A new review from the popular website MusicWeb-International for our debut CD from critic Steve Arloff. The disc has been selected by MusicWeb as a RECORDING OF THE MONTH for October, 2012.
The complete review follows below, but shouldn’t you go ahead and order the CD first?
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It seems that at last the star of Hans Gál is in the ascendant with symphonies (2;3;4), hisviolin concerto,cello concerto,cello works,violin and piano works,piano trios,piano duosand piano solo music (reviewreview), to name a few, being released in recent years. This is a vast improvement upon the situation that pertained only in 2001 when there were but three works by him that could be found on disc; today the total tops 40.
Born in Vienna of Hungarian Jewish extraction Gál not surprisingly left Germany where he had worked as Director of the Conservatory in Mainz after he was dismissed by the Nazis and his music was banned. First he returned to Vienna until Austria was annexed by Hitler in 1938 then he came to the UK though he had a hard time of it with a wife and two children and no immediate job. In May 1940 he was incarcerated due to the panicky atmosphere that pertained in Britain at the time, firstly in Huyton then in the internment camp in Douglas, Isle of Man. Though Gál was not classed as a category A alien all of whom were detained when war broke out, Churchill’s edict to “collar the lot” following the fall of France led to category B aliens and a large percentage of category C being arrested too, adding up to a total of over 27,000 internees. It is ironic that Jews who were the most obviously sympathetic to the Allies should have been included in this sweep. Eventually the folly of this policy was recognised and Gál and many others were released after a few months. For most of his long life he resided in Scotland where he added to the rich musical life there working at Edinburgh University until well beyond retirement age.
Gál’s Serenade in D Op.41 dates from 1932 and is a most delightful work full of free-flowing melodic lines with an upbeat Haydnesque beginning that belies what’s to come which is altogether more contrapuntal but still of a generally whimsical character and the first movement fairly skips along its ten minute length. Gál certainly knew how to write a good tune and wasn’t afraid to do so at a time when the avant-garde brigade were flexing their musical muscles and when to be experimental was deemed to be de rigueur. Though modern in character this music is totally beguiling and the main theme will easily become one of those little worms that play themselves over and over again in your mind and soon have you convinced that you’ve known it for years despite it being a world première recording. The second movement marked Cantabile. Adagio is a heartfelt, beautiful little tune that while darker is so gorgeously lush that it will still cause you to smile with delight. The main theme which is introduced by the violin is taken up at the close by the viola against a wonderfully rich background. The Menuetto is back to the Haydnesque style of the opening movement with the cello playing a significant role in conversation. The violin hovers above it in canon and one is tempted to speculate that Papa Haydn himself would have heartily approved of its inventive character. The final movement Alla marcia is another wonderfully melodious and brilliantly scintillating piece of writing. All kinds of clever musical devices propel things along and the work finishes with a flourish.
Gál’s Trio Op.104 was composed almost forty years later in 1971 to a commission from the London Viola d’Amore Society and the version here for a conventional trio was written at the same time. It is a work that is altogether darker in mood than theSerenadeas perhaps is to be expected from a composer of over 80 as opposed to one of 42. In any event it is another example of this highly individual and marvellous composer who appears never to have been at a loss to come up with fabulous tunes that win the listener over on first hearing. While the opening Tranquillo con moto in dark and deeply reflective the Presto is light and humorous. It dances along its short length and leads into the finale Tema con variazione with seven distinct sections. The players’ cellist Kenneth Woods wrote the notes. He has perfectly captured the essence of this last movement which, as he puts it, incorporates “recurring cycles of despair and hope, without Gál ever tipping his hand as to whether the work is likely to end in darkness or light”. He explains further that Gál’s solution is to “avoid a resolution entirely” by concluding with an Alla Marcia in humorous mode. This alludes to the fact that whatever happens, life marches on and “The cycle of tragedy and hope is eternal, the root of all human comedy…” What better way to look at life and to share that outlook with others in musical terms that are so unambiguous.
The two other works on this disc are by a composer from the same era, the same part of the world (central Europe), and the same Jewish heritage, who suffered the fate that Gál undoubtedly would have done had he not come to Britain when he did. Hans Krása was also sent to an internment camp and the insert in the CD shows a photo of each composer alongside their camps. However, Krása ended up in Terezin in the north of his native Czechoslovakia where he was active in the busy musical life that pertained there and like other composers confined there wrote several works in these inauspicious surroundings. Then in October 1944 he was moved to Auschwitz along with fellow composers Gideon Klein, Viktor Ullmann and Pavel Haas, where he was sent to the gas chambers just two days after his arrival. I find the thought of the deaths of these highly talented composers almost unbearable, particularly when I hear their music and imagine what other joys they would have brought to the world had they lived. Whilst rejoicing in the life of Hans Gál who lived to the age of 97 and whose music developed over a long and productive life it is heartrending to listen to the music of Krása who died at 45. Both works here were written in his final year. Krása, in common with his fellow composers in Terezin, refused to allow their Nazi captors to crush their spirit. These works are defiant responses to the madness that The Third Reich unleashed upon the world. In Tanec(dance) which title belies its content which is savage and biting, there are evocations of trains that contrast feelings of nostalgia with overt menace. I was reminded of Steve Reich’s Different Trains and am pretty sure that Reich may well have drawn inspiration from this work for his own. There is so much said in such a short piece it is quite overwhelming. In Passacaglia and Fuga, Krása’s last completed work, he expresses himself so profoundly it is enough to make you weep. Kenneth Woods’ excellent notes explain the musical structure perfectly which enables the listener to get so much more out of the music than they would without them. I’m not going to try to paraphrase or come up with my own interpretation which I couldn’t do in any case but will quote his summing up of the work as “…discussion degenerates into argument and argument descends into violence.” Who can wonder at such musical thoughts when you are knowingly heading for extermination for being born something your captors will not tolerate.
The disc leaves you feeling profoundly moved as well as drained and I can hardly imagine how it must feel to play such music. This is an extremely important musical document on all counts as it introduces us to two hitherto unrecorded works by a great 20th century composer who exposure has at last revealed a huge talent and two works by a wonderful composer whose creative genius was snuffed out in his prime.
The Ensemble Epomeo play all four compositions with huge commitment and brilliant flair revealing every nuance in four wonderful works for string trio. These can sit alongside anything written in this genre.
In every way this is a fantastic disc that listeners will want to hear again and again.