Both Amy Marcy Cheney Beach and Florence Beatrice Price are finally getting the recognition they deserve, at least in terms of recordings, over the last few years. These two female composers have been undoubtedly overlooked; this release showcases their finely composed and first-rate chamber music. The 2 piano Quintets bookend Samuel Barber’s compact chamber work — ‘Dover Beach’, in a release Chandos have entitled ‘American Piano Quintets’.
Any album entirely of twentieth-century American chamber music would be considered adventurous, but for an ensemble making their debut, this is certainly a risky proposition. This carefully programmed release by the Kaleidoscope Chamber Collective makes an immediate impact, not just for the unorthodox repertoire but also for the execution and playing of this ensemble.
Stylistically, both Beach’s and Price’s quintets are late-romantic. Beach’s quintet in f-sharp minor of 1907, is luxuriously rich and emotionally adventurous work, set in the shadows of formidable Viennese composers. Exhibiting the influences of Brahms and Schumann — especially in the piano writing, the work has some expressionistic harmonic moments similar to that of Zemlinsky and Schoenberg. Price’s quintet, of which this is its premiere recording, is considered to date from c.1935, although the precise date of composition is unknown. Harmonically not as dense as Beach’s, parallels can be drawn with the significant American composers Edward MacDowell and Aaron Copland.
Both the Beach and Price require a subtle approach to bring out the emotional content fully, a feat the Kaleidoscope Chamber Collective achieves admirably. Their tempo choices are strong and contrasting, without being extreme. The languorous melodies are treated vocally; phrased with shape and interest, and with subtle changes of color well-executed.
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The musicians are extremely sensitive to the roles each one has. Pianist Tom Poster is exceptionally sympathetic, keeping a respectful distance when his role requires it. In the higher registers of the piano, he balances the tone as to not overpower the softer and more muted strings in the quieter passages. In the midst of sonorous string textures, violist Rosalind Ventris, comes to the fore at key moments.
From the opening notes of the Beach they capture the etherealness of this music with conviction. The subtlety with which the strings change the tones is delicate, along with some exquisite and intrinsically shaped phrasing. The strong chemistry becomes obvious throughout the works’ many emotional and harmonic turns, the musicians respond to each other sensitively, but manage to maintain a carefully tempered balance.
The second movement of the Beach is the highlight of the album. The sheer tender gentleness they play with is utterly beguiling. The melody wherever it appears is treated with respect and the cantabile tones become almost vocal, echoing a Mendelssohnian Song Without Words.
The outer movements of the Price quintet are played with insight, and the respect the Kaleidoscope Chamber Collective have for this music is immediate. The slightly less conventional third movement — ‘Juba’, in place of the scherzo, is not stylistically consistent with the rest of Price’s movements. The Kaleidoscope Chamber Collective play this with utter precision but this is slightly too rigid, missing freedom and spontaneity. The final movement is emotionally intense, driven and impactful.
Bass Matthew Rose joins the strings in Barber’s unusual ‘Dover Beach’. Joining just the strings of the Kaleidoscope Chamber Collective, this short piece is given a foreboding performance. Rose’s diction is clear and conveys the text with conviction. Comparatively Kitty Whately and the Navarra Quartet evoke the same ambiance, but her mezzo voice brings a different quality to the delivery of the text.
Beach’s Quintet was recently recorded by Garrick Ohlsson and the Takács Quartet, a more forthright performance and an intriguing listen, with grander musical personalities. The Kaleidoscope Chamber Collective are more refined, finding a more sensitive, but less virtuosic quality. Both approaches are excellent and well worth hearing.
Recorded in Potton Hall, Suffolk England in September 2020, the Chandos engineers — who are so familiar with this venue, have created another judiciously balanced recording. The acoustic gives a gentle ambiance, without being overly resonant. The booklet is informative and does justice to this exceptional release; not only does it champion two underestimated composers, but it also showcases the sensitive musical chemistry of the Kaleidoscope Chamber Collective, who are certain to be an ensemble to watch.
“American Quintets”
Amy Marcy Cheney Beach – Quintet, Op. 67
Samuel Barber – Dover Beach, Op. 3
Florence Beatrice Price – Quintet
Kaleidoscope Chamber Collective
Matthew Rose – Bass
Elena Urioste – Violin
Melissa White – Violin
Rosalind Ventris – Viola
Laura van der Heijden – Cello
Tom Poster – Piano
Chandos Records, CD CHAN 20224
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