Recorded in Canada, 5-7 May 2007, this disc brings together virtuoso Yefim Brofman with selected members of the Zukerman Chamber players in genial collaboration in two refined staples of the repertory. The Schubert “Trout” Quintet has Bronfman’s aggressive style turned inward, as it were, so his natural polish and smoothly articulated pulse integrate themselves thoroughly in the fine skein of Schubert’s lyrical outpourings. Several times in the course of the A Major Quintet, the colloquy between Bronfman and cellist Amanda Forsyth commanded rapt attention, especially as the composer’s facile, vocal counterpoints compel our admiration. So, too, Joel Quarrington’s doublebass part maintains its own space in the midst of the instrumental voices, much as Julius Levine dominated his part in “Trout” recordings a generation ago. For all of the spectacular coordination among these musical equals, the tenor of the whole remains remarkably subdued, as in even the more audacious of the variants of movement four, where quick fleetness of articulation rules. The whole piece passes so smoothly and elegantly before our auditory purview that the only recourse is to repeat the disc to relive its many delights.
It is always curious to note which musicians favor the darkly tragic G Minor Piano Quartet of Mozart or the more relaxed 1786 E-flat Piano Quartet, whose subtleties move effortlessly when approached by four conscientious professionals. The last movement of the Quartet, particularly, offers the piano solo a rich vehicle for bravura display, the concertante nature of the writing easily evoking comparisons with several of the late piano concertos. The palpable presence of cellist Forsyth directs our ears to the fluent, vocalism of Mozart’s expressive line. The viola line, too, yields some fascinating harmonic interest to the development of the last movement. As in the Schubert, light hands dispel all thoughts of gloom and mortality. Good-natured from first note to last, this album distinguishes itself in the maturity and musical balance of its principals who embrace these works so seamlessly as to appear “invisible.” Not just another fish in the glutted stream!
–Gary Lemco
