The Nash Ensemble presented a programme featuring the big Romantic heavyweights, part of its ongoing Wigmore Hall series, that ended with Brahms by way of Schumann and Wagner. We opened with the rather peculiar Andante and Variations, which gave us Schumann in rich and sumptuous mood, tinged with the elegiac.
It’s not an easy work to love, though it does have plenty of strikingly textural moments and the Nash did fine work with what was there. It’s a piece that feels somehow both too full and too empty: on the one hand, middle registers fat with harmonies and warmth from the two cellos and richness of the horn, with yet more thick musical mortar provided by the two pianos. On the other, the writing for the cellos often feels a bit bland, accompanying rather than contributing, alongside some fairly prosaic interjections from the horn. And Richard Watkins’ horn-playing was excellent, thoughtfully balanced where necessary and offering heroic lustrousness in the horn calls dotted throughout, building layers of warmth with the soulful cellos of Bjørg Lewis and Adrian Brendel.
Schumann seemed to have a bit of bother with it himself, reworking it following Mendelssohn’s suggested version for piano duet, which proves more musically incisive. Indeed the piece was at its most animated in the deft rhythmic and lyrical exchanges between Alasdair Beatson and Ian Brown, whose musical dialogue particularly sparkled in the Animato variation. But the piece was redolent of having too much festive Stollen: dense and heavy and smeared with cloying marzipan, with Schumann’s generous portions resulting in something of a musical torpor.
Wagner’s Wesendonck-Lieder followed, performed by mezzo Christine Rice. Wagner is clearly less comfortable setting other people’s texts – here Mathilde Wesendonck’s poetry – and his piano writing feels like the sketches for something that really ought to be filled out by orchestra. We are a million miles away from the expressive economy and intimacy of the great songs of Schubert or Schumann and in want of the self-contained narratives both of them could so brilliantly muster in their songs. What the Wesendonck offer instead are intensely impressionistic, hothouse pictures of feeling, which is fine, but makes them feel both too big and too small as Lieder in their own right.
Whatever the generic and formal ambiguities of the songs, there can be no faulting Rice’s accomplished performance, which invested every phrase with dramatic and emotional intensity. Träume, which Wagner himself described as a study for the great Act 2 duet in Tristan und Isolde, was a particular highlight, floating and soaring alternately; Stehe still! was fierce, psychologically intense, delivered with real bite and heft, offering glimpses of the modernist monodramas like Erwartung that would follow this music in the 20th century. A few early intonation wobbles aside, along with a slight unease about dynamic control, this was a luxury performance.