Composer: Robert Schumann
Works: Fantasiestücke, op. 73; Johannes Brahms: Clarinet Sonatas: no. 1 in f, op. 120/1; no. 2 in E flat, op. 120/2
Performers: John Wallace (trumpet), Simon Wright (pianoforte)
Recording: 24-26.9.1999 at The Maltings, Snape, Suffolk, UK
Label: GLOBAL MUSIC NETWORK GMNC0117 [53’01”]
Robert Schumann and Johannes Brahms, two titans of the Romantic era, have long been celebrated for their lyrical depth and intricate interplay between solo instruments and piano. Schumann’s “Fantasiestücke,” op. 73, and Brahms’s clarinet sonatas stand as monuments of the chamber music repertoire, where the clarinet’s rich timbre and the piano’s harmonic support create a dialogue that is both intimate and dramatic. This recording, featuring the trumpet of John Wallace alongside pianist Simon Wright, presents a bold reimagining of these works, challenging the conventional pairing of the clarinet with piano and opening a discussion on the capabilities of the trumpet in this context.
Wallace’s trumpet, while inherently different from the clarinet, shines in the upper register, where it can evoke a liquid beauty reminiscent of its woodwind counterpart. The interpretation of the Brahms sonatas is particularly noteworthy. Wallace’s phrasing demonstrates an acute understanding of Brahmsian nuance, though some choices raise questions about the relationship between instrument and score. For instance, his approach to the Sostenuto section of the second sonata’s Allegro appassionato feels somewhat measured. While the tempo allows for clarity, it risks sacrificing the urgency that characterizes Brahms’s emotional landscape. Conversely, when the trumpet sings the lyrical lines marked molto dolce, Wallace succeeds in creating moments that resonate with the same warmth typically associated with the clarinet.
However, the distinctive tonal qualities of the trumpet reveal both strengths and limitations in the performance. The clarinet’s chalumeau register, known for its warmth and expressiveness, finds no true equivalent on the trumpet. As a result, passages below middle C can sound less refined and more brash, occasionally reminiscent of a foghorn rather than the subtlety of Brahms’s writing. This imbalance becomes evident in the first sonata’s Andante un poco Adagio, where the trumpet’s triplets overshadow the piano’s melodic line, a consequence of the trumpet’s more assertive presence in the texture. The recording itself is well-balanced, though one could argue that Wright’s adherence to Brahms’s dynamics might benefit from a more adaptive interpretation, given the trumpet’s different capabilities.
Schumann’s “Fantasiestücke,” on the other hand, translates beautifully to the trumpet. The nature of Schumann’s writing, which primarily occupies the middle-upper register, allows Wallace’s instrument to flourish without the tonal limitations encountered in Brahms’s sonatas. Here, the interplay between Wallace and Wright emerges as a refined dialogue, with the piano providing a sensitive backdrop to the trumpet’s lyrical flights. The recording captures a clarity that accentuates the distinct voices of each instrument, allowing the listener to appreciate the subtleties of Schumann’s harmonic language.
This recording is undoubtedly a daring endeavor, and while it does not supplant traditional interpretations featuring the clarinet, it offers a refreshing perspective. The successful moments, particularly in Schumann’s works, showcase Wallace’s artistry and command over the trumpet, illustrating that, when performed at such a high level, the instrument can indeed deliver insights into these beloved pieces. For the average trumpeter, however, achieving such results may prove elusive; Wallace’s technical prowess and interpretative insight elevate this project beyond the realm of mere novelty.
A commendable exploration of Schumann and Brahms through the unique lens of the trumpet, this recording stands as both a celebration of Wallace’s talent and a thoughtful examination of how instrumental color can reshape our understanding of these classic works. The endeavor is not without its challenges, yet the overall impact is one of rich musicality that invites further exploration and appreciation of these timeless compositions.
