Volume 9 Issue 3 - November 2003

to familiar music, this is a good
choice.
Den Cui/
CLASSICAL AND
ROMANTIC
Concert Note: The Zehetinair
Quartet had been scheduled to
perform Schumann for Music
Toronto at the Jane Mallett Theatre
on November 20, but they have
cancelled, and have been replaced
by the Jacques Thibaud Trif!. ,
Schumann: Quartets 1 & 3
Zehetmair Quartet
ECM New Series 472 169-2
Grieg/Schumann
Piano Concertos
Leif Ove Andsnes
Berliner Philharmoniker;
Mariss Jansons
EMI Classics 7243 5 57562 2 0
Thomas Zehetmair is one of the most
versatile violinists around today. The
Austrian violinist's mastery 9f baroque
period style and the techniques
of contemporary music as well as Every once in a while, a CD comes
the virtuosic romantic repertoire, leads along to dispel all one's preconcephim
to enthrallingly transparent tex- tions regarding the same old familiar
tures and an exciting dynamic edge. warhorses. As luck would have it,
His extensive experience as a con- this brilliant recording of the Grieg
ductor results in a thrilling balance and Schumann concerti came across
among the individual voices that my desk recently. Pianist Leif Ove
make up his tight ensemble. Andsnes, a frequent guest of the
This is one of the finest chamber TSO, is no stranger to Canadian
recordings to come along in a long audiences, especially after his actime.
The four excellent string play- claimed appearances at Vancouver's
ers set up the ideal ofa conversation Chan Centre in January 2002 and
between equally eloquent partici- October 2003.
pants. The sound this group pro- · Both works are respectfully
duces is refined and beautiful. Their treated, with orthodox readings.
pacing is natural yet highly dramat- fiowever, there is a fiery verve here
ic, especially in Schumann's tricky that makes one take notice. Mariss
rhythmic shifts.
Jansons, well known as the "hardest
Schumann's Quartets are complex, working man in classical music"
~ut full of gorgeous melodies and displays a command of the Berliner
compelling rhythms. The Zehetmair Philharmoniker that is nothing short
Quartet captures Schumann's fragile of astounding. I hear an oboe
romanticism, with its poignant un- passage in the Grieg that I don't recall
dercurrent of conflicted yearning. having heard before. With steely
But, in spite of the. weighty rriateri- polish on every line, it nonetheless
al, they produce textures of elegant doe•sn 't seem contrived. The
lightness. The second movement of Steinway Dis remarkably even across
the Quartet No. 1 shows their terrif- the scale, more so than any that I've
ic ensemble work, with breathtak- encountered "in the flesh".
ing clarity in the inner voices. They The recording, production and eneven
manage in the third movement gineering team deserve praise, having
to restrain their intuitive expressive- successfully captured Andsnes and
ness in order to suggest the exquisite Jansons' efforts. The included bookpossibility
of things left unexpressed. let's covering essay o.n the concerti,
The sound is clear, yet richly bur- by Jeremy Siepmann, reads in a
nished. The miking is so close that ll!anner that virtually assumes that
you can hear breathing, but ti} is_ the listener has a previous recording
makes for exciting immediacy. The of the two works. My ancient Grieg/
comprehensive liner notes offer a Schumann Concertos LP with Leon
refreshingly intellectual perspective. Fleischer and George Szell must fi­
Attractive photos are included, but nally take a back seat with the arrivno
biographical material on these al of this CD.
remarkable young musicians.
Pam Marg/elf.
John S. Gray
N O VEMBER 1 ~ D E C EM B E R 7 2003