Composer: Alfred Genovese
Works: Schumann: 3 Romances op.94 for Oboe and Piano; Poulenc: Sonata for Oboe and Piano; Ibert: Escales, no.2; Loeffler: 2 Rhapsodies for Oboe, Viola and Piano; Mozart: Quintet in Eb for Piano and Wind, K.452
Performers: Alfred Genovese, oboe; Peter Serkin, piano; Robert Spano, piano; Burton Fine, viola; Harold Wright, clarinet; Richard Sebring, horn; Richard Svoboda, bassoon
Recording: Recorded at South Mountain Concert Hall, Pittsfield MA, August 1992
Label: Boston Records BRI1004CD
Alfred Genovese’s oboe recital offers a compelling exploration of works that span the Romantic and early 20th-century repertoires. As principal oboist with the Boston Symphony Orchestra, Genovese is no stranger to the nuances of his instrument, and this recording highlights both his technical prowess and interpretative insights. The selected pieces, particularly Schumann’s and Poulenc’s, are cornerstone works of the oboe canon, while the inclusion of lesser-known compositions by Loeffler and Ibert adds an element of curiosity to the program.
The performance of Schumann’s Three Romances, op. 94, while musically rich, suffers from a programming choice that emphasizes slower movements. Each of the three pieces unfolds with lyrical beauty, yet the cumulative effect is one of somber introspection that may seem monotonous. Genovese’s phrasing possesses a gentle musicality, but at times it risks becoming overly subdued, lacking the dynamic contrast that can elevate this otherwise exquisite repertoire. One cannot help but yearn for a more robust engagement with the emotional depth inherent in Schumann’s writing—a quality that demands both vigor and tenderness from the performer.
Poulenc’s Sonata for Oboe and Piano, a staple of the oboe repertoire, offers more rhythmic vitality, yet the first movement’s slow introduction leads again to an extended period before the energetic motifs emerge. Genovese and pianist Peter Serkin’s interplay here is commendable, but Serkin’s piano often dominates the soundscape, creating an imbalance that detracts from the oboe’s lyrical lines. The recording’s engineering exacerbates this issue, as Genovese’s sound, while technically pristine, feels somewhat distant. The microphone placement appears to favor the piano’s weightier tones, which, while appealing, masks the subtler colors of the oboe, particularly during intricate passages. The recording engineers face a perennial challenge in capturing the intricate timbres of woodwinds, and this recording exemplifies that difficulty.
Turning to Loeffler’s Rhapsodies, one encounters works that are less familiar to many listeners, yet they reflect an intriguing blend of late Romantic sensibilities and early modernist influences. Despite the potential for rich tonal exploration afforded by the oboe-viola-piano trio, the Rhapsodies come across as underwhelming. The textures feel flat, and the harmonic language does not exploit the full range of colors that this combination could yield. This results in a performance that, while technically proficient, lacks the vivid imagination necessary to engage the listener fully.
Mozart’s Quintet in E-flat major, K. 452, however, stands as the disc’s highlight. The ensemble’s interaction brims with vitality and character, showcasing not only Genovese’s agility but also the delightful contributions from the accompanying wind players. The vibrant dialogues between the instruments bring forth the piece’s inherent charm, especially in the lively finale where the performance bursts into a spirited exchange. Yet, even here, Serkin’s approach can be overly serious, particularly in the slower sections, where a lighter touch would allow the music’s playful essence to shine through.
This recording, while offering glimpses of Genovese’s considerable talent, ultimately struggles with issues of balance and programming that hinder a fully immersive experience. The performances, though marked by moments of beauty and technical skill, often fall short of delivering the emotional and dynamic contrasts that the repertoire demands. The overall impact is one of lost potential, as the oboe’s rich sonorities and expressive capabilities are not fully realized, leaving the listener yearning for a more compelling interpretation.
