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Sunday, January 19, 2020

Ernő Dohnányi - String Quartet No. 3; Serenade; Sextet (Nash Ensemble)


Information

Composer: Ernő Dohnányi
  • (01) Serenade for string trio in C major, Op. 10
  • (06) String Quartet No. 3 in A minor, Op. 33
  • (09) Sextet for piano, clarinet, horn and string trio in C major, Op. 37

The Nash Ensemble
Stephanie Gonley, violin
Laura Samuel, violin (6-8)
Lawrence Power, viola
Adrian Brendel, cello
Ian Brown, piano
Richard Hosford, clarinet
Richard Watkins, horn
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Review

The Nash Ensemble dig into Dohnányi’s Serenade (1902) with gusto, relishing the music’s myriad felicities. If they don’t quite match the exhilarating élan of the 1941 RCA account with Heifetz, Primrose and Feuermann (RCA, 4/43) – no recording has, as of yet – their performance is rife with character and incident, and absolutely riveting in its own right. I love the theatrical way they sigh and sob at 2'00" in the fourth movement, for example. And in the rambunctious finale, especially, their playing conveys a frisson that’s unusual for a studio recording.

The Nash’s performance of the Third String Quartet (1926) is more impressive still. Right from the first surging phrase – which froths and spits like a crashing wave – they grasp the emotional meaning of the composer’s agitato e appassionato directive. At times their playing feels almost desperate in its intensity, yet they can be powerfully seductive, too, as in the sinuous, conspicuously Debussian second theme – and particularly its return at 7'33". The central Adagio religioso is as sleek as the opening Allegro is tumultuous – in my mind evoking glossy, candlelit marble – yet also contains passages that suggest acute internal turmoil. The brief finale is arguably less inspired than the preceding movements but the Nash make the best of it, balancing hearty jocularity and athletic grace.

I’ve listened often and with pleasure to the Ensemble Kheops’s fascinatingly edgy, Modernist take on the 1935 Sextet (Fuga Libera, 1/12). The Nash, by contrast, seize upon the score’s unabashed Straussian sensuality and the result is simply irresistible. Indeed, in their hands there’s something distinctly – and quite magically – Ariadne-esque about the music’s play of humour and seriousness, light and shade (not to mention the occasional suggestion of the harmonium in the writing for clarinet and lower strings). It’s a gloriously overripe, at times rapturous interpretation, and I’m smitten by it.

If you’ve never taken to Dohnányi’s music before, these performances should win you over. If you’re already a convert, you’ll want this.

-- Andrew Farach-Colton, Gramophone

More reviews:
http://www.musicweb-international.com/classrev/2018/Jul/Dohnanyi_chamber_CDA68215.htm
http://www.musicweb-international.com/classrev/2018/Aug/Dohnanyi_chamber_CDA68215.htm
http://classicalsource.com/db_control/db_cd_review.php?id=15534
https://www.audaud.com/dohnanyi-serenade-for-string-trio-string-quartet-sextet-nash-ensemble-hyperion/
https://www.allmusic.com/album/dohn%C3%A1nyi-string-quartet-no-3-serenade-for-string-trio-sextet-for-piano-clarinet-horn-string-trio-mw0003171922
https://www.amazon.com/Dohn%C3%A1nyi-String-Quartet-Serenade-Sextet/dp/B079ZVM8G7

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Ernő Dohnányi (July 27, 1877 – February 9, 1960) was a Hungarian conductor, composer and pianist. He was director of the Budapest Academy of Music from 1934 to 1943. Dohnányi's compositional style was personal, but very conservative; his music largely subscribes to the Neoromantic idiom. Although he used elements of Hungarian folk music, Dohnányi is not considered a nationalist composer. As a conductor, he was among the first to conduct Bartók's more accessible music and make it more popular. As a teacher, his pupils included Géza Anda, Annie Fischer, Georg Solti and Georges Cziffra.
https://en.wikipedia.org/wiki/Ern%C5%91_Dohn%C3%A1nyi

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London-based Nash Ensemble is a chamber orchestra consisting of 11 regular members, though their number can vary widely according to the work performed. The group's repertory is broad, but favours modern works by English composers. Founded in 1964 by Amelia Freedman, its longtime artistic director, the Nash Ensemble took its name from the famous Nash terraces in London, designed by architect John Nash. Mostly associated with the Hyperion label, it has continued to record prolifically, with releases balanced between mainstream repertory and contemporary works in many styles and from many different countries

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7 comments:

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