Nino Rota: Chamber Music

Okay music, not great. Well played. Disappointing though. Rota’s filmmusic is probably his best. This stuff has moments but the undemanding sweetness palls. Sorry, Nino.

Nino Rota is one of those composers who offers such a variety of interesting music, I always enjoy every encounter. And, outside his film music, I rarely hear something of his and immediately proclaim, 'Oh, that's Nino Rota!' He has his own voice, certainly, but it's not easily identifiable as being uniquely Rota. It's just great music - period. This disc is a perfect example. Each work is so different from the others, so masterfully written and scored, and so thoroughly enjoyable, I listened to the entire CD straight through twice! And not for a moment did I feel it was getting to be kind of all the same.And even though my headline singles out Eric Le Sage specifically (and he certainly deserves it), I have to begin with the incredible flute playing of Emmanuel Pahud. If there was ever any question that he is one of the greatest living flutists, this disc confirms it. Beginning with the opening Trio for Flute, Violin and Piano, I was in awe of his playing. The richness of tone; the plump (but incisive) articulation; the breath control; and certainly the effortless and brilliant virtuosity. Just listen to the 3rd movement, Allegro vivace con spirito. I couldn't help but exclaim WOW! when it was done. What utterly fabulous flute playing this is! And not to slight the other two players partnering with him - violinist Daishin Kashimoto is one of my favorite chamber musicians, and, Eric le Sage...well, he simply is beyond words.After being blown away by the performance, I was able to fully realize what an incredibly fantastic work this is. And I suppose it's too soon to praise the recorded sound, and I'll get that more later. But Alpha Classics must take a whole lot of the credit right from the get go. The sound is awesome in every way.Two short piano solo interludes take us next to a charming little woodwind quintet, Piccola, followed by the more famous Nonetto. I've always admired this piece, but never more so than here. There is a spontaneity and energy that is rarely heard on record. Youthful exuberance is probably the best way to describe this performance.The Trio for Clarinet, Cello and Piano brings a bit of respite from the high energy, with Paul Meyer's melodious clarinet tone, gorgeously dark and wooden, closely matching that of cellist Aurelien Pascal. A touch more richly Romantic in flavor, the piece is simply glorious, and I smiled at the unmistakable spikiness of Shostakovich in the Allegrissimo. The program then ends (rather oddly) with two more miniatures for solo piano from Le Sage.Revisiting a similar collection on a 1996 BIS CD affirms the superior playing on this Alpha Classics release. While the older BIS is just fine, in comparison it is merely serviceable - musically and technically. I was shocked to hear how earthbound and pedestrian it is, lacking the verve and flair found on the Alpha Classics. And no offense to Sharon Bezaly, but she is simply no match for Emmanuel Pahud, at least in this repertoire.Finally getting back to the recorded sound. This is yet another CD from Alpha Classics which has greatly impressed me recently. The first was the Faure chamber music set. For Rota, the sound is a little different from the Faure. It is more upfront and bold (but not forward) - immediate, well focused, warm and colorful, and providing tremendous impact and presence. The players are spread out in front of the listener, where the intake of breath is easily heard and the experience is one of great realism. It's appropriately a little more intimate a setting than in the more spacious Faure.All in all, the I simply can't say enough good things about this CD. It surely is one of my favorites so far this year. Do not miss it!