Concerto No. 1 for Piano, Trumpet and Strings, opus 35; André Jolivet: Concertino for trumpet, strings and piano; Concerto for trumpet and orchestra No. 2; Edison Denisov: Con Sordino for trumpet and piano; Jaan Rääts: Concerto for trumpet, piano and strings, opus 92§.
Lutz Köhler, Deutsches Symphonie-Orchester Berlin, Reinhold Friedrich (trumpet), Thomas Duis (piano).
Capriccio 10 575. DDD. TT 67:20.
Recorded 21-25 August 1995 & 10-11 June 1996, Jesus-Christus-Kirche, Berlin-Dahlem.
§World première recording.

With such a prominent trumpet role, it is unjust that Opus 35 is usually referred to as simply the "First Piano Concerto" - and it makes sense to include the work in a compilation such as this in which the trumpet and not only the piano is the featured instrument.

Still, it is the pianist that is the best part of this performance. Duis' playing is sure-footed, with especially fine dynamic control. While Friedrich equals current rivals in the first two movements, I was disappointed by the strain apparent in the crucial parting flourishes of the third movement; and surprised, given Friedrich's ample power in all other works on this disc. It should also be said that there is very little humour in this reading, the decision seeming to have been to emphasise darkness wherever it lurks. This naturally works best in the second movement, both Duis and Friedrich blowing in cloudier weather than forecast. The orchestra are not as manoeuvrable as they might be, skidding off Shostakovich's slippery corners more than once. On top of this imperfect ensemble, orchestral violin tone is rather thin and wheezy.

The notes state that Friedrich and Duis were the first to record the Estonian Jaan Rääts' Concerto for trumpet, piano and strings, but not that this is said première recording. In the absence of any indication I can find otherwise, however, the première this is. It's a polystylistic single-movement work in which the relationship between instruments is democratic. Sadly this does not translate into a synergistic relationship, and while I found the driving string parts instantly attractive, the trumpet's role seems almost an afterthought. Whatever the merits of the music itself, there's no denying that Friedrich plays his part superbly, with rich, muscular tone.

Edison Denisov's Con Sordino from 1995, dedicated to Friedrich, spotlights the ethereal potential of the trumpet. It's a paradoxical piece; less than seven minutes in duration yet pregnant of utterance; intricately branching while retaining the pungent directness of haiku. The trumpet's role here is of Unanswered Questioner, while, in the background, note clusters on the piano feather out like frost on a windowpane. The work is minimalist in the manner of Olivier Messaien's introspective interrogations.

Unlike the Russian Denisov, André Jolivet actually was a fellow-traveller with Messaien in the "Jeune France" group, but the two works of his on this compilation are more akin to Darius Milhaud's irreverent style. His Concertino for trumpet, strings and piano from 1948 provides dazzling detail work for the trumpeter. Its opening section is an in-your-face exercise in the avant garde, though the second movement, marked Meno vivo, briefly touches a Shostakovian melancholy before moving without pause into a garrulous and brassy third movement.

To be honest, I found the Concertino to be more of a showcase for a variety of brass effects than a musical invention of much consequence, and the same is true of Jolivet's Concerto for trumpet and orchestra No. 2 of 1954. Opening with amusingly rude waa-waa effects (covering and uncovering the bell of the trumpet), the first movement is another seemingly improvised frolic. The slow second movement hybridises Blues with traditional classical form. The third movement is perhaps the most interesting, with bizarre percussion effects, and rhythms and colours one would normally associate with a jazz band.

This album is easily recommendable to trumpet aficionados, but I think not to most Shostakovich collectors.

W. Mark Roberts
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