Recent Releases, No. 29 (CD Reviews)

By Karl W. Nehring

Bach | Sei Solo | Kavakos. Bach: Sonatas & Partitas for Solo Violin Nos. 1-3. Leonidas Kavakos, violin. Sony Classics 19439983132.

This is one of those recordings that is pretty much self-recommending. When you have one of the premier violin virtuosos of our time playing the timeless music of Johann Sebastian Bach, you expect excellence, and excellence is what this recording delivers. From his remarks on the back cover of the CD case, it is apparent that the Greek violinist Leonidas Kavakos (b. 1967) believes that there is a deeply spiritual dimension to this composition: “Harmony’s rhythm and rhythms’s harmony are decisive assistants in each incarnation’s personal journey towards achieving catharsis through the expression of life and thus opening the gate to theosis, the divine aspect of existence. Wir danken dir, Gott (We thank you, God) is the title of Bach’s Cantata No. 29, the opening Sinfonia of which is a transcription for organ and orchestra of the Preludio from Partita No. 3. It could equally well serve as the title or all six sonatas and partitas, an opus consisting of two triads which, through the peerless swirling of the great Thomascantor’s compositions, enlighten the individual responsibility of existence (“Sei Solo”), a vital component of collective space-time!” Kavakos plays with a nimble touch, never seeming to be trying to flaunt his virtuosity or add any heavy-handed dramatic exaggerations to the music. Everything just seems to flow naturally along from one phrase to the next; indeed, you find yourself admiring the music, not just marveling at the playing, which is as it should be. Perhaps in light of his comments as quoted above, Kavakos leads off not with Sonata No. 1, as you might expect, but rather with Partita No. 3, followed by Sonata No. 3. Sonata No. 2 then closes CD1; however, CD2 does not start with Partita No. 2, as you might expect, but rather with Sonata No. 1, followed by Partita No. 1, and then the program comes to a close with Partita No. 2. Apparently, Kavakos intended to underline his idea that the theme of the entire composition centers on the Preludio from Partita No. 3. As to the sonics, the violin is recorded a bit close, with sounds occasionally jumping from speaker to speaker, but to be fair, this is not an uncommon problem with two-channel stereo. Still, the sound is quite clean, there is some sense of the space in which the violin was recorded, and overall, I have no real complaints. Long-time Bach fans may already own several favorite recordings of this music; however, they still might want to give this new version a hearing. Those music lovers new to the piece would certainly find this Sony release an excellent introduction to this magical music, for Kavakos’s version is without eccentricity and is a more than worthy addition to the Bach catalog.

Beethoven for Three. Beethoven: Symphony No 2 in D major, op. 36 (arrangement for piano trio attributed to Ferdinand Ries, under the supervision of the composer); Symphony No. 5 in C minor, op. 67 (arrangement for piano trio by Colin Matthews). Emanuel Ax, piano; Leonidas Kavakos, violin; Yo-Yo Ma, cello. Sony Classical 19439940142.

Yes, you read that correctly. What we have here are two Beethoven symphonies arranged for piano trio and performed by an all-star lineup of Ax, Kavakos, and Ma. I feel obliged to point out at the outset that I find it disappointing – pretty much inexcusable, really – that Sony did not go to the bother to provide any sort of liner notes that might have provided some insights about the motivation for these arrangements, about the arrangers, how these performers came together to do this, why it was recorded at Tanglewood, etc. Alas, there are no real liner notes, just a brief note dedicating the release to conductor Michael Tilson Thomas, which in light of his recent public disclosure of his struggle with brain cancer is certainly a kind gesture. But my goodness, it certainly would have been nice to have some more background information. For what it’s worth, Ferdinand Ries, given credit for this arrangement of the Symphony No. 2, was one of Beethoven’s students, while Colin Matthews (b.1946), who arranged the Symphony No. 5,  is a contemporary English composer. Although each listener will of course have his or her own personal reactions to and opinions about hearing these symphonies performed as piano trios, I believe that my general observations about this recording would strike a resonant chord with the majority of music lovers who might venture to give it a listen. First of all, it is well worth an audition. This is great music played by great musicians. It is well played and well recorded. Reducing symphonies to trios was one practiced so that people could hear the music in their homes or other small settings. Today, we have stereos, headphones, earbuds, etc. But hey, we can now listen to recordings of a Beetthoven symphony played by a large orchestra on modern instruments, a small orchestra on period instruments, or a piano trio. What goes around comes around. But for many of us today, hearing the Symphony No. 2 played by Ax, Kavakos, and Ma will strike us as though we are hearing a pleasant piano trio in the style of Beethoven. Some nice melody, some good drama, excellent chamber music that makes us glad that we decided to listen to this recording. But when we suddenly hear then opening notes of the Symphony No. 5 played by these same three musicians, we suddenly find ourselves jolted into wondering what in the heck is going on – why is there a piano? Where is the rest of the orchestra? It takes a while to adjust to the fact that this is music with which we are so familiar being played in such an unfamiliar way. I’ve now listened many times, and am still not quite fully adjusted. Their performance of Symphony No. 2 still strikes me as a really pleasant piano trio (and I do like the symphony itself, especially as conducted by Jordi Savall), but although I am not quite as jolted by the opening of Symphony No. 5 as I was the first several times I heard them play it, I still can’t quite simply relax and enjoy their pr[performance simply as chamber music. Still, though, I find this an intriguing release that I do not hesitate to recommend to Beethoven fans, although I do want to close with  parting shot at Sony Classical for their pathetically uninformative (nonexistent) liner notes. They can and should do better.

Weinberg: Sonatas for Violin Solo. Gidon Kremer, violin. ECM New Series 2705. 

Mieczysław Weinberg (1919-1996) was a Jewish composer from Poland who resided in the USSR and became a close musical associate of Shostakovich. A bit more about the composer can be found in a previous review of his music, which can be found here: https://classicalcandor.blogspot.com/2020/10/weinberg-clarinet-music-cd-review.html. Unlike the music on that Naxos disc, however, the music on this ECM New Series release is not as immediately appealing to the ear. Unlike the 19th-century violin music of Beethoven, this is 20th-century music that does not have a primary aim of delighting  listeners with memorable melodies. This is more complex music, more challenging music, as listening to the first few bars of the Sonata No. 3 that opens the disc will quickly make evident. However, as you listen more closely, you can hear that a lot of thought went into the composition of this sonata, which is quite expressive, Weinberg dedicated to the memory of his father, himself a violinist, who was killed in a Nazi concentration camp. Although there are some moments of great lyrical tenderness, there are also passages of almost savage fury and occasional dissonance. The sonata is in one movement, clocking in at more than 22 minutes. No, it is not a piece for the faint of heart, but for those who appreciate the expressive power of the violin, to hear Gidon Kremer put his all into this remarkable work will be a truly rewarding experience. For whatever reason, the program is presented in reverse chronological order,  so next up is Sonata No. 2, which stands in contrast to Sonata No. 3 by comprising seven brief movements rather than a single long one. The liner note offers this concise description: “With ts reduced sonority and quasi-independent movements (headed ‘Monody,’ ‘Rests,’ ‘Intervals,’ Replicas,’ ‘Accompaniment,’ ‘Invocation,’ and ‘Syncopations), it almost seems like a set of late-romantic character pieces coarsened by modern modes of execution, but also imbued with a distinct sense of resignation.” Once again, Kremer displays both his technical skill and his artistic touch as he brings out the varying moods portrayed in these brief musical sketches, some of which last under two minutes. Sonata No. 1, which closes the CD, is the closest of the three to traditional violin sonata form, consisting of five movements: I. Adagio – Allegro, II Andante, III. Allegretto, IV. Lento, V. Presto. The outer movements are the most virtuosic, with Kremer providing some really dazzling playing, while the second movement shows great tenderness and the third, a playful spirit. I’m hard-pressed to come up with the right adjective for the fourth movement; I guess I’ll just write that it is intense and leave it at that. As for the sound quality, there is a good amount of reverb, as we have come to expect from ECM, but not so much as to be a distraction. Although this may not be music that will appeal to a wide audience, for those with a serious interest in 20th-century violin music, this is certainly a milestone release.

Shostakovich: Symphony No. 7. Gianandrea Noseda, London Symphony Orchestra. LSO Live LSO0859.

This new SACD release on the LSO Live label (note, however, that I auditioned the CD layer for this review) is the latest in an ongoing Shostakovich cycle from Italian conductor Gianandrea Noseda (b. 1964) and the London Symphony Orchestra. We reviewed an earlier release in this series here: https://classicalcandor.blogspot.com/2021/08/recent-releases-no-15-cd-reviews.html. Most music lovers are probably familiar with the story of the Symphony No. 7, popularly known as the “Leningrad,” written by the young composer as the city was under siege by Russian and Finnish forces in WWII, a copy of the completed score smuggled out of Russia that made its way to New York, where it was played by the NY Philharmonic under Toscanini in 1942 in a broadcast performance and even played in Leningrad itself while the city was still under siege. For a time, the work was quite the rage, but is not so well-regarded today. Still, it is a powerful piece of music, as this new recording amply demonstrates. Both the recording quality and the performance itself come across as committed and straightforward, without unnecessary embellishment or exaggeration. This is probably as fine a one-disc account of this work as you are likely to encounter. My personal favorite version remains the Bernstein/Chicago on DG (also a live recording), which is coupled with an unusually slow version of Shostakovich’s Symphony No. 1; however, this Noseda 7th is truly excellent and I can recommend it without reservation.

KWN

Recent Releases, No. 22 (CD reviews)

By Karl W. Nehring

Arnold: Complete Symphonies and Dances. (CD1) Symphonies Nos. 1 & 2; (CD2) Symphonies Nos. 3 & 4; (CD3) Symphonies Nos. 5 & 6; (CD4) Symphonies 7 & 8; (CD5) Symphony No. 9; Sir Malcolm Arnold in Conversation with Andrew Penny; (CD6) English Dances, Set 1; English Dances, Set 2; Four Scottish Dances, Op. 59; Four Scottish Dances, Op. 91; Four Irish Dances; Four Welsh Dances. Andrew Penny, National Symphony Orchestra of Ireland (Symphonies), Queensland Symphony Orchestra (Dances). Naxos 8.506041.

October 21, 2021, marked the 100th birthday of the late British composer Sir Malcolm Arnold, one of the greatest yet most overlooked composers of the 20th century. Even in the UK, his music is seldom performed in concert, which is a shame. I was going to say that I first became acquainted with his music thanks to a recommendation by the late Harry Pearson of The Absolute Sound, who wrote with enthusiasm of an EMI LP featuring Arnold conducting the City of Birmingham Symphony Orchestra in Arnold’s Symphony No. 5 and Peterloo Overture, the first LP I ever ordered from England. But that was not, as I now recall, my first exposure to the music of Arnold; instead, my first exposure had actually come many years before, when my father took me to see the film The Bridge on the River Kwai, for which Arnold had composed the memorable score. (The film featured a young Alec Guinness, who many years later I would take my own kids to see play the role of Obi-Wan Kenobi, and would some years after that delight me with his portrayal of George Smiley.) Thanks to Naxos, though, who have decided to mark the occasion of this centennial year with a budget-priced boxed set of his complete symphonies and dances, music lovers now have the chance to immerse themselves in the symphonic music of this most remarkable composer for a most reasonable price.

Arnold had played trumpet in the London Symphony Orchestra; he knew orchestras and loved writing music for them. His symphonies contain melodies and tunes that musicians enjoy playing and listeners enjoy hearing. But no, his music is not simple. It is varied and complex, shifting from mood to mood, sometimes turning on a dime, but never leaving the listener behind. It can go from a tickle to a tear within a matter of measures. But it is always listenable, always colorful, ever imaginative. In a nutshell, the first couple of symphonies are on the bold and brash side, yet not without their moments of reflection. Nos. 3 and 4 are a bit more exotic sounding, especially No. 4., which makes lively use of percussion in places.

Symphony No. 5, the work that Harry Pearson raved about, is often considered Arnold’s masterwork; indeed, it is a symphony that cannot help but make an indelible impression. Its sound is rich and varied, with memorable contributions especially from the brass section, with some trombone parts that will haunt your memory. It is the quintessential Arnold symphony, packed with gorgeous melodies but still managing to be tense, restless, and disturbing under the surface. It is a great work, one that deserves a place in the concert hall. Its discmate, No. 6., is a shorter work (24:41) in three movements, said to be inspired by jazz but communicating a more serious, focused tone than his previous symphonies.

Nos. 7 and 8 are even more serious in tone, but still display that same Arnold sound, that ability to weave phrases and melodies that linger in the memory and tug at the heartstrings of the listeners without ever sounding cloying or sentimental, punctuated with bursts of energy, especially from the bass drum. The opening measures of No. 8 will definitely give both your speakers and your emotions a workout! But then the second movement Andantino will ply on your emotions in a quieter but no less powerful way, setting the stage for the final movement, and energetic romp that by now you will recognize sounds like pure Malcolm Arnold as it shifts gears and moves merrily along. Then we come to Symphony No. 9, Arnold’s most enigmatic symphony. The April 2021 issue of BBC Music Magazine featured an article on Arnold, and displayed his portrait on the cover, alongside which was a teaser that read, “Malcolm Arnold: Was the talented but troubled composer England’s Shostakovich?” That’s the kind of thing you expect to see while standing in the checkout line at the grocery store, and a bit of baloney overall, but listening to the 9th does admittedly invite the comparison to the great Russian composer. Its structure is unusual and yes, Shostakovich-like: three relatively short movements followed by a long (23:10) Lento finale that is serious and brooding. But still, as much as it might remind one of Shostakovich, it remains clearly a work by Arnold. A welcome bonus is the appended interview, in which conductor and composer discuss the work. Much different in mood and most rousingly Arnold-like are the sets of Dances gather together on the final disc in this set. These works are an unabashed delight, tuneful and tasty. It was certainly generous of Naxos to include them here along with the symphonies.

Please rest assured that although this is a budget release, the playing and the engineering are all first-rate. The booklet included in the box gives some background on the symphonies and is prefaced with a reflection about the music and the composer by conductor Andrew Penny. I will confess to being a huge fan of Arnold’s music; I have previously purchased recordings of all of his symphonies (and numerous other works) by several orchestras on several labels, including the individual Naxos discs as they were released during the 1990s. To have this set together in one box, along with the complete Dances (the first time all of his Dances have been recorded together), so well done and at a reasonably low price, makes this set a must-have. Arnold’s music is a musical universe begging to be explored by those who have not yet entered it, and now Naxos has provided the portal key. Enter and enjoy!

Of All Joys. Arvo Pärt (b. 1935): Summa; Luca Marenzio (c. 1535-1599): Solo e pensoso; John Dowland (1565-1626): Flow My Tears (Lachrimae); Orlando Gibbons (1583-1625) Fantasia a 6 in d minor; Philip Glass (b. 1937): String Quartet No. 3 “Mishima”; John Bennet (c. 1575 - c. 1615): Weep, O Mine Eyes; Jacobus Clemens non Papa (c.1510 - c. 1555): Ego Flos Campi a 7; Pärt: Fratres. Attacca Quartet (Amy Schroeder and Domenic Salerni, violins; Nathan Schram, viola; Andrew Yee, cello). Sony Classical 19439936062.

The Attacca Quartet have assembled a musical program of works from the 16th and 20th centuries that flows seamlessly from one musical delight into another, truly testifying to the listener of all joys indeed: the joys of life, the universe, and everything. The disc begins and ends with string quartet arrangements of familiar works by the beloved Estonian composer Arvo Pärt, Summa and Fratres. As with much of Pärt’s music, both pieces have a spiritual dimension to them. That feeling of calm and inwardness carries throughout the program, which is not always quiet and soporific, but in general has a feeling of grace about it. It is revealing to hear how naturally the music of Philip Glass blends so seamlessly into the program. Yes, listeners familiar with his compositional style will recognize that pulsing undercurrent, but they will also come to hear that over 500 years, music still remains music, the tones and the rhythms and the attendant emotions are still there, still flowing, still touching our hearts and minds. The Attacca Quartet’s violinist Domenic Salerni remarks of Glass’s music that “using an extreme economy of means, he creates moments and momentums out of simple whole-number harmonic ansd rhythmic ratios that can leave one feeling resigned and despairing, uplifted and filled with joy, or simply at peace and transported to a place of beauty.” The liner notes go on to assert that “this album seeks to replicate such emotional breadth. And while the textures and harmonies of Glass were a natural and obvious fit, the record is a project that began with the quartet listing off their favorite minimalist and Renaissance pieces, and considering how modern works resonate with what came before.” The end result is an album that should resonate with listeners seeking to engage with the beauty that can be found in simple music with surprising depth.    

Vince Mendoza: Freedom Over Everything. Concerto for Orchestra: American Noise; Concerto For Orchestra: Consolation; Concerto For Orchestra: Hit The Streets; Concerto For Orchestra: Meditation; Concerto for Orchestra: Justice And The Blues; Freedom Over Everything; Concerto For Orchestra: Finale; To The Edge Of Longing; New York Stories (Concertino for Trumpet and Orchestra). Antonio Sanchez, drums; Joshua Redman, tenor saxophone; Derrick Hodge, bass; Jan Hasenohrl, trumpet; Tariq Trotter (a.k.a. Black Thought), vocals; Julia Bullock, vocals; Alexej Rosik, violin; Vince Mendoza, Czech National Symphony Orchestra. Modern Recordings 538668092.

This recent release from the Grammy award-winning American composer, arranger, and conductor Vince Mendoza (b. 1961) features music that hovers in a space that is not quite classical, not quite jazz, not quite film music, not quite protest music, but which blends elements of all those genres and more into a program of energetic and entertaining orchestral music mingled with other styles and voices. The featured work is his Concerto for Orchestra, about which he explains, “My approach is a departure from the traditions of an orchestra concerto. For me, it was more about having an arc that tells a particular story, but also incorporates rhythmic and melodic aspects of African American music and improvisation… Coinciding with the composition of the concerto was the 2016 saga of the election of ‘45’ and the resulting tremendous discord in the U.S. during that time. While writing this piece, the events happening in our country invaded my artistic space. For the first time I felt I couldn’t really write music and be removed from what was going on in our environment.  I started seriously considering the importance of an artist to reflect the times and how I could make my music a reflection not only of what I was witnessing but what I hoped would occur. So that’s when the arc of this concerto started to take shape. I sought to design the structure of the concerto to be inspired by M.L. King’s remarks on the moral universe, that the arc is long, but it bends toward justice. The beginning of the concerto (the first movement is called ‘American Noise’) reflects the discord that began leading up to the 2016 election. Of course, it pales in comparison to what we dealt with in 2020 and now 2021, but the arc of the composition goes through that process of pure noise, much needed consolation and the need for ‘hitting the streets’. The end of the concerto seeks to reflect justice and the hope for a peaceful resolution to what we were only entering in 2016. Arguably in 2021 we still haven’t quite gotten there.”

The Concerto is in six relatively short movements, the longest being the opening American Noise at 9:47, all the way down to the Finale at only 2:17. Between the fifth movement (Justice and the Blues) and Finale, there is a brief (1:27) interlude (Freedom over Everything) featuring rapper Black Thought. Drummer Antonio Sanchez, who has played with guitarist Pat Metheny and other jazz notables as well as leading ensembles of his own, adds a complex texture to the music as he comes in to join the orchestra along with electric guitar and later, the saxophone of veteran reedman Joshua Redman. The music has plenty of drive and energy, even in its less boisterous moments, with a kinetic feeling of motion to that suggests it would serve well as the score for a modern dance presentation.

Following the turmoil of his Concerto, Mendoza then presents music meant to calm, a setting of verse from the German poet Rilke titled To the Edge of Longing, featuring the rich soprano voice of Julia Bullock accompanied by the solo violin of Alexej Rosik and the orchestra. It truly is a beautiful work, flowing and melodic. The program concludes with New York Stories, a brief concertino for trumpet and orchestra that finds Mendoza returning to the jazz-tinged sound of the Concerto. The drums return, and on the whole, there is something of a film score vibe to this music, especially the sound of the orchestral strings. The end result is pleasant, but at least to these ears, not as striking as the other two works on the program. As far as the engineering goes, frequency balance and imaging are fine; however, be forewarned that this CD is mastered at a level that is clearly several dB higher than the norm for classical recordings, so you will want to back off a few notches on your volume control when auditioning it for the first time. You can always turn it up later, and well you might want to for such exuberant music, but better safe than sorry at the start…

Bach: The Art of Fugue. Les InAttendus (Vincent Lhermet, accordion; Marianne Muller, 7-string bass viol; Alice Piérot, violin). Harmonia Mundi HMM 905313.

Although modern scholarly consensus is that Bach’s The Art of Fugue was originally intended by the composer to be played at the keyboard, as with many other of Bach’s compositions, there have been many other transcriptions and arrangements performed and recorded over the years. Although my favorite is the organ and piano version by Glenn Gould, I have also enjoyed a string quartet version by the Emerson String Quartet, and have at times enjoyed and at other times loathed that infamous Bach/Malloch Sheffield production titled The Art of Fuguing. This new release for the unusual combination of violin, accordion, and bass viol gives the music a baroque sonority, yet because of the unfamiliar element of the accordion blending with the strings, there is a freshness to the sound that makes it piece seem new again. No, this is not a CD for everyone, but for devoted fans of J.S. Bach, it is well worth an audition.

Bonus Recommendation:

How Shostakovich Changed My Mind. Johnson, Stephen. Notting Hill Editions Ltd (2018).

Especially for – but certainly not only for – fans of the music of the great Russian composer Dmitri Shostakovich, this brief book of just over 150 pages offers some fascinating insights into his music. It does so not by presenting dry academic musicological analyses, but rather by offering penetrating personal insights into not only the composer and his music, but also into the effects his music can have upon those who listen with real purpose. As the note on the back cover explains, “music broadcaster and composer Stephen Johnson explores how Shostakovich’s music took shape under Stalin’s reign of terror, and how it gave form to the fears and hopes of an oppressed people. Johnson writes of the healing effect of music on sufferers of mental illness and tells of how Shostakovich’s music lent him unexpected strength in his struggle with bipolar disorder. Through interviews conducted with surviving members of Soviet orchestras, through his reading of philosophers, psychoanalysts, and neurologists, Johnson paints a compelling picture of one man’s music and its power to validate and sustain another man’s life.”

Now, that talk of philosophers and neurologists and psychoanalysts might make it sound as if this book might be a dense, heavy read, quite the opposite is true. Instead, Johnson is a skilled storyteller, and he weaves together a number of different threads – his own story, accounts of his interviews, his accounts of some of Shostakovichs’s compositions (including the Cello Concerto No. 1, String Quartet No. 8, Symphonies Nos. 4, 8, and 11) and how they affected his mental health and overall well-being – into a compelling story that is not just about Shostakovich, or music, but about the human condition and the challenges we all face as we make our way through life. Especially fascinating – offering insights both musical and psychological – are some interviews and analyses that reveal some of the hidden messages that Shostakovich wrote into his music, his way of taunting his tormentors without exposing himself openly to further persecution. This is a little volume that can easily be read in a day or two, but with a message that will resonate in readers’ hearts and minds for far longer.

KWN

Recent Releases, No. 19 (CD reviews)

By Karl W. Nehring

Igor Levit: On DSCH. Shostakovich: 24 Preludes and Fugues Op. 87; Stevenson: Passacaglia on DSCH. Igor Levit, piano. Sony Classical 19439809212.

Sometimes you just have to laugh at yourself. In preparation for this review I did a quick mental inventory of recordings of the Shostakovich 24 preludes and Fugues in my collection. Of course there was the version that had served as my introduction to these pieces nearly 30 years ago (how could that be?!), Keith Jarrett’s ECM recording. Then there was the Konstantin Scherbakov Naxos recording, originally released in 2000 but which I have owned for maybe 10 years or so. Then I remembered that I also owned a version by Vladimir Ashkenazy, which was included in a Decca boxed set of Shostakovich’s chamber music. But what made me laugh is that while looking for that boxed set, I ran across another Decca release that I did not even realize I owned, this one featuring just the 24 Preludes and Fugues. An embarrassment, yes, but an embarrassment of riches. Having previously been impressed by Levit’s pianistic artistry, I had been looking forward eagerly to this new release, not only to hear his interpretation of the Shostakovich, but also to hear for the first time the Passacaglia on DSCH by the late Scottish composer Ronald Stevenson (1928-2015), having read read an  interview with Levit in the September issue of Gramophone magazine in which Levit discussed at some length this new recording and his thoughts about the composers and their music, at one point declaring that, “the Passacaglia on DSCH is a combination of intellectual, pianistic, physical and emotional effort. So far it’s really been second to none for me. It’s kind of a larger-than-life piece that I feel very close to -- a musical piece of genius beyond belief.”

Although I hardly needed yet another recording of DSCH’s 24 to add to my collection, my admiration for Levit’s musicianship combined with my curiosity about the Stevenson piece compelled me to place an advance order for the bizarrely illustrated 3-CD set that I began to audition as soon as it arrived a couple of weeks ago and have listened to numerous times since. Levit brings a warmth and depth of expression to the Shostakovich that draws the listener in. Part of this impression may be attributable to the recorded sound of the piano, which is on the warm and full side, yet very clear and detailed. In comparison, Jarrett’s interpretation seems a bit more Bach-like, whereas Levit’s strikes my ears as more Liszt-like, if that makes any sense at all. To be honest, I like them both, but at different times and for different reasons and different purposes. But my goodness, the Levit is wonderful, and has become my favored version. The Stevenson piece is something I have not quite completely come to grips with; that is not to say I do not like it, for I do, but it is a complex piece, expressing a multitude of styles and emotions, something like a symphony for the piano. I can well appreciate Levit’s thoughts about it and I furthermore appreciate his having recorded it for us to hear and enjoy. This is quite a release. The music is rewarding, particularly with the inclusion of the seldom-encountered but significant composition by Stevenson that so well complements the Shostakovich, the playing is beyond reproach, as is the engineering, and the liner booklet is informative and engaging. The net result is a first-class release that I highly recommend to DSCH fans, even those who already have a favorite recording of his marvelous 24 Preludes and Fugues. Allow me to close with a thought to ponder from Levit: “Music is freer than certain figures of our industry on the writing side, or blogging side, are trying to make us believe. That’s something I find uplifting about music; it’s just there to be experienced, not to be explained. I am not a teacher.”

Klebanov: Chamber Works. Includes String Quartets Nos 4 and 5; Piano Trio No. 2. ARC Ensemble (Erika Raun and Marie Berard, violins; Steven Dann, viola; Thomas Wiebe, Kevin Ahfat, piano). Chandos CHAN 20231.

I slipped this CD into the tray of my CD player, hit the PLAY button, and retreated quickly to my listening chair, not quite sure what to expect, never having heard any music by the Jewish-Ukrainian composer Dmitri Klebanov (1907-1987). Would it be harsh and discordant, spooky and mysterious. or just kind of faceless and bland? Imagine my surprise, then, when the first music that I heard pouring from my speakers was – are you ready for this? – Christmas music! Yes, the first few bars of Klebanov’s String Quartet No. 4 were familiar to my ears as the opening bars of that familiar Christmas tune, Carol of the Bells. As the liner notes explain, “The accessible and spirited Fourth Quartet is dedicated to the memory of the much-loved Ukrainian composer Mykola Leontovych, whose secular choral works draw on the country’s folk music… The quartet draws on melodies by Leontovych; the opening movement is based on his song Shchedryk (Little Swallow), a perennial favourite composed in 1904 and better known in the West as the Christmas favourite ‘Carol of the Bells’.” You learn something every day! The Fourth Quartet (1946) is rather brief, its four movements totaling under 17 minutes in this performance, but it is lively, tuneful and engaging. His Piano Trio No. 2 (1958) is the longest work on the program at nearly 31 minutes. It is more serious in mood than the preceding quartet, but that is not to imply that it is somber by any means. It simply feels more musically mature, more expressive – and the three musicians really dig into their parts with gusto, as if to convince their listeners of the musical value of this long-overlooked score. This is an impassioned performance indeed! And likewise with the performance of Klebanov’s String Quartet No. 5 (1965), which likewise feels more musically mature and deeply expressive than his preceding quartet. All in all, this is another truly rewarding release in the “Music in Exile” series of recordings by Canada’s ARC Ensemble. (We previously reviewed their fine recording of chamber works by Walter Kaufmann here.) Like Kaufmann, Klebanov was a composer whose music was suppressed by the Soviet regime and has long been neglected. All three works featured on this beautifully engineered CD are premier recordings; moreover, the liner booklet features not only information about the music but also biographical information to put Klebanov’s life and travails in clear perspective. As my Belgian friend said to me after we listened to this album and poured through the liner notes, “Mon ami, this ARC Ensemble, they not only play the music most beautiful, but they also do the work most noble, n’cest-pas?”

Shostakovich: Symphonies Nos. 1, 14, & 15; Chamber Symphony in C minor. Andris Nelsons, Boston Symphony Orchestra. Deutsche Grammophon B0033803-02.

Not long into auditioning this release from Nelsons and his Boston forces, I was struck by two things. First, the bass on this recording was prodigious, with a drum sound to rival the most impressive Telarc recordings from back in the day. Second, the performance of the Shostakovich First Symphony seemed slow. My first impression regarding the engineering held up throughout my listening sessions, and was frankly kind of fun; however, I could not quite get over the slow tempi. The Shostakovich First should sound like a bit of a romp, some high-spirited fun, but that quality is missing here. I thought Bernstein on his old Chicago recording on DG stretched the First about as far as it could go, but Nelsons stretches it beyond the breaking point. Symphony No. 15 likewise just feels, at least to these ears, a bit too slow, and likewise with the Chamber Symphony. All things considered, the recorded sound is powerful and resonant, most impressive indeed, but the performances just never seem to catch fire. If you are new to Shostakovich and are looking for a good coupling of his Symphonies Nos. 1 & 15, two worthy options I can recommend are Wigglesworth on BIS and Inbal on Denon. Also, the Bernstein/Chicago DG recording that couples Symphonies Nos. 1 & 7 features a performance of No. 1 that although slow, is still intriguing and well worth a listen. To be honest, though, it is not a recording I would recommend for someone coming to this symphony for the first time, but rather to those already familiar with the work. But the Symphony No. 7  by these forces is simply incredible, a recording that every fan of Shostakovich would do well to give an audition. Oh. My. Goodness.

Jan Järvlepp: High Voltage Chamber Music. Includes Quintet 2003; Woodwind Quintet; Bassoon Quartet; String Quartet No. 1. Jae Cosmos Lee, violin; Sirius Quartet (Fung Chen Hwei and Gregor Huebner, violins; Ron Lawrence, viola; Jeremy Harman, cello); Arcadian Winds (Vanessa Holroyd, flute/alto flute; Jennifer Slowick, oboe and English horn; Rane Moore, clarinet; Clark Matthews, French horn; Janet Underhill, Meryl Summers, Naho Zhu, bassoons; Susie Tulsie, contrabassoon/bassoon). Navona NV6366.

This album of chamber music by contemporary Canadian composer Jan Järvlepp (b. 1953) might also be titled “High-Spirited Chamber Music,” because each of the four musical selections projects energy, optimism, and a real zest for both music and life. Although that overall mood prevails throughout the four pieces, each is for a different ensemble – string quintet (featuring three violins, leading to what Jarvlepp calls some “fancy fiddling”), woodwind quintet, bassoon quartet, and string quartet – making for a refreshing variety of sonorities as the program proceeds. Although I would characterize the music on this album as “easy to listen to,” I do not at all mean to imply that it is not serious music. It is serious, finely crafted music that happens to be of a nature that makes it pleasant but still captivating, evincing a mood in the listener more along the lines of Shubert’s “Trout” than a late Beethoven quartet. Each of the ensembles digs into the music with evident enthusiasm, reminding the listener that the true purpose of chamber music is not so much to be heard as to be played. But as consolation for those of us who can only hear it, not play it, let us remember that chamber music is meant to be played not in a concert hall but in intimate setting, for a few family and friends gathered in a home -- and if not in the same room as the actual quartet or quintet, then in a comfortable room with decent stereo system reproducing fine chamber music recordings such as this one.

KWN

Recent Releases, No. 15 (CD Reviews)

By Karl W. Nehring

Shostakovich: Symphonies Nos. 9 & 10. Gianandrea Noseda, London Symphony Orchestra. LSO Live LSO0828.

Another installment in Noseda’s ongoing Shostakovich cycle, this pairing of these consecutively numbered symphonies offers more than 79 minutes of gripping music in an unusual but welcome pairing of these two works by the late Russian master. Symphony No. 9 is the lighter and shorter of the two, consisting of five relatively brief movements. As you might expect from Shostakovich, though, although there are moments of lightness and humor, there are also moments of great energy. Listeners who have not heard this music before may be especially delighted to follow the trombone part in the opening movement. I won’t give it away; enjoy hearing it for yourself. What Symphony No. 9 lacks in those long brooding passages that the composer is known for, Shostakovich more than makes up for this in Symphony No. 10, which many fans of the composer consider to be his symphonic masterpiece (as do I, sometimes, but then at other times I favor No. 8, but then again, on other days, No. 4). The opening movement is nearly as long as the whole of No. 9, with Noseda doing a commendable job of maintaining our interest while ratcheting up the tension without resorting to cheap theatrics. He and the LSO players deliver a convincing performance of this work, with both the performance and the sound comparing favorably to two of my favorite recordings, Levi/Atlanta (Telarc) and Dohnányi/Cleveland (Decca/London). As the performance progresses, Noseda and the LSO maintain the tension but yet also bring out the softer, more introspective passages Shostakovich also includes into the score as well as the brooding and the anguish that never seem to completely go away. With excellent engineering, excellent performances, and two symphonies on one SACD (I auditioned the CD layer), this 79-minute disc is certainly a recommendable release for Shostakovich fans and doubtless many others could easily be converted to DSCH by giving this disc a good listen.    

John McLaughlin: Liberation Time. John McLaughlin, guitar/guitar synthesizer/piano; Roger Rossignol. piano; Rangit Barot, drums/konokol; Jean-Michel “Kiki” Aublette, drums/bass; Vinnie Colaiuta, drums; Nicolas Viccaro, drums; Julian Siegel, tenor saxophone; Etienne M’Bappé, bass; Gary Husband, drums/piano; Sam Burgess, bass; Jerome Regard, bass; Oz Esseldin, piano. Abstract Logic ABL 65.

For many folks of a certain age, a pivotal musical experience was hearing the 1973 album The Inner Mounting Flame by guitarist John Mclaughlin’s  Mahavishnu Orchestra, which featured McLaughlin on guitar, Jerry Goodman on violin, Jan Hammer on keyboards, Rick Laird on bass, and Billy Cobham on drums. This was intense music, dazzling in its speed and virtuosity and manic in its sheer energy. McLaughlin’s guitar playing knocked me out then and it knocks me out now. At age 79, he still has it. Those fingers can still fly! And as you might guess, this is another of those pandemic albums -- produced during conditions that have precluded the musicians involved from getting together in the studio as they normally would. As McLaughlin writes in his brief liner note, “This recording is the direct result of the restrictions imposed on all of us due to the Covid 19 pandemic. By the end of September 2020, I, like so many millions of people, had become deeply frustrated by these necessary ‘antisocial rules’ imposed, even so, with good intent by all governments. The result of this frustration was an explosion of music in my mind, which led to this recording.” By and large the musicians did not get together in the studio; rather, McLaughlin would send them his ideas for the various compositions and they would lay down supporting tracks that he would then listen to and respond to until eventually the various parts were mixed into final versions that became the seven cuts on the album. This was a worldwide effort, involving 11 musicians besides McLaughlin with recording taking place not only in Monaco (where McLaughlin resides and has a studio) but also in Paris, London, Cairo, and Los Angeles. I like to think of jazz as a kind of chamber music, which I am sure for some readers is stretching things too far, and in this case, the “chamber” is a virtual, digital simulacrum. Oh well, just put this CD into your player and let the opening guitar riff by Maestro McLaughlin bring your wandering mind right back into the here and now. Yes, his fingers can still fly. This is what got termed “fusion music” back in the 1970s, an energetic blend of rock and jazz, played on mostly electric/electronic instruments. But McLaughlin has never been one to rest on simple rock or funk cliches, he is a serious, probing musician who has always stressed the spiritual dimension of music. He is seeking liberation not just from the restrictions of the pandemic, but liberation of the spirit, and his music dances and sings in its energetic interplay of musicians. Besides the thrill of hearing those 79-year-old fingers dancing along the frets, other thrills include the kokonol singing of drummer Ranjit Barot on the cut “Lockdown Blues” (kokonol being a rhythmic vocalization style from South Indian Carnatic music) and the gentler thrill of hearing McLaughlin play the piano rather than the guitar on two brief tracks, “Mila Repa” and “Shade of Blue.” The album concludes with the rousing title cut, “Liberation Time,” for which digital magic enables the trio of McLaughlin (guitar), Burgess (bass), and Husband (piano and drums) to liberate themselves into one heck of a quartet. Given the way the album was recorded, it makes no sense to talk of imaging and such, but I can report that there is no brightness or glare to the sound, so it will not fry your tweeters or cause you any sort of listener fatigue.  

Mark John McEncroe: Fanfare Suite. Stephen Williams, Sydney Scoring Orchestra. Navona NV6329.

Australian composer Mark John McEncroe (b. 1947) did not take up music seriously until later in life, starting serious piano studies at the age of 37 while continuing his professional life as a chef until age 50. He subsequently studied composition and orchestration privately, eventually transforming himself into a serious composer as evidenced by the three compositions on this new release from Navona. In the liner notes, McEncroe writes that all the music on this album was originally scored for full orchestra, and after recording it that way in 2015, “conductor Anthony Armoré suggested to me that this repertoire would be very suitable for concert band, particularly Fanfare Suite. I then recorded it with the Sydney Scoring Orchestra, a composite studio orchestra which for this session were mostly all members of the Sydney Symphony Orchestra.”  Of the work that opens this CD, McEncroe writes that “when I think of the Fanfare Suite, I think of Aaron Copland and wide open spaces, big horizons, the Grand Canyon, John Ford/John Wayne movies etc. However, I’m not American so I’d like to think of it as more universal in its ‘grandness’.” In four movement totaling more than 40 minutes, it is indeed a grand piece, and as played and recorded here has a big, full, open sound that you would expect from a professional concert band. The first of the four movements lives up to the fanfare designation, but there are moments that sound very jazzlike. The second movement ramps up the drama, often playing off the contrast between the sound of the brass and the sound of the winds. The third movement, although it features a prominent bass drum part, comes across as more reflective overall, even pastoral, with a layered presentation. The final movement, which is the hottest of the four, begins with brass and percussion leading the way, giving a real sense of occasion, and there are some engaging rhythms to be heard as the music continues. The two compositions that complete the album are both characterized as symphonic poems. Celebration of the Natural World is tuneful, colorful, and engaging, while The Passing is more somber in mood. It is reflective, but although it opens softly and is often reflective in mood, is not always peaceful and quiet in expression, making especially expressive use of woodwinds and percussion. All in all, this is an enjoyable recording, well played and well recorded. The music may not be memorable or profound, but it is pleasant and listenable, and there are times when that is sufficient. My only quibble is that it would have been nice to have more extensive liner notes, but I have no significant reservations about the music or the engineering. The former chef has served up some musical comfort food.

Dwb (driving while black): Roberta Gumbel, libretto; Susan Kander, music; performed by Roberta Gumbel, soprano, and New Morse Code (Hannah Collins, cello; Michael Compitello, percussion). Albany Records TROY1858.

What we have here is far from musical comfort food; it is music to make us feel uncomfortable – but for good reason. Soprano Roberta Gumbel not only does the singing, she wrote the libretto for this opera, while the music was composed by Susan Kander (b. 1957). In his brief note included in the liner booklet, director Chip Miller offers a succinct overview of the piece: “When I was studying for my driver’s license test, my parents sat me down for an important discussion about car safety: what to do when you are pulled over by a police officer. As they went through the list of instructions, I’m sure I rolled my eyes. To me, the car represented freedom, and that was all I could see. I could not yet see the numerous times I would be pulled over for being in the wrong neighborhood. I could not yet see the danger that exists when you are black and in motion in America. But my parents did. Susan Kander and Roberta Gumbel’s dwb (driving while black) provided a window through which to revisit that crucial conversation, this time through the vantage point of my parents. In its swift 45 minutes, we spend 16 years with a black mother, feeling her growing fear as her black son moves toward driving age. The anxieties of being black and behind the wheel are given voice: in the gorgeous words sung by the mother, in the atmosphere created by the percussionist and cellist, and in the retellings of real stories of discrimination.” Lest the reader think dwb is of political interest only, I hasten to add that it is musically fascinating. Not only does Gumbel draw the listener in with her dramatic singing and storytelling, but the instrumental duo New Morse Code are simply amazing in the way they are able to move the story along with such a colorful variety of rhythms, textures, accents, and colors from just two musicians. Credit of course must also be given to composer Kander and the engineering crew for capturing these sounds so vividly. To be honest, I was not sure what to expect from this recording, but I was quickly won over not only by the dramatic storyline but also by the sheer energy and imagination of the music itself. The libretto is included in the booklet; this is a first-class production in every way, even if not your typical opera.   

Bonus Recommendation
Sebastian Fagerlund: Drifts; Stonework; Transit. Ismo Eskelinen, guitar; Hannu Lintu, Finnish Radio Symphony Orchestra. BIS-2295 SACD.

I have observed before that much contemporary orchestral music tends to favor the creation of interesting sounds over the spinning of memorable melodies, or as others have characterized it, an emphasis on the vertical rather than the horizontal. This recording of music by the Finnish composer Sebastian Fagerlund (b. 1972) falls into the former category. No, this is not dissonant music that will make you cringe, but on the other hand, if you are looking for something pretty, there is very little here that will satisfy your cravings. Drifts is a composition for orchestra of just under 12 minutes in length. It is a powerful work that proceeds in waves of energy, at times from the brass, at times from the strings, constantly churning and changing. The overall tone color is dark, with an emphasis on the lower end of the sonic spectrum. Stonework is brighter in overall tone, with more contributions from the higher brass, woodwinds, and strings. Throughout its more than 15 minutes it just keeps changing, never settling into one type of sound or rhythm.  Both these pieces I would characterize as bold, fascinating, certainly fun to hear on a big system, but not really musically memorable. Transit, which is a concerto for guitar and orchestra, is an unusual concerto in six movements that are played without pause. The guitar never really makes any virtuoso display; indeed, it often plays rather quietly. However, the overall effect of the quiet guitar and the variety of moods displayed by the orchestra tend to draw the listener in. At first listen, I found the piece underwhelming, but as I listened to it a few more times, I began to find myself intrigued by its soft-spoken quirkiness. Overall, this is not a recording for everyone, but fans of soft-spoken quirkiness (you know who you are) might want to give it a listen.  

KWN

Recent Releases (CD Mini-reviews)

By Karl W. Nehring

Christopher Tin: To Shiver the Sky.
Danielle de Niese, soprano; Pene Pati, tenor; ModernMedieval; Royal Opera
Chorus; Pembroke College Girls’ Choir; The Assembly; Anna Lapwood, Organ;
Christopher Tin, Royal Philharmonic Orchestra. Decca Gold B0032422-02.

The foreword to the liner notes proclaims
that “This is the story of flight: of humanity’s quest to break the bonds of
earth, challenge the heavens, and take our rightful place among the stars… This
is the story of flight told through music, and through the words of 11 of
history’s pioneers, pilots and engineers, scientists and storytellers,
stargazers and mystics, men and women who freed us from the shackles of
gravity, and stretched the limits of our imagination. It’s the greatest
adventure on which man has ever embarked.” That is certainly an ambitious aim,
and although I will freely admit to some skepticism, I will humbly admit that I
was entertained and indeed won over by the music of the young American composer
Christopher Tin (b. 1976), of whom I had never heard before checking this CD
out of the library. With lyrics from historical figures such as Leonardo da
Vinci, Ovid, Copernicus, Yuri Gagarin, and others, sung in a variety of
languages, with grand musical arrangements and powerful sonics, this truly is a
release that will make a music-loving audiophile shiver in delight.

Beethoven: Symphony No. 5; Gossec: Symphonie
à 17 parties. François-Xavier Roth, Les Siècles. Harmonia Mundi HMM 902423.

I recently completed a modest survey of
recordings of Beethoven’s venerable Symphony No. 5 in which I looked at both
period instrument recordings (7/5 of Beethoven Part 1) and those by modern orchestral forces (7/5 of Beethoven Part 2). Having spent so much time listening to
that work, wonderful though it is, I was not really all that eager to audition
yet another recording of it, but this new recording by Maestro Roth and his
French period-instrument orchestra had two appealing things going for it.
First, I had heard previous recordings they had made of music by Debussy and
Ravel and had been quite impressed by both the performance and sound; second, I
had never heard of the French composer François-Joseph Gossec (1734-1829) and
was curious to hear his music. As it turned out upon auditioning this well-engineered
Harmonia Mundi CD, my curiosity was richly rewarded. Although the Beethoven
performance does not quite edge out the Savall for pride of place in my
personal pantheon, this is a fine version that is well worth hearing,
especially for those who have not yet heard the Fifth performed by other
than a modern orchestra. But the real ear-opener was the Gossec, an energetic
symphony that fully deserves to be heard alongside the mighty Beethoven work.
What as pleasant surprise! Listening to the Gossec reminded me of when I
finally sat down and listened seriously to the Beethoven Symphony No. 2, a
work I had always neglected in favor of his other symphonies. My goodness, what
had I been missing all those years?! Hearing the Gossec gave me a similar
feeling–why had I never heard this music before?! This is an exciting,
stimulating work, fully deserving to be heard alongside Beethoven, and I intend
to seek out more music by this composer. I suspect that if you give this CD a
listen, you may well want to do the same.

Borodin: Requiem. Ian Boughton,
tenor; Stephanie Chase, violin; Margaret Field, soprano; Geoffrey Simon,
Philharmonia Orchestra/BBC Symphony Chorus. Cala Signum SIGCD2094.

Longtime classical music fans might
remember Australian-born conductor Geoffrey Simon (b. 1946) from those superb
Debussy recordings he made with the Philharmonia for the Cala label back in the
early ‘90s. Those recordings are what sprang to my mind when I saw this new
release at the library; indeed, I was surprised to see that Simon was
apparently back at it three decades later. It was not until I had already
played (and thoroughly enjoyed) this CD a couple of times that I read the fine
print to discover that although the copyright for this release was 2020, the
recording was done in 1992. I then took a quick look on Amazon and found out
that this program was originally released on Cala in 1993 as a Borodin
collection, then reissued by Cala in 2006 with a new cover, this time
highlighting the Requiem, and now it is being reissued once again as a
Cala Signum release, with another new cover that once again highlights the Requiem.

If you were not aware that the Russian
chemist and composer Alexander Borodin (1833-1887) wrote a requiem, you need
not be embarrassed. This is not a requiem mass in the manner of Mozart,
Beethoven, Berlioz, Verdi, et al. It is one movement that lasts only
5:26 as performed here. And oh, by the way, the original was a little piano
piece by Borodin; the orchestration done by the conductor Leopold Stokowski. Why,
then, is it the title of the album? Ahh, the mysteries of life and classical
music marketing…

That said, it is an interesting enough
little piece, and the rest of the program consists of more substantial fare
that highlights the colorful, melodic music for which Borodin is famous. There
are the Polovstian Dances and Suite from Prince Igor, an arrangement for
violin and orchestra by fellow Russian composer Rimsky-Korsakov of Borodin’s Nocturne
from his String Quartet No. 2, his symphonic poem In the Steppes of
Central Asia, and finally, his Petite Suite, which Borodin
originally wrote for the piano but was later orchestrated by Glazunov. All in
all, what we have here is more than 78 minutes of colorful, expressive,
well-recorded music that offers a great overview and introduction to
Borodin.    

Desplat: Airlines. Emmanuel Pahud,
flute; Alexandre Desplat, Orchestre National de France. Warner Classics
0190295306878.

French film composer Alexandre Desplat (b.
1961) has won Academy awards for his scores for The Shape of Water and The
Grand Budapest Hotel, both of which are represented in arrangements of
excerpts on this imposing new release from Warner Classics is which Desplat
makes a case for considering film music as serious music, not just light music
for entertainment. The program also includes his Pelléas et Mélisande,
which the composer describes as a Symphony concertante inspired by
Debussy and written to highlight the sound of the flute, played here by
renowned French flautist Emmanuel Pahud (an article about Pahud’s golden flute
appears in the March 2021 issue of Gramophone, which coincidentally
enough arrived at my abode the same day as I first auditioned this CD). Yes,
overall this CD sounds for the most part like movie music, but it is very fine
movie music; indeed, it is very good music period, and well-recorded to boot.
Some may find the sweetness of the music combined with the sweetness of the
flute a bit too caloric, but hey, we all enjoy an occasional overindulgence,
right? No, this is not the kind of music I would be likely to play over and
over, but for those who enjoy cinematic sound, this is well worth an audition.
(And if you have never seen The Grand Budapest Hotel, you definitely
need to fill that gap in your cinematic experience…)     

Shostakovich: Symphony No. 11 (“The
Year 1905”). Vladimir Jurowski, London Philharmonic Orchestra. London
Philharmonic Orchestra LPO-0118.

The Symphony No. 11 (“The Year 1905”) by Russian composer Dmitri Shostakovich
(1906-1975) comes across in many ways more like one big tone poem than it does
a symphony, which is not surprising, given that its four movements are each
given tone-poem-like titles and that the four movements are played without
pause. To my mind, at least, as much as I admire Shostakovich, No. 11 is
one of those pieces you just have to be in the mood for, and frankly, that mood
does not strike me often. When it does, though, I want a performance that
really brings the music to life, and this one by Jurowski and the LPO just does
not do it for me. It just seems too polite, too matter-of-fact. When I am in
the mood to hear this work, I would much rather listen to the rendition by the
Boston Symphony Orchestra under Andris Nelsons on DG, a performance and
recording of significantly greater impact and power. YMMV. 

Bruckner: Mass in E minor; Motets.
Henry Websdale and Donal McCann, organ; Sir Stephen Cleobury, The Choir of
King’s College, Cambridge/Academy of St. Martin’s in the Fields. King’s College
Cambridge KG50035.

Bruckner is most well-known for his
symphonies, but he also composed in other genres, such as masses and motets.
This recording presents the second of his three masses plus several of his
motets. Unfortunately, I was immediately put off by the sound of the voices,
which to my ears at least just sounded young and shouty, just not right for
this music. Thinking I was perhaps in some sort of churlish mood, I pulled out
an older DG recording of the same E minor Mass as performed by the Choir
and Orchestra of the Bavarian Radio Symphony under the direction of Eugen
Jochum and was immediately reassured that no, the problem was neither my mood
nor my hearing, it was with the sound of the young English choir. That is a
shame, because in every other respect – engineering, liner notes, etc. – this
is truly a first-class release, but the sonority of the choir simply seems
inadequate to communicate the deep beauty of this music. In the end, this is a
disappointing release.    

Bach: Goldberg Variations. Parker
Ramsay, harp. King’s College Cambridge KG50049.

From the same label comes a recording that
is the very opposite of a disappointment. This performance the young American
musician Parker Ramsay of Bach’s immortal Goldberg Variations is utterly
delightful, first-class in every respect. But what makes it truly revelatory is
that Ramsay has not recorded them on piano, nor on harpsichord, but instead he
has recorded a transcription he made for harp, and rather than sounding like
some sort of novelty, it sounds perfectly natural, musical, and glorious. In
the liner notes, Ramsay asserts that he “wanted to show the world that the harp
is not a toy for composers to whip out in precious moments in orchestral music,
but a serious instrument whose variety of timbre can hold the attention span of
a listener for an hour or more.” For a spellbinding 78 minutes and 45 seconds,
this recording proves his point. If you are a fan of the Goldbergs, you
really ought to put this recording on your must-hear list. It will give you a
whole new perspective on the musical possibilities of the harp as well as a
deeper appreciation for the genius of Bach.    

#Goldberg
Reflections: Niklas Liepe, violin; Jamie Phillips, NDR Radiophilharmonie.
Sony Music 19439778302.

From
Sony comes another fascinating perspective on the possibilities inherent in the
Goldbergs, not from a single instrument this time, but rather from an
ensemble. Or, more precisely, ensembles, not only of performers but also
of composers. On this ambitious two-CD album, violinist Niklas Liepe has masterminded
a musical collection consisting of arrangements of movements from the Goldbergs
interspersed with brief compositions by contemporary composers that are
reactions to, reflections upon, takeoffs from, or otherwise inspired by Bach’s
iconic composition. The musicians include Niklas Liepe, violin; Nils Liepe,
harpsichord and piano; Anna Lewis, solo viola; Nikolai Schneider, cello;
Friedrich Heinrich Kern, vibraphone; and conductor Jamie Phillips leading the
NDR Radiophilharmonie. The composers include Rolf Rudin (b. 1961, Germany),
Sidney Corbett (b. 1960, USA), Andreas Tarkmann (b. 1956, Germany), Dominik
Dieterle (b. 1989, Germany), Wolf Kerschek (b. 1969, Germany), Moritz Eggert
(b. 1965, Germany), Daniel Sundy (b. 1979, USA), Tobias Rokahr (b. 1972,
Germany), Friedrich Heinrich Kern (b. 1980, Germany), Stephan Koncz (b. 1984,
Austria), and Konstantia Gourzi (b. 1962, Greece). This might sound like a huge
hodgepodge, but it all blends together into an entertaining whole that stays
true to Bach while expanding the conception of the variations. Yes, it expands
from Bach, but is firmly rooted in Bach, and never strays from style or
sonority that sounds estranged from the sound-world of the Goldbergs.
The end result is spellbinding, one that should appeal to just about anyone who
loves the music of Bach, and even to those who have not yet discovered the
music of the great master. I simply cannot recommend this too highly; it is one
heck of a hoot!

LCO Live -
Vaughan Williams | Suk | Dvorak. Christopher Warren-Green, London Chamber
Orchestra. Signum Classics SIGCD638.

Sometimes you
just need to be reminded how lovely certain music can be. Auditioning this CD,
which I had added with some reluctance to the stack of new releases I had found
at the library, did just that for me. What a revealing reminder of what I had
been missing from music I had long neglected! Not so much the opening piece,
the Fantasia on a Theme by Thomas Tallis by Ralph Vaughan Williams, for
I play a lot of RVW’s music and the Tallis Fantasia is often included on
various RVW releases, but even in this case, the beauty of this performance by
the London Chamber Orchestra under the baton of Maestro Warren-Green quickly
brought a smile to my face. It was the Serenades by Suk and his teacher
Dvorak that really made my day, for I had truly forgotten just how beautiful,
how moving, how rewarding these works are. With more that 70 minutes of
lovingly performed, warmly recorded music for strings, this is truly a
recording to both stir and soothe the soul, delivering whatever your soul might
need during these difficult days.

KWN

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