Composer: Louise Farrenc
Works: Piano Quintets No. 1 in A minor, Op. 30; No. 2 in E, Op. 31
Performers: Schubert Ensemble of London (William Howard, piano; Simon Blendis, violin; Douglas Paterson, viola; Jane Salmon, cello; Peter Buckoke, double bass)
Recording: Potton Hall, Suffolk, February 8th-10th, 2001
Label: ASV CDDCA1122
The resurgence of interest in the works of Louise Farrenc, a prominent yet historically overshadowed French composer of the 19th century, finds a compelling advocate in the Schubert Ensemble of London with their recent recording of her two Piano Quintets. Composed in the late 1820s, these pieces showcase a unique blend of Classical form and emerging Romantic sensibilities, reflecting Farrenc’s comprehensive training under the likes of Antonin Reicha, Hummel, and Moscheles, as well as her esteemed position as a professor at the Paris Conservatoire. The two quintets, particularly notable for their lyrical themes and intricate interplay among instruments, serve as a testament to her compositional prowess and the rich tapestry of her musical language.
The performance by the Schubert Ensemble reveals a deep understanding of Farrenc’s stylistic intentions, bringing forth the vivacity and charm embedded in her music. The First Piano Quintet opens with an arresting Scherzo, where the ensemble exhibits a keen sense of rhythm and buoyancy, the Trio section infused with a delightful spring-like quality. William Howard’s piano work is both assertive and nuanced, particularly in the Adagio non troppo, where Jane Salmon’s cello emerges as a pivotal voice, weaving a tapestry of emotion that captures the listener’s attention. The interpretative choices made here, particularly the subtle rubato and dynamic contrasts, highlight the emotional depth that Farrenc’s writing demands.
The Second Piano Quintet, composed just a year later, continues this exploration of thematic innovation. The initial Andante sostenuto introduces a sense of gravitas that is swiftly uplifted by the Allegro grazioso. The ensemble navigates this transition with remarkable agility, allowing the melodic lines to intertwine seamlessly. The Grave second movement stands as a poignant moment of reflection, where the delicate interplay between the strings and piano elicits a profound sense of yearning. The last movement bursts forth with exuberance, marked by rhythmic vitality and spirited dialogue among the instruments, showcasing Farrenc’s ability to blend classical clarity with a burgeoning Romantic expressiveness.
The engineering quality of this recording merits significant praise. The sound is rich and full, capturing the warmth of the instruments without succumbing to the dryness that often plagues chamber music recordings. The balance between the piano and strings is expertly managed, allowing each part to shine while maintaining a cohesive ensemble sound. This clarity enhances the listener’s experience, drawing attention to the intricate counterpoint and the varied timbres that Farrenc so masterfully exploits.
The Schubert Ensemble’s interpretation stands favorably against other notable recordings of these works, offering a fresh perspective that emphasizes both the historical context and the music’s inherent vibrancy. Their evident rapport, nurtured by years of collaboration, imbues each piece with a sense of discovery and joy that resonates throughout the performance.
This recording of Farrenc’s Piano Quintets is not merely an archival endeavor but a vibrant invitation to appreciate a composer who richly deserves her place in the canon of chamber music. The Schubert Ensemble of London succeeds in illuminating the charm and complexity of these works, providing a compelling case for Farrenc’s re-evaluation in the pantheon of classical music.
