Rimsky-Korsakov - Quintet for Piano and Winds, String Sextet ~ Prague wind Quintet, Kocian Quartet (B000092ORT)

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25 avril 2003 | Praga Czech Rep. | Filesonic + Fileserve

Interprètes: Michal Kanka, Kocian Quartet, Prague Wind Quintet, Ivan Klansky, Josef Kluson

Compositeur: Nikolai Rimsky-Korsakov

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This CD associates, logically for the first time on the same record, the two scores written by Rimsky-Korsako for the chamber music competition organized by the Russian Music Society in 1876. The prize was awarded to the Czech composer Eduard Nápravaník (1838-1916) for his trio for piano and strings. The composer of Sheherazade wrote in his diary «The jury found that my sextet was worth a distinction but did not take any account of my quintet...of which a drudge named Cross had made mincemeat.» This fiasco did not, however, stop the public from giving an enthusiastic welcome some months later for the first performance of the quintet at the Chamber Music Society of Saint Petersburg, with Y. Goldstein playing the piano.

Aside from Scheherazade and a few orchestral showpieces, most of Rimsky-Korsakov's works are unknown territory for Western music lovers. This well-played program featuring a pair of 1876 compositions that the 34-year-old composer wrote for a music competition (he didn't win) probably won't change that situation, but it provides plenty of enjoyable moments along with more than a few longeurs. Most of the latter will come in the Piano Quintet, whose prime appeal will be to wind-instrument fanciers. It's the kind of piece often heard on commercial classical music radio stations--undemanding easy-listening background music. There are actually about a dozen interesting minutes in it, but that's not enough in a work that lasts nearly half-an-hour. The sunny opening movement puts its banal theme through its paces well past the point of diminishing returns. The Andante opens promisingly with a nostalgia-drenched horn solo, and the mood is picked up by the other winds and a frilly piano part. The Rondo's jaunty opening sounds like musical accompaniment to a silent-film comedy, which I guess places Rimsky 40 years ahead of his time.

The Sextet is made of stronger materials and is buoyed by a significantly higher quality quotient. The first movement is reminiscent of Dvorák with its long-breathed cello-led melody and dancing plucked accompaniment, but the fugal second movement sits oddly alongside it. The heart of the work is the Andante espressivo, whose opening cello cantilena is lovingly developed into a nocturne-like little gem. The work ends with a virtuoso dash to the finish line.

The two ensembles that perform these works make a case for the music, and if they ultimately fall short of converting doubters it's hardly their fault. The Prague Wind Quintet bears the name of a renowned ensemble active between 1928 and 1956, and these players expertly negotiate the Quintet with a sensitive, solid contribution from pianist Ivan Klánsky. In the Sextet, the Kocian Quartet, joined by the violist and cellist from the Prazák Quartet, plays with authority, admirable precision, and nicely blended tone. Engineering is well balanced and tonally accurate. This disc has its moments, most of them in the Sextet, though wind players will disagree. It's worth investigating if you're among the curious.-- Dan Davis

Ce CD associe, logiquement, pour la première fois sur le même enregistrement, les deux partitions écrites par Rimski-Korsako pour le concours de Musique de Chambre organisé par la Société musicale russe en 1876. Le prix a été décerné au compositeur tchèque Eduard Nápravaník (1838-1916) pour son trio pour piano et cordes. Le compositeur de Sheherazade a écrit dans son journal: «Le jury a trouvé que mon sextet valait bien une distinction, mais ne tient pas compte de mon quintet ... dont une esclave nommée Croix n'avait fait qu'une bouchée.» Ce fiasco n'a pas, cependant, arrêter le public pour donner un accueil enthousiaste quelques mois plus tard pour la première représentation du quintette à la Société de musique de chambre de Saint-Pétersbourg, avec Y. Goldstein joue du piano.

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1. I. Allegro con brio

2. II. Andante - Fughetta. Poco più mosso

3. III. Rondo. Allegretto [vivace]

4. Allegro vivace

5. Rondo fugato

6. Scherzo. Vivace alla Saltarello

7. Andante espressivo

8. Finale. Allegro molto

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