Mozart: Cosi fan tutte

Salzburg Festival production by Sven-Eric Bechtolf

Vienna Philharmonic Orchestra, Christoph Eschenbach

UNITEL CLASSICA 2072748

This is a charming approach to Cosi which does not strain the music yet produces lively characterisation and believable interaction. Set within a large conservatory, there is a lot of hiding behind plants, and dipping into the central pool, but nothing too far-fetched.  At its heart is the finely honed Don Alfonso of Gerald Finley – is there anything that is outside of his remarkable talents? But the rest of the cast are equally pleasing and the orchestral sound is brisk and apt throughout.

Smetena: Ma Vlast

Czech Philharmonic orchestra, Jirí Belohlávek

UNITEL CLASSICA 2072758

Recorded live during the Prague Spring Festival in 2014 I find this a totally convincing reading of the score from players who know it well but treat it with absolute respect. The brass sounds Eastern-European rather than French and the strings have a bite which gives the reading its individual edge.

Knowing the hall from a number of visits, the acoustic is well represented here. Let us hope we get future releases from both the spring and winter festivals.

Cilea: L’Arlesiana

Orchestra Filharmonica Marchigiana, Francesco Cilluffo

DYNAMIC 37688

This is a recording of Rosetta Cucchi’s production for the Teatro Pergolesi in Jesi, Italy, in 2013. I’Arlesiana is no longer a familiar work though it once had strong following. Its hero Federico is obsessed by the unseen Girl from Arles who eventually drives him to suicide. In this production she is very much a reality, turning up like Banquo’s ghost on regular occasions and at one stage all the women in the chorus appear as the beloved. As an approach it works well and the singing is convincing though one could see that it could be a vehicle for a star tenor who wanted to milk it emotionally. Thankfully that is not the case here and Dmitry Golovnin does not overplay his insanity.

The setting gives it an air of Greek tragedy which is effective and the orchestral support is strongly founded.

Shakespeare: Julius Caesar

Shakespeare’s Globe production by Dominic Dromgoole

OPUS ARTE OA 1174D

One of the great virtues of Shakespeare’s Globe on the South Bank is the close rapport between stage and audience. Dominic Dromgoole makes a virtue of this in the opening scenes of this production as the audience are addressed as the mob, and are similarly encouraged to be a part of the play in all of the public scenes. It is reasonable to assume that this is actually far closer to Shakespeare’s own experience of theatre than the hushed, darkened silence of most contemporary productions. Here the action moves swiftly and at times bloodily, but the text is never garbled or skated over. The barbarity of the music adds an extra frisson and the shifts between Roman, Elizabethan and contemporary history are always apt and often uncomfortable. If the DVD does not quite give the excitement of actually being there, it comes very close.

Mahler: Das Lied von der Erde (arr Schoenberg)

Linos Ensemble, Ivonne Fuchs, Markus Schafer

CAPRICCIO C 5136

This comes as something of a shock to those of us who know the original work well. The orchestration is full enough to be mistaken at first for the original but then one gets the feeling that it is not quite right. At first I thought the volume was wrong, or the balance, but then I remembered this was Schoenberg’s chamber edition and suddenly everything fell into place. It puts more weight onto the voice, as there is no possibility of them vanishing beneath the full orchestra but at the same time allows for more subtlety which it certainly gets. Der Abshied is particularly impressive.

Bliss: Morning Heroes; Hymn to Apollo

BBC Symphony Orchestra and Chorus, Sir Andrew Davis

Samuel West, orator

CHANDOS CHSA 5159

I reviewed the live performance of Morning Heroes  at the Barbican Hall, on 15 May 2015, and my full review can be found elsewhere on this site. I am still not fully convinced by the structure using a narrator, no matter how good Samuel West may be, but it is certainly good to add this to the range of works available to commemorate the anniversary of WWI. The shorter Hymn to Apollo is equally rarely heard and so a useful addition, particularly as this appears to be its only recording.

Schumann: Davidsbundlertanze & other piano works

Imogen Cooper, piano

CHANDOS CHAN 10874

The recording covers a number of sets of variations ranging from the early Abegg collection, which was the composer’s first published work, to the very late Geistervariations. At the heart of the collection is Clara Schumann for whom many of them were specifically written. Imogen Cooper traces the development of Schumann’s art through these sets and shows not only the subtlety of his writing but the ever increasing range of his imagination. An impressive collection and one I shall go back to.

Beethoven: Piano Sonatas

Op2No2; Op10No1; Op78; Op110

Angela Hewitt, Fazioli piano

This is presumably volume five although it does not actually state that it is. However as the latest edition to what will presumably be a complete Beethoven piano sonatas from Hyperion it is very welcome. The four works cover a very wide range from the early Haydnesque Op2 No2 to the concentrated power of Op78 and the gentler lyricism of Op110. Angela Hewitt brings to these her accustomed warmth and technical finesse. Roll on volume six.

THE BRITANNIC ORGAN  VOL.10- Welte’s German organists & their music

Historic Welte rolls played on the Britannic Organ, Museum fur Musikautomaten, Seewen
OEHMS CLASSICS   OC 849 (2 CDs)

I have previously reviewed Vol 9 of this series. As with that volume I greatly enjoyed this compilation of recordings of rolls made for Welte organs and played here on the organ from the sister ship of the Titanic. This volume features German organists and composers and provides a fascinating glimpse into the fashions of the day, with registrations ranging from the conservative to the wildly romantic – including much use of the celeste in a Handel organ concerto and a Bach Prelude & Fugue! Earlier repertoire is the focus of the second CD , including Buxtehude, Pachelbel, Bach and Handel. On CD 1  music by Reger, Rheinberger and Karg-Elert can be found alongside lesser-known composers such as Sjogren, Malling & Sittard. This release will not be to everyone’s taste but I enjoyed it immensely. It has made me reflect further on how these organs were intended to be used and in what settings the various rolls would have been heard.

MAJESTIE – Francois Couperin & Michel Richard de Lalande: 

Music for the Sun King’s Court
POETICALL MUSICKE
VETERUM MUSICA  (68’01)

This recording transports the listener back to a very specific time and place – the court  of Louis XIV at Versailles. The well balanced programme presents two Lecons de Tenebres by de Lalande (with texts from Lamentations) framed between three of Couperin’s Concerts Royal.
Poeticall Musicke are Rosemary Galton, soprano, Rafael Font, violin, Kate Conway, bass viol and Joseph Chesshyre, spinet. Performing on period and reproduction instruments together with the vocalist the ensemble delivers an enticing glimpse into an intriguing musical setting.

MESANGEAU’S EXPERIMENTS
ALEX McCARTNEY,  lute
VETERUM MUSICA

This CD presents three Suites for solo lute by Rene Mesangeau (1567-1638), reckoned to be amongst the finest of composers for the instrument. His experimentation with lute tuning systems, hence the title of this CD, helped to establish a standard system. This is sublime music, played with such feeling by Alex McCartney, a busy soloist and accompanist, who also directs the ensemble, Poeticall Musicke, and makes lutes. We are fortunate to be able to listen to this re-discovered music performed with such care.

DIVINE NOISE- Theatrical Music for two harpsichords
GUILLERMO BRACHETTA & MENNO van DELFT, harpsichords
RESONUS  RES10145 (74’26)

The sound of a full-bodied harpsichord can be thrilling – and here we have two together! Sometimes a complete CD of harpsichord music can be overwhelming but this is not the case with this recording. There is plenty of light and shade although the overall tone of this French baroque programme is vibrant and uplifting. The main work here is a new arrangement by Brachetta of a suite of music from Rameau’s Platee (1745). Alongside this are Couperin’s La Paix du Parnasse (1725) and Le Roux’ Suite in F major (1705). A thrilling experience!

PIERNE – ORCHESTRAL WORKS VOL 2
JEAN-EFFLAM BAVOUZET, piano, BBC PHILHARMONIC , JUANJO MENA.
CHANDOS  CHAN 10871  (72’58)

A delightful disk of largely unfamiliar work by Gabriel Pierne (1863-1937). The recording begins with Paysages franciscains, a three-movement work based on the life of St Francis and probably the most modernistic of the pieces presented here. Throughout the piece there is a range of different orchestral colour. Several of the other works on this CD feature the piano alongside the orchestra, including the Poeme-Symphonique and the Fantaisie-Ballet. A lovely late romantic programme for piano and orchestra.

Stephen Page

THE ST PAUL’S GEM

TIMOTHY WAKERELL, Drake organ in the OBE Chapel, St Paul’s Cathedral, London

PRIORY PRCD 1130

This recording celebrates William Drake’s last complete new instrument, built in 2012. The organ incorporates elements which hark back to the instrument built for the cathedral by Smith c.1703.
Much of the programme on this CD features music of around that time, including pieces by Buxtehude, Bohm & Bach as well as earlier music from John Bull & Sweelinck. The two longest works are JS Bach’s Toccata & Fugue in F (BWV540) & CPE Bach’s Sonata in F. There are also later works by Brahms, Gade & Saint-Saens. A wonderful programme to introduce this new organ.

HOLST – THE PLANETS / ST PAUL’S SUITE
SIMON JOHNSON, organ of St Paul’s Cathedral, London
PRIORY PRCD1144

This recording was also made at St Paul’s, but this time on the cathedral’s main organ. I have a love/hate relationship with large-scale transcriptions – appreciating and enjoying some and wondering why some others have been attempted. I have very much enjoyed this disc which couples Peter Sykes’ arrangement of The Planets with Simon Johnson’s own transcription of the St Paul’s Suite. For The Planets he says, “The organ of St Paul’s was, of course, a willing partner and the notorious acoustic- so often the cause of debate in relation to musical performances- seems to help project the scale and metaphysical properties of Holst’s original conception in a positive dramatic way” The cathedral choristers add their voices to the final movement, Neptune, bringing this work to a suitably mystical end. The organist describes his work in translating the St Paul’s Suite for the organ as the” reverse of reducing  a massive score”. It provides an apt and contrasting accompaniment to the main work. This is a thrilling CD!

BRAVURA!
FRANCESCA MASSEY, organ of Durham Cathedral
PRIORY PRCD 1137

This is a very enjoyable programme of twentieth century works from Britain, France & Scandinavia given by the current assistant organist at Durham. Francesca Massey uses the cathedral organ to great effect in performing this mostly unfamiliar repertoire. Opening with a substantial Fantasia by York Bowen, with the two other large works being Messiaen’s Diptyque and Matthias’ Variations on a hymn tune (based on the Welsh tune, Braint). Dupre’s Prelude & Fugue in F minor  features alongside works by Lindberg, Alain, Hovland and ending with Empyrean by the organist’s former teacher, Francis Pott.

GREAT EUROPEAN ORGANS Nos. 94  & 96
MARCO LO MUSCIO, organs of Stadtpfarrkirche, Maria Himmelfahrt, Landsberg am Lech, Germany
PRIORY PRCD 1124

St Bernard’s Church, Baden-Baden, Germany PRIORY PRCD 1125

These two recordings both contain a highly eclectic mix, each making up a very interesting programme. The Italian organist’s interests and musical tastes are obviously wide ranging and serve to show off these two unfamiliar organs to great effect.

Both CDs include a number of short 17^th/ early 18^th Century pieces, from composers such as Hanff, Kneller, Hass, Buxtehude and JS Bach. The second CD also includes a slightly longer piece by JC Rinck.
Both discs include music from the organist’s own hand as well as substantial works by the contemporary composer Andreas Willscher (Variations on a theme by Paganini (1^st CD) Prelude, Choral & Variations on Greensleeves (2nd CD). I particularly enjoyed the inclusion on each disc of music by keyboard virtuoso Rick Wakeman (Neogothic-Catherine Parr (CD 1) & Judas Iscariot (CD 2)). Other rarities include music by Distler, Part, Buttstett & Orff and a variation on a Bach Prelude by Steve Hackett, Horizons.

These two CDs include so much of interest but each also makes for a very enjoyable listening experience in its own right. I look forward to further collections of this ilk.

THE COMPLETE PSALMS OF DAVID VOL 8, SERIES 2
CHOIR OF WORCESTER CATHEDRAL, Organist  CHRISTOPHER ALLSOP, Directed by Peter Nardone
PRIORY PRCD 1140

I have enjoyed previous recordings in this series and this is no exception. This collection covers Psalms 105 – 118 and uses chants not previously used in the series. There are well known composers included here including Howells, Attwood, How and Turle. Amongst the less familiar composers are Robin Doveton & Conrad Eden. There are also chants by the director of the choir. Four of the psalms last over 9 minutes. All are presented with much attention to detail, word colouring etc and some of the verses are in minor keys. As with other recordings in this collection full texts are included. A useful devotional aid and a further contribution in the cataloguing of this wonderful repertoire that forms the basis of the sung worship of the Anglican choral tradition.

LOYSET COMPERE (c1445-1518)
ORLANDO CONSORT
HYPERION  CDA68069     68’22

Due to the findings of recent scholarship the work of this composer is now regarded as more significant in the development of vocal music than it was previously thought. Now believed to pre-date Josquin and Obrecht his is a name that should be more widely known.

This is sublime music performed with such care and musicianship by the Orlando Consort.  This is mostly a collection of four part songs but begins with a setting of the Magnificat. Mostly sung in French, full texts are provided. The final track, in Latin, O bone Jesu, is a mystery, attributed to Compere but with other claims to its authorship. A lovely CD and an important document of this early music.

HERZ – PIANO CONCERTO No 2  (THE ROMANTIC PIANO CONCERTO 66)
HOWARD SHELLEY, piano/conductor, TASMANIAN SYMPHONY ORCHESTRA
HYPERION CDA68100     65’10

I was not aware of this long running series or of the composer Henri Herz (1803-1888). This composer, whose 200 works (including eight piano concertos) have been  largely forgotten, deserves to be rediscovered.  Alongside the Piano Concerto No2 in C minor are Grande fantaisie militaire sur La fille du regiment, Fantaisie et variations sur la marche d’Otello de Rossini and Grande polonaise brillante. An enjoyable CD which should prompt further research into this composer’s output.

Stephen Page

Wagner: Tannhauser

Bayreuth Festival 2014

OPUS ARTE OA 1177 D

It is many years since I was last in Bayreuth but regular releases have enabled us to keep up with the changes in production style which the house has undergone. Few can be stranger than this new Tannhauser. Musically there is a great deal to commend it and if it were a CD release I would be full of praise both for Axel Kober conducting and the immaculate singing of the Bayreuth chorus. Solo singing is strong and frequently beautiful in its line.

However the approach seems almost entirely perverse. Wagner created Bayreuth to enable the audience to immerse themselves in the work, to focus entirely upon it without distraction. The stage setting should enable the audience to forget everything except the work itself. Here, the stage is converted into a factory – and moreover a factory which works on regardless of the action in which the singers are involved. There is even a lengthy non-communion service prior to act three. The designer and director state in a lengthy programme note that they wanted the setting to create a non-world within which the opera could take place. It seems reasonable to ask why they did this at Bayreuth? If they want to set it in a factory why not do just that? There were surely plenty of redundant buildings which could have been put to use, but to use all the resources available at Bayreuth for a static factory set seemed counter-productive and constantly worked against both the music and the narrative. Some recent productions have been dull, some – like the recent Mesistersinger- have proved challenging but highly effective. Visually, this Tannhauser was neither.

Aulis Sallinen: King Lear

Finnish National Opera, Okko Kamu

ONDINE ODV 4010

King Lear has been a provocation to composers for at least two centuries. Verdi and Britten both contemplated it but in the end abandoned their schemes. This recent version, recorded in 2002 at the Finnish National Opera, by Aulis Sallinen is more traditionally operatic than one might expect of a contemporary composer. The chorus is used liberally throughout and much of the vocal writing is lyrically based. Matti Salminen makes a strong protagonist and he is well supported by strongly focussed characterisation from those around him. Lear is never an easy work but this version could sit comfortably alongside more familiar settings of Shakespeare.

Mendelssohn: Piano Trios

Sitkovetsky Trio

BIS 2109                               56’59

This new CD was featured recently on the radio and hopefully that will have brought this lovely recording to a far wider audience. The performances are crisp and bright throughout; well worthy investing in.

British Violin Concertos

Lydia Mordkovitch, violin

CHANDOS CHAN 241-53                  78’39; 77’36

This is a timely issue, bringing together the collective talents of Richard Hickox and Bryden Thomson with Lydia Mordkovitch who was a founding artist for Chandos records. It includes violin concerti by Arnold Bax, George Dyson, Arthur Bliss and John Veale, the most interesting of which is the most recent – and least known – by John Veale. It also demonstrates the continuing strength of more conventional composition throughout the twentieth century in the face of the avant-garde. There is a great deal to enjoy here.

Sibelius: Belshazzar’s Feast

Turku Philharmonic Orchestra, Leif Segerstam

NAXOS 8.573300               63’03

Sibelius: Pelleas et Melisande

Turku Philharmonic Orchestra, Leif Segerstam

NAXOS 8.573301               57’49

These two new releases bring together a large number of smaller works, often lesser known, in the company of the complete incidental music for Pelleas et Melisande and Belshazzar’s Feast. Leif Segerstam has a lean, often dry, approach to the scores which is convincing in its honesty and the tonal finesse of the orchestra. The Turku Philharmonic Orchestra is joined by soprano Pia Pajala and mezzo Sari Nordqvist in Autrefois. For those of us who value Sibelius and are keen to add to our collections his shorter pieces these are a valuable addition.

Schumann: Complete Symphonies

Odense Symphony Orchestra, Simon Gaudenz

CPO 777 925-2                   123’52

There are many recordings of the Schumann symphonies so what have these Odense recordings have to offer? That they are presented in chronological rather than numerical order may seem a minor point but when listening straight through it moves the fourth symphony into its correct (second) place. Doing this, we get a far better sense of the growth of the composer as a symphonist. The first is light, Mendelssohnian in touch and sensitivity. This lightness continues right through with a sense that Schumann is closer in emotional temperament to the classical mode than the later romanticism. We experience the burgeoning romanticism through Mozart’s eyes rather than Brahms. I found this very convincing, though I realise some readers may prefer a more profound, not to say heavier, sound world.

J S Bach: Duo Recital

Janos Starker, Cello; Zuzana Ruzickova, harpsichord

HANSSLER SCM CD 93.726            66’51

The performances here were recorded in 1971 at the Schwetzingen Festival. They stand the test of time remarkably well not only in the quality of the recording but also in the authenticity of the playing, which predates our assumptions about original instrument approaches to style, yet remains alive and convincing throughout.

Cello Sonatas

Steven Isserlis, cello; Stephen Hough, piano

HYPERION CDA 68079     71’41

The cd includes two fairly familiar works by Grieg and Mendelssohn – even if they are not heard very often in live performance. Grieg’s Cello Sonata Op36 has had a chequered history though I am pleased to note that the critic writing in Musical Opinion in 1889 thoroughly approved of the piece. What connects the three is the fact that all the composers were also professional pianists, which may account for the often fearsomely difficult writing. The real value of this recording, however, is the inclusion of Stephen Hough’s Sonata for cello and piano left hand les adieux. Romantically cast, it is a fitting companion piece to the other two and deserves to be more widely known.

Sibelius: Lemminkainen Legends; Pohjola’s Daughter

Finnish Radio Symphony Orchestra, Hannu Lintu

ONDINE ODE 1262-5       61’40

There is a real value in hearing Finnish music from Finnish players, as I discovered some years ago when visiting Finland for the Lahti Organ Festivals. This new recording is no exception having the bite and austerity, almost at times the pain which underpins so much of the writing. Where others might stress Sibelius’ more romantic side, here we are at odds with the wilderness. I doubt if The Swan of Tuonela has ever sounded so convincingly bleak.

Folke Grasbeck plays Sibelius on the Ainola Piano

BIS 2132               80’54

The generous length of the cd and the liveliness of the recordings make it a bonus in its own right before one considers that we are hearing Sibelius’ own works performed on the piano at which many of them were written. Many of the pieces are very short but none the less give an excellent impression of the range of works which the composer produced, with many unfamiliar pieces alongside the more popular.

Haydn & Mozart

Arcangelo, Jonathan Cohen

HYPERION CDA 68090     57’44

This new release combines three familiar works. Haydn’s Sinfonia Concertante in B flat, with Mozart’s Oboe and Bassoon concerti. All are given clean, pleasing performances.

Richard Strauss: Feuersnot

Orchestra chorus and youth chorus of the Teatro Massimo, Gabriele Ferro

ARTHAUS 109065

This is very much a festival performance. Strauss’ early work was a failure in 1902 and even here it has nothing like the command of operas which were to follow very soon afterwards. There are hints of Meistersinger and also of Humperdinck in the scoring, which is for large orchestra and chorus with a wide range of soloists. The stage direction under Emma Dante keeps the stage alive if at times it seems over busy. Gabriele Ferro marshals his forces with some skill and while it makes for a pleasant experience it is not a work one would wish to return to regularly.

INTO THE STARS

FAIRHAVEN SINGERS, conductor RALPH WOODWARD 

GUILD GMCD7417 (69’14)

This collection of choral music commissioned for the Fairhaven Singers presents some beautiful music in a range of styles by some well-known contemporary composers. Although I enjoyed all the music here I found the move from the unaccompanied first half to the addition of The Will Todd Trio (piano, bass and drums) rather jarring. I wonder if this would have worked better at the beginning of the CD. The final arrangement of an English folk-song also seemed a little out of place.

SMITH & HANDEL – JULIAN PERKINS, harpsichord
CHANDOS  CHACONNE  CHAN 0807 (77’50)

This is a lovely combination of unfamiliar music played by a fine musician on an original single manual (c1770) and a modern (1982) double manual harpsichord. The use of the two instruments allows for more variety than in some recordings. The bulk of the CD consists of a premiere recording of music dating from 1755, John Christopher Smith’s Six Suites of Lessons for the Harpsichord, Op 3. This is preceded by an overture by Handel, Riccardo Primo, re d’Inghilterra . Despite loving the sound of the harpsichord I sometimes find a whole CD too much. This is not the case here. A very enjoyable performance.

POWER OF LIFE – CHRISTOPHER HERRICK, Metzler organ, Poblet Monastery, Tarragona, Spain
HYPERION  CDA68129 (67’08)

This recording takes its title from  the opening track, an energetic composition dedicated to the performer by Mons Leidvin Takle. The Disc is a complete mix of styles but the programme is constructed in such a way that it works incredibly well. Alongside music by Mozart, Dupre, SAont-Saens & Walton are less familiar names – Hans-Andre Stamm, Vincenzo Petrali , Franz Wagner and Marius Monnikendam. There is a beautiful arrangement of Amazing Grace by George Shearing & further arrangements of melodic pieces by Villa-Lobos and Warlock. A highly enjoyable collection.

GREAT EUROPEAN ORGANS No 93
KONSTANTIN VOLOSTNOV, WALCKER organ, Riga Dom, Latvia
PRIORY PRCD 1111

This is a lovely collection of “solid” organ music linking another impressive large-scale organ with expert performances from a Moscow organist and seven preludes and fugues. The Russian composers – Glazunov, Karatygin, Catoire & Goedicke flank a central prelude & fugue of JS Bach (D major, BWV 352). The Russian music dates from the early 20^th century and there are clear influences from German organ music.  A useful addition highlighting a neglected area of the organ repertoire.

THE COMPLETE ORGAN WORKS OF THOMAS TERTIUS NOBLE Vol 1
JOHN SCOTT WHITELEY, organ of York Minster
PRIORY  PRCD 1116

The beginning of another complete works collection provides some interesting music in another set of convincing performances by an organist who knows this instrument well. There are several pieces based on popular hymn tunes, as well as some “light” programme music. Of particular interest are the Pastorale-Prelude on a Chinese Christmas Carol and Two Traditional Hebrew Melodies. The most substantial work is the final track, Introduction & Passacaglia. I look forward to the subsequent volumes.

GREEN & PLEASANT LAND – KEVIN BOWYER, organ of Woburn Parish Church
PRIORY PRCD 1131

This is a very personal project by Kevin Bowyer who, after being asked to give a recital on this organ, was so taken by it that he wanted to make a recording. The music here has been inspired by thoughts of what might have been played by organists who later ended up serving in the First World War, and is taken from a set of volumes of the monthly periodical, The Organ Loft (1900-1915). I really enjoyed this collection of pieces – none of which I had heard before. Interesting biographical notes are included for all the composers. Kevin Bowyer has often introduced listeners to new organ music. He does the same here. It is just that this “new” repertoire dates from a century ago!

SIGFRID KARG-ELERT – The Complete Organ Works Vol 12
STEFAN ENGELS, Steinmeyer organ, Marienkirche, Landau/Pfalz, Germany
PRIORY  PRCD 1088 (76’13)

This volume in the continuing series is an enjoyable programme in its own right. Stefan Engels’ masterful playing of this large Romantic organ makes for a very musical recital. This CD comprises three of the composer’s larger works – Trois Impressions Op 72, Partita for organ Op 100 and Homage to Handel Op 75.

L’ORGANO A FIRENZE DAI MEDICI ALL’UNITA D’ITALIA
(Organ music in Florence from the Medici period to Italy’s Unification)
GABRIELE GIACOMELLI,  organs of Basilica di San Lorenzo, Firenze
TACTUS  TC 860002 (79’03)

This CD presents a wealth of music presented in chronological order from  the late 15^th Century up to the late 19^th Century. Two organs are recorded, dating from 1773 and 1864 respectively. I was particularly interested to hear some of the earlier music. Whilst the performances are all very good I found the overall sound of this disc to be harsh and it quickly became wearing. Perhaps it is my English sensitivity but I expected some of this music to have a gentler feel. It is still an interesting recording but perhaps to be listened to in small doses.

ET IN ARCADIA EGO – Italian Cantatas & Sonatas by Handel, A Scarlatti, Lotti & Mancini
CONCENTUS VII (Emily Atkinson, soprano & instrumentalists)
RESONUS  RES10142 (67’16)

A lovely programme of Baroque secular solo cantatas and oboe concertos makes for an enjoyable listening experience. Much of this music is less familiar.

LENNOX BERKELEY – CHAMBER WORKS
BERKELEY ENSEMBLE
RESONUS  RES10149 (59’48)

I really enjoyed listening to this disc. The music here deserves to be much better known and appreciated. There are small ensemble pieces including a String Trio, Sonatine  (clarinet and piano) and a Sextet. Three pieces for solo viola take the listener into a different sound world. The Introduction and Allegro is for the unusual combination of double-bass and piano. In memoriam Igor Stravinsky (for String Quartet) gives an insight into one of Berkeley’s influences. The short Piece for flute, clarinet and bassoon provides a lovely way in to this programme.

SP June 2015

Rossini: Semiramide

Vlaamse Opera, Ghent

DYNAMIC 33674

There has been a revival of interest in Rossini’s serious works alongside the regular performance of his comic masterpieces. This production from Vlaamse Opera in Ghent moves the action to a modern setting but one which is in steep decline. Events unfold with a chilling inevitability, closer to Greek tragedy than 19^th century romance, and it is this intensity which carries the production through with dramatic fierceness and much impressive singing. A very welcome recording.

Bach: The Art of Fugue

Angela Hewitt, piano by Fazioli

HYPERION CDA 67980     89’43

This recording reflects the approach which I heard so brilliantly performed at February’s Bath Bach Fest with the clarity and spirituality which Angela Hewitt brings to a live performance here evident throughout. I have a large number of recordings of this, Bach’s greatest accomplishment, but am only too happy to add this to them as one of the finest available.

Bach: Cello Suites

David Watkins, cello

RESONUS RES 10147    68’19; 76’42

David Watkins takes a brusque, at times matter of fact, approach to these works which is often challenging but never unacceptable. Where others tend to sentimentalise and pull the tempi about this recording is precise, crisp and beautifully articulated.

Beethoven String Quartets: vol 1

Elias String Quartet

WIGMORE HALL WHLive 0073/2

As this is labelled as volume 1 we must assume the Elias intend issuing a complete cycle. If so it is to be welcomed for this first volume – Op 18 No4, Op 74The Harp, Op130 with the Grosse Fuge Op133 – gives not only an indication of the high quality of their playing but a nuanced response to works at either end of the canon.

Dvorak: String Quartets vol 2

Vogler Quartett

CPO 777 625-2     70’30: 55’46

This is an interesting collection which balances very early works with the final two quartets. Zypressen had started life as an early song cycle, gone through a number of changes and arrangements, eventually ending up with five movements for string quartet. The fourth quartet is similarly early and the full score was destroyed by the composer, only to turn up a century later, published from the individual parts which had survived. The quartets Op 105 and 106 were written in 1895 when Dvorak returned from America. These were his final essays in chamber music. The Volger quartet have been together for thirty years and have a long association with Dvorak’s chamber music which they are gradually recording in full.

Chopin: vol 4 Waltzes and Nocturnes

Louis Lorte, piano

CHANDOS CHAN 10852  83’21

Yes there are very many recordings of these works from an equally large number of pianists. However I find Louis Lorte’s approach exhilarating and enthusiastic, making us hear again the familiar and pay attention to things we think we know too well already. It takes a real musician to make us sit up like that!

Michael Haydn: Complete String Quintets

Salzburger Haydn-Quintett

CPO 777 907-2    146’02

Not Joseph but Michael on this occasion and very pleasant too. The two CDs include all five of the quintets from a recording made in Salzburg in 2013. Unusually, the works were published during the composer’s lifetime and popular with performers.

Dvorak: Symphony No 1 & Rhapsody Op14

Deutsche Radio Philharmonie, Karl Mark Chichon

HANSSLER CD 93.330     64’53

Dvorak’s early symphonies tend to be overshadowed by the almost excessive performance of the later ones, but the composer himself was unsure about his first symphonic work and it was not rediscovered until 1923 in Prague. The strong Wagnerian and romantic qualities are to the fore and Karl Mark Chichon draws on these with aplomb. With so many works being added to the conventional repertoire it would be good to think this might be among them.

JOHANN SEBASTIAN BACH – THE TRIO SONATAS BWV525-530
DAVID NEWSHOLME, organ of Trinity College, Cambridge
OPUS ARTE OA CD9037D (2 CDs) (44’40  &  48’54)

This is a beautifully presented collection of these well-known masterpieces on the 1976 Swiss Metzler organ. The sonatas are deliberately re-ordered to create a pleasing sequence. The sound is fresh, allowing the various lines of this music to be balanced but clearly defined. A lovely set.

LISZT & BRAHMS ORIGINAL WORKS & TRANSCRIPTIONS FOR ORGAN
DAVID PIPE, organ of York Minster
SFZ MUSIC  SFZMO512 (71’10)

Here is an interesting collection of romantic organ music played on a suitably large instrument by an organist who knows it well. As well as two transcriptions by David Pipe and one by Liszt himself there are arrangements by Nicolas Kynaston & Jean Guillou. The disc presents a good balance of the familiar and the less familiar and highlights the current trend of more transcriptions for the organ.

RACHMANINOV TRANSCRIPTIONS & ARRANGEMENTS FOR ORGAN
JEREMY FILSELL, The Fred J Cooper Memorial organ, Verizon Hall, Kennedy Centre for the Performing Arts, Philadelphia, USA
SIGNUM CLASSICS SIGCD324 (76’43)

More transcriptions are to be found here in a wonderful collection of music that was mostly unfamiliar. The modern Dobson organ – the largest mechanical action concert hall organ in America – provides plenty of scope for the full orchestral palette necessary to bring these pieces to life in their transcribed form. Jeremy Filsell has done a sensitive job in reworking these orchestral, vocal and piano pieces in their musical “rebirths”.

JS BACH MOTETS
ST THOMAS CHOIR OF MEN & BOYS, NEW YORK,JOHN SCOTT, conductor

RESONUS RES10152 (68’34)

This is the first recording by the choir on this label. It presents some sublime music in fine performances of a selection of this particular form of Bach’s liturgical compositions. There are motets of varying lengths, the longest being Jesu,meine Freude. Excellent booklet notes give full descriptions of the music with full texts and translations. A very good introduction to Bach’s choral output, this music often has a purity of sound which disguises its complexity.

CRUCIFIXUS – CHORAL MUSIC OF KENNETH LEIGHTON
CHOIR OF TRINITY COLLEGE, CAMBRIDGE, STEPHEN LAYTON, conductor
HYPERION CDA68039 (72’09)

This is a magnificent recording of a selection of Kenneth Leighton’s choral and organ music. The climax of the CD is the cantata Crucifixus pro nobis, dating from 1961 and setting words by Patrick Carey. Two settings of the Magnificat and Nunc Dimittis are also included, together with shorter choral works and the organ solo Ita missa est from Missa de Gloria. A very enjoyable programme with the ability to transport the listener to higher realms.

DOHNANYI –THE COMPLETE SOLO PIANO MUSIC VOL 3
MARTIN ROSCOE, piano
HYPERION CDA 68033 (79’08)

I have not heard the previous volumes in this series but was entertained and intrigued by the contents of this disc. Dohnayni is a composer who deserves to be better known. I have enjoyed exploring some of his work at my piano but was unfamiliar with any of these pieces. They range in style from music inspired by Hungarian folk music to arrangements of waltzes by Delibes and Strauss. This is often complex music, arranged for the concert hall and is a rewarding listen. Martin Roscoe presents an excellent programme.

EUGEN SUCHON –ORCHESTRAL WORKS
ESTONIAN NATIONAL SYMPHONY ORCHESTRA, NEEME JARVI, conductor
CHANDOS  CHAN 10849 (63’38)

I must confess to never having heard of Eugen Suchon before. He is described as “the most influential and respected Slovak composer of the mid- and late 20^th Century”. His music is heavily influenced by later nineteenth century Romantic ideas, as well as folk music and extended tonality. Three works are included here – Metamorphoses (1953), Balladic Suite (1935)& Symfonietta Rustica(1956). The Estonian orchestra, under Neeme Jarvi, give sympathetic performances of these works.

PROKOFIEV – SHOSTAKOVICH – CELLO CONCERTOS
STEVEN ISSERLIS, cello, FRANKFURT SYMPHONY ORCHESTRA, PAAVO JARVI, conductor
HYPERION CDA 68037 (65’20)

It is good to have these two complimentary but contrasting cello concertos coupled together. The booklet contains some interesting information about the genesis of these works and their relationship. Steven Isserlis gives committed performances throughout in this Russian“anti-romantic” music from the mid 20^th Century. The CD ends with a short March from Prokofiev’s Music for Children arranged for solo cello.

Handel: Ariodante

ENO Chorus & Orchestra, Ivor Bolton

ARTHAUS 100065

This is a reissue of a recording made in 1996 of the production by David Alden – one of a series of fine Handel presentations by ENO which brought many people to the glory of Handel’s operas for the first time.  A strong cast is led by Ann Murray as Ariodante and Joan Rogers as Ginerva. Ivor Bolton keeps the music trim and pacey from the pit and the whole is more than worthy of being seen again.

Charles Ives: Symphonies Nos 1 & 2

Melbourne Symphony Orchestra, Andrew Davis

CHANDOS CHSA 5152     77’28

Given that Ives is normally seen as a radical composer, the conventional nature of these very early works makes for fascinating listening. Though Ives annoyed his tutor in straying beyond the bounds of what he thought acceptable, it is difficult for us to hear the first symphony as anything other than consistent with late romantic form. The second however is a different matter. Its first performance under Leonard Bernstein in 1953 was to be a turning point in the discovery of Ives as a national figure. The symphony leans towards a more nationalistic flavour, drawing on folk songs and hymn tunes. It seems strange that it has brought an English conductor and an Australian orchestra together to celebrate the early works of an American composer.

Janacek: String Quartets Nos 1 & 2

Martinu: String Quartet No 3

Doric String Quartet

CHANDOS CHAN 10848  59’29

The Janacek quartets are familiar in a range of recordings but the Martinu is less so and makes this a valuable addition. The Third Quartet was written in 1929 in Paris where it was premiered by the Roth Quartet. Shorter and terser than the second quartet, it also has an unexpected freedom and even a sense of playfulness at times that the Doric brings out with delicate clarity.

Music of the Realm: Tudor music for men’s voices

The Queen’s Six

RESONUS RES 10146       63’56

This is the debut recording for The Queen’s Six who are all Lay Clerks of St George’s Chapel, Windsor, and includes compositions written for the court of Queen Elizabeth I. The six male singers consist of two counter-tenors, two tenors, a baritone and a bass. Though some of the works are familiar it is the range of rarer pieces, and the splendid quality of the singing, which makes this a valuable addition to the repertoire.

Saint-Saens: Symphonies 1 & 2; Phaeton

Malmo Symphony Orchestra, Marc Soustrot

NAXOS 8.573138               66’06

The problem with Saint-Saens is that with some of his works constantly in the top ten his other compositions can too easily be overlooked. The first symphony dates from 1853 and the second from 1859. If the first is conventional in construction it does not lack in melodic invention and is scored for a large orchestra. The second is more daring in its opening fugue and final Tarantella before a false ending. More interesting possibly is the symphonic poem Phaeton which dates from 1873. Dismissed at the time by some critics as mere programme music, it comes across today as one in a sequence of increasingly interesting attempts to capture natural forces in music.

Mendelssohn in Birmingham Vol3

CBSO Orchestra & Chorus, Edward Gardner

CHANDOS CHSA 5151     73’01

This is proving to be a most enjoyable series of recordings as we now come to Meerestille und gluckliche Fahrt and the Hymn of Praise.  Possibly not as popular today as during the latter part of the last century, the choral writing for the Hymn of Praise shines out here from the CBSO Chorus, and there is powerful solo work from Sophie Bevan, Mary Bevan and Benjamin Hulett. Calm sea and prosperous voyage provokes an enthusiastic intensity from Edward Gardner which is pleasingly convincing.

Elgar: King Olaf; The Banner of St George

Bergen Philharmonic Orchestra and Choir, Andrew Davis

CHANDOS CHSA 5149(2)               53’18; 59’07

Sir Andrew Davis has long been a champion of Elgar’s choral works and here he brings us two rarely performed but none the less worthy pieces. Scenes from the Saga of King Olaf dates from 1895 and was first performed at the Victoria Hall, Hanley. The text is difficult, both in terms of setting and for modern audiences, and it is a tribute to Elgar’s increasing skill as a composer that the work comes across so easily. The Banner of St George sits less comfortably for listeners today. Commissioned by Novello for Queen Victoria’s Diamond Jubilee it is a setting of poems by Shapcott Wensley. The passages which relate to St George himself can pass without any real problem but the patriotic epilogue could make you toes curl. Thankfully Elgar’s music overcomes this with considerable nobility of ideas as does the playing of the Bergen Philharmonic Orchestra. Those of us who have been to Bergen will readily appreciate why the photograph of the orchestra shows them all with umbrellas!!

Bach: The Art of Fugue

Angela Hewitt, piano

HYPERION CDA67980      42’11; 47’32

I have reviewed Angela Hewitt’s wonderful playing of The Art of Fugue which she gave at the Bath Bach Fest earlier this month – and which can be found on the performance review page. Suffice it to say that this recording bears out everything that we heard on that occasion and includes the final Wenn wir in hochsten Noten sein BWV668a. As near perfection as we are likely to get.

DVDs

PURCELL: THE FAIRY QUEEN

ENO, NICHOLAS KOK

ARTHAUS 100201

With a new production by Peter Sellars of The Indian Queen due later this year, a reissue of David Poutney’s 1995 production of The Fairy Queen is timely and will make for a fascinating comparison. Poutney delights in the overt theatricality of Purcell’s vision making the whole constantly stimulating and engaging. When one adds to this a cast which includes Yvonne Kenny, Thomas Randle and Richard Van Allan, and the sprightly orchestral approach under Nicholas Kok it can hardly fail.

VERDI: DON CARLOS

ORCHESTRA & CHORUS TEATRO REGIO TORINO, GIANANDREA NOSEDA

OPUSARTE DA 1128 D

I suspect that this production was far more impressive seen live than it is here in close up on DVD. The massive sets impress from a distance but close to reveal that the columns do not touch the ground and, because of their massive bulk, are still on stage for the external scenes which need to breath. The same is also true of the singers. While the voices are sound throughout, there is often little eye contact between characters and rather too many shifty glances towards the pit. This is a pity for simply listening to the score is pleasurable. For once it might have been better to release this as a CD rather than a DVD.

CDs

THE ROMANTIC VIOLIN CONCERTO – 18

PHILIPPE GRAFFIN, ROYAL FLEMISH PHILHARMONIC, MARTYN BRABBINS

HYPERION CDA 68005  65’47

Following this series has been immensely enjoyable if only for the discovery of so many totally overlooked compositions which prove to have real merit.  Jongen is probably best remembered today as a composer of organ music and certainly it is his organ compositions which are most frequently heard.  The violin concerto was written following a visit to Bayreuth in 1899 and while it does not have strong Wagnerian overtones the high romantic is an inevitable reflection of the influence of the composer on the younger man. The other rarity is the Rapsodie in E minor by Sylvio Lazzari, also a Wagnerian and one who picks up the more lyrical, free-flowing impulses of the master. Anther valuable recording.

SIR CHARLES VILLIERS STANFORD  -THE COMPLETE ORGAN WORKS 2

DANIEL COOK, organ of Durham Cathedral

PRIORY PRCD 1106   71’37

Whether as a reference work or a recording just to enjoy this is a very good CD. Daniel Cook’s performances on the Durham Willis / Harrison & Harrison are excellent. This volume includes the Fantasia & Fugue in D minor, 6 preludes & postludes Set 1 & Sonata No 3 as well as some shorter works.

THE BRITANNIC ORGAN VOL 9 – Welte’s US organists and Edwin Lemare

ORGAN ROLLS of  Edwin Lemare, Samuel Atkinson Baldwin, Clarence  Eddy & others

OEHMS  OC848  69’01  &  74’57

The Britannic was the sister ship to the Olympic & the Titanic. It was originally intended to have a Welte reproducing organ installed on board. Due to the outbreak of the 1^st World War the organ was never installed. It was only during restoration work in 2007 that evidence was found to prove this was the organ originally intended for that ship. It is now housed in the Museum fur Musikautomaten, Seewen, Switzerland. This volume (the first I have heard) is a fascinating record of this instrument and the recording technology of the day which allows us to still experience the playing of these organists in such a live way.  The music consists of lighter & more substantial organ music and transcriptions. There is a wide range of colour and mood, with some brasher registrations contrasting with beautiful flutes and light tuned percussion.

CD1 includes musc by Bossi, Friml, Buck & Saint-Saens. Alongside mostly lighter music is Guilmant’s Sonata in D minor. The music on this CD is recorded by the American organists who recorded for Welte.  CD2 is entirely recorded by the celebrated Edwin Lemare. Alongside further music by Guilmant , Rheinberger and others are movements from Lemare’s own works. It ends with his transcription of Saint-Saens’ Danse macabre. There is an extensive booklet with interesting photographs and information on the organists and composers. Presumably earlier volumes contain more information about the organ itself. A fascinating insight into times passed.

JEAN-PHILLIPE RAMEAU – PIECES DE CLAVECIN  Vol 2

STEVEN DEVINE, harpsichord

RESONUS  RES10140   66’44

This is volume 2 of a 4 CD set of the complete keyboard works of Rameau, released at the end of 2014, the 250^th anniversary of the composer’s death. This CD features Book 3 of Rameau’s Pieces de Clavecin. The book consists of 2 Suites –in A minor/ major  and G major/minor.

The music is expertly performed by Steven Devine on a copy by Ian Tucker of a 1636 Ruckers double manual instrument. Volumes 3 & 4 are due for release later this year. As with previous Resonus releases there is a PDF booklet to accompany the recording.

JOURNEY TO ALDEBURGH: YOUNG BRITTEN

CHAMBER DOMAINE, conductor & violin THOMAS KEMP

RESONUS   RES10139  62’42

Having just worked my way through listening to a large Britten CD set I was fascinated by the contents of this CD. It is an interesting programme of world premiere recordings and other rarely heard music written by Britten as a student and at the beginning of the Aldeburgh Festivals.

The music is performed by Chamber Domaine, an ensemble with a growing reputation for the championing of 20^th & 21^st century repertoire, with its leader and violinist Thomas Kemp. It begins with an arrangement for 12 instruments of his tutor, Frank Bridge’s There is a willow grows aslant a brook. There are also works for solo piano, violin and piano and piano trio as well as the original version of his Sinfonietta, Op 1. If you would like to discover some “new” Britten then this disk is an obvious place to look.

HAYDN: SONATAS AND CONCERTOS

ANNE-MARIE MCDERMOTT, ODENSE SYMPHONY ORCHESTRA, SCOTT YOO

BRIDGE 9438A/B  70’15; 70’09

Five sonatas and the piano concertos in D major and G major (H XVIII 11 & 4) make this a bargain collection of fine works and equally fine playing. The cadenza in the final concerto was especially composed for Anne-Marie McDermott by Charles Wuorinen and creates a pleasing link between the original composition and the performance today on modern instruments.

SP/BH