Richard Strauss (1864-1949)
Piano Quartet in C minor, Op. 13, TrV 137 (1885)
Metamorphosen Trv 290 (1945)
Trio Arnold
Manon Galy (violin), Grégoire Vecchioni (viola), Aurélien Pascal (cello), Laurène Durantel (double bass), Nathanaël Gouin (piano)
rec. live, 3 November 2023, Théâtre de Coulommiers, Seine et Marne, France
B Records LBM060 [67]

This live recital presents two works by Richard Strauss separated by sixty years. He first conceived of Metamorphosen as a septet during the early years of WW2, but it is now most often played in its completed version for twenty-three strings. However, his short score of it, dated March 1945, was rediscovered in Switzerland only in 1990, from which Rudolf Leopold made the septet version published in 1996. It has not had that many recordings but in my survey I recommended the Brandis Quartet’s 1998 release as the best. The Piano Quartet comes from the beginning of Strauss’ career, written when he was only twenty; it clearly evinces the influence of Brahms and was warmly received.

Indeed, nothing about its first movement would alert even the most knowledgeable and attentive of listeners to its being by the eventual composer of Elektra; from the opening its falling and surging melodic line breathes pure Brahms at his most genial. It is more of an homage than a parody – and the complexity of the piano role makes one appreciate what a fine pianist the young Strauss must have been – he was one of those who gave the Weimar premiere. The spritely Scherzo is amusing but not especially memorable. The Andante is again highly polished, broad and handsome, but without the invention of the more mature Strauss. The finale has a fierce, fluent, moto perpetuo feeling about it, requiring great dexterity and cohesion among the players – although, again, it is more impressive than engaging; it receives warm applause, included, and it sounds as though the performers lead straight into the mature work with scarcely a break.

My first impressions on an initial listening to their Metamorphosen were that in comparison with my preferred version by the Brandis, the tempo was a mite lugubrious, even in such a melancholy piece, and indeed this ensemble takes more than three minutes more over the work – but they play with great feeling and homogeneity, even if sometimes they sound rather “careful” and comfortable in their phrasing. For all their virtuosity, I miss something of the underlying tension and desperation present in less measured accounts; for example, the repeatedly struck chords heralding Strauss’ long lines need more attack and the pause and reprise at precisely twenty minutes are a little tame.

There is a respectful pause before more enthusiastic applause. I am sure that being present at this accomplished concert was highly enjoyable but ultimately I miss in it the last degree of passion this work demands.

Ralph Moore

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