This is a laudable enterprise. Although there is some
overlap, it acts as a fine complement to CPO’s
Penderecki chamber disc. The standard of performance on the Naxos
disc is just as high, although the presentation perhaps less so. It
is interesting that Bernd Dief’s translation of Richard Whitehouse’s
notes covers all the pieces on the disc; Whitehouse’s actually provides
details for one which is not, the Three Miniatures for Violin
and Piano of 1959. Given that there is still 12 minutes or so of available
playing time left on the disc (assuming an eighty minute maximum), perhaps
these were originally intended, but for some reason lopped off?.
The Sextet is scored for Clarinet, Horn, Violin,
Viola, Cello and Piano and is immediately approachable. One could easily
listen to the first movement for pure pleasure rather than some higher
aesthetic purpose. There is something distinctly Stravinskian about
some of the writing (Soldier’s Tale), and certainly something
identifiably cheeky. All parts appear to be of equal importance, and
Naxos has assembled six strong personalities. This is very rhythmically
alive playing, dynamic and often revealing a comic side to the argument
of the first movement. Sample The second
movement, at over 20 minutes’ duration, is in contrast hyper-intense
and bleak. Penderecki’s expertly considered scoring does not cushion
anything, although he does find space for some carefully timed Romantic
gestures. Of the soloists, the eloquent hornist and the clarinettist
(lovely, liquid lines) should very definitely be mentioned. This is
a major chamber piece, tightly composed, well recorded (analytic but
not too far forward) and worthy of frequent return visits. Sample
The disc seems to be laid out so that scoring becomes
progressively less piece by piece. So from Sextet we go to the Clarinet
Quartet, premiered in Lübeck in August 1993. Michel Lethiec had
hinted at his abilities in the Sextet – here they are displayed in all
their glory. The beautiful pianissimo of the opening ‘Notturno’ line
is very affecting, and very delicate (even if peace is some way away
from this music). Sample Again I must
take issue with the booklet notes in the case of the second movement.
The opening repeated patterns are not ‘aggressive’ (at least here),
although the clarinet response does come close to being ‘strident’.
My only criticism of the Serenade (Tempo di valse) is that it is too
short. The finale is as long as the first three movements put together.
A sustained elegy typical of Penderecki, this performance successfully
projects the loneliness of some of the solos. Memorable. Sample
Moving back in time nearly forty years, the Three
Miniatures for Clarinet and Piano are brief yet full of delight.
There is a Bartókian feel to the first. sample
Its playfulness contrasts with the hushed ‘Andante cantabile’ (again,
Lethiec is exemplary here sample ), itself
leading perfectly to the dynamic blink-and-you-miss-it finale. sample
Two works for solo instruments round off the disc.
The Divertimento for Solo Cello was written in 1994 for Mstislav
Rostropovich, and it is true one wishes for him here. Yet Noras is no
beginner in this field (his recording of the Penderecki Cello Concertos
for Finlandia, with the Sinfonia Varsovia conducted by the composer
on 8573-85575-2 is excellent) and he enters well
into the elegiac world of the opening ‘Sarabande’. Although the Scherzo
holds no technical terrors for him, it is in the sonorous, plaintive
lament that is the final ‘Notturno’ where he triumphs. Sample
The 1987 Prelude for Solo Clarinet is a fortieth
birthday tribute to fellow composer Paul Patterson. Marked ‘Lento sostenuto’,
it works its way from tentative beginnings through a hypnotic soundscape
until it leaves the listener hanging in the air. It is a haunting work
and it is easy to see why Naxos chose to close the disc with it. Sample
There is much rewarding listening here. Recommended.
Colin Clarke
Michel Lethiec (clarinet); Régis Pasquier (violin); Bruno Pasquier
(viola); Arto Noras (cello); Markus Maskuniity (french horn); Juhani Lagerspetz
(piano). 