Strauss: Arabella

Staatsopernchor & Staatskapelle Dresden, Christian Thielemann

UNITEL CLASSICA 717208

Recorded live at the Easter Festival in Salzburg this year, the production has a welcome frisson not only from the quality of the singing but the simplicity of Florentine Klepper’s production which throws most of the weight onto the singers and the sensitivity of their characterisation. Renee Fleming and Thomas Hampson are outstanding as Arabella and Mandryka, and there is an exceptional Zdenka from Hanna-Elisabeth Muller. Christian Thielemann may look unduly calm in the pit but he has no problem creating the emotional storms the score requires.

Wagner: Parsifal

Royal Opera, Antonio Pappano

OPUS ARTE OA 1158 D

I found this production very effective in the opera house and it transfers to DVD with very little loss of impact. While Stephen Langridge’s production upset some, I found the sense of new life – even of resurrection – at the end completely convincing. The musical quality is also of the highest throughout, Antonio Pappano proving yet again he is a fine Wagnerian, and directs a world class cast led by Simon O’Neill and Gerald Finley. Willard White’s Klingsor is surprisingly sympathetic, shifting the balance of the second act and forcing us to reconsider the moral world Wagner creates.

Mahler Chamber Orchestra

With Steven Isserlis, cello, under Teodor Currentzis

EUROARTS 2059818

This recording was made live in the Concertgebouw, Bruges, in 2013 and brings an interesting if challenging programme. It opens with an exhilarating performance of Shostakovich’s first Cello Concerto with fiery playing from Stephen Isserlis. This is followed by a more reserved Sinfonietta by Benjamin Britten before returning to Shostakovich and his First Symphony. While enjoyable as a one off, it strikes me as an unlikely choice for repeated listening.

Bach: Mass in B minor

Arcangelo, Jonathan Cohen

HYPERION CDA6805 1-2

While some of the solo singing impresses, the approach by Jonathan Cohen is often too staid to involve the listener. The opening sections in particular lack dramatic impact and passion, leaving us feeling the music is worthy but ultimately rather dull. It picks up somewhat from the Credo but by then our appreciation has dropped and it never really recovers a sense of involvement. A pity, the musical qualities are potentially very strong.

Dvorak: Requiem

Warsaw Philharmonic Orchestra and Choir, Antoni Wit

NAXOS 8.572874-75

There was a time when the Dvorak Requiem was as familiar as the Verdi or Mozart settings. As fashions change it seems to have dropped out of the regular repertoire which is a pity for it is a very fine work as we can hear from this new recording with Polish forces under Antoni Wit. At Naxos’ low prices this is a real bargain if you don’t know the work well.

Debussy: La Mer

Singapore Symphony Orchestra, Lan Shui

BIS 1837

The Singapore Symphony Orchestra was very well received when it appeared at the Proms this summer and here prove it was not a one day wonder. The approach to a familiar programme of Debussy – which also includes L’apres midid d’un faune and Images – is sound and musically impressive. Lan Shui has a secure feel for the scores, creating long flexible paragraphs full of individual delights.

GLASGOW TOCCATA – ORGAN MUSIC BY ALAN GIBBS

KEVIN BOWYER, organ of Glasgow University Memorial Chapel

PRIORY 1141 (3 CD set)

This set collects a fine selection of Alan Gibbs’ music expertly performed by contemporary organ champion Kevin Bowyer. It is a follow up to Bowyer’s earlier recording of Gibbs’ music and does not duplicate any of the items on that CD. The organ is the substantial 1927 Willis / 2005 Harrison which sounds superb. The programme is well constructed so that it is an engaging listening experience as well as being a good record of this music. I found the first disk the most enjoyable with its emphasis on hymn inspired pieces but enjoyed the whole recording. The notes group the pieces into particular themes (e.g.  “Serial works”, “For Germany”, “For Scotland”) instead of a chronological commentary.  I found this to be an interesting way to look at the programme. As well as shorter pieces and sets there are a number of longer pieces including Sonatas 2 & 3.

OLIVIER MESSIAEN – LES CORPS GLORIEUX & other works for organ

KEVIN BOWYER, organ of Glasgow University Memorial Chapel

PRIORY 1142

An interesting comparison to the above CD set is this single disk from the same organist and organ. The other works are Offrande au Saint-Sacrament, Prelude, Monodie and Verset pour la fete de la dedicace. As to be expected this is another polished production. There are notes on the pieces by the performer. The first two pieces were only discovered after the composer’s death. A good all-Messiaen recital for anyone not wanting the complete works.

SAINT-SAENS- ORGAN WORKS VOL 4 Miscellaneous Works

GERARD BROOKS, organ of Collegiate Church of Staint-Hippolyte de Poligny

PRIORY 1107  78’56

It is unfair to judge a single disk from a collection without hearing them all. This is a good recording of a large collection of music and is the final CD of a set of 4.  Much of the music is service music which in the context of worship (or as a single item in a more varied concert) would have been fine but I tired of this programme. However, a couple of lively marches towards the end did reawaken my interest. As part of the set I’m sure this is a welcome conclusion but for me it doesn’t really work as a standalone disk.

MUSIC FOR EVENSONG AT GLOUCESTER CATHEDRAL COMMEMORATING THE START OF THE “WAR TO END ALL WARS” ON 4^TH AUGUST 1914

GLOUCESTER CATHEDRAL CHOIR, conductor ADRIAN PARTINGTON
JONATHAN HOPE, organ of Gloucester Cathedral

PRIORY 1128

It may be argued that commemorations of the start of the First World War have already reached saturation point. However, it must be said that alongside the need to remember the beginning of such a shameful episode in the history of the modern world, it has been good to revisit some of the largely forgotten musical material from this time. I like the idea of commemorating important occasions with a carefully constructed sequence such as this. Included in this act of worship is an extended chorale prelude and a chant by Ivor Gurney, music from that time by Naylor, Goss and Vaughan Williams. Settings by Neil Cox and John Sanders,  both musicians more recently associated with the cathedral, are featured. The service ends with Parry’s “The Wanderer” Toccata and Fugue. Interesting and moving.

THE COMPLETE PSALMS OF DAVID VOLUME 7 SERIES 2

WAKEFIELD CATHEDRAL CHOIR, director THOMAS MOORE, organ SIMON EARL

PRIORY 1120   75’53

Another very welcome addition to the current series of Psalms sung to Anglican chant. This volume covers psalms  89-104. As with previous volumes there is an interesting selection of chants and well chosen registration which brings additional colour and expression to the psalms. The choir creates a very clear sound and, whilst full texts are included in the booklet, it is often possible to completely follow the words unaided. Sadly this is not always the case with recordings or in live situations. This is proving to be an excellent new series.

BH/SP

 Great European Organs No 95

Rudolf Muller, Steinmeyer organ, Monastery Church, Marianhill, Wurzburg, Germany

PRCD 1127

“Bach is the beginning and the end of all music”. This quotation from Reger ends the programme notes, restating the structure of this well balanced recital, beginning with JSB’s Prelude & Fugue in G major and ending with Reger’s Fantasie & Fugue on B-A-C-H. This long running series continues to present superb recitals on organs of note from throughout the continent. The organist here has been familiar with this instrument for 10 years and certainly uses it to great effect. Amongst the less familiar items on this recording are Zsolt Gardonyi’s Hommage a F. Liszt & Eugene Reuchsel’s Recuillement et Beatitude.

The Harrogate Harrison

David Halls, Harrison & Harrison organ, St Wilfrid’s Church, Harrogate

PRCD 1114     77’25

This is another enjoyable CD. I was not aware of this organ before, little changed since its installation in 1928. As with the previous CD the organist here has a long association with the instrument. The programme begins and ends with trumpets (Charpentier’s Prelude to the Te Deum and the organist’s own Sound the trumpet). I particularly appreciated the inclusion of 2 pieces by Ernest Farrar –Elegy and A Wedding Piece and Chorale Prelude on Wachet auf, ruft uns die Stimme by Flor Peeters. The 3 longest works here are Rheinberger’s Sonata No 6 in E minor and Jesus Guridi’s Triptych of the Good Shepherd together with Bach’s Prelude & Fugue in B minor.

Carl Rutti Symphony – The Visions of Niklaus von Flue / Caspar Diethelm –Last works for string orchestra

Maria C. Schmid, Sop  Marin Heini, organ  Mario Schubiger, percussion.

State Philharmonic Chamber Orchestra of Novosibirsk.  Rainer Held, conductor.

GUILD GMCD 7407/2      92’46

This CD transports the listener into an exciting soundworld. The work is scored for solo soprano and supported by organ, percussion and string orchestra. The mystical texts come from Brother Klaus (von Flue), the patron Saint of Switzerland. Rutti writes with both drama and introspection. Full texts are included in the booklet. The second CD consists of three works for string orchestra by Caspar Diethelm –Passacaglia, Consolation and Now the path completes the circle. This music provides a contrast with the first CD.

The Complete Psalms of David Volume 6 (Series 2)

Choir of Lincoln Cathedral. Director- Aric Prentice.  Organ -Charles Harrison.

PRIORY PRCD 1115           69’45

Another long running series from Priory is the recordings of the complete Psalms sung to Anglican chant. I have long enjoyed my set of the first series. Here is Volume 6 of the 2^nd series. The booklet states “We are attempting to use chants hitherto unrecorded and the psalms are set down from Day 1 to Day 30”. Full texts are included in the booklet making this a useful devotional aid. Here we have Psalms 78-88. A number of different chants and composers are featured including Stainer, Brewer, Howells and CS Lang. The first psalm shows imaginative use of no less than 6 chants, providing variety and to complement the text. Other psalms use just one or two chants. The accompaniment is varied and together with the choir shows a familiarity with these words and music that come from the regular pattern of cathedral worship.

Nowell Sing We – Contemporary Carols Volume 2

Choir of Worcester College, Oxford.  Stephen Farr (conductor & organ)

RESONUS  RES 10138        72’35

Here is another enjoyable collection of contemporary Christmas music. It is recorded in the spacious acoustic of the college chapel to good effect. Punctuating the vocal pieces are individual movements from Nico Muhly’s O Antiphon Preludes. It is good to hear the organ as a solo instrument as well as in accompanying mode. There are many familiar composers here, alongside a few less well known – Gabriel Jackson, Edmund Rubbra, Lennox Berkeley, Richard Rodney Bennett, John Scott, Colin Matthews, Herbert Howells, Peter Maxwell Davies, Philip Moore, Giles Swayne, Haflioi Hallgrimsson, Francis Pott, Grayston Ives, Richard Lloyd, Michael Finnissy & Jamie W Hall. There are a variety of styles including the more exuberant (Jackson Nowell sing we), the dissonant (Swayne O magnum mysterium) and pieces based on chant  (Finnissy Ave regina coelorum) In line with previous recordings from this company the booklet is in PDF format. As with the Psalms collection this is more music to be immersed in.

Debussy – Images – Preludes II

Marc-Andre Hamelin, piano

HYPERION  CDA67920     70’36

Claude Debussy Piano Music Vol III

Michael Korstick, piano

SWR MUSIC  HANSLER CLASSIC  CD 93.319   79’35

Here are 2 releases of Debussy’s piano music. Both include Images I & 2. The first CD also includes the complete Preludes Bk 2. Korstick has Images oubliees, 6 Epigraphes antiques, Morceau de concours, Hommage a Haydn, La plus que lente and Ballade.

These are both very good recordings. Perhaps Korstick’s playing is a little more reflective in places than Hamelin’s. It depends what you are looking for but I prefer the slightly more unusual  repertoire from Korstick, including the lovely La plus que lente. It should be remembered, however, that this CD is part of a series.

Domenico Scarlatti Complete Keyboard Sonatas Vol 15

Orion Weiss, piano

NAXOS 8.573222    79’20

I have to confess that the listing on this CD did not excite me. I still wonder at the prospect of at least another 14 volumes of this music! However, I really enjoyed listening to it. There is a surprising variety within the programme which is played with commitment and style. Apparently 555 of Scarlatti’s keyboard sonatas survive so this could be another long-running series. I would like now to compare with some of the other volumes.

SP  25/11/14

Wagner: Die Meistersinger von Nurnberg

Vienna State Opera, Daniele Gatti

EUROARTS 2072688

Die Meistersinger lends itself to traditional staging and attempts to update or challenge the audience can all too easily come to grief. Thankfully this staging by Stephan Herheim for the Salzburg Festival in 2013 treads a fine line between the two. It may all be a dream within the minds of Sachs and Beckmesser, but for most of the time the cheerful indulgence allows the music to shine through. The toy-town approach to the settings works remarkably well and the introduction of classical fairy tale figures does not feel out of place. It is well sung and acted by a generally young cast. Markus Werba is an unusually young Beckmesser, though his priggishness is closer to the older masters than to Robert Sacca’s aristocratic Walter. Michael Volle’s splendid Sachs is on stage virtually throughout and commands attention both vocally and histrionically. Daniele Gatti charms wonders from the Vienna Philharmonic Orchestra to produced one of the best sounding Wagner recordings for some time.

Janacek: Orchestral Works vol 1

Bergen Philharmonic Orchestra, Edward Gardner

CHANDOS CHSA 5142     64’05”

The Sinfonietta and suite from The Cunning Little Vixen will be familiar and are here well performed and convincing. The rarity is Capriccio, for piano (left hand) and brass ensemble, written in 1926. There is a bravura approach here, an overcoming of adversity which is felt throughout, even when the score is at its most whimsical. If the rest of the series introduces us to rarities of this quality it will be eagerly anticipated.

Elgar: Symphony No 1, Cockaigne Overture

Royal Stockholm Philharmonic Orchestra, Sakari Oramo

BIS 1939               67’17”

While working with the CBSO, Sakari Oramo gave some of the finest performances of Elgar I have ever experienced. It is a pity they were not recorded but he brings the same insight and sensitivity to this recording with the Royal Stockholm Philharmonic Orchestra. There may be many other versions available but this must now rank among the best.

Elgar: The Dream of Gerontius; Sea Pictures

Sarah Connolly, Stuart Skelton, David Soar, BBC Symphony Orchestra & Chorus, Sir Andrew Davis

CHANDOS CHSA 5140     58’33”; 66’14”

I was fortunate enough to be at the Barbican last year when these forces performed Gerontius and it was a wonderful and spiritually fulfilling evening. If the recording does not have quite the frisson of the live event (and one might query why it was necessary to record in the studio when many live performances are successfully launched these days) it certainly has all the strengths we have come to expect from Sir Andrew Davis. Stuart Skelton is outstanding as Gerontius, heroic at the top of the voice, and yet genuinely pained, almost afraid, in the reflective passages.

Sarah Connolly is a familiar strength as the Angel and we have the added value of her recording of the Sea Pictures which she sang at the Proms this year. A very welcome recording.

Franz Lehar: Wo die Lerche singt

Lehar Festival Bad Ischl, Marius Burkett

CPO 777816-2    129’52”

It would be nice to think of this as a lost masterpiece but, in reality, it isn’t. The performance may have been effective at the Bad Ischl Festival but in the cool light of day the voices are simply not opulent enough to carry the often thin material. A few tunes are interesting and there is possibly enough material for a suite, but there is little to recommend a more costly revival.

Tchaikovsky: Cherevichki

Bolshoi Theatre, A Melik-Pashayev

MELODIA MEL CD 1002129           74’46”;72’42”

This recording dates from 1948 and has been lovingly re-mastered. Though the work is difficult to bring off on stage – Garsington Opera made a valiant attempt recently – the music alone makes it worth listening to and as such this is a useful reissue.

Shostakovich: Violin Concertos 1 & 2

Christian Tetzlaff, Helsinki Philharmonic Orchestra, John Storgards

ONDINE ODE 1239-2       68’09”

Bringing the two concerti together helps to highlight the contrast between them, not only in the orchestration but in the solo part. Christian Tetzlaff brings a stridency and tension to his playing which is particularly effective in the later concerto but allows a more generous approach to the first.

The Helsinki Philharmonic Orchestra under John Storgards seem to have an innate understanding of the scores.

Debussy: La mer (arr Beamish); Beamish: The Seafarer

Trio Apaches, Sir Willard White

ORCHID CLASSICS ORC 100043

The thought of a chamber version of Debussy’s orchestral masterpiece La mer is, to say the least, challenging. The fact that Sally Beamish easily convinces us that the work could have been in this form before being transferred to orchestra is a mark of her superb expertise as a composer. Time and again listening to the arrangement it seems that nothing is lost in the transfer, though we know of course that it has been. The balance, sensitivity to dynamic and tone, are so well caught that the whole seems as inevitable as the original.

That her own setting of The Seafarer is not as successful is a pity. Willard White reads the poem against a quietly intense musical background. Though individual moments work well, the whole seems overlong and lacking in contrast. But the disc is more than worth it for the Debussy.

Canticles from St Paul’s Cathedral, London

St Paul’s Cathedral Choir, conductor Andrew Carwood, organist Simon Johnson

HYPERION  CDA68058    62’48

A highly enjoyable sequence of the familiar and the less well known. There are five settings of the Magnificat & Nunc Dimittis (Walmisley (Dm), Tippett, Gray (Fm), Stanford (Bb) & Wood (F). Alongside these are Walton’s Coronation Te Deum, Malcolm Archer’s Benedicite, omnia opera and the very effective Jubilate by Alec Roth which makes great use of the St Paul’s acoustic.

Hakim plays Hakim

Naji Hakim (& Marie-Bernadette Duforcet), Schuke organ of the Palacio Euskalduna of Bilbao, Vol 1

SIGNUM Classics   SIGCD389   61’10

I have enjoyed previous recordings by Naji Hakim and here we have another good selection of his own compositions. The major work, Die Apostel (for organ duet) which is a set of meditational movements inspired by woodcuts of the Apostles by Lucas Cranach and taking a choral or Gregorian melody as the basis for each. Other tracks are Toccata, Petite Suite, an amusing take on Schubert’s Ave Maria, Hommage a Jean Langlais, Esquisses Gregoriennes and Arabesques. Rhythm and jazz stylings  are major influences on Hakim’s work, as well as his drawing on the vast catalogue of liturgical and organ music of our ancestors. Whilst enjoying all of this music I found listening to it in one sitting a bit overwhelming.

Organ Sonata in C minor (Percy Whitlock)  – Organ music from the Temple Church, London.

Greg Morris

SIGNUM Classics  SIGCD379   72’53

I found this to be a very well programmed CD. Greg Morris gives fine performances on the Temple Church organ, with a varied recital including the neo-Romantic English sound of Whitlock, coupled with three French Romantic / 20^th century works. These are Litanies (Alain), Cortege et Litanie (Dupre) and Choral No 3 in A minor (Franck).

The Merton Organ

Benjamin Nicholas plays the new Dobson organ, Merton College, Oxford.

DELPHIAN   DCD34142     71’51

This is a showcase for the new Dobson instrument at Merton College, “only the third American-built organ to be sent to the UK since the Second World War”. Benjamin Nicholas gives a well balanced recital of varying styles and periods and the organ sounds very good indeed. Two Bach arrangements open the disk –Dupre’s arrangement of the Sinfonia from Cantata No 29 is vibrant but played with a welcome lightness and is followed by a beautifully restrained performance of Durufle’s arrangement of Ertodt uns durch dein Gute. It is good to have a Stanley Voluntary in A minor as well as music by Franck (Piece Heroique), Messiaen (Priere après la communion) and Mendelssohn (Andante with variations in D). Highlights for me were Langlais’ Dialogue sur les mixtures and Dupre’s Cortege et Litanie. Two pieces by Vierne close the recording – Clair de lune and Carillon de Westminster. In the context of this programme I even found it was possible to listen to Bach’s Toccata and Fugue in D minor without rushing to skip the track!

Kenneth Leighton Organ Works Vol 1

Stephen Farr & John Butt , Rieger organ, St Giles Cathedral, Edinburgh

RESONUS   RES10134    79’07

This is the first of a three volume set of the complete organ works of Kenneth Leighton. Here are presented Six Fantasies on Hymn Tunes, Martyrs: Dialogues on a Scottish Psalm-tune (for organ duet), Improvisation in memoriam Maurice de Sausmarez and Missa de Gloria (Dublin Festival Mass). Stephen Farr conjures a huge variety of timbres from the Rieger organ and appears equally at home in this music – whether reflective or demonstrative. I particularly enjoyed the opening set of Hymn tune fantasies, all based on very familiar melodies including Veni Emmanuel, St Columba and Jesus bids us shine! I look forward to the remaining two volumes.

Lennox & Michael Berkeley  Organ Works

Tom Winpenny, Harrison & Harrison organ of St Albans Cathedral

RESONUS  RES10119    46’07

All of the music on this recording was new to me. It is very good to have this collection of the complete organ works of Lennox Berkeley together with works by his son Michael. Much of the music is reflective but the disk begins with a fiery Impromptu (Lennox). This, together with the Sonata from 1979 by Michael are world premiere recordings. Other works by Lennox are Three pieces for organ (nicely paired with his son’s Sonata), Andantino (arranged by Jennifer Bate) and Fantasia. The final work is the exuberant Wild Bells (by Michael) which has echoes of the French Toccatas and carillons. As with the Leighton CD extensive accompanying notes are available in PDF format.

The Golden Days of Summer – beautiful melodies for piano

Simon Clark, piano

TROIKA   /   Simon Clark Publishing (simonclark.uk.com) / Watchfire Music (watchfiremusic.com) approx 35’

This CD presents a number of Simon Clark’s compositions and arrangements for piano performed by the composer. He describes the pieces using the Mendelssohn-coined phrase “Songs without words”. The emphasis throughout is on well-crafted melody, used to good effect to create a relaxing sequence mostly inspired by the natural world. The programme includes the title track and the evocatively named Kamby Bilongo (River). A set of three piano preludes: Love, Spirit & Truth form a significant part of the programme and are my favourites. Two song arrangements are included – Feed my sheep and The Lord’s my Shepherd. I think these work less well as piano solos but it is good to have them included here. The recording begins with Chestnut Hill and ends with Christmas Morn so don’t be fooled into thinking this music can only be played at a certain time of year!

SP

Berlioz: Harold in Italy arr Liszt

Jennifer Stumm, viola; Elizabeth Pridgen, piano

ORCHID CLASSICS ORC 100044    57.43

If Harold in Italy is familiar to us, the Liszt pieces which are included are certainly rarities which make this an intriguing release. The artists use Liszt’s arrangement for viola and piano of Berlioz work and integrate into it 4 of Liszt’s own which reflect the mood of the Berlioz. Anyone coming to this for the first time could easily think of this as a piece in its own right, so convincing is the organisation of the parts. While there is a wide dynamic available to the performers, the concentration necessary for the listener creates an intensity which carries them through easily to the climax in Liszt’s Schlaflos! Frage und Antwort.

Haydn: Sonatas for flute and piano

Nicola Guideiit, flute; Massimiliano Damerini, piano

DYNAMIC CDS 7698         58.01

Delightful as this recording certainly is, there is something uncomfortably old-fashioned about it. Only the clarity of sound pronounces it as digital, for the approach owes nothing to our understanding of authentic instrumentation or style. Both instruments are modern in both sound and technique. As such the listener may find something of a dichotomy when listening to what is actually very sound music-making.

Mendelssohn: Elijah

London Symphony Orchestra & Chorus, soloists, Richard Hickox

CHANDOS CHAN 241-48             66.03; 65.21

This is a reissue of the recording made in 1989 and is a very welcome addition to the library of recording which Richard Hickox made. Willard White is an outstanding Elijah and is joined by Rosalind Plowright, Linda Finnie and Arthur Davies, all at the peak of their powers. The recording is full bloodied and within a warm acoustic.

Schoenberg:  Moses und Aaron

EuropaChorAkademie; SWR Sinfonieorchester Baden-Baden und Freiburg, Sylvain Cambreling

HANSSLER SACD 93.314

Welsh National Opera has recently demonstrated yet again the importance of this masterpiece by Schoenberg , and so it is good to welcome a new release which enables us to the study the work outside the context of the opera house. Even in its incomplete state, it is a totally convincing stage work and musically satisfying. It is only a pity it is so rarely revived. Franz Grundheber and Andreas Conrad are convincing protagonists and Sylvain Camberling holds the whole together with a dramatic intensity that does not over-power the mystical quality of so much of the writing.

Raymond Deane: Noctuary Books 1 & 2

Hugh Tinney, piano

RESONUS RES 10133       47,25

Noctuary was inspired by drawings by the composer’s wife, the artist Renate Debrun and are performed by Hugh Tinney in his debut recital for the label. A Noctuary is a diary of the night-time and these pieces, commissioned by the performer, all relate to the night or reflections during the night. Duskiss has a seductive sense of ominous silence while, by contrast, …hitherandthithering… skitters and rushes headlong at us. The drawings which provoked the pieces are included in a detailed booklet. The composer celebrates his 60^th birthday this year and has recently published a memoir.

Beethoven: Piano Sonatas Op 27 & 28

Pierre-Arnaud Dablemont

RESONUS RES  10135      62,18

Pierre-Arnaud Dablemont couples one very familiar work – the Moonlight sonata No14 – with two slightly less familiar ones, No13 Quasi una fantasia and No15 Pastoral. In so doing he demonstrates not only the way Beethoven is stretching and experimenting with the structure himself but also the way the performer brings his own innovative approach to interpretation. This does not mean that he takes an outlandish approach but more that his lightness of touch and gentle romanticism is very easy to accept and indulge in. I particularly enjoyed the delicacy of the opening of the Moonlight sonata, bringing a freshness to the movement as if it had been cleaned of layers of unnecessary pontification.

Verdi: Otello

Orchestra & Chorus of La Fenice, Myung-Whun Chung

UNITEL CLASSICA 716508

This production was staged in the courtyard of the Ducal Palace in Venice, where much of the action of the opera is actually set. With the use of highly effective video projections the visual impact is stunning, particularly the starry night sky. The musical side is also very strong, particularly the orchestra under Myung-Whun Chung, and the soloists are effective vocally. Unfortunately the staging is frequently uninspired and the soloists spend much of their time walking around on trestle tables, too close to the reality of the regularly flooded St Mark’s Square for comfort.

I found myself listening rather than watching, which is hardly the point of a DVD. One striking point, given that this is a very recent production, was the heavy black makeup for Gregory Kunde as Otello. I thought we had got past this.

Sibelius: Complete Symphonies

BBC Philharmonic Orchestra, John Storgards

CHANDOS CHAN 10809

I have a large number of complete recordings of the Sibelius symphonies in my own collection and am aware of how many are available. This new set however is a strong contender, taking an uncompromising approach to the dark, turbulent world of so much of Sibelius’ writing, giving a bleakness to the 4^th symphony with unusual clarity. It also has, in addition, three tiny late fragments which, while obviously intended for orchestra, may or may not be from the proposed eighth symphony. A glimpse of what might have been.

Schubert: Winterreise

Gerald Finlay, Julius Drake

HYPERION CDA 68034     74’37

There is always a dichotomy listening to Winterreise. How much do we allow the beauty of the singing to distract from the deep despair of the work itself? Here the glory of Gerald Finlay’s deeply affecting reading allows us to do both. It is almost worth listening twice at least, coming at the cycle from both directions, to indulge both approaches.

Brahms: String quartets and Quintet

Gringolts Quartet, Peter Laul, piano

ORCHID ORC 100042       68’06

These are surprisingly dark works, given intense performances here. The quartet is joined by Peter Laul for a well-balanced reading of the Piano Quinter in F minor Op34.

Sibelius: Lemminkainen Suite; The Wood Nymph

Lahti Symphony Orchestra, Osmo Vanska

BIS 1745               69’37

This is a reissue of a very fine recording made in the Sibelius Hall, Lahti – on of the finest new concert halls and with an acoustic as good as Birmingham Symphony Hall. The Wood Nymph alone makes it worth purchasing as it is a rarity, but the virile approach to Lemminkainen is equally impressive.

The Art of Melancholy; songs by John Dowland

Iestyn Davies & Thomas Dunford

HYPERION CDA68007      76’33

These songs, and the incidental lute music, are so compelling I would suggest ensuring you are not feeling depressive when sitting down to listen. The beauty of Iestyn Davies voice coupled with the sensitivity of Thomas Dunford’s discreet accompaniment is compelling throughout. Listen to Flow, my tears as an introduction to over an hour’s heady indulgence.

J S Bach: Suites 2, 3, 6 for cello

arranged for viola

Maxim Rysanov, viola

BIS BIS 2033        64’49

The cello suites work remarkably well in these arrangements for viola. As expected the higher passages in particular benefit from the change, but Maxim Rysanov’s technique brings weight and authority to the lower passages and the whole is convincing throughout.

Marc-Antione Charpentier: La Descente d’Orphee aux Enfers

Boston Early Music Festival

CPO 777 876-2   79’11

Where later composer’s brought human emotion to bear upon the Orpheus myth, Charpentier uses it as a hook to hang some of his most delightful melodic compositions. This, with the addition of La corunne de fleurs makes for a very enjoyable recording.

The Blossoming Vine: Italian Maestri in Poland

The Sixteen

CORO COR 16123              61’48

I doubt if many of us could name any 16^th century Polish composers but this second disc makes a very good case for the quality and range of liturgical music being produced in Poland in the later part of the 16^th century. In reality the composers are Italian but working in the court of King Sigismund III, but they brought a new freshness and vitality to the country and to its musical life.

Palestrina Vol 5

The Sixteen

CORO COR 16124              63’52

available from 2 June 2014

This fifth CD in the Palestrina series brings us the Missa Iam Christus Astra Ascenderat, three of the Song of Songs setting and a range of smaller liturgical works. The Song of Songs settings, dedicated to Pope Gregory XIII are particularly appealing and would make a good starting point for anyone new to the series.

Shostakovich Symphonies Nos 1 & 15

Netherlands Radio Philharmonic Orchestra, Mark Wigglesworth

BIS 1643               79’15

An interesting combination, these symphonies span most of the composer’s working life, the first dating from 1925 and the fifteenth from 1971. Mark Wigglesworth uses the combination not only to draw the obvious contrasts between them but, hearing them side-by-side, the many traits which, even over such a long period of time, are essential to the composer himself and his musical life.

Shostakovich Symphony No 14

Royal Liverpool Philharmonic Orchestra, Vasily Petrenko

NAXOS 8.573132

Shostakovich seemed to have some difficulty deciding just how to structure his 14^th symphony. Originally planned as an oratorio, it was finally completed as a song cycle for two soloists, strings and percussion. A paean to humanity and protest against early death, the mood is sombre throughout and often acerbic, both strands being finely held throughout by soloists and the over-arching control of Vasily Petrenko.

Jean –Philippe Rameau: Pieces de Clavecin

Steven Devine, harpsichord

RESONUS RES 10131       79’27    

Steven Devine is playing a modern reproduction by Ian Tucker of a double-manual harpsichord by Andreas Ruckers of Amsterdam made in 1636. The three Suites recorded here range from the early 1706 Suite in A minor which is strict in its approach to classical style if not overly severe, to the 1724 Suite in D where the movements have programmatic titles.

Steven Devine’s approach is muscular and the sound large and often bold.

Ciaccona: works for harpsichord

Guillermo Brachetta, harpsichord

RESONUS RES 10126       64’28

This is Guillermo Brachetta’s first solo album though he is already familiar from his work with Fantasticus. There is a wide range of works here, including Chaconne’s by Storace, Blow, Bach and Couperin. Such is the vigour of the chaconne as a musical structure that there is no sense of  the recording palling with repetition – every work is a delight in itself.

Daniel Purcell: The Judgement of Paris

Spiritato & the Rodolfus Choir, Julian Perkins

RESONUS RES 10128       78’46

Despite the work of Henry Purcell and others in the mid seventeenth century, English opera by 1700 was in a poor state and it was against this background that a competition was held to try to revive the genre. The accompanying booklet gives a fascinating insight into the difficulties involved, and Daniel Purcell’s entry did not, in the end, win. However its new text by William Congreve and its heroic story line made it popular and certainly well worth the effort of this fine new recording. As we delve ever further into the great number of works sadly ignored we realise what a fantastic wealth of works we possess, yet sadly overlooked. This splendid recording should justify the continuing search for the lost and overlooked.

Peter Warlock: Choral Works

Blossom Street, Hilary Campbell

RESONUS RES 10129       56’33

Blossom Street are a choir of young voices and this comes over very clearly in the freshness of this lovely recording. Many of the pieces are being recorded for the first time and there are very useful background notes by Adam Binks. For those of us who only know Warlock from a few familiar works, this is a very valuable addition to the repertoire.

Richard Strauss: Salome

Teatro Comunale di Bologna, Nicola Luisotti

ARTHAUS 101699

Over the years there has always been a continuing concern about the stage presentation of Salome. The music is lush, romantic and carries us away on its tides of emotion, while at the same time the overtones of necrophilia and masochism can be very disturbing. Director Gabriele Lavia neatly subverts this by raising the Baptist’s head as an enormous carving which acts as a day bed for Salome to act out her fantasies. The idea works well and forces us to pay more attention to both text and music rather than being revolted at the act.

The production is very strongly sung with an outstanding Herod from Robert Brubaker and darkly impressive Jochanaan from Mark D Doss.

Erika Sunnegardh creates a complex Salome, her lightning changes of mood and body language reflecting her unstable mental state. The voice is more than ample for the part though at times can be a little tight and hard-edged.

Orchestral sound is fine and balance still allows the singers to be heard – not always true in the opera house.

Gluck: Orfeo ed Euridice

A film by Ondrej Havelka

ARTHAUS 102184

Filmed in the baroque theatre in Cesky Krumlov Castle, the film draws on the resources of the whole building, using the passages and under-stage areas to fine effect in the second act. The approach is not a simplistic baroque restaging. The director uses the baroque scenery and movement as a dream image for Orpheus who is seen in the dressing room and, most effectively in the final moments, where he views Euridice from the empty auditorium – the baroque image being merely a memory of his dead wife.

Musically this is a fine performance but the use of the 1762 Vienna version means it is very short. Bejun Mehta is a fine male-soprano in the title role with Eva Liebau an attractive Euridice. Regula Muhlemann’s Amor is allowed an unusual amount of comedy and the chorus sing and dance with enthusiasm.

The small pit band is in 18^th costume, and conducted from the side while they sit along either side of one long music stand.

Gershwin: Porgy and Bess

San Francisco Opera

EUROARTS 2059638

Since Glyndebourne famously brought Porgy and Bess back into the opera house there have been a number of very fine productions and this new one by Francesca Zambello is very much in that tradition. A naturalistic approach within a claustrophobic setting which draws on container storehouses as its basis, the emphasis is on a community within which events are worked out. The choral singing and acting is of a very high order, and the stage is filled with credible activity without ever losing focus.

Singing is genuinely operatic with Eric Owens a totally convincing Porgy and Laquita Mitchell a slippery and sexy Bess. Chauncey Packer  understands the jazz potential of Sporting Life – but there are no weaknesses in the large cast.

Kay Stern manages the large forces with ease and creates many exciting and moving moments.

Donizetti: Don Pasquale

Glyndebourne Festival Opera

OPUSARTE OA 1134 D

Mariam Clement creates a highly credible world for Glyndebourne which is lively and often very funny. The strong cast is led by Danielle de Niese, who may not be to everyone’s taste as a performer but certainly has a gift for comic works. Alessandro Corbelli is a fine Pasquale. Enrique Mazzola drives his forces with panache and the whole is highly enjoyable.

Mendelssohn in Birmingham

CBSO, Edward Gardner

CHANDOS CHSA 5132     66:04

An interesting way of bringing familiar works together, though the evidence that any of these works was actually performed by the composer in Birmingham is not forth-coming. That Mendelssohn worked regularly and to critical acclaim in the city is without doubt, and the CBSO under Edward Gardner bring us lively and committed readings of all of the works here. Listen to the hushed opening of the Hebrides Overture to get a flavour of the sound world evoked.

The Voice of the Dove

The Sixteen

CORO COR16119               70:58

The Sixteen, in their usual fine form, turn their attention to lesser known composers of Renaissance polyphony, drawing on works from the Eton Choirbook. There are three extended compositions by Davy and Mundy, while the rest comprises shorter antiphons. A captivating glimpse of rarely heard works.

Shostakovich: Complete quartets

Borodin Quartet

MELODIA MELCD 1001077   

This release brings together the complete string quartets Nos 1-15 alongside the Piano Quintet and two pieces for string octet. Where Shostakovich is more popularly known for his symphonies, string quartets were a vital part of his output over the whole of his creative life. The recordings date from the 1980s but there is no indication of their age in the transfer. The Borodin quartet are joined by Sviatoslav Richter for the Piano Quintet. The accompanying notes are verbose and very poorly translated; one is advised to simply listen to fine performances.

CPE Bach: Piano Concertos

Michael Rische, Rainer Maria Klaas, piano; Kammersymphonie, Leipzig

HANSSLER CD 98.027      58:47

Delightful, sprightly playing from the two pianists and well balanced accompaniment from the Leipzig Kammersymphonie. Entertaining throughout.

Vivaldi: 5 concertos for Bassoon, strings and basso continuo

Valery Popov, bassoon; State Chamber Orchestra of the Belorussian SSR, Valery Polyansky

MELODIA MELCD 1002098

A new recording of works which are today more familiar than they were a few years ago. With so many concerti to choose from it is not wonder that, even now, we are presented with charming works we have never come across before. Recommended.

Joachim Raff: Symphony No5, overtures

Orchestra de la Suisse Romande, Neeme Jarvi

CHANDOS CHSA 5135     80:55

I have only recently discovered Joachim Raff and am constantly amazed that he is not far more familiar in our concert halls. Those who love late romantic compositions – Dvorak, Smetana, Tchaikovsky – can’t fail to like this collection of works from an exhilarating overture to Dame Kobold written in 1869 to the more expansive pleasure of the 5^th Symphony. Though it has a conventional structure, it is strongly programmatic, being based on Burger’s poem Lenore and reflecting the tensions of the Franco-Prussian war.

Britten: Death in Venice

ENO

OPUS ARTE OA 1130 D   153:00

I recall this being a highlight of my visits to the London Coliseum last year – the full review is available elsewhere on the site – and the DVD does ample justice to the production and all involved. Don’t be put off at the beginning if the image seems a little blurred – John Graham-Hall is behind a front cloth! Highly recommended.