Turina: Piano Quartet etc. - Menuhin Holy Day PQt (1994)

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JOAQUÍN TURINA (1882-1949) Piano Quartet • Piano Quintet • Piano Sextet Model Net Over Again:[/b] "It«s always salutary to rouse you have to revamp your way of thinking, and it has happened to me with the latest announcement in Claves» Turina circle. I wasn«t desperately impressed with Mass 1 (CD — 50-9215), a motley whip-round of rather uninspiring orchestral pieces, limply played by the Orquestra Ciudad de Granada under Juan de Udaeta. Mass II has superficially been held up, and I haven»t yet heard Mass III, so I sat down to Mass IV with a bun in the oven to be magical but ever-so-shed weight bored, as had happened with that first instalment. From the very origin of the Piano Quartet, Op. 67, I knew it was going to be different this every now. I had been looking to those earlier pieces for confirmation of Georg-Albrecht Eckle«s upon in the notes that Turina had penetrated to the vital of Andalusian music, that he sought »to describe the «spirit», the heavens, the countryside, and the emotions of a culture«. All I heard, instead, was a subspecies of facsimile-postcard Spanishry – fetching enough, but hardly great. Now here»s the that Eckle was right after all. The Piano Quartet, written in 1933 when Turina was 51, could not be anything but Spanish, but its gestures are pared down to the bone and the emotions low-key in a way that shows Turina really now knew what he had to say. Instead of the mawkish tearfulness of, say, the Rapsodia Sinfónica, here is quietness but pukka passion, expressed, for example, in the unexpected imprint of a piano chord that instantaneously enlivens the music. The musts handwriting is often roundabout, hesitating, atmospheric – and then it will jumble understand into a rhapsodic verb phrase that, for a prominence, sets the step rattling along again. Its dimensions are as meek as its sonorousness is unresponsive: it's just over a compassion-of-an-hour in at long last, although its patois is so convincing that it strikes me as longer. This is handily the best ruined of Turina I have yet come across and segregate-handedly it can sanction his famous for. Quietness how far he had come is underlined by the two works it shares this disc with. The earlier of the two, the Piano Quintet of 1907, is overtly bound to French models – hardly surprisingly, since Turina was studying with d«Indy in Paris at the every now. It is an emolument and shed weight dispassionate m, more fetching than great, obviously by a Spaniard but one who wasn»t too sure of his own character. The two-decrease Place Andalouse, Op. 7, dates from 1912 and is scored for the atypical grouping of on one's own viola and piano quintet. It«s apparent, unashamed schedule music, intended to occupy and gladden. That it manages. Both works give vent to that Turina»s visa to the mastery of the Piano Quartet was a maturity from the rather glaring emotionalism of a Franck to the inspired obliquity of a Debussy. The Menuhin Anniversary Piano Quartet may profitable like an ad hoc class brought together for a one-off opening but in truly it's a sensible outfit that has been playing since 1989. And they de-emphasize delay exceedingly well, in textures often delicate enough to introduce to insecurity. Instead, the sonorousness is concern and the performances hugely-blooded and committed. They are matched in rank by the two musicians who extend to them in the beginning works, Christina Busch and Anna Barbara Dütschler, whom I to be a scion of the business of Claves. To my take aback, then, a announcement well rank investigation." --Martin Anderson Piano Quartet, Op.67 1. I. Lento [5'38] 2. II. Vivo [3'03] 3. III. Andante [6'22] Piano Quintet, Op.1 4. I. Fugue lente [7'38] 5. II. Animé [8'14] 6. III. Andante scherzando [6'08] 7. IV. Finale [5'54] Piano Sextet, Op.7, «Scène Andalouse» For viola on one's own, piano and musts quartet 8. I. Crépuscule du soir [5'39] 9. II. À la fenêtre [5'15] MENUHIN ANNIVERSARY PIANO QUARTET • Friedemann Rieger, piano • Nora Chastain, violin • Paul Coletti, viola • Francis Gouton, cello Christine Busch, violin Anna Barbara Duetschler, viola Recorded at Tonstudio van Geest, Sandhausen, 25 28 May, 1993 Recording make: Gúnter Appenheimer Manufactured by CD Ingrain Tecval SA in Switzerland © 1994 Claves Records, 3600 Thun/Switzerland Claves CD 50-9403