Deborah Polaski, John Tomlinson, Orquestra Gulbenkian, Jennifer Condon

TOCCATA CLASSICS 

TOCC 0154-55

Peggy Glanville-Hicks is almost unknown today but she produced a significant number of works including two operas in the early nineteen-sixties. With a cast as strong as this, and secure playing from the orchestra, it should be easy to welcome this new release. Unfortunately the quality of the work itself leaves much to be desired. No matter how good the singing, the fact that the musical line rarely provokes or involves the listener is a significant barrier. The text by Lawrence Durrell seems dated now in a way that Tippett’s own texts – once vilified – seem timeless and effective. There is little dramatic impact and  any sense of pacing or structure is too often lacking. What appear from the text to be emotionally important moments drift by with little intensity or frisson.

It is good to have the recording available, if only to realise, on this occasion, that we have not overlooked a masterpiece. BH

Joachim Raff: Symphony No 2 and Four Shakespeare Preludes

Orchestre de la Suisse Romande; Neeme Jarvi

CHANDOS CHSA 5117   77’47

Johan Svendsen: Orchestral works Vol 3

Bergen Philharmonic Orchestra; Neeme Jarvi

CHANDOS CHAN 10766     74’10

One of the great benefits of the over exposure of the popular repertoire is the way rare or even unknown works can take you by surprise. These two discs present finely honed orchestral works from the late 19thcentury which would not be out of place in any concert hall – yet I cannot recall ever having seem either composer on a recent concert programme.

Joachim Raff’s Second Symphony was composed in 1866 while he was working in Wiesbaden, and was re-published by Edition Nordstern in 2000. Colour and vitality spring from all parts of the score. The four Shakespeare Preludes move away from any narrative line to give a compressed emotional response to the plays in a matter unique to the composer; the impact may be late romantic but the style is geninely individual.

The third volume of Svendsen’s works brings us the Violin Concerto and the First Symphony. Again late romantic in feel, the concerto sits comfortably alongside Mendelssohn and Bruch in its lyrical outpouring and easy charm. The symphony recalls those of Parry and Stanford.

Both discs are convincingly shaped by Neeme Jarvi and the Bergen Philharmonic seems particularly at home with the Svendsen. Worth investing both time and money here! BH

Royal Concertgebouw Orchestra, Netherlands Radio Choir & National Children’s Choir, Mark Padmore, Ivan Fischer

ARTHAUS 101 676     174’00

The accompanying booklet makes great claims for this recording. In the light of modern scholarship Ivan Fischer performed the work with two distinct forces, separated as widely as the Concertgebouw platform would allow, to get as close as possible to the concept for the work which Bach himself had in mind. The choral forces are split into the Daughters of Jerusalem and The Faithful.  So far so good. This makes sense of Bach’s writing and in live performance would probably be very effective.

Unfortunately when reduced to DVD and domestic equipment the effect is not as dramatic as one assumes had been anticipated. Even with good quality stereo the disparity is often lost, though surround sound might enhance this. Moreover, the use of modern instruments and large orchestral forces, together with a slow, sometimes rather plodding, approach to pace, works against any frisson which the double setting might have aquired.

The singing is sound, with Mark Padmore an exemplary Evangelist, but I am glad we have a wide range of other recordings to choose from at this time. BH

Maggio Musicale Fiorentino, Zubin Mehta

ARTHAUS 107 325          178’00

This is in many ways a conventional production of La Forza del Destino by Nicolas Joel, which is in itself unusual today when so many new releases are far divorced from the composer’s ideas. That does not make it any the less valuable, given that there are no many versions of this work available, and few that have the solid musical values which this has. At its heart is the conducting of Zubin Mehta who manages to keep the drama moving forward intelligently even when the narrative line stretches credibility.

Violeta Urmana may not have great acting skills but she uses her voice intelligently and creates a sympathetic Leonora who is not over emotional. Marcello Giordani reminded me of Franco Corelli in his prime, a beautiful voice, well focussed and moving in its passion. They were well matched by the power of Carlo Guelfi as Carlo, whose brooding presence adds the necessary weight to proceedings.

Bruno de Simone is a positive Melitone but does not wipe out memories of Derek Hammond Stroud’s wonderful performance with ENO many years ago.

The chorus sing well but some of their stage presence is rather too static, with a deadly rataplan chorus, even if Julia Gertseva has the high notes for Preziosilla.

Given the sparcity of choice, this is a useful additon, but I look forward to a version which really does justice to one of Verdi’s too often neglected masterpieces. BH

Bach: St John Passion

Polyphony, Stephen Layton

HYPERION CDA 67901-2 118’10

A new release from Polyphony can almost sell itself, given the exceptional quality of their live performances and the strong following they have. This should not make the new recording of the St John any the less welcome. Ian Bostridge is outstanding as the Evangelist but this is not a star-led undertaking, more a coming together of some of the finest baroque interpreters available today. Stephen Layton’s approach is dramatic without being hurried, and the chorales have a sense of the world coming together to sing with them.

Liszt: Christus

Nicolas Horvath, piano

HORTUS 100       70’15

Christus is rarely heard in its oratorio form, and this arrangement of eight movements for piano is even rarer. However it draws on Liszt’s lifetime of experience as both composer and believer to bring a subtlety and conviction which in other works can appear bombastic. The simplicity of Pastorale , the might of the Foundation of the Church and the unexpected gentle warmth of the Easter Hymn all seem more persuasive in piano version than the full choral epic.

Ascribe unto the Lord: sacred choral works by S S Wesley

Choir of St John’s College, Cambridge; Andrew Nethsingha, conductor; John Challenger, organ

CHANDOS CHAN 10751  77’10

For all the problems S S Wesley encountered in a turbulent career, there is no doubting the quality or sustainability of his creations. Often Mendelssohnian in feel, they move towards a more romantic approach to choral music and at times can seem sentimental. The new recording includes, as if to hark back to an earlier era, two Psalm settings by S Welsey. Andrew Nethsingha brings a secure hand to the tiller, with clear diction and apt tempi. It is pleasing to note that the Organ Scholar on the disc is Freddie James – well known to us in the South East.

Nicky Spence, tenor, Malcolm Martineau, piano

RESONUS RES10116        57’17

If the opening songs are familiar, by far the most interesting are the later, more modern items. Settings by Geoffrey Bush and Alex Woolf are stimulating, but I really enjoyed the three John Dankworth settings taken from Shakespeare and all that Jazz originally recorded with Cleo Laine back in the late sixties. Nicky Spence captures the tongue-in-cheek character of the settings very well and this leads to a splendid jazz arrangement of Schubert’s Hark, hark the lark by Peter Dickinson.

This is not to imply that the Quilter, Britten and Chausson settings lack merit, more that it is a pleasure to find so wide a range of styles in response to the same texts. A pity, possibly, not to have included any of the fine settings I have heard over the years from the composers of the Royal Shakespeare Company, but they may be asking too much. Worth investigating and enjoying. BH

 Rodolfus Choir, Ralph Allwood

SIGNUM SIGCD 315 75’47

The regular performance of Elgar’s major works tends to overlook the quality of his less-familiar pieces, and in particular these small scale works for unaccompanied choir. The real value of this CD comes not only in the quality of the singing but the details essay in the booklet by Alastair Sampson which sets the works in context, enabling us easily to link them to works we already know well.

A few will be known already to church singers. O salutaris hostia and Ave, verum corpus are familiar parts of the liturgy but the Choral Songs Op53 and the Part Songs Op 71 deserve far wider respect for the sensitivity of their settings. Two late items are also included, I sing the birth from 1928 which as a carol should be far more familiar, and the 1925 setting of the melancholic The Prince of Sleep.

The Rodolfus Choir impress throughout with the dignity of their approach and the gentle intensity of their ensemble singing. BH

Just of few of the many recent CDs which we think you will like, and which come highly recommended.

This Christmas Night                                                                                                               Choir of Worcester College, Oxford, Stephen Farr                                                RESONUS RES 10113

A delightful collection of recent seasonal works which you may not have come across before but will certainly want to hear again.

Vaughan Williams: The Pilgrim’s Progress                                                                    Gerald Finley, Royal Opera Chorus and Orchestra, Richard Hickox                                   CHANDOS CHAN 9625(2)

This recording has been out for some time but the recent production by ENO has reminded us what a wonderful work this is and so makes a recommendation apt.

Handel: Acis and Galatea (arr Mendelssohn)                                                                  Christ Church Cathedral Choir, Oxford, Oxford Philomusica, Stephen Darlington    NIMBUS ALLIANCE NI 6201

Most of us will know Handel’s original but there is merit in listening to Mendelssohn’s arrangement as well as the quality of the singing.

Bruckner: Symphony No 7                                                                                                 BBC Scottish Symphony Orchestra, Donald Runnicles                                        HYPERION CDA 67916

This new recording is so vibrant, particularly the brass, that it almost sounds like a new work. Yet again Donald Runnicles exceeds himself.

Johan Svendsen: Orchestral Works Vol 2                                                                       Truls Mork, cello, Bergen Philharmonic Orchestra, Neeme Jarvi                           CHANDOS CHAN 10711

I have to admit to knowing little of Svendsen but these works impress, particularly the Cello Concerto. If you like Dvorak you will certainly enjoy this.

Elgar: The Starlight Express                                                                                                Elin Thomas, Roderick Williams, Simon Callow, Scottish Chamber Orchestra,         Andrew Davis                                                                                                                        CHANDOS CHSA 5111-2

 We were so impressed once this started that we listened to the whole thing in one go. The combination of the new narrative, very sensitively read by Simon Callow, and the gentle scoring make the music – often in tiny snatches – all the more telling.

Frescobaldi: Toccatas & Partitas                                                                                     Fabio Bonizzoni, organ and harpsichord                                                                    GLOSSA GCD 921514

 Unexpected delights here, not only in the quality of the playing but in the individual works, most of which are likely to be unfamiliar to the listener. Fabio Bonizzoni convinces us they are worth revisiting and getting to know better.

Stanford: Sacred Choral Music                                                                               Winchester Cathedral Choir, David Hill                                                                  HYPERION CDS 44311/3  3CDs

 Familiar works, but Stanford is still not as highly regarded as he should be. Perhaps this compilation of choral pieces will help.

Parry; Jerusalem; The Birds of Aristophanes; England etc                                               BBC National Orchestra and Chorus of Wales, Neeme Jarvi                                CHANDOS CHAN 10740

 Though sold originally on the basis of the earlier version of Jerusalem, there are other works here which please, in particular the unison setting of England. There is, after all, far more to Parry that the Last Night of the Proms.

This Christmas Night: Worcester College, Oxford, Choir; Stephen Farr

RES 10113            75.59

In a world full of the conventional Christmas recording this comes as a breath of fresh air.

Details to follow

Jacques-Francois Gallay; works for natural horn

Anneke Scott, natural horn

RES  10114           72.39

This really is a rarity. A whole CD of solo works for natural horn – and one which is surprisingly easy to listen to. If the range is naturally limited, the musical invention is not and is well worth the investment of time to get to know these rare compositions.

Baroque Chamber Works

Fantasticus

RES 10112            66.38

A pleasant collection of works, ranging from Stradella to Buxtehude, played by Rie Kimura, baroque violin, Robert Smith Viola da gamba/baroque cello and Guillermo Brachetta, harpsichord. The works all originate from the late 17^th century stylus fantasticus

In the Dark

Platinum Consort; Scott Inglis-Kidger

RES 10110            58.04

All of the music on this CD is drawn from the Tenebrae tradition of scores written specifically for the last three days of Holy Week. Works range across national boundaries to include Anerio, Lotti, Victoria Lassus and Purcell. It also includes a recent works by Richard Bates and James Macmillan. Bates’ In the Dark is a gentle setting of an Easter verse by the Elizabeth poet George Gascoigne, while his Tenebrae follow the Latin text. The concluding Miserere by Macmillan is both moving and devotional.

The vocal balance is striking throughout. Though the ensemble includes two counter-tenors which give a suitably early music feel to the recording, the addition of two soprano voices adds an unexpected richness and warmth.

Resonus Classics can be found via www.resonusclassics.com

Stanford; Finzi; Arnold

BBC Symphony Orchestra, Michael Collins

CHANDOS CHAN 10739        65.45

These three romantic concertos work well together. Stanford is still overlooked given his position as a major composer of the late 19th -early 20th century, too easily swamped by endless performances of Elgar. His concert dates from 1902 though it was not published until 1976. Its single movement is tightly structured and flows with a lively enthusiasm throughout.

Gerard Finzi’s concerto, for clarinet and strings, comes from 1948 and is more reflective in nature. The pastoral slow movement is particularly effective and given a warmly sympathic performance here by soloist Michael Collins.

Malcolm Arnold’s concerto from 1974 is probably the least familiar item on the disc, and with its dedication to Benny Goodman is a world away from the earlier works. The jazz influence is carried over into the cadenza, which is by Richard Rodney Bennett, and the playing walks a tight-rope between jazz and romantic idioms. Jazz eventually wins out and the final movement is a riot of big-band and swing, tweeked by an often sentimental indulgence. A delight! BH