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Site review by Polly Nomial January 11, 2006
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Performance: Sonics (S/MC): / |
A collection of two brilliant chamber works from Mendelssohn here; one deservedly much better known than the piano sextet (which has a rather unusual string scoring for violin, 2 violas, cello & double bass), which is not to say the sextet is un-listenable. Far from it but compared to the masterpiece presented first, it doesn't quite hit the heights reached by the octet.
The performance of the octet is almost as wonderful as the composition itself. It is really a fabulous rendition that at no time has one reflecting upon the playing but the glorious music. The players from the Kocian & Pražák quartets clearly love this music but at no time do they attempt to beautify, wallow or become over-enthused by their fondness. The opening movement (perhaps the finest piece that Mendelssohn ever wrote?) is remarkably light on its feet in places and richly sonorous in others and always plenty of inner fire. The andante that follows is simply, honestly and beautifully played - nothing distracts from the line of the music and the tempo seems just right. The sprightly scherzo that follows is taken at a very quick pace indeed but at no time do the players snatch at notes (difficult though this is to resist) and the pianissimos are a wonder to behold! The concluding presto also takes ones breath away at first but after adjusting to the quicksilver pace, the mounting joy of the composition is hard to resist (as is the temptation to start all over again!)
In the piano sextet, the Kocian quartet have pride of place (borrowing the Pražák's viola player) and are joined by Jirí Hudec, a principal bass player from the Czech Philharmonic, and a (previously unknown to me but clearly very) fine pianist by the name of Jaromír Klepác. Mendelssohn use of 2 viola's instead of the more usual 2 violin's makes for a richer texture than one might expect otherwise - which helps the balance of the piano's extremely brilliant writing. As in the octet, there is nothing in terms of the performance to quibble at whatsoever. The piano writing is very difficult but you wouldn't realise it just by listening here! Jaromír Klepác makes light of these problems and plays at all times with a real sense of refined grace. The work itself was composed a year earlier than the octet and at times, it shows - the maturity of ideas and linking passages are not so prevalent but I would still rank it alongside the piano trios in quality!!!
The recording is on the whole very satisfying. The instrumental forces can be placed and Praga have resisted the temptation to balance the MCH "around" the listener so it is still a (very good) concert hall approach. The sound is clear and the dynamic range is pleasingly wide. Most enjoyable is the balance of the piano against the strings and the tonal qualities of the piano which have been chosen to match the music most appropriately. The acoustic in MCH is completely believable but it has one slight drawback in that the listener is placed a little further back than perhaps is ideal for such a densely textured work as the octet and I have to work my ears a little harder than I would have liked. This was not a problem in stereo where the sound is definitely a little closer.
Definitely highly recommended and if the overall quality of Praga's artists are of this level, I will become a devoted follower very quickly indeed!
(Purchased)
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Copyright © 2006 John Broggio and SA-CD.net
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