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Fantasies For Bassoon - Geoghegan, Fisher (2011)

Posted By: peotuvave

Date: 16 Oct 2012 23:13:31

Chandos signed Karen Geoghegan as an exclusive artist in 2007 following her appearance on BBC TV’s Classical Star programme. This is her fifth recording with the label, and the expressive maturity and sensitivity of her playing have quickly cemented her status as a rising star, Gramophone writing: ‘Name five internationally famous bassoon soloists. Archie Camden, Gwydion Brooke and, er, that’s it. Except I think we shall soon be adding the name of Karen Geoghegan to the roll call.’

On this disc, she is accompanied by Philip Edward Fisher in works by some of the greatest composers of the nineteenth and early twentieth centuries: Schubert, Schumann, Spohr, Rachmaninoff, and Elgar. Yet, with a single exception, namely the Sonata in E flat by Gustav Schreck, none of the works recorded here were originally composed for the bassoon.

One of Rachmaninoff’s best-loved short pieces, the Vocalise was written for wordless voice and piano. Demonstrating the capacities of the voice as a pure instrument, this work is a prime example of the power of melody without the need for words. In this arrangement, the bassoon takes on the role of ‘wordless voice’, which shows off the instrument’s great lyrical qualities to perfection, as does Elgar’s Salut d’amour.

Schumann’s Fantasiestücke was originally composed for clarinet and piano, its three pieces played without a break, with each subsequent piece taking up and developing melodic ideas from the preceding one. The Sonata in A minor, D 821 by Schubert, which remained unpublished and unperformed for decades after his death, is an emotionally complex work, its moods moving from deep melancholy to excited ebullience.

Composer: Franz Schubert, Sergei Rachmaninov, Gustav Schreck, Louis Spohr
Performer: Karen Geoghegan, Philip Edward Fisher

Reviews: Bassoonist Karen Geoghegan is new to me, but I see she’s recorded five other discs for Chandos, as well as embarking on a busy concert career. As for her pianist, Philip Edward Fisher, he’s perhaps better known as a concert soloist than as an accompanist, although it doesn’t take long to realise he’s a most thoughtful and discreet partner; only once or twice does he draw attention to himself – quite legitimately, I hasten to add – with some bravura playing. And a quick sample of this CD suggests the sound is well up to the standards of the house. Factor in exhaustive – but very readable – liner-notes and you have a good quality package that promises much.

This talented duo certainly deliver, with a range of works adapted for bassoon and piano; only the Schreck sonata was written for this pairing. Schubert’s Arpeggione Sonata – its subtitle derives from the short-lived cello-guitar hybrid for which it was intended – is a most attractive opener. After Fisher’s warm, lyrical introduction Geoghegan’s firm, well-rounded tones are an absolute delight. Articulation is precise, and her playing is full of character and strength; her long, liquid lines are especially alluring. Fisher acquits himself well too, the balance between piano and bassoon entirely natural.

The programme is well chosen with Rachmaninov’s highly wrought Vocalise shifting to the bassoon’s higher registers. That said, there’s no hint of pinched tone and Geoghegan very much in control of the instrument. By contrast, the Schreck piece seems to offer the best of both worlds, combining lyricism with a darkly tempestuous piano part. This is one instance where the focus shifts away from the bassoon; but there’s no sense that Fisher is grandstanding, for Schreck’s writing is pretty florid anyway. It’s still a well-behaved partnership. The music-making is both easeful and eloquent; in short, an ideal combination of virtues.

After all that Sturm und Drang the more classically-shaped Adagio by Spohr – an arrangement of the slow movement of his Sonata concertante, Op. 115, for violin and harp – offers some respite. Geoghegan’s sustained notes and trills are always assured and the velvet tactility of her bassoon is very well caught by the Chandos team. This is easy listening in the very best sense, of relaxing in the company of fine musicians out to beguile and entertain, which they do in equal measure. There’s a delightful buoyancy to Salut d’amour. The strength and individuality of the players ensures that one stays engaged to the very end. Indeed, the rapt close of the Elgar is simply ravishing. I found myself making liberal use of the repeat button. It really isn’t hard to see why Geoghegan has won so many distinguished prizes, for this is playing of an exalted order.

The disc rounds off with a broad, passionate account of the Schumann Fantasiestücke. In this both players are at their rippling, surging best. Once again Fisher makes the most of his emphatically written part, giving a tantalising glimpse of his power as a soloist. For much of this piece I was reminded of Gerald Moore’s lieder accompaniment which, while mostly a model of discretion, is apt to astound with its unexpected insights.

Gorgeous, a balm for the heart and soul.

Tracklisting:

1. Sonata for Arpeggione in A minor, D 821 by Franz Schubert
Performer: Karen Geoghegan (Bassoon), Philip Edward Fisher (Piano)
Period: Romantic
Written: 1824; Vienna, Austria
Notes: Arranged for bassoon and piano and based on a version by Bernhard Günther for cello and piano of Schubert's Sonata for arpeggione and piano.

2. Songs (14), Op. 34: no 14, Vocalise by Sergei Rachmaninov
Performer: Karen Geoghegan (Bassoon), Philip Edward Fisher (Piano)
Period: Romantic
Written: 1912-1915; Russia
Notes: Arranged for bassoon and piano based on a version edited by Raphael Wallfisch (b. 1953) for cello and piano by À Mlle A.W. Negdanoff marked 'Lentamente'.

3. Sonata for Bassoon and Piano, Op. 9 by Gustav Schreck
Performer: Karen Geoghegan (Bassoon), Philip Edward Fisher (Piano)
Period: Romantic

4. Adagio by Louis Spohr
Performer: Karen Geoghegan (Bassoon), Philip Edward Fisher (Piano)
Period: Romantic
Written: Germany
Notes: Arrangement by Johannes Wojciechowski (1912-2005) of slow movement 'Larghetto' from Sonata concertante, Op. 115 for violin and harp by Louis Spohr.

EAC

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Karen Geoghegan / Fantasies For Bassoon

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