Some New Releases (CD/SACD Mini-reviews)

By Karl W. Nehring

With COVID-19 still ravaging central Ohio, the library is
still restricted to drive-through service, but that has not prevented me from
auditioning some new discs, so allow me to offer some more abbreviated reviews
of what I have been able to sample lately in hopes that you might see something
that sounds as though it would be worth an audition in your listening room.
Enjoy!

Balada: Works for Clarinet.  Ivan Ivanov, clarinet. Naxos 8.579056.

This program of chamber music by Spanish-born American
composer Leonardo Balada (b. 1933) is fairly “modern-sounding” music, probably
not for all tastes, but there are some wonderful passages that should bring a
smile to those who, like yours truly, are a fool for a clarinet. The program
opens with Caprichos No. 7 “Fantasies of La Tarara” from 2009, a chamber
concerto for clarinet and instrumental ensemble, which on this recording
comprises two violins, a cello, piano, and percussion. Ivanov explains in the
liner notes that “caprichos” does not have the same connotation as the
typically light-hearted “capriccio,” but rather is “closely associated with the
series of etchings of that name by Goya… (that) harshly critique life in late
18^th and early 19^th century Spain, and do no shy away
from depicting poverty, corruption, superstition, violence, and, most famously,
the horrors of the 1810 Napoleonic invasion…” Yes, the music does get pretty
intense. The shorter Caprichos No.7, also from 2009, is for clarinet and
piano, a brief piece in four short movements with titles that in English are
“Anger,” “Tears,” “Anguish,” and “Shivers.” Nope, not exactly light-hearted,
but fascinating musically. The disc closes with Balada’s Double Concerto for
Oboe, Clarinet and Orchestra, a 2010 composition that is performed here in
a 2012 version for flute, clarinet, and piano. It is a 19-minute piece in one
movement that offers passages of challenging intensity along with more
lighthearted moments verging on playfulness. Again, this is not a not a release
I would recommend to everyone, but if you have an adventurous ear – and
especially if you are a fan of the clarinet – you might want to give it a
listen.

Shostakovich: Cello Concertos. Alban Gerhardt,
cello; Jukka-Pekka Saraste, WDR Sinfonieorchester. Hyperion CDA68340.

Russian composer Dmitri Shostakovich (1906-1975) gifted the
musical world with many wondrous works, among them these two remarkable cello
concertos. Cello Concerto No. 1 from 1956 consists of four movements,
marked Allegretto, Moderato, Cadenza, and Finale: Allegro con moto. I can’t
resist quoting the liner notes about the way the concerto begins “with a fast,
pithy four-note theme (marked piano) from the soloist, answered by a brief
military tattoo from the orchestra. No previous cello concerto had ever opened
like this, and the music’s fast, nervous pulse never slackens in this buoyant
and colourful movement…” The piece really does grab the listener right from the
git-go, especially when performed and recorded as remarkably as it is on this
Hyperion release. In contrast, Cello Concerto No. 2, completed in 1996
when the composer was in ill health, is more somber and reflective, but
despairingly so. It is scored for a larger than normal orchestra, but those
forces are not unleashed all at once; rather, it sounds almost more like a
piece for cello and chamber orchestra. The closing measures are haunting. The
music just seems to drift away and disappear in the space of a few measure, a
truly remarkable effect. Cellist Alban Gerhardt has some interesting things to
say in his liner note essay (especially noteworthy are his remarks about
Rostropovich), and he has certainly given us a masterly interpretation. My
long-time favorite recording has been a 1990 RCA recording featuring cellist
Natalia Gutman with the Royal Philharmonic Orchestra with conductor Yuri
Temirkanov, but I have found this new Hyperion release to sound appreciably
better, lacking the slight glare of the older recording, not to mention that
Gerhardt’s playing is completely convincing. Once I can no longer renew my copy
from the library, I may well look for a copy to purchase for my personal home
audio library. I guess that must mean I recommend it highly…

Roger Eno and Brian Eno: Mixing Colours. Roger Eno, keyboards; Brian Eno, programming
and sound design. Deutsche Grammophon 483 777 1.

Most classical music
fans probably have no idea that Brian Eno was a co-founder of the glam-rock
group Roxy music, or that he served as a producer of albums by U2, Talking Heads,
James, and Devo; however, some may remember that he was a pioneer of ambient
music who actually coined the term in his liner notes for his 1978 album Ambient 1: Music for Airports. In 1983, he and his brother Roger Eno, along
with Daniel Lanois, recorded the album Apollo: Atmospheres and Soundtracks, music
from which has been featured in several films. Now at long last the brothers
Eno have made an album together, Mixing Colours (more information here), which straddles the
line between ambient music and electronica, but which does not seem all that
far removed from what might be considered “classical” keyboard music along the
lines of some of the piano pieces of Pärt or Silvestrov. Its 18 selections
encompass 75 minutes of reflective music, interesting enough to capture the
imagination but relaxing enough to serve as background music for reading,
cooking, working out, or whatever. Be forewarned, however, that it is cut at a
pretty high level, so be sure to turn the volume down before pushing the PLAY
button. (By the way, there is also now available an expanded version that
includes 25 tracks, but I have not auditioned it.)

GoGo Penguin. Blue Note B003198202.

GoGo Penguin is an English jazz trio consisting of pianist
Chris Illingworth, bassist Nick Blacka, and drummer Rob Turner. Their music is
reminiscent of the late lamented Esbjörn Svensson Trio, jazz with an
adventurous energy informed by a rock-reminiscent vibe and overlaid
occasionally with electronica, a kind of 21^st-century Keith Jarrett
Trio had Keith at some point started listening to a lot of Radiohead. I hope
that does not make them sound too crazy to appeal to either classical or jazz
fans, for this really is an enjoyable recording, their best yet, with energy
and imagination in abundance but never taken over the top.

Michael Hoppé: Peace and Reconciliation. Sedona
Academy of Chamber Singers, Ryan Holder, conductor; Tetra String Quartet.
Spring Hill Music SHM6076.

I had no idea what to expect from this one, having never
heard of either Michael Hoppé or the Spring Hill label, but when I gave the CD
a listen it proved to be a delightful surprise. The Requiem for Peace and
Reconciliation for choir and string quartet is a beautiful composition, and
this arrangement works really well in establishing an intimate, reverential
tone. It turns out that Hoppé is a composer more on the New Age side of things
who has released 30 recordings during his career, but this particular release
is decidedly “classical” in its form. The liner notes tell quite a story about
how the piece came to be and what it signifies, which you can read more about here. If
you are a fan of choral music, this release is well worth seeking out.

Bonus Recommendation:

The book Leading Tones
by American conductor Leonard Slatkin (published in 2017 by Amadeus Press,
ISBN 978-1-4950-9189-6) contains a bit of this and a bit of that, including
sketches of some of his favorite musical figures, remarks about some of his
favorite compositions, some stories from throughout his career, some insights
into labor negotiations, some thoughts about music critics, and even some
jokes. Nothing in here is especially in-depth or profound, but if you are a fan
of classical music, you will find much to inform and entertain you. Slatkin
turns out to be an interesting writer as well as a gifted conductor.

KWN

Beethoven: Violin Concerto in D major (CD review)

Also, 2 Romances. Midori, violin; Daniel Dodds,
Festival Strings Lucerne. Warner Classics 0190295179205.

By John J. Puccio

It still seems like only yesterday to me that violinist
Midori Goto (b. 1971) made headlines after a surprise appearance at Tanglewood
with conductor Leonard Bernstein. That was in 1982, when Ms. Goto was only eleven years ago and had not yet decided
to go by only the single name “Midori.” Today, she is no longer the child
prodigy, but she is an honored musician worldwide with about two dozen record
albums to her name.

With this latest recording, Midori tackles the Beethoven Violin
Concerto, a project one might have expected her to have undertaken many
years ago, given the popularity of the music. Perhaps better late than never,
and fans of the violinist’s fluid, mellifluous style will no doubt find great
satisfaction in the performance. For myself, I found Midor’s interpretation
beautiful, to be sure, but at the same time somewhat languorous, and
occasionally almost inanimate. To each his own.

German composer Ludwig van Beethoven (1770-1827) wrote his
Concerto for Violin and Orchestra in D major in 1806, where it received
an unsuccessful première and was practically shelved for the rest of the
composer’s lifetime. He never published another violin concerto, so maybe his
heart wasn’t in it. The world would have to wait until 1844 to see it brought
back to life by violinist Joseph Joachim and conductor and composer Felix
Mendelssohn, and, of course, it has been one of the leading concertos in the
genre ever since.

The concerto begins with a lengthy and fairly laid-back
introduction before the violin finally enters with some flourish. The slow,
central Larghetto follows, and a lively Rondo caps things off. I
found Midori’s particular style best suited here to the slow movement, where
she is able to give free rein to her delicate tone. Compared to some of her
colleagues on the violin, however, most the concerto sounded to me a little too
tepid. Compare it, for instance, to the electrifying performance by Jascha
Heifetz (RCA), the well-rounded version from James Ehnes (Onyx), the more
traditional approaches of Itzhak Perlman (EMI) and Henryk Szeryng (Philips), as
well as other contenders from Vadim Repin (DG), Gidon Kremer (Teldec), Arthur
Grumiaux (Pentatone), and Rachel Baron Pine (Cedille). I’m not sure Midori’s
performance quite stands up to these distinguished accounts, despite her
complete mastery of the instrument.

Anyway, the recording begins with the Lucerne Festival
Strings under director Daniel Dodds playing the opening section somewhat
listlessly, which is probably what Midori wanted in order for the whole affair
to coalesce around her ravishing but decidedly relaxed performance. Incidentally,
the Festival Strings Lucerne was originally established as a chamber string
orchestra, but Maestro Dodds adds further instruments as needed, such as here.

Understand, it isn’t that Midori’s tempos are slow or
lethargic; they certainly are not. It’s just that she seems to prioritize a
perfection of tone above musical color. So, while the performance is lovely to
listen to, there isn’t a lot of passion in it. In her booklet notes, Midori
indicates that she finds “Beethoven’s composition singularly sincere,
beautiful, elegant, and noble,” and that’s the way she plays it. Personally, I
would have opted for a little more vibrancy and fire, but that’s just me.

Coupled with the concerto are Beethoven’s two Romances
for Violin and Orchestra, Nos. 1 in G major, Op. 40 (1803)
and No. 2 in F major, Op. 50 (1798). Because he published the second of
them first, it bears the designation No. 1. The two Romances are
sort of precursors to the Violin Concerto, and whatever the numbering
the F major Romance has always remained the more popular. The Romances
have a graceful lyricism about them that nicely suits Midori’s graceful style,
and I actually enjoyed them more than I did her performance of the Concerto.

Producer Wolfram Nehls and engineer Max Molling recorded
the music at KKL Luzern, Switzerland in March 2020. The recording is quite
nice, with everything sounding remarkably realistic, lifelike, without any
undue brightness or edginess. Instruments appear smooth and well rounded, with
good dynamics, air, and bloom. The solo violin is well placed, too, clearly the
center of attention but not ten feet in front of the orchestra.

JJP

To listen to a brief excerpt from this album, click below:

Richter: Voices (CD review)

Max Richter, piano, organ, synthesizers; Kiki Lane,
narrator; Robert Ziegler, conductor; Grace Davidson, soprano; Mari Samuelsen,
violin solo; Ian Burdge, cello solo; Camilla Pay, harp; Joby Burgess,
percussion; plus various other singers and instrumentalists. Decca  B0032383-02.

By Karl W. Nehring

The German-born British composer Max Richter (b. 1966) has
made a name for himself by striving to bring together elements of more
traditional "classical" music with more contemporary instruments and
sounds. His most well-known composition is probably his reworking of Vivaldi's Four
Seasons (reviewed by JJP), while perhaps his most notorious composition is
his 8-hour overnight opus Sleep. His
2020 release of Voices comes at a time when not only is the world
suffering from a deadly pandemic, but also from cynical and sinister political
machinations that threaten democratic institutions and societal norms
throughout the world. The true, the good, and the beautiful are under attack by
small-minded greedy egos in leadership positions. In a small but noble way,
Richter’s Voices speaks to this perilous world situation by presenting
words of hope and inspiration while reassuring us with some soothing and
reassuring music.

Richter is straightforward in his rationale for his unusual
composition: “ I like the idea of a piece of music as a place to think, and it
is clear we all have some thinking to do at the moment. We live in a hugely
challenging time and, looking around at the world we have made, it’s easy to
feel hopeless or angry. But, just as the problems we face are of our own
making, so their solutions are within our reach, and the Universal Declaration
of Human Rights is something that offers us a way forward. Although it isn’t a
perfect document, the declaration does represent an inspiring vision for the
possibility of better and kinder world.” You can see a brief video with Richter
explaining more about the music and the recording here: https://www.youtube.com/watch?v=lF6No3T2ulY

The work had its world premiere in February 2020, with more
than 60 musicians performing live on the 
London stage. According to the composer, the music involves a radical
reimagining of the traditional orchestra formation. “It came out of this idea
of the world being turned upside down, our sense of what’s normal being
subverted, so I have turned the orchestra upside down in terms of the
proportion of instruments.” He has scored the work for 12 double basses, 24
cellos, 6 violas, 8 violins, and a harp. They are joined by a wordless 12-piece
choir as well as Richter on keyboards, violin soloist Mari Samuelsen, cello
soloist Ian Burdge, percussionist Joby Burgess, soprano Grace Davidson and
conductor Robert Ziegler.

The CD recording of Voices comprises two discs. The
first highlights, as you might guess, voices, starting with a recording of
Eleanor Roosevelt introducing the Universal Declaration of Human Rights. The
recitation of this document is then conducted by various voices in various
languages, with Richter’s music laying down a musical foundation. The second
disc consists of the ten musical tracks mixed without the voices. The first
disc is interesting to hear, with its blending of voices in many different
languages, accents, and timbres along with musical interludes of great beauty.
To be honest, though, it is not the kind of CD most listeners would want to
play over and over again, making the inclusion of the second disc a welcome
addition, for it is a substantial and satisfying collection of well-recorded
music that is conducive to thought, relaxation, and straightforward musical
enjoyment. Highlights include Richter’s meditative piano complementing Burdge’s
earnest cello on track 2 (“Origins), the skillful blending of chorus and
orchestra on track 3 (“Journey”), the artful blending of acoustic and
electronic sounds on track 7 (“Murmuration”), and the soulful playing of Mari
Samuelsen on track 10 (“Mercy”).

The engineering is truly top-notch. Blending orchestra,
voices, recordings, electronic effects, and so forth could easily have ended up
sounding gimmicky, but the recording comes across as quite natural and easy to
enjoy. There is no harshness on top, but plenty of power on the bottom when
needed. All in all, Voices is an unusual composition, but a stimulating
and satisfying intellectual, emotional, and musical achievement.

Bonus Recommendation: Finnish composer Aulis Sallinen
(b. 1935) is hardly a household name, but this BIS recording of three of his
works for orchestra by the Malmö Symphony Orchestra conducted by Okko Kamu is
well worth an audition. The program opens with Sunrise Serenade, which
features trumpeters Kjell-Âke Pettersson and Per Falck. In under eight minutes,
this piece creates an atmospheric mood of mystery and anticipation within a
spacious sonic setting. Next up is the relatively brief (15:35) Symphony No.
2 (Symphonic Dialogue for Solo Percussion Player and Orchestra), a
one-movement composition that highlights the energetic and versatile playing of
percussionist Gert Mortensen. But no, the piece is much more than just banging
around, it creates a musical world of wonder and mystery. The disc closes with
Sallinen’s substantial Symphony No. 6 “From a New Zealand Diary,” which was
commissioned by the New Zealand Symphony Orchestra. The composer vacationed in
New Zealand in early 1989 to help prepare himself for composing the work, which
he completed in 1990. Its four movements are rich and atmospheric. None of the
music on this disc is harsh, dissonant, or random-sounding. Indeed, it is
inviting and rewarding, and recorded in excellent BIS sound by engineer Robert
von Bahr.

KWN

Italian Postcards (CD review)

Music of Wolf, Mozart, Borenstein, and Tchaikovsky.
Quartetto di Cremona, with Ori Kam and Eckart Runge. Avie AV2436.

By John J. Puccio

Italy has long been a favorite destination of travelers,
vacationers, history buffs, music lovers, composers, and, well, just about
everyone. From Lake Como, Venice, Milan, and Verona to the North through Rome
and Sicily farther south, the country has offered artists a wealth of material
to work with. Such is the case with Hugo Wolf, W.A. Mozart, Nimrod Borenstein,
and Pyotr Tchaikovsky, all of whom were inspired by the merits of the country.
On the present disc, the Quartetto di Cremona and friends present four
selections by the aforementioned composers in as sunny, Italianate performances
as you could want.

For those of you unaware, the Quartetto di Cremona is an
award-winning Italian string ensemble founded in Cremona, Italy in 2000. Their
members are Cristiano Gualco, violin; Paolo Andreoli, violin; Simone Gramaglia,
viola; and Giovanni Scaglione, cello. On the Tchaikovsky piece, they are joined
by Ori Kam, viola, and Eckart Runge, cello. The quartet has appeared practically everywhere
in the world and has recorded well over a dozen record albums.

The program begins with the Italian Serenade
(1887), a short work (about seven minutes) by the Austrian composer Hugo Wolf
(1860-1903). It is a favorite of string quartets worldwide, often played as an
encore but here used as a curtain raiser. It works no matter how people use
it. Wolf heard the melody while on holiday, and the Quartetto di Cremona play
it with an appropriately sunny zest.

Next up is the String Quartet No. 1 in G, K. 80,
“Lodi” (1770) by Wolfgang Amadeus Mozart (1756-1791). Mozart wrote it at age
fourteen while touring in Lodi, Lombardy. You may remember Lodi, California
having a similar effect on the young John Fogarty some 200 years later.
Something about the name, I suppose. Anyway, it was Mozart's first string quartet,
with a finale he composed a few years later. The Cremona Quartet provide a lovely
poignancy to the opening Adagio, which, unusual for a string quartet, is
a slow movement. Then they add their aforementioned zest to the second, Allegro,
movement and a regal presence to the Minuetto. Which is where it should
have ended, but Mozart felt the need to be conventional and added a fourth
movement, a closing Allegro. The Quartetto di Cremona have an uncanny knack for sounding like more than just four players,
their sound rich, vibrant, and resplendent.

Following the Mozart piece is the only modern work on the
agenda, Cieli d’Italia, Op. 88 by the British-French-Israeli composer
Nimrod Borenstein (b. 1969). Despite being modern, it fits in nicely with the
older classical and Romantic material. While its single movement is brief (about
seven minutes), it manages to catch a lot of varying moods and a good deal of
Italian charm. The composer describes it as having an “ethereal beauty and
magical peacefulness...with episodes of great despair, courageous protest, and
even playfulness.” He wrote it on a commission from the Quartetto di Cremona,
who play it, one assumes, with authority.

The final selection on the album is the most substantial
in terms of timing, the String Sextet in D minor, Op. 70, “Souvenir de
Florence” (1890) by the Russian composer Pyotr Tchaikovsky (1840-1893).
Tchaikovsky wrote the piece while sketching one of its themes in Florence,
Italy. On the present recording, Ori Kam, viola, and Eckart Runge, cello, sit
in with the Cremona Quartet. Together, they produce a sound that comes close to
seeming like a small chamber orchestra of strings, which is apt in that the
piece works for the most part like a miniature symphony. The performance is
wholly delightful, with plenty of emotional impact as well as sheer artistry and elegance.

Producer and engineer Michael Seberich recorded the music
at Palazzina Banna, Tenuta Banna, Poirino (Torino) in December 2019. As with so
many chamber recordings, this one is recorded somewhat closely. It’s great for
clarity, detail, and dynamic impact but spreads out the players across the
speakers a bit too wide. No matter, the recording sounds fine, with an especially welcome
ambient bloom from venue.

JJP

To listen to a brief excerpt from this album, click below:

Beethoven Revolution: Symphonies 1-5 (SACD review)

Jordi Savall, Le
Concert des Nations. Alia Vox AVSA9937.

By Karl W. Nehring

Perhaps it was the
pioneering set of Beethoven symphonies on period instruments that put me off
the idea of period instrument performances of these symphonies. Norrington’s
recordings at the time seemed fun, but they just did not seem to bear up to
repeated listening. Later, I did come to enjoy David Zinman’s recordings with
his Zurich Tonhalle Orchestra, which combined the energy and brisk tempos of
the “historically informed practices” approach of Norrington with a modern
orchestra.

More recently, I
found the 5-CD boxed set of Beethoven symphonies featuring the
period-instrument Orchestre Révolutionnaire et Romantique led by conductor
John Eliot Gardiner for sale at an irresistibly low price at one of the several
used book/media stores in the area whose shelves I peruse at regular intervals.
(“Hello! My name is Karl and I am a CDaholic.”) This budget-priced box
was released in 2010, replacing the set that was originally released in 1994.
It proved to be an enjoyable set; as a bonus, my auditioning of it led me
finally to appreciate Beethoven’s Symphony No. 2, which I had pretty
much completely ignored throughout my long so-called life. Although Gardiner
may not usually be my first choice when I want to hear a Beethoven symphony, I
have enjoyed the set thoroughly and do return to it from time to time.

Having had my
interest in period-instrument recordings resuscitated and recharged by the
Gardiner set, I was intrigued to hear these new renditions of Symphonies
Nos. 1-5 by the Catalonian conductor, viol player, and early music
specialist Jordi Savall (b. 1941) leading his hand-picked orchestra, Le Concert
des Nations, which was formed in 1989 and features musicians primarily from
Latin nations. Of the ensemble employed for these recording sessions, Savall
writes in the liner notes that “all our orchestral work was done using
instruments corresponding to those used in Beethoven’s day and with a similar
number of musicians to those deployed by the composer for the first
performances of his symphonies, in other words, about 55 to 60 musicians,
depending on the symphonies. We have chosen 35 instrumentalists from the
professional musicians of the Concert de Nations, including many who have been
part of the ensemble since 1989, the remaining 20 instrumentalists being young
musicians from different European countries and around the world who were
selected from among the best of their generation at in-person auditions.”  (You can get a sense of the instrumental
forces and venue for the recording sessions here and here.)

Regarding his
approach to performing the Beethoven symphonies, Savall explains in his
extensive liner essay that “we started with the basic idea of returning to the
original sound and line-up of the orchestra as envisaged by Beethoven,
constituted by the ensemble of instruments available in his day. Moreover, we
needed to discover the original sources for the existing manuscripts, we
studied and compared not only the autograph sources and the extant parts used
in the first concert performances, but also modern editions based on those same
sources, with the aim of verifying all the indications concerning dynamics and
articulation.”

Truth be told, it
seems these days that many recordings of Beethoven symphonies, particularly
those that in one way or another claim to go back to the “original sound,” to
be a “historically informed performance,” to go back to “Beethoven’s metronome
markings,” or to be based on some “new critical edition of the score” come
packaged with liner notes from the conductor explaining his or her insight into
what this music should really sound like. Frankly, it gets a little old
(see what I did there?), but Savall comes across as so utterly sincere and
guileless that this seems to be more than just another marketing ploy,
especially in light of his stated approach to the recording process: “From the
outset it was obvious to us that the other key for our project would be the
study period necessary to embark upon and bring to fruition such a major and
complex task. Sufficient, ample time was one of the essential conditions
necessary for a successful in-depth study of this collection of nine
symphonies. To ensure the success of the work plan as well as a coherent
distribution of the complete symphonies, we divided the nine symphonies into
four major programmes with a view to preparing them over a period of two years.
Each programme is studied and rehearsed, respectively, in the course of two
separate Acadamies: the first academy of each pair, which we refer to as the
“preparation Academy,” is devoted to reflection, experimentation, and
definition dealing with all the essential elements of a successful performance.
In the second “enhancement Academy,” the orchestra as a whole and each
instrumentalist individually focus in on all aspects that are crucial to
achieving a performance that is faithful to the spirit of each work. Symphonies
1, 2, and 4, which were scheduled and prepared in the spring of 2109, and
Symphonies 3 and 5, which we worked on in the autumn of the same year, are
those that we now have the pleasure of presenting to you in this first
album.”   

And what an album
this is! Here are the first five symphonies of Beethoven in performances that
crackle with energy but never sound frantic or rushed, presented in recorded
sound that is immediate, dynamic, and full-bodied. There are three SACDs in the
set. SACD 1 includes Symphonies Nos. 1 and 2, SACD 2 is devoted to Symphony
No. 3 “Eroica,” and SACD includes Symphonies 4 and 5. My guess is
that many listeners will skip right over SACD 1 (and yes, I must admit that it
has been and will be the disc that gets the least playing time in my system),
but that would be their loss, as the first two symphonies of Beethoven,
especially when presented in crackling performances and powerful yet natural sound
as they are here are well worth hearing, savoring, and hearing again. As I
mentioned above, Gardiner led me to discover Symphony No. 2. Savall has
not only deepened my devotion to that work, but he has also led me to discover
that most neglected of all Beethoven’s symphonies, Symphony No. 1. Yes,
I would imagine that for most listeners, as it will be for me, SACD 1 will be
played the least of this set, but I do hope it will not be completely
overlooked by anyone. It has much to offer!

Because of the near-mythical status of Beethoven’s Symphony No. 5,
my further guess is that SACD 3 will be the first disc that most listeners will
pop into their players. The performance of No. 4, though, should not be
skipped over. This is a delightful symphony, bursting with energy. Of
particular note in the Savall set is the sound of the tympani, projected with
power but not through spotlighting or overemphasis. In Symphony No. 4,
the sound of the tympani highlights the drive and energy found in this music.
And as you might expect, Savall and his players do a fine job of bringing
energy to Symphony No 5. Theirs is a fine performance, moving right
along and making the music come to life. In a future installment of Classical
Candor I will be comparing this recording of the 5^th with several
other notable recordings, a listening experience to which I am looking eagerly
forward.

For my money, though, the real highlight of this release is their
performance of the Eroica. The opening movement has never sounded so
exciting to me. Wow! There are many ways to interpret this work (more about
that below), but Savall, Le Concert des Nations, and the engineering team have
truly produced something undeniably heroic. I’m not sure theirs is my favorite
version of the symphony as a whole, although it is certainly right up there,
but I find their performance of the opening Allegro con brio the most
exciting I have ever auditioned. My goodness…

The planning,
preparation, and passion that Savall, his players, the recording engineer
(Manuel Mohino), and the Alia Vox staff who produced the meticulously conceived
and beautifully executed physical package (one of the finest I have ever run
across) have brought to this project have resulted in a Beethoven box that
excels in every way. Not every music lover will prefer the period-instrument
approach, but if you are a Beethoven fan who is looking for a really
first-class recording of these symphonies, this is definitely a set to consider
regardless of your opinion of period-instrument approaches to Beethoven. This
is reference-quality Beethoven, no doubt about it.

If you do wind up
auditioning and enjoying this album, you will very likely find yourself looking
forward to hearing what Savall and his crew can bring to the final four
Beethoven symphonies. Unfortunately, it is not clear when the rest of the set
might become available. Savall explains, “it was our intention to finish our
version of the complete Symphonies in 2020, concentrating on Symphonies 6 and 7
in the spring and Symphonies 8 and 9 during the months of August and October.
Of course, all these plans are now on hold because of the social consequences
of the tragic pandemic currently affecting the world, and nobody can predict
what will be possible in this uncertain future. Depending on the evolution of
the pandemic, therefore, we shall see what we are able to do regarding the
second part of our Complete Beethoven
Symphony project.”  Meanwhile, at
least we have this set to savor.

Bonus
Recommendations: In light of the
excellence Savall recording of Beethoven’s Eroica, let me pass along
some quick recommendations on some other fine recordings with which I am quite
familiar. As I mentioned above, David Zinman and the Tonhalle Orchestra Zurich
(Pro Arte ANO 592140) offer a brisk, refreshing performance that combines a nod
to Beethoven’s tempo markings with the sonority of a modern orchestra. It is
coupled with an equally attractive version of Symphony No. 4. A much
different take on the Eroica is offered by Otto Klemperer conducting the
Philharmonia Orchestra (EMI Classics 7243 5 67741 2 4). This is a magisterial
account, slow and noble. Don’t be put off by the mono sound, this truly is a
“Great Recording of the Century” as the CD cover proclaims. Discmates include Leonore
Overtures Nos. 1 & 2. Still something of an old-school performance but
in stereo sound is Bruno Walter’s account with the Columbia Symphony Orchestra
(a crack studio orchestra assembled in California for the express purpose of
giving Walter a chance to record the Beethoven symphonies in stereophonic
sound), a loving, flowing rendition of the symphony that is well worth seeking
out (CBS Maestro MYK 42599), Walter’s performance is coupled with the Coriolan
Overture. A straightforward, well-recorded account by Christoph von
Dohnanyi leading the superb Cleveland Orchestra is available on Telarc
(CD-80090), a disc that includes just the Eroica. Finally, a relative
newcomer (released in 2018) is the Honeck/Pittsburgh Symphony Orchestra version
on Reference Recordings (FR-728SACD), taken from live performance that is
captured in splendid sound quality by the technical wizards at Soundmirror. Not
surprisingly these days, Honeck has points to make about the music and his
approach to it in his extensive liner notes, including his fascinating opening
remark, “I view all four movements of the ‘Eroica’ as dance movements, each one
with a distinctive character.” He then goes on to dig deeply into the music, in
his closing paragraph asserting, “In conclusion, it is clear to me that the
‘Eroica’ paved a new path forward as a dance symphony with dramatic
inventiveness, full of new elements that had never been heard before, I am sure
that music lovers in the time of Beethoven were not at all ready for this
radical originality and I can only imagine how shocking it must have been for
them. The modern ear, though, in our current day and age, and now over 200
years removed from the time of the ‘Eroica’s’ premiere, has become accustomed
to many of these sounds and only absorbs and register them as extreme when they
are intensified. And this is exactly what I have tried to work out clearly in
this recording, as it was my intention in these performances that one can
experience the novelties of the ‘Eroica’ as one might have for the very first
time.” Hmmmmm. I’m not quite sure what to make of that, but it is an energetic
and splendidly engineered account, for which the unexpected but dazzlingly
delightful coupling is Richard Strauss’s Horn Concerto No. 1.
 
For those music
lovers who thrive on such things, here are the comparative movement timings for
these recordings. Enjoy!
 

Mvt	Gardiner	Savall	Zinman	Klemperer	Walter	Honeck	Dohnanyi
3-1	15:34	15:31	15:34	15:54	16:05	16:15	16:30
3-2	12:41	12:49	12:58	14:43	15:33	15:11	15:10
3-3	5:32	5:29	6:15	6:26	6:03	5:36	5:12
3-4	10:42	10:08	10:22	12:25	12:16	11:50	11:25

 
 KWN
 

 

Souvenirs of Spain and Italy (CD review)

Music of Castelnuovo-Tedesco, Vivaldi, Turina, and
Boccherini. Sharon Isbin, guitar; Pacifica Quartet. Cedille CDR 90000 190.

By John J. Puccio

Sharon Isbin is an American classical guitarist, the
founding director of the guitar department at the Juilliard School, a winner of
multiple Grammy Awards, and a soloist with over 200 orchestras throughout the
world. In other words, she knows what she’s doing. She began studying the
guitar at the age of nine, she has recorded well over two dozen albums since
her recording debut in 1978, and she has been going strong ever since.

Ms. Isbin is accompanied on the album Souvenirs of
Spain and Italy by the Pacifica Quartet: Simin Ganatra, violin; Austin
Hartman, violin; Mark Holloway, viola; and Brandon Vamos, cello. They perform
four pieces by Spanish and Italian composers, giving us a little taste of both
countries. To say that the performances are polished and sparkling would be an
understatement.

First up on the agenda is the Quintet for Guitar and
String Quartet, written in 1950 by the Italian composer, writer, and
pianist Mario Castelnuovo-Tedesco (1895-1968). The composer described himself
as “anti-modernist,” so the listener needn’t worry that we’re getting anything
noisy, atonal, or avant-garde. In fact, the four movements are lovely, lyrical,
with a poignant melody in the Andante. Ms. Isbin’s guitar playing is
light and delicate when needed and robust in the finale.

Next up is the Concerto in D Major, written in the
1730s by Italian composer, violinist, teacher, impresario, and priest Antonio
Vivaldi (1678-1741). He originally wrote it for lute, strings, and continuo,
but here we find it arranged and edited for guitar and strings by Emilio Pujol
and Sharon Isbin. It sounds typically Vivaldi, although Ms. Isbin and her
friends play it perhaps a shade more subtly, more gracefully than one usually
hears from this composer.

After that is La oracion del torero for string quartet
(“The Bullfighters Prayer”), written in 1925 and reworked in 1936 by Spanish
composer Joaquin Turina (1882-1949). It’s a single, short piece, about eight
minutes long, with a varying and colorful character. The quartet plays it alone
with color and character, a sweetly engaging performance.

The program closes with the Quintet for Guitar and
String quartet No. 4 in D Major “Fandango,” transcribed by the Italian
composer and cellist Luigi Boccherini (1743-1805) from his own earlier quintet.
It’s an elegant, flowing piece that was, for me, the highlight of an excellent
set, combining the best of Italy and Spain. It makes an attractive way to end
an entirely winning disc.

Producer Judith Sherman and engineer Bill Maylone recorded
the music at Auer Hall, Indiana University, Bloomington, Indiana in January
2019. The sound is a trifle close-up, but it doesn’t distract from the music.
The spacing of the players is especially distinct, and the instruments display
good detail and clarity without a trace of brightness or hardness. It’s sound
that should appeal to everyone, from audiophiles to earbud wearers.

JJP

To listen to a brief excerpt from this album, click below:

Bach, Mozart, and Silvestrov for Piano (CD Reviews)

By Karl W. Nehring

Bach: Goldberg
Variations. Lang Lang, piano. Deutsche Grammophon
481 9701.
The deluxe edition of
Lang Lang’s new recording of Bach’s Goldberg Variations has an imposing
physical presence. It looks and feels like a small hardbound book, the cover of
which features a photograph of the pianist leafing through the score. Bound
within are slipcases for four discs and a booklet of nearly 50 pages in there
are printed liner notes in three languages (English, German, and French) plus
numerous artistic-looking photographs of Lang Lang in various poses and venues.
Clearly, this is a release that is intended to make a statement, and make a
statement it does, both in its physical form and more importantly, in its
musical content. You can view a promotional video for this release https://www.youtube.com/watch?v=55hk75OgWDg.

Bach’s Goldberg
Variations represent a musical touchstone for keyboard players, both for
the harpsichord and the piano. Over the years there have been many recordings
on both instruments (not to mention arrangements for other instruments) by many
musicians, both famous and relatively unknown. Among the most memorable recordings
are two by the late Canadian pianist Glenn 
Gould, which you can read about https://classicalcandor.blogspot.com/2020/07/a-state-of-wonder-complete-goldberg.html.

There are numerous
other fine performances available, of course, and right off the top of my head
I can rattle off a few that I have especially enjoyed over the years, including
performances on piano by Murray Perahia, Jeremy Denk (whose CD comes packaged
with a fascinating DVD inn which Denk comments on the music, demonstrating
motifs and other features of the music at the keyboard), Simone Dinnerstein,
Andras Schiff, and Peter Serkin, plus harpsichord  performances by Trevor Pinnock, Keith Jarrett (yes, that
Keith Jarrett), and Anthony Newman (a fast, energetic, colorful,
take-no-prisoners account, a kind of analog of Gould ‘55).

So, where does this
extravagantly packaged recording by the relatively young Chinese superstar
pianist fit in? The fact that both the studio and live recordings take up two
CDs each signals us from the git-go that these are definitely not going to be
swift performances in the manner of the 1955 Gould, or even the more mellow
1981 Gould, for that matter. In fact, the total timing for Gould 1955 is 38:26.
In stark contrast, the first disc of Lang Lang’s studio recording is 43:29.
Yes, in 1955, Gould knocked off the complete Goldbergs five minutes
faster than Lang Lang takes to get through the opening Aria and Variations
1-15. Yes, you have to then switch to the second disc to hear Variations
16-30 and the reprise of the Aria. As you might guess, Lang Lang
takes repeats that Gould does not. Gould’s more relaxed 1981 version clocks in
at 51:14; significantly longer than his 1955 version, but still nowhere near
needing two CDs to encompass. Perahia, Denk (who takes the repeats), and Schiff
all manage to fit into the space of once disc. In Lang Lang’s versions,
however, both studio (91:27) and live (92:56) require two CDs. Yes, Lang Lang
lingers.

Lang Lang's lingering
is not in itself a bad thing. In his liner notes, the pianist explains that
“I’ve been studying this work for more than 20 years, and recording it has been
a lifelong dream. I’ve never spent so much time on one piece. You get nearer to
it, sink deeper into it, find some distance, and then go back to it again. I
worked on the music every day, noting down new ideas all the time in four
different scores.” His love of the Goldbergs permeates both
performances. He savors this music, dives deeply into it, and wrings as much
musical beauty as he can out of it. If that means his performance is going to
stretch out over 90 minutes, then so be it. The net result is a performance --
two performances, in this case -- like none you have ever heard before. Slow,
yes, but beautiful. Lang Lang lingers lovingly.

Of course, one
drawback of his approach is that for those listeners with a single-disc CD
player, a break is going to occur in the middle of the session. Those who have
multi-disc players or who listen by streaming will not have this problem, but
my guess is that most folks reading this review have single-disc players. On
the other hand, we might do well to recall that back in the old vinyl days, to
play even the superfast 1955 “Gouldbergs” necessitated flipping the LP
(“long-playing” vinyl discs did not actually play all that long, we realize now
in retrospect). But for those willing to take a quick bathroom break or
whatever mid-Goldbergs, the reward is significant, for these are remarkable
performances that take the listener deep into the music. Of the two
performances, my personal preference is for the live version, which is recorded
with, not surprisingly, a better sense of space. Other listeners might well
prefer the studio version, which can be purchased for a lower price than the
deluxe edition that includes the live version. If you really want to get into
the Goldbergs, the deluxe edition is the way to go, Even folks who
already own a favorite or three versions might want to give Lang Lang an
audition, for he brings a unique, intense, and revealing perspective to this
remarkable music. It might well be too idiosyncratic an interpretation to be an
appropriate choice for those looking for a first recording (for those
listeners, I would suggest the 1981 Gould or perhaps even better the Denk,
whose included DVD offers an incisive and educational introduction to the
music), but those who are already familiar with Bach’s masterpiece might well
find Lang Lang’s version an ear-opening experience.

The Messenger:
Works by Mozart and Silvestrov. Helene Grimaud,
piano; Camerata Salzburg. Deutsche Grammophon 483 7853.
Pianist Helene Grimaud
has put together an interesting program of works by a composer known to
virtually all classical fans (and even a goodly number of non-fans) plus some
works by a composer not nearly as widely known. The idea seems to be a noble
one, but I do wonder how many Mozart lovers are going to be interested in a
program that also includes works by a contemporary composer. I hope there are
some music lovers out there who might already be interested in such a program,
but for those who are skeptical (or even, heaven forbid, cynical), I
will try to do my humble best to make a case for the program that Grimaud has
pulled together for this enjoyable recording.

Now, if you happen to
be one of those many classical music lovers who are unfamiliar with the
Ukrainian composer Valentin Silvestrov (b. 1937), let me assure that his
compositions that are included in this release are neither difficult,
dissonant, nor demanding. Indeed, they fit right into the musical soundscape of
the Mozart, which is presumably one of the main points that Grimaud had in mind
when she conceived of this unusual pairing of composers so widely separated
from each other in both time and space.

The disc opens with
three pieces by Mozart, all in a minor key. As the opening notes of the
Fantasia in D minor unfold, it is clear that Grimaud is giving us a Romantic
interpretation of Mozart’s music. The piano sound is big and bold and her
playing is highly expressive, with plenty of tempo fluctuations, pauses, and
highlighting. Moving from solo piano to concerto, Grimaud brings that same
lush, Romantic style to Mozart’s Piano Concerto No. 20 in D minor, one
of the composer’s most well-known and well-loved masterpieces (here). The net result is dramatic,
but perhaps a touch too expressive. For comparison, I listened to Murray
Perahia with the English Chamber Orchestra from his boxed set and played a DVD
featuring Mitsuko Uchida, also with Camerata Salzburg. Both performances were
expressive, more so than I remembered, not having played either in quite some
time. However, neither seemed quite so florid as Grimaud. Some listeners will
love her approach, others might find it a bit over the top. Different strokes
for different folks.

The remainder of the
program comprises music by Silvestrov, beginning with the work that gives this
album its title, The Messenger. Actually, this work appears twice, first
of which is a version for piano and string orchestra. The piece has a
nostalgic, dusky glow that Grimaud underlines with her wistful, expressive
approach, much as she did in  the Mozart.
Adding to the dreamlike ambience of this version are the subtle sound effects
(the rustling of breezes) blended in by the sound engineer, Stephan Flock. Next
up is Silvestrov’s Two Dialogues with Postscript. which consists of
three short movements. Silvestrov’s intention in this composition is in sync
with Grimaud’s intention in putting music from two different eras together. The
Two Dialogues are first with Schubert, in a movement that Silvestrov titles
“Wedding Waltz,” while the second is with Wagner, in a movement he titles
“Postludium.” These are fascinating little pieces, sounding at once dreamlike
yet direct. The piano seems to be recorded more distantly than it was in the
Mozart, adding to the overall sensation of music originating from somewhere
distant in both time and space. Interestingly, Silvestrov gives credit to both
Schubert and Wagner, in fact listing them as co-composers. The third movement
(the Postscript, by Silvestrov alone), titled “Morning Serenade,”
continues in that same dreamlike fashion. The final selection on the album is
the solo piano version of The Messenger. As she did in the Mozart,
Grimaud tends to linger, to pause, and to heighten the emotional impact of the
music. The ending is a quiet chord that just flickers in darkness before being
swallowed by silence. It is in its own quiet way an amazing, thought-provoking
musical effect. Sigh…

The overall impression
made by the Silvestrov compositions after hearing the Mozart compostions is
that we are now experiencing the musical mood of the Mozart works from a
reflective, nostalgic, half-imagined perspective. Although the Mozart pieces
are all in a minor key, they still exude energy and assertiveness, especially
as performed with such flair as Grimaud brings to bear on them, while the
Silvestrov pieces have a softer, more diffuse form of energy, captured in
softer focus. The effect is underscored by the engineering, with the Mozart
selections being captured closer more vividly and up-front than the Silvestrov,
which are presented in a more diffuse, ambient sonic portraiture. The program
makes sense, it satisfies both musically and intellectually, and it invites the
listener to explore music both old and new with an open mind and active ear.

Bonus Recommendations
My first bonus recommendation
is for a disc that is, sadly enough, apparently out of print. There are a few
copies available out there available online for relatively high prices, but you
might get lucky as I did and find a copy for two bucks in the clearance section
of a used-book/media store. At any rate, Franz Liszt: Transcriptions from
the Operas of Richard Wagner by pianist David Allen Wehr (Connoisseur
Society CD 4199) is a highly enjoyable, well recorded recital of Liszt’s
reworkings for solo piano of the music of Wagner. It includes four “free
paraphrases,” a “virtuoso fantasy,” and four transcriptions. As you can well
imagine from the idea of a combination of Wagner and Liszt, this is thoroughly
Romantic music in a grand style, a feast for the senses. No, I would not
recommend you rush out and spend thirty bucks on a copy, if you can even find
one, but if you ever see a copy at a reasonable price, grab it!

My other bonus
recommendation is, mercifully enough, widely available for a reasonable price.
The late jazz guitarist Jim Hall (1930-2013) recorded Concierto (CTI ZK
65132) in 1975 with a dream-team roster that includes Chet Baker on trumpet,
Paul Desmond on alto sax, Roland Hanna on piano, Ron Carter on bass, and Steve
Gadd on drums. The set list includes a couple of Hall originals, a Hall/Carter
composition, one tune each from Cole Porter and Ellington/Strayhorn, and one
that should be of special interest to classical music fans, a 19-minute
arrangement of Rodrigo’s Concierto de Aranjuez. Tasty, tasty stuff, and very
nutritious. My only quibble is with the engineering. It is very clean in the
best Rudy Van Gelder style, but lacks bass extension and fullness. Still, this
is a wonderful release, one that should appeal to jazz and classical fans
alike.

KWN

To hear a brief
excerpt from the Bach album, click here: