Reynaldo Hahn (1875-1947)
         Chamber Music

Sonata in C major for Violin and Piano (1926 - 20:12)
Soliloque et Forlane for Viola and Piano (1937 - 7:42)
Nocturne in E flat major for Violin and Piano (1906 - 5:30)
Romance in A major for Violin and Piano (1901 - 4:27)
Piano Quartet No. 3 in G major (1946 - 21:57)
Si mes vers avaient des ailes (1888 - 1:53)
(Song transcribed for Cello and Piano)

Room-Music:
Stephen Coombs, piano
Charles Sewart, violin
Yuko Inoue, viola
Philip de Groote, cello
Recorded in Henry Wood Hall, London, May 2003
Released March 2004
Hyperion CDA67391 [62:01]

Most of Reynaldo Hahn's compositions share some common traits that
definitely apply to the works on this new chamber music disc on Hyperion:

1.  Hahn was a gifted melodist and excellent musical architect.  In
effect, he was born to write music.

2.  Hahn's is 'feel good' music in the best sense and steeped in the
environment of the salon.  In meteorological terms, the clouds do sometimes
hover but are always swept aside by high pressure systems - the barometer
is rising.

3.  Emotional restraint is prevalent and subtlety abounds.  It reminds
me very much of the British 'stiff upper lip' stereotype.

4.  Nostalgia is a common theme.  This effect does not involve remorse,
but a warm feeling that flows through the body when remembering events
and people of your past.

5.  The lyricism seems to be effortless, rhythms are supple, and Hahn's
music has an inner glow even when he's in a melancholy state.

6.  Hahn does not blaze new trails, being wedded to the traditions of
the 19th century.

According to the liner notes, "Room-Music is a consortium of internationally
acclaimed musicians who wish to perform and explore chamber music in a
flexible and innovative form".  If you know what that means, please clue
me in.  The main thing is that each of the performing artists on the
disc plays splendidly, and they sound like a group that's been together
for years.

The program begins with the three-Movement Sonata in C major for Violin
and Piano.  The 1st Movement is in sonata form and has two primary themes:
the first theme is a lovely one having a wonderful blend of energy and
repose, while the second offers a slower tempo and a little angst for
contrast.  The 2nd Movement Scherzo finds the violin and piano taking
turns scurrying all over the terrain, interrupted by a slower and softer
central section with the violin playing the melody high above an undulated
piano.  In the 3rd Movement, a gorgeous melancholy takes hold of Hahn,
but it disappears when the opening theme of the work returns; at the
end, everybody's satisfied.  Not a masterpiece by any means, the C major
Sonata is thoroughly enchanting and represents vintage Hahn.

The Soliloque et Forlane's first subject is a highly nostalgic and lovely
Andante followed by a frisky second subject marked "Allegro scherzando".
The next two pieces, the Nocturne and the Romance, are permeated with
the inner glow I mentioned earlier in the review.  The shortest piece
on the program is Hahn's transcription for cello and piano of a song he
wrote at the age of thirteen.  Although having its obvious limitations,
Hahn at a tender age is already showing his penchant for gorgeous melodies
and naturally flowing lines.

The other major work on the disc in addition to the Violin Sonata is the
four-Movement Piano Quartet in G major.  Being written in 1946, you might
expect to hear something that rings of 20th century trends in musical
aesthetics.  Well, you won't get any appreciable degree of the 20th
century from the work, although the 3rd Movement Andante does involve
some inventive harmonic terracing.  The 1st Movement is a moderate Allegro
with some high drama in the central section, and the 2nd Movement Allegro
assai continues the dark outlook.  As always with Hahn, good cheer is
the mood of the day in the 4th Movement.

Getting back to that 3rd Movement Andante, it is the most impressive
music on the disc.  Although there is a central section of some angst,
the prevailing emotional foundation is one of repose and contemplation.
Enhancing this state, Hahn offers harmonic terracing where the music
softly attempts to find its natural resting spot.  The Andante is drop-dead
gorgeous and not to be missed.

Recorded quality is outstanding.  Each instrument is boldly projected,
and their blending is unanimous.  No matter where the audio controls are
set, Hahn's music beguiles this listener.

Don's Conclusions: There aren't a wealth of Reynaldo Hahn chamber music
recordings, so each new one deserves investigation.  This private detective
has found the new Hyperion disc excellent, and it may be added to a few
others that offer prime-time Hahn in agreeable performances.  Of special
note is an Auvidis/Valois disc (V 4848) of Hahn's Piano Quintet and the
two String Quartets played by the Quatuor Parisii with Alexandre Tharaud
on piano; this is a knock-out disc that would well complement the new
Hyperion.

Sticking with Hyperion, Hahn's Piano Quintet is paired with the tragic
Piano Quintet of Louis Vierne; this is also a great recording (Hyp.
67258).  Finally, I read a glowing review of a Maguelone disc having
Hahn's Piano Quintet and the Violin Sonata; the catalog number is 111.107.
I have not heard the disc and never heard of the record label, but I do
know that it can be purchased through MusicWeb.

That's about it.  Reynaldo Hahn represents the best of the lighter side
of classical music, and the new Hyperion disc and could be the perfect
ornament to a candle-lit dinner with romance on the mind.  It also sounds
good under alternative scenarios.  The most important consideration is
that those folks who think of Hahn as nothing more than a fine spinner
of songs need to hear his chamber music which is of equal artistry.
Concerning Room-Music, this group needs to get a new name; you never
know when they might have to play music requiring more spacious
accomodations.

Don Satz
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