Elgar • Sammons Elgar: String Quartet; Piano Quintet; Sammons: Phantasy Quartet Tippett Quartet; Lynn Arnold (piano) Dutton Epoch CDLX 7406 (CD/SACD) 76:19 mins
The excellent Tippett Quartet have of course recorded the Tippett quartets and plenty of other 20th-century British works besides. Elgar’s chamber music up to now has been an obvious gap, splendidly filled with these sumptuous, caring and lively accounts of two key works from the composer’s sudden flourish of autumnal pieces written during the final weeks and aftermath of World War I. The players’ sharp ensemble sense is particularly strong in the tautly argued allegro opening the E minor String Quartet, where precise interplay between the four instruments is vital. But they’re equally alert to the reflective strands woven within and the relaxed, drowsy beauties of the slow movement (nicely compared by Elgar’s wife to ‘capture sunshine’). Only the finale’s jollifications slightly disappoint.
On then to the grander A minor Piano Quintet: over half an hour of shifting moods. The piano part is well embedded, never taking a solo spin in textures as fluid in movement as anything written by Brahms. Pianist Lynn Arnold’s light touch and dappled colours suit this music extremely well. The string players are equally fleet, whether Elgar is reflecting noble melancholy, striding confidence, or tremulous unease.
After that, serving as an encore, comes the intricately-worked 1915 Phantasy Quartet by the violinist-composer, and Elgar champion, Albert Sammons. This gives tonality a few interesting tweaks and never stops being a nine-minute delight. The welcoming church acoustic of the recording venue adds another level of pleasure to the Tippett Quartet’s musicianship. A richly rewarding album.
Geoff Brown