Brahms: Piano Quartets Nos 1-3; Three Intermezzi, Op. 117

Marc-André Hamelin could not have chosen more challenging repertory for his debut recording as a chamber musician for the Hyperion label than the three Brahms Piano Quartets. Apart from the fearsome technical demands of the piano part, these works encompass a vast intellectual and expressive range; the frequent recourse to full-blooded textures is almost symphonic in conception. Not surprisingly Hamelin makes light work of the tricky piano writing. The Scherzo of the C minor Piano Quartet (No. 3) is dispatched with dazzling

Published: January 20, 2012 at 4:03 pm

COMPOSERS: Brahms
LABELS: Hyperion
ALBUM TITLE: Brahms
WORKS: Piano Quartets Nos 1-3; Three Intermezzi, Op. 117
PERFORMER: Marc-André Hamelin (piano); Leopold String Trio
CATALOGUE NO: CDA 67471-2

Marc-André Hamelin could not

have chosen more challenging

repertory for his debut recording

as a chamber musician for the

Hyperion label than the three

Brahms Piano Quartets. Apart

from the fearsome technical

demands of the piano part, these

works encompass a vast intellectual

and expressive range; the frequent

recourse to full-blooded textures is

almost symphonic in conception.

Not surprisingly Hamelin

makes light work of the tricky

piano writing. The Scherzo

of the C minor Piano Quartet

(No. 3) is dispatched with dazzling

brilliance yet never sacrifices the

music’s underlying sense of stress

and anxiety. Even more stunning

is Hamelin’s fingerwork in the

Rondo alla Zingarese of No. 1 in G

minor, the playing outstripping all

rivals in terms of its blistering pace

and unbridled aggression.

At the opposite end of the

emotional spectrum, he draws some

beautifully limpid sounds from the

fragile Intermezzo in the G minor

and the darkly brooding mystery of

the slow movement of the A major,

maintaining this vein of

introspection in a deeply

searching account of the

Op. 117 piano pieces.

The Leopold

String Trio

responds admirably

to Hamelin’s

outstanding

contribution,

providing a

beautifully

homogenised sound

that nonetheless sustains

sufficient variety of tone and

articulation to avoid any hint of

stodginess, except perhaps in the long

first movement of the G minor where

at times I missed a sense of forward

momentum. Although the piano

tone lacks a little warmth in some

climaxes, the recording has a good

presence and welcome clarity.

All in all then, this is a

highly recommendable modern

version, though in the last resort

it doesn’t quite have the magical

qualities of the Rolls-Royce team of

Stern, Laredo, Ma and Ax on Sony’s

release, or the intensity of the Beaux

Arts Trio with Walter Trampler from

the early 1970s, the latter restored

in spectacular SACD sound.

This website is owned and published by Our Media Ltd. www.ourmedia.co.uk
© Our Media 2024