Mendelssohn – Emily's Music Dump

July 17, 2017June 23, 2021

Brahms – Double Concerto – Mendelssohn – Violin Concerto

Johannes Brahms (1833-1897)

Concerto for Violin and Violoncello in A Minor, Op. 102

Felix Mendelssohn (1809-1847)

Violin Concerto in E Minor, Op. 64

Itzhak Perlman, Violin

Mstislav Rostropovich, Violoncello

Concertgebouworkest, Amsterdam (Bernard Haitink, Conductor)

Recorded 1983, Concertgebouw, Amsterdam

ONE-SENTENCE REVIEW:

I mean, if they could have only gotten a couple of decent soloists this would have been a home run.

ORIGINAL LINER NOTES (Barry Millington, 1988):

Brahms: Concerto for Violin and Violoncello in A minor, Op. 102

“I must tell you that I have had the strange notion of writing a concerto for violin and cello!” wrote Brahms to the conductor Franz Wullner in August 1887. A few days later, in a letter to Clara Schumann, the description was amended to “happy notion” – an indication that Brahms had relished the challenge of producing a work in such an unusual, and potentially problematic, medium.

The Double Concerto comes at the end of a line of substantial orchestral works: 4 symphonies, 3 concertos, 2 serenades, 2 overtures and the ‘Haydn’ Variations. It was written in 1887, during the second of the three summers Brahms spent at Hofstettern on Lake Thun in Switzerland, and was performed in Cologne on October 18 the same year.

The composer clearly intended the work as a gesture of reconciliation to his violinist friend Joseph Joachim, from whom he had become estranged over the latter’s divorce, and it was Joachim and his quartet colleague Robert Hausmann that Brahms had in mind when composing the work.

The short opening orchestral statement is reflected upon by the solo cello in a quasi-improvisatory passage, soon followed by another in which the two solo instruments exchange ideas in the non-competitive spirit that is to characterize the work as a whole.

Just as these extended solos recall the opening of the B Flat Piano Concerto, so the gently weaving figurations of the central F Major sections of the Andante look back to the slow movements of both piano concertos. The finale is a fusion of sonata and conventional rondo elements.

Mendelssohn: Violin Concerto in E Minor, Op. 64

Although not the only work Mendelssohn wrote for the medium (a youthful concerto in D minor has also been occasionally performed), the E minor is invariably referred to as the Mendelssohn Violin Concerto.

It is, without doubt, his finest concerto for any instrument and its passionate advocate, the late Hans Keller, was prepared to put it alongside the masterpieces of Beethoven and Brahms as “arguably the greatest of them all.”

It was written for the violinist Ferdinand David while Mendelssohn was on a recuperative holiday at Soden near Frankfurt am Main in September 1844 and was first heard the following March at the Leipzig Gewandhaus under the Danish composer Niels Gade.

The greatness of the work lies partly in its formal innovations, but primarily in the compelling potency of its melodic inspirations. Dispensing with the conventional opening orchestral tutti, Mendelssohn launches his solo instrument immediately on a poignant cantilena soaring high above the stave.

The slow movement too is dominated by an intensely lyrical theme both announced and expanded exclusively by the soloist. The first two movements are joined by a transition effected by a sustained bassoon note, scarcely sufficient to quell the applause that might have been expected in the nineteenth century.

A further structural innovation is the placing of the first movement cadenza at the end of the development section rather than later in the movement, following the recapitulation.

The finale, which is introduced by an eloquent little meditation by the soloist, is in the elfin dancing style – and indeed in the key – of Mendelssohn’s Overture to “A Midsummer Night’s Dream.”

TRACK LISTING:

Johannes Brahms – Concerto for Violin and Violoncello in A Minor, Op. 102

Allegro [16:51]
Andante [7:44]
Vivace non troppo [8:41]

Felix Mendelssohn – Violin Concerto in E minor, Op. 64

Allegro molto appassionato [12:59]
Andante [8:12]
Allegro non troppo – Allegro non vivace [6:27]

FINAL THOUGHT:

This CD is not f-ing around (excuse my German!). In the late-1980s, Bernard Haitink conducted the finest band in the land and Perlamn and Rostropovich were no slouches either!

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

February 6, 2013June 23, 2021

Anton Stepanovich Arensky – String Quartets – Piano Quintet

Anton Stepanovich Arensky (1861-1906)

String Quartet No. 1 in G Major, Op. 11

String Quartet No. 2 in A Minor, Op. 35

Piano Quintet in D Major, Op. 51

Ilona Prunyi – Lajtha Quartet

Recorded at the Rottenbiller Street Studio, Budapest from January 16 – 22, 1994

ONE-SENTENCE REVIEW:

Sometimes, even though you wash your hands over and over again, you just can’t get the stink out – that’s how I feel about the Arensky String Quartets – I want them to be clean and smell good but every time I listen to them, I can’t get the stink out. (I realize that should be three sentences but I used dashes instead to preserve my one-sentence format – sorry.)

ORIGINAL LINER NOTES (by Keith Anderson):

The son of keen amateur musicians, his father a doctor, Anton Arensky was born in Novgorod in 1861. His musical abilities were encouraged by his parents and he had his first piano lessons from his mother.

As a child he had begun to write music and when the family moved to St. Petersburg he was able to take more consistent musical instruction and after some preparation, in 1879 to enter the Conservatory, where his teachers included Rimsky-Korsakov for composition and Johannsen for counterpoint and fugue.

He was entrusted with the preparation of a piano reduction of the former’s opera The Snow Maiden and under Rimsky-Korsakov’s supervision began work on his own first opera A Dream on the Volga, which was later completed, to be staged in Moscow with some success in 1891.

His teacher, however, saw no great future for the works of his pupil, considering any success achieved likely to be transitory. This prediction has not proved true in every respect, since some, at least, of Arensky’s works have maintained a secure if limited place in standard orchestral and piano repertoire.

Arensky completed his studies at the Conservatory in 1882 and at once took up a position at the Moscow Conservatory as a teacher and later as professor of counterpoint and harmony. There his pupils included Rachmaninov, Gliere, Conyus and Scriabin, and there was fruitful contact and friendship with Tchakovsky and Taneyev.

He appeared as a conductor at concerts, notably of the Russian Choral Society, and his connection with church music led to his appointment, on the recommendation of Balakirev, as director of the imperial chapel in St. Petersburg, a position he took up in 1895 and held until 1901.

His final years left him free to follow a career as a composer, pianist and conductor, brought to an end in part through his dissolute way of life. He died of tuberculosis in 1906 at the age of forty-five.

In style and technique Arensky owed much to his teachers. He developed a sure command of harmonic, contrapuntal and structural musical resources, with a lyrical facility.

These elements are at once apparent in his String Quartet No. 1 in G major Opus 11, written in 1988. This shows, from the first bars, an easy understanding of the medium of the string quartet and of the possibilities still inherent in the traditional first movement form.

The second movement opens with a melody of fine contour, before a contrapuntal element is introduced by the cello, followed by the other instruments, and a treatment of the principal melodic material with more elaborately contrapuntal accompaniment.

The mood changes with a light-hearted Menuetto and contrasting Trio.

A Russian element makes its appearance in the Finale, with its variations on a Russian theme. These bring their surprises, not least in the traditional folk texture suggested by the plucked accompaniment in one variation and the later fragmentation of the theme, before a cadenza and the return of the theme in a mood of mounting excitement, leading to an emphatic and vigorous conclusion.

Arensky’s String Quartet No. 2 in A minor, Opus 35, was written in 1895 and in its first movement presents a more somber atmosphere, lightened by secondary material, dramatically developed, but returning to its initial mood.

The theme of the second movement is stated simply, before its elaboration in a series of variations with the theme taken by each instrument in turn, before the possibilities of plucked strings and further textural resources are explored in a spirit that ventures far from the original material, sometimes with the energy of a scherzo, then relaxing into a gentler lyrical and eventually somber mood.

The third movement continues in its opening bars the Russian idiom, already heard in the theme of the second. The introduction is followed by what promises to be a vigorous fugue, on a Russian subject, superseded by a reminiscence of the melancholy of the opening of the quartet and followed by an energetic and triumphant conclusion.

The Piano Quintet in D major, Opus 51, was written in 1900.

The piano starts the first movement, soon joined by the string instruments in a historic opening of a texture that recalls that of Schumann’s Piano Quintet. Here, too, the piano plays a virtuoso part, whether in accompaniment or in the statement of thematic material.

The second movement is again in the form of a theme and variations, the former entrusted first to the strings, before the lyrical intervention of the piano, followed by a turn to the more dramatic, a change of mood to the solemn and then to the lyrical. The piano moves on to a recreation of Chopin, in romantic partnership, and then to music of greater vigor, subsiding into the language of the opening.

The capricious Scherzo breaks in, interrupted in its turn by a peaceful trio that brings momentary serenity here and when it returns after a repetition of the Scherzo, which itself has the last word.

A subject of Baroque contour introduces the last movement fugue, but the rigors of counterpoint are later submerged in a thoroughly romantic conclusion.

TRACK LISTING:

1-4: String Quartet No. 1 in G Major, Op. 11
5-7: String Quartet No. 2 in A Minor, Op. 35
8-11: Piano Quintet in D Major, Op. 51

FINAL THOUGHT:

Look, I’m not going to slam Arensky too much here (he got enough of that in his life from the asshole Rimsky-Korsakov) but considering he was living a pretty wild life away from work (gambling, drinking like a fish, etc. etc.) the String Quartets are pretty boring. I’ll cut the Piano Quintet a little more slack because I just love piano quintets as a genre (for my money, there is nothing much better than the Shostakovich Piano Quintet – which I’ll get to in about two years!). Unfortunately for Arensky and his legacy – these are works you just don’t want to listen to that much.

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)

February 5, 2013June 23, 2021

Anton Stepanovich Arensky – The Piano Trios

Anton Stepanovich Arensky (1861-1906)

Piano Trio No. 1 in D Minor, Op. 32

Piano Trio No. 2 in F minor, Op. 73

Beaux Arts Trio

Recorded at Performing Arts Center, Purchase College, USA – June 1994 (Philips)

ONE-SENTENCE REVIEW:

Dude can write one hell of a gloomy melody – perfect for staring out an icy window at the frozen Moscow River on a miserable Sunday afternoon.

ORIGINAL LINER NOTES (by David Brown):

“In his youth Arensky did not escape some influence from me; later the influence came from Tchaikovsky. He will quickly be forgotten.” Thus Rimsky-Korsakov, not without a touch of pique, delivered his verdict upon his former pupil.

Born in 1861, Arensky had become Rimsky’s composition student at the St. Petersburg Conservatory, but on graduating brilliantly with a gold medal in 1882, he had been appointed a professor at the Moscow Conservatory, where he was to teach both Rachmaninoff and Scriabin.

Removal to Russia’s old capital brought Arensky into contact with Tchaikovsky, and the natural creative affinity between the two men fostered mutual friendship. Rimsky’s influence faded, and Tchaikovsky became not only the most potent single force within Arensky’s music but also his staunchest supporter.

After Tchaikovsky’s death Arensky composed his Second String Quartet as a memorial, producing in the string orchestra arrangement he later made of the quarter’s slow movement (Variations on a Theme of Tchaikovsky) one work that has remained firmly in the repertoire.

Nor has Arensky’s First Piano Trio suffered the fate Rimsky had so balefully predicted for his music generally. Composed in 1894, this too was a memorial work, this time for the cellist Karl Davidov, who had also been a kindly director of the St. Petersburg Conservatory during Arensky’s student years.

It is a splendidly accomplished piece – and also eclectic; sometimes, for instance, the first movement of Mendelssohn’s First Piano Trio, also in D minor, seems to lurk behind Arensky’s opening Allegro moderato. But where Mendelssohn was urgent, Arensky gives his first theme a gentle and very characteristically elegiac tone, and his inventiveness is powerful enough to ensure that what follows has clear individuality, even though it may lack the sheer personality of a Tchaikovsky – or Rimsky.

Arensky’s craftsmanship and clarity of thought are always impeccable, and this precision is even more evident in the scherzo. Not a note is wasted in this enchanting confection built largely from a little stuttering figure (which later nearly gives birth to a more extended melodic idea), flying scales, and sparkling piano figurations.

The centre betrays the trio’s most explicit debt to earlier music, but this powerful echo from the second movement of Saint-Saens’ Second Piano Concerto develops into a kind of lurching waltz very much Arensky’s own. There is careful revision of scoring when the scherzo returns, and a brief coda is added so that the movement may flicker into silence.

The heart of this memorial trio is the slow movement.

Deeply elegiac it certainly is – but not funereal; it parades no formal grief, but rather seems to reflect on precious personal memories. With its tender central section, it is surely as affectionate a tribute as any many could wish for.

Nor does the final movement end with any tone of heavy lamentation. Nevertheless, the more lyrical tune that alternates with the forthright opening music harks back to the main theme of the Elegia, preparing us for the explicit recall of the gentle music from that movement’s centre.

There follows a recollection of the whole trio’s beautiful opening melody, its sadness enhanced by a delicately chromatic harmonization before a vigorous return to the finale’s opening material rounds off the whole work.

In 1895, a year after completing his First Trio, Arensky moved back to St. Petersburg to become director of the Imperial Chapel choir. He remained in the post six years, retiring in 1901 with a pension. He was not free to pursue very successfully his career as pianist and conductor, and to compose at will.

But his lifestyle had long been disorderly; drinking and an addition to gambling had undermined his health, and early in 1906 tuberculosis finally claimed him.

His Second Piano Trio of 1905 was therefore one of his last works. The work’s subsequent fate would seem to substantiate Rimsky’s prediction; in fact, its almost total disappearance from the repertoire has been very much our loss.

It would be facile to label this music autumnal, but thoughtful it certainly is. The clear sectionalism of the D minor Trio’s first movement here gives way to a more continuous, more spacious flow, and the opening five notes of the theme quietly enunciated by the piano become a pervasive presence (and also a motto motif that insinuates itself into the following three movements).

Other motifs are gathered along the way to contribute their part in generating an unobtrusively magisterial movement as fine as any from a Russian of Arensky’s generation.

After such an impressive utterance, the main theme of the Romance might seem to promise something jejune, for all the telling harmonic detail in the accompaniment.

But the scale to which this theme grows confirms that Arensky’s greatest single asset was his melodic gift, and that gift is here confidently deployed to sustain the formidable span of an entire movement, braced the more firmly by the four haunting recurrences of the introductory four bars (the motto motif is heard just before the first theme returns for the last time).

The dazzling scherzo is as fleet and economical in texture as its counterpart in the First Trio, though its centre, with its disarmingly simple melodiousness, is more of a contrast (the motto motif quietly infiltrates this melodic flow at about midpoint).

After a truncated repetition of the scherzo, the finale’s quietly complex theme, with its contrapuntal opening and fastidious harmonic detail, might seem to be intractable material for variation treatment. But Arensky’s resourcefulness is equal to the challenge (especially in the weird valse of the third variation).

Several of the six variations seem deliberately to hard back to kinds of music heard in the preceding movements, and at the end of the grandiose final variation the motto motif builds a bridge to the coda, which returns to the reflective mood in which the movement had opened, drawing this sadly neglected work towards a muted but most satisfying resolution.

TRACK LISTING:

1-4: Piano Trio No. 1 in D Minor, Op. 32
5-14: Piano Trio No. 2 in F minor, Op. 73

FINAL THOUGHT:

Poor Arensky. So good but so flawed. Damn alcohol. Makes me so sad I need a really big drink (maybe at lunch!). But Anton Stepanovich did rate high enough to make it into the lyrics of a Kurt Weill and Ira Gershwin song (Tchaikovsky) and that’s good enough for me!

“There’s Malichevsky, Rubinstein, Arensky, and Tschaikovsky, Sapelnikoff, Dimitrieff, Tscherepnin, Kryjanowsky, Godowsky, Arteiboucheff, Moniuszko, Akimenko, Solovieff, Prokofieff, Tiomkin, Korestchenko…”

Emily Sachs – President – Manka Music Group (A division of Manka Bros. Studios – The World’s Largest Media Company)