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Viola Tales - Sachse / Heide

Viola Tales - Sachse / Heide

Ars Produktion  ARS 38 069

Stereo/Multichannel Hybrid

Classical - Chamber


Robert Schumann: Adagio and Allegro for Viola and Piano Op. 70, Märchenbilder Op. 113, Paul Hindemith: Sonata for Viola and Piano Op. 11 No. 4, Martin Kraemer: Elegie for Viola and Piano "No more Words"

Pauline Sachse (viola)
Daniel Heide (piano)

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Review by John Miller - May 22, 2012

'Viola Tales' comes from an early title of one of Schumann's pieces on this disc. He was aware that some musical instruments had unforgivably low profiles, especially the viola. In 1849, 7 years after his "year of chamber music", he started an attempt to "give each instrument a turn". The first of his pieces on this disc is the beginning of this campaign; Adagio and Allegro for Viola and Piano Op.70. In order to get more sales from it, he suggested it could also be played by violin or horn, and it was the horn version which was first published.

The Op. 70 Adagio, marked to be played with intimate expression, is a lovely, long-breathed melody typical of Schumann's early romanticism. Its succeeding Allegro is marked "quick and fiery". It tears away with headlong bustle, alternating a number of times with a smoother, more lyrical section, in Rondo form. The second Schumann piece, from 1851, marks the arrival of the modern viola, much louder and larger than the precious version, developed to be used in the growing size of orchestras at the time. Its original title of "Viola Tales" finally became Märchenbuilder (Pictures from Fairyland) Op. 113, and is presumably one of his pieces in which he recollects his childhood. There are four movements, the first alternately tender and playful, the second a March which has both double-stopping and double-dotting, the third is rash and forceful, and the fourth is sweetly melancholic, a lullaby sung by the piano with caressing arpeggios from the viola, its melody coming to full bloom at the end.

At the heart of this cleverly-devised programme is Hindemith's Sonata for Viola and Piano Op.11 no 4. Hindemith was a world-class exponent of the viola and viola d'amore. In 1921 he founded his own String Quartet, playing viola, and toured the US extensively giving solo viola recitals. The sonata comes from the period in 1919 after his return from service as a soldier. It was a time for him re-evaluate his musical style, and the sonata owes much to Debussy and Expressionism as well as Late Romanticism. The gorgeous first movement is aptly marked Fantasie, with the instruction 'restful'. Its often passionate lyricism is richly chromatic. The Fantasie runs gently into the second movement, a set of variations based on a folk melody-like theme. The variations begin to show harmonies and styles more of the new Expressionism. It too runs seamlessly into a third movement, which is also a set of seven variations, a form which was very congenial to Hindemith.

Pauline Sachse and pianist Daniel Heide's performance of the Hindemith is by no means overshadowed by that of Imai and Pontinen on their RBCD set of Hindemith's Viola Works; they too make a strong case for many more hearings of the piece. Sachse's tone is velvety and husky, tonally even across all strings with no trace of whining in the upper reaches, and her virtuosity is beautifully controlled. Heide tackles the beefy piano part with great zest and emotion, being far more than a mere accompanist.

The disc ends with a piece specially written for the duo and the present recording by Martin Kramer (b.1971). In Classical/Jazz style, his 'Elegy for Viola and Piano ("No More Words") offers some warmly-remembered reminiscences of a loved one, quite perfect for the viola and a touching conclusion to the programme.

The Ars sonics are excellently balanced, with their 5.0 track proving once more that surround sound is marvellous in chamber music.

Not only does this disc offer fine playing and superb sonics, it brings to attention some rarely heard but delightful Schumann and features an essential work by Hindemith which should attract many listeners to hear his other Viola and Piano sonatas. Definitely recommended.

Copyright © 2012 John Miller and HRAudio.net

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