Andrew Palmer, Group Editor

Classical Music: Robert And Clara Schumann Works For Oboe And Piano

Robert And Clara Schumann Works For Oboe And Piano

Robert Schumann: Abendlied, Op. 85 No. 12; Fantasiestücke, Op. 73; Adagio und Allegro, Op. 70; Drei Romanzen, Op. 94; Fünf Stücke im Volkston, Op. 102 Nos 2 – 4); Mondnacht, from Liederkreis, Op. 39 No. 5; Three Duos (arr. Howard Ferguson).
Clara Schuman:Drei Romanzen, Op. 22

Nicholas Daniel oboe & Julius Drake piano
Chandos CHAN 20295

chandos.net


Two notable musicians have thoughtfully curated this lovely album, offering a delightful potpourri of wonderful gems from the pen of Robert and Clara Schumann.

Nearly all are arrangements, including Nicholas Daniel's rendition of Clara Schumann's Drei Romanzen Op 22 for violin and piano. The only works originally composed for the oboe in this collection are the Three Romances, Op. 94.

Together, oboist and pianist present a highly satisfying disc with a delectable sensitivity.

Between them Daniel and Drake perform with finesse as they make every phrase work to show off the Schumanns’ lyricism. The chemistry between the performers gels, regardless of the original instrumentation, whether voice, horn, clarinet, violin, or cello.

All the arrangements are adroitly tackled, particularly Howard Ferguson’s The Three Duos for pedal piano; they work really well. I remember regularly playing the second duo as an organ voluntary. Stephen Johnson points out in his excellent notes that these ‘studies’, exercises in neo-Bachian counterpoint, yield surprisingly romantic results. Schumann is beginning to recover his own voice.

At the time these pieces were written, there was a rapidly growing interest in amateur music making in the home, fuelled by a burgeoning middle class. The array of works published for this market included significant contributions from Brahms, Schumann, and Mendelssohn, and it was common practice to substitute parts for available instruments.

Daniel has a thorough understanding of his instrument and is aware of how others will react to it. As a result, he can skilfully pick the tempo.

Drake masterfully and effortlessly accompanies Daniel, capturing every nuance in all the emotions.

The notes rightly state that the program is not only musically rewarding in its own right but also in keeping with what the Schumanns would have considered normal practice.

The presentation of the program is flawless and appealing.