Camillo SCHUMANN (1872–1946)
Sonata No. 2 in D major for horn and piano, Op. posth. (1936) [23:37]
Three Recital Pieces for Waldhorn with piano accompaniment, Op. 82 (1908) [14:29]
Sonata No. 1 in F major for horn and piano, Op. 118 (1911) [19:54]
Laurent MÉNAGER (1835–1902)
Sur la montagne, Op. 35 (c. 1883–87) [5:51]
Leo Halsdorf (horn)
Kae Shiraki (piano)
Notes included
rec. 2018, Conservatory of Music Auditorium, Luxembourg City
NAXOS 8.579051 [64:02]
About ten years ago Naxos released a disc of music for cello and piano by Camillo Schumann (review); since then he has been little heard on disc. Naxos has now remedied this situation with a disc of Schumann’s music for horn and piano and hopefully it will not be another ten years before the next one.
Camillo Schumann was not related to the great Schumann, but was related to the better-known Georg Schumann [review ~ review ~ review]. Unlike Georg, Camillo lived a quiet life in the provinces, composing voluminously, especially for chamber ensembles. His music hews to the models of the 19th century, especially Brahms, and listeners expecting any great impact from 20th century trends will be disappointed. On the other hand, Schumann’s music is so genial, well-written, and sincere, that it cannot fail to please.
Schumann had a natural understanding of the horn, and this extended to the Waldhorn, as evidenced in the works of Op. 82. The writing is brilliant and totally idiomatic. It may sound old-fashioned to some but Schumann demonstrates harmonic and emotional shifts that he did not derive from Brahms. All these traits are even more evident in the Sonata No. 1, which is far more poetic and whimsical than Op. 82. There are also stormy sections, but most notable is the noble second theme of the last movement-worthy of a symphony and magnificently developed.
Written twenty-five years after the first sonata, the Sonata No. 2 is stylistically similar to the pre-WWI works but somewhat more serious. The opening movement has a beautiful main theme that Schumann develops in a variety of expert ways. Equally fine is the Menuett, with its impressive trio section and the mock-heroic last movement.
Laurent Ménager was a 19th century composer from Luxembourg (this disc is co-sponsored by the Luxembourg Ministry of Culture) and his Sur la Montagne is an appropriate pendant to the Schumann works, being songful and well-written. In all the works on this disc, Leo Halsdorf deserves nothing but praise. He is virtually flawless in execution, while having enough poetry in his interpretations to keep the music consistently interesting. Pianist Kae Shiraki accompanies brilliantly and the two performers have a natural give-and-take that adds to one’s overall enjoyment of the music. Schumann’s music may remind listeners of that of Pfitzner or Franz Schmidt, but he is far more genial. This is a fine disc with which to make the acquaintance of a composer who should be better remembered than he is at present.
William Kreindler
