Mozart Piano Quartet - Schumann / Brahms - Piano Quartets (2011, MDG "Live" # 943 1712-6)

Review by Mike D. Brownell

Written in the banner year of 1842, in which Schumann seemed to have a nearly inexhaustible supply of chamber music inspiration, the lively and musically satisfying Op. 47 Piano Quartet is nonetheless frequently eclipsed by the more popular virtuosically showy piano quintet. More than a decade later, Johannes Brahms was hard at work at his Op. 25 G minor Piano Quartet, a passionately original work that was to become one of his most beloved chamber works. Both quartets were given their premiere with Clara Schumann at the piano; on this MDG Live disc, both are performed by the Mozart Piano Quartet, one of only a handful of extant piano quartets. The MPQ quickly demonstrates why they've been so successful for so long. Stylistic differences between the two quartets are brought to the fore. The Schumann is clean and meticulous, at times sounding as intimate as his many piano miniatures. The Brahms is weighty, rich, dense, and intense. Intonation is nice throughout, especially for a live performance. MDG's sound is warm, well-balanced, and bursting with detail making this disc an easily recommendable choice for an addition to any library.

allmusicguide

This recording of a single concert is arguably the finest disc MDG have placed in their catalogue.

Starting with Schumann's piano quartet, the Mozart Piano Quartet take a decidedly different take to the competition on SACD. On MDG, Schumann: Piano Quartets - Trio Parnassus, is bland and devoid of life by comparison. The fiercest competition is from Schumann: Piano Quartet, Piano Quintet - Mandelring Quartett. If one were to draw an analogy based on orchestral playing, then the Mandelring+ account would be the Berliner Philharmoniker and the Mozart Piano Quartet perhaps the Wiener Philharmoniker; both have their fans and both are stunningly musical. The Mandelring+ has a more solid tonal base to it and everything seems to be charged with electricity. By contrast, the Mozart Piano Quartet are arguably a little more graceful and a little more varied in their approach to the emotional temperature. The faster tempo choices are slightly on the faster side of conventional and give a lift to the proceedings. The Andante cantabile flows delightfully and all instruments really sound as though they are singing the most beautiful love song imaginable to their 'significant other'. The finale really is Vivace and quite puts to shame their MDG compatriots - quite electrifying playing and the restraint shown by the audience in not immediately applauding is unbelievable!

The Brahms has less competition on SACD - only Brahms: Piano Quartets - Beaux Arts Trio/Trampler directly & Schoenberg: Orchestral Works - Rattle via Schoenberg's pen - but it is easy to imagine that if every performance were on SACD, this one would still rank (near the) top of the tree. Compared to the BAT+ this is characterful playing in another league - whilst still playing in tune & time, with the Mozart Piano Quartet, the gypsy/Hungarian influences can be felt not just heard. This is even true in the first 3 movements where the structural elements and sheer beauty seem to falsely guide some ensembles. Everything that happens - tempo changes, phrasing, etc. - is completely organic and a constant delight to the ear. In the finale, we come to the real highlight of the disc. Here the Mozart Piano Quartet are so characterful (without disturbing the onward momentum) that they sound more varied than Schoenberg's version for orchestra. The whole movement is tremendously exciting and would tempt most listeners into multiple immediate repetitions; once again it is incredible that no applause is forthcoming after the final chord. As if that were not enough, we are treated to the slow movement of Brahms' Op.60 piano quartet and the playing is just as eloquent there as in the complete offering. Magical.

Throughout the audience is impressively silent (even after the end of movements) to such an extent that, were the playing not so spontaneous, one would otherwise question the provenance. The sound in itself needs absolutely no allowance for concert conditions - or studio for that matter - it is perfectly judged for each instrument and as an ensemble.

Highly recommended as one of the best chamber discs I've ever had the privilege of hearing. Copyright © 2012 John Broggio and SA-CD.net