CHAUSSON'S CONCERT for piano, violin and, string quartet is one of the most extravagant chamber works of the late 19th century. It's more than just the matter of the unusual opulence of the instrumental resources, the pseudo-orchestral string parts, or the extraordinary elaboration of the piano writing. The composer shows a fondness for the ornate which can render the prevailing melancholy of his expression rather too stifling.
As no less a figure than Debussy chided him, "You bring such heavy pressure to bear on your musical ideas that they dare not present themselves to you in their natural guise for fear of, not being suitably dressed.
The audience at Bantry House for the final concert of the West Cork Chamber Music Festival last Saturday made as light of the work's challenges as the performers, responding enthusiastically to Chausson's indulgences, which were relayed with evident relish by Barry Douglas, Anthony Marwood and the members of the Parisii Quartet.
The musical contrast with the closing work of the festival could hardly have been greater. Schubert's sublime String Quintet has not a note too many. Here, cellist Robert Cohen (in his best form of the festival) joined the RTE Vanbrugh Quartet for a performance which, although, the greatest musical weight is in the first two movements, seemed to grow in stature as it progressed.
The Bantry festival is a bright new beacon on the music scene in Ireland. The targets it set itself in its first year were daunting. It opted to build a programme of 14 concerts and three master classes around residencies by performers of international standing who were called upon to rehearse and perform together in no less than 12 different instrumental combinations.
