a song of
such limpid beauty it’s impossible to resist its lure. The
duo play it as if it were the most fragile of eggs, blue veined,
and vulnerable, and their control of dynamics does it genuine
justice. This is a performance to replay with the most heartfelt
of pleasure.
So,
an inappropriate disc title nevertheless enshrines highly
personal performances of a trio of disparate but essentially
romantic sonatas. Superb ensemble work is allied to vibrant
performances.
Jonathan Woolf
