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Takacs Quartet, Marc-Andre Hamelin - Robert Schumann: String Quartet, Op. 41, No. 3; Piano Quintet, Op. 44 (2009)

Posted By: Designol
Takacs Quartet, Marc-Andre Hamelin - Robert Schumann: String Quartet, Op. 41, No. 3; Piano Quintet, Op. 44 (2009)

Robert Schumann - String Quartet in A major; Piano Quintet in E flat major (2009)
Takács String Quartet; Marc-André Hamelin, piano

XLD | FLAC | Tracks (Cue&Log) ~ 234 Mb | Scans included
Genre: Classical | Label: Hyperion | # CDA67631 | Time: 00:56:33

The peerless Takacs Quartet recently nominated for a Gramophone award for their second disc of Brahms's string quartets, continue their exploration of the Romantic chamber music tradition with this disc of Schumann. The Piano Quintet is by far Schumann's most popular chamber work and one of the most beloved works in the genre. Schumann was the first romantic composer to pair the piano with the string quartet. Schumann studied the string quartets of Beethoven, Mozart and Haydn and his quartet Op. 41 No. 3 demonstrates these influences. However, it contains many highly original strokes, particularly the casting of the scherzo as a set of variations. The Takacs Quartet are joined by Marc-Andre Hamelin in an invigorating partnership that has already been widely acclaimed on the concert platform.

If Marc-André Hamelin's playing in the Piano Quintet had the same degree of refinement and the breathtaking range of subtle nuance that the Takács Quartet display in their account of the A major String Quartet Op 41 no 3 alongside it, then this would be a truly outstanding pairing of two of Schumann's finest chamber works. As it is, Hamelin is sometimes just a bit too blunt – not ­matter of fact, exactly, but at crucial points just lacking the degree of ­expressive give and take that breathes such life into the Takács's playing in both works. On a purely technical level his playing is as outstanding as always – quick-witted in the scherzo, drivingly energised in the finale – but it sometimes seems to exist in its own world, adjacent to that of his string-playing ­colleagues but not part of it. They all dovetail neatly enough, but the almost subliminal rapport between pianist and quartet that is an essential part of the greatest chamber partnerships seems just not to be there.

Review by Andrew Clements, The Guardian

For donkey’s years I’ve had a special affection for the live recording Philippe Entremont and the Alban Berg Quartett made of Schumann’s Piano Quintet in Carnegie Hall in 1985. It was originally released on EMI CDC 7 47439 2 but since re-released coupled with the Dvorák Piano Quintet with Rudolf Buchbinder. Having once been ‘sold’ a recording like this, the mind is always seeking comparable qualities in any alternative. With this vibrant new recording it looks as if I’ve finally found a studio session which captures an equivalent sense of transparent energy, and if anything an ever greater synergy in chamber music making.

One thing we should be sure of, this piece most assuredly is not a piano concerto. With this in mind it is marvellous to hear a great pianist like Marc-André Hamelin filling his soloist shoes entirely. He gives us us full value technical fireworks but always with the balance of the string instruments considered in full. I have the impression that, even when all guns are blazing, the quartet is ‘on his shoulders’, guiding the weight of the piano sound so that it blends and accompanies, becoming an equal partner of the quartet. In the question of pacing, speeds and timing are roughly comparable between the two recordings. Hyperion’s musicians create a little more space around the gentler second section of the first movement, extending the In modo d’un marcia second movement with rather greater rubati, while somehow managing to keep the underlying momentum and avoiding lugubriousness. The viola solo later on in the movement is taken with tremendous gusto, remaining in control and in tune however. It’s not easy to do as the Alban Berg’s player shows. The final recapitulation is quite magical in atmosphere – simple and understated. The boundless vigour in the playing of those scales at the beginning of the Scherzo is quite infectious. Another magic spell is cast in the suspended progressions of the soft second section, but the way this is elbowed aside by the development is a rhythmic tour de force. Nothing can top this you think, and just when you were about to rise from your seat for some spontaneous and ill-advised applause the magnificent final Allegro kicks in to take us to further dramatic and delectable heights. This is a truly magnificent Op.44 and the one to take on your desert island.

The String Quartet Op.41 I have to admit knowing less well than the quintet. Hamelin is described as ‘a true avatar of the piano’ in the booklet to this release, but I was sent seeking my ever-so all-time favourite recording of the Bartók string quartets, the Takács Quartet on Decca, to see if it was indeed the same players. Only the viola player has changed since that 1998 masterpiece, Geraldine Walther taking over from Roger Tapping in 2005. The sense of an entirely different stylistic world is so strongly nuanced between two admittedly extreme poles in terms of quartet writing that I wouldn’t hesitate to call the Takács an avatar of the string quartet. The most obvious difference is in that of vibrato, which the quartet here has made a clear artistic decision almost to exaggerate. It took me a little while to become accustomed to this, but in the end I do find it entirely appropriate to the music and I soon found myself relishing other fine aspects of this recording. The voicing and harmonic weight and balance is very well done here, and even where Schumann’s music tends to become rather heavy, in some of the variations of the second movement for instance, the playing remains convincing and admirably transparent throughout. The fine Adagio molto which forms the heart of this work achieves a genuine romantic spirit without dripping with heart-on-sleeve sentimentality. The quartet does create a remarkable intensity of narrative in this movement, which is contrasted and heightened in the release and ‘jaunty insouciance’ of the finale. The Takács Quartet once again grabs you with playing of irrepressible dynamism and canny wit and clarity, sending us dancing into the night.

This is what we record shop people would call ‘a winner’, no doubt playing it at all hours of the day over the shop loudspeakers. This is a disc of which you will not become tired, and with a superb recording in the excellent chamber music venue of St George’s in Bristol and very full and well written notes by Misha Donat, this has to be a disc to be sought out and treasured.

Review by Dominy Clements, MusicWeb International

The listener looking for smooth, sweet, and sincere recordings of Schumann's chamber music need look no further than this recording of the composer's String Quartet in A major and Piano Quintet in E flat major by the Takács Quartet and Marc-André Hamelin. The Hungarian-English-American quartet deploys its warm tone, lush ensemble, full sonority, and polished phrasing successfully here, wrapping the quartet in rich colors and refined balances, while the Canadian-American pianist brings his outstanding virtuosity and keen insights to the quintet. Unfortunately, neither the Takács Quartet nor Hamelin brings adequate energy to either work. This is clearest in the quartet's Assai agitato and closing Allegro molto vivace, and the quintet's Scherzo and closing Allegro, ma non troppo, where the music's headlong flight is retarded by the musicians' poky tempos. It is also apparent in the quartet's dour Adagio molto and in the quintet's dowdy In modo d'una marcia. Captured in ripe digital sound by Hyperion, these performances, though lovely, lack sufficient intensity and drive to make them wholly recommendable.

Review by James Leonard, Allmusic.com

Takacs Quartet, Marc-Andre Hamelin - Robert Schumann: String Quartet, Op. 41, No. 3; Piano Quintet, Op. 44 (2009)



Takacs Quartet, Marc-Andre Hamelin - Robert Schumann: String Quartet, Op. 41, No. 3; Piano Quintet, Op. 44 (2009)



Takacs Quartet, Marc-Andre Hamelin - Robert Schumann: String Quartet, Op. 41, No. 3; Piano Quintet, Op. 44 (2009)



Takács String Quartet:
- Edward Dusinberre, first violin
- Károly Schranz, second violin
- Geraldine Walther, viola
- András Fejér, cello

Marc-André Hamelin, piano (5-8)

rec. St George’s, Brandon Hill, Bristol, 14-17 May 2009.

Tracklist:

String Quartet in A major, Op. 41, No. 3:
1. Andante espressivo — Allegro molto moderato (06:44)
2. Assai agitato — Un poco adagio — Tempo risoluto (05:50)
3. Adagio molto (07:24)
4. Allegro molto vivace (06:44)

Piano Quintet in E flat major, Op. 44:
5. Allegro brillante (08:57)
6. In modo d’una marcia: Un poco largamente — Agitato (08:57)
7. Scherzo: Molto vivace (04:38)
8. Allegro, ma non troppo (07:15)


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Analyzed: Takács Quartet, Marc-André Hamelin / Schumann: String Quartet & Piano Quintet
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DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR15 -8.28 dB -29.50 dB 6:45 01-String Quartet in A major, Op. 41, No. 3: Andante espressivo — Allegro molto moderato
DR14 -7.05 dB -26.55 dB 5:51 02-String Quartet in A major, Op. 41, No. 3: Assai agitato — Un poco adagio — Tempo risoluto
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Takacs Quartet, Marc-Andre Hamelin - Robert Schumann: String Quartet, Op. 41, No. 3; Piano Quintet, Op. 44 (2009)

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