Quintettes pour piano

Description

Two years ago, the Pavel Haas Quartet drastically revisited Smetana's two quartets. Today, they return to Dvořák, illustrated in their early days with Supraphon and in their first formation, but this time through the roundabout path of two quintets. Is this a way to reclaim the chamber music of the composer of Rusalka by not immediately returning to the quartet format? It's likely. Their sound blend with the concert grand piano of Boris Giltburg draws the dark poetry of the Quintet in A minor towards Brahms, chamber music disguised as symphony, with an unstoppable expressive intensity and a devastating gesture (the storms of the Allegro ma non tanto have never suggested so much), and an irrepressible agogic. And what if this were the great modern version that the work hoped for? Its radical tone and expressionist accents are found at the same level of intensity in the shadowy Quintet for two violas in E flat, the most secret work from the American period, a melancholic and dark pastoral where spectral murmurs are heard in the Larghetto. Joined by the bright viola of Pavel Nikl, the Pavel Haas Quartet broadly sings its landscapes between Eden and desolation, giving its intense writing prophetic accents. Quickly, a sequel.