J S Bach: Well-tempered Clavier Book II

Andras Schiff, piano

NAXOS 2.110654

This is the second half of the full recording from the 2018 Prom concerts and is as magnificent as the first. There is little to add at this point, but if you missed the live event, or the TV coverage, this is a must. No more to say!

Schumann: Symphonies 1 & 4 arranged for piano duet

Eckerle Piano Duo

NAXOS 8.572881

There seems to be a growing number of recordings of arrangements of large orchestral works and most of them, like this, are very pleasing. What we may miss from the warmth and range of the orchestral sound we gain in terms of clarity and intimacy, with frequent surprises of internal musical lines we had never noticed before but which are very obviously there in the original scores. Recalling that it was through piano arrangements in the nineteenth century that most music lovers first encountered larger orchestral works we are here experiencing what they did.

The Unknown Debussy

Nicolas Horvath, piano

GRAND PIANO GP822

There are some interesting pieces on this disc. I was especially drawn to the items from Le Martyre de San Sebastien and A Night in the House of Usher – the latter from his unfinished opera. There is also a complete reworking of No-ja-li and an early version of The Girl with the flaxen hair. All well worth hearing and here splendidly performed by Nicolas Horvath.

Giles Swayne: Stations of the Cross

Simon Nieminski, organ of St Mary’s Cathedral, Edinburgh

RESONUS RES10118

I was fortunate enough to be present at the inauguration of Matthew Copley’s new organ in St Mary’s Cathedral back in 2007 and it is very good to hear it here with such an important contemporary work recorded complete. Giles Swayne wrote his Stations of the Cross between 2004 and 2005. It is a demanding work, requiring keen concentration from both performer and listener but certainly repays the effort. The pain and reality of the events leading up to and during the crucifixion are conveyed in graphic detail, with only the thirteenth station when Jesus body is given to his mother showing any sign of acceptance. The final section is constructed as a full scale Prelude and Fugue, on a Bach like model but always clearly within the style and integrity of the earlier, freer movements. Matthew Copley’s organ responds admirably to the demands of the score which is played with great sensitivity by Simon Nieminski, until recently resident organist in the cathedral.

Treffpunkt Jazz

Dizzy Gillespie Quintet

JAZZHAUS JAH 411

These are live recordings made in Stuttgart and Frankfurt, in November 1961 and are as fresh and lively as if they were recorded yesterday. They range from a brash The Mooche to the gently reflective Willow weep for me with its lovely flute solo. The audiences are obviously relishing the occasions and this carries over with ease.

Josef Suk: Asrael Symphonie

Bavarian Radio Symphony Orchestra, Jakub Hrusa

BR KLASSIK 900188

It is surprising that Suk is still so little known in Britain. Those of us who admire his work and see its importance, standing as it does between Dvorak and Martinu, will surely welcome this fine new recording of one of his major works – The Asrael Symphony. The orchestration is masterly and the composer’s control of structure over more than an hour of development is equally pleasing. If you don’t know the work or a wider range of Suk’s compositions, this is a good place to start.

Schumann: Piano Trios Vol 1

Kingsbacka Piano Trio

BIS 2437

Vol 1 implies this will be the start of a new series and very welcome it is. The cd includes the first and second Piano Trios plus the Fantasiestucke Op88. The works have an intimacy which reflects the first years of married life for the Schumanns, and hark back to an earlier musical era – the notes suggest Haydn rather than Schubert. Warmly recommended.

Beethoven: Violin concerto & romances

Lena Neudauer, violin, Cappella Aqileia, Marcus Bosch

CPO 777 559-2

What I enjoyed about this was the lightness of touch and sense of intimacy. Using smaller forces there is an immediacy which seems to spill over from the romances into the concerto itself which is far less bombastic than is often the case.

IN NO STRANGE LAND – CHORAL MUSIC BY MARTIN BUSSEY

Sonoro, Michael Higgins, organ, Neil Ferris, conductor

RESONUS RES10251 70’29

This is a beautiful CD collecting a range of sacred choral music by this former Kings College, Cambridge Choral Scholar who has been active in a range of vocal musical activity for many years. Texts range from the Song of the Nuns of Chester and Robert Southwell’s The Burning Babe to Jesu, pro me perforates (a Latin translation of Toplady’s Rock of Ages) and Oscar Wilde’s version of Ave Maria. As with previous recordings from Sonoro sound quality and expression is superb.

O GIVE THANKS UNTO THE LORD – CHORAL WORKS BY THOMAS TOMKINS

The Choir of HM Chapel Royal, Hampton Court Palace

Rufus Frowde, organ, Carl Jackson, conductor

RESONUS RES10253 74’25

This collection sensitively presents a lovely selection of music by this former Gentleman of the Chapel Royal and Composer of the King’s Musick in an appropriate setting by a very appropriate choir. Alongside two sets of Preces & Responses and Magnificat & Nunc Dimittis there are verse-anthems, four part psalms and organ pieces.

PALESTRINA LAMENTATIONS- BOOK 2

Cinquecento Rennaisance Vokal

HYPERION CDA68284  72’11

This music has been with us for a long time and yet here it comes fresh out of the speakers. From Palestrina’s prolific and masterful work here are settings for Maundy Thursday, Good Friday and Holy Saturday.

SCHUTZ- THE CHRISTMAS STORY

Yale Schola Cantorum and instrumentalists, David Hill, conductor

HYPERION CDA68315 71’13

The text of the accompanying booklet describes the working situation of Schutz as in some ways similar to that of JS Bach a century later. Alongside what is probably his most enduring and celebrated work there are also here shorter German and Latin Christmas settings including a (not just for Christmas!) Ave Maria and Magnificat.

GOTTFRIED AUGUST HOMILIUS – SIEHE, DER HERR KOMMT – CHRISTMAS & ADVENT CANTATAS

Hanna Herfurtner, sop, Franziska Gottwald, alto, Georg Poplutz, tenor, Mauro Borgioni, bass

Kolner Akademie, Michael Alexander Willens

CPO 555 278-2 66’13

It is interesting that this repertoire follows on chronologically with the Protestant German repertoire of the CD above. This music is far less familiar by far and it is good to see this material presented in this way. A good addition to the recorded Christmas repertoire.

JOHANN PACHELBEL – COMPLETE ORGAN WORKS III

Michael Belotti, organ of St Walpurgis, Grossengottern

Christian Schmidt, organs of Klosterkirche, Rheinau & St Cyriakus, Duderstadt

James David Christie, organ of Crucis-Kirche, Erfut

CPO 777 558-2 (3 SACD) 189’34

This latest volume of the thorough exploration of the complete keyboard music of Pachelbel concentrates on liturgical organ music. The works here are divided over three disks each with a different organist and organ(s) and dividing them into works derived from Passion hymns, Psalms and Chorale partitas. Each historic organ is chosen to be appropriate to the particular material and the organists are clearly at home with their repertoire and setting. These discs can be played on a standard CD but are also in SACD format.

GIOVANNI BATTISTA SAMMARTINI – HARPSICHORD SONATAS

Simonetta Heger, harpsichord (Mascheroni, after Christian Vater, Hannover 1720)

DYNAMIC CDS7841 62’36

There seems to be a resurgence of interest in harpsichord music of late with many recordings of works only available in manuscript or in obscure printed editions being brought to the fore. As with many early keyboard composers there is much to entrance the ear in terms of tonality and rhythm as well as often virtuosic technique. Simonetta Heger does a good job here to introduce us to these 18 sonatas from a prolific but less remembered composer.

MALCYS & VASKS – BALTIC INSPIRATION – PIANO QUARTETS

Ippolitov-Ivanov Piano Quartet

Naxos 8.574073  66’49

This was a very surprising disk. I was immediately drawn into this music so satisfyingly played by the Quartet. The Latvian & Lithuanian composers were both unknown to me. All the music dates from the turn of the last century. Peteris Vasks’ Piano Quartet (2001) balances beautifully the three separate descriptive pieces by Arvydas Malcys Blackthorn Eyes (1999-2004), Hyacinth of the Snowfields (2012) and Milky Way (2002-12) which arranged together here have the effect of another piano quartet.

HER VOICE – PIANO TRIOS BY FARRENC, BEACH & CLARKE

Neave Trio

CHANDOS CHAN 20139 72’04

Three piano trios, chronologically sequenced, each composed by a female composer, whose names we thankfully now know and respect. Excellent music,  which deserves to be better known, expertly played. Whilst continuing to welcome such releases let us all hope and work for the time when it is no longer necessary to programme a CD by the gender of the composers in order to right a wrong that still persists.

BLISS – MARY OF MAGDALA; THE ENCHANTRESS;

MEDITATIONS ON A THEME BY JOHN BLOW

Dame Sarah Connolly, mezzo-soprano, James Platt, bass

BBC Symphony Orchestra & Chorus, Sir Andrew Davis, conductor

CHANDOS CHSA 5242 76’58

Here are three contrasting works of Bliss’ later years. The two vocal pieces set Greek pastoral poetry and words from St John’s Gospel. The theme in question is Psalm 23, The Lord is my Shepherd. The programming of these three pieces makes for a satisfying experience, highlighting the inventiveness and flexibility of Bliss, still an underappreciated composer.

SP

Handel: Almira

Boston Early Music Festival

CPO 555 205-2

Lovely as this is I was surprised by just how long it is. This is presumably complete and runs to just over four hours. It is Handel’s earliest opera, dating from 1703, and while it reflects the style of earlier composers in Halle there is plenty of evidence here of the masterpieces which were to follow. A useful, and musically very satisfying, addition to the many versions of Handel operas now available.

The Early Horn

Ursula Paludan Monberg, horn; Arcangelo, Jonathan Cohen

HYPERION CDA 68289

It is difficult at times to realise that the ability to play the natural horn is comparatively recent, compared with the normal valve instrument. I recall the first performance of the Basil Lamb edition of Messiah at the BBC studios where the trumpeter using a natural trumpet had to take breaks between sections as he had never played the instrument before. Today, with so many original instrument ensembles, it is easy to forget how fortunate we are. This new recording focuses on eighteenth century works for horn moving through Mozart and Haydn to works by Graun, Telemann and two anonymous pieces. All highly entertaining and engaging.

Beethoven: complete works for Cello and Piano

Robin Michael, cello; Daniel Tong, piano

RESONUS RES 10254

Alongside the five sonatas are the three sets of variations, two drawn from Die Zauberflote and one from Judas Maccabeus. I found these more engaging though the range of the sonatas takes us from his very early years to the time his hearing was all but gone. The recording here is with original instruments making was both a warmer cello sound and more incisive early piano.

20^th Century Foxtrots from Austria and Czechia

Gottlieb Wallisch, piano

GRAND PIANO GP 813

This is a delight throughout and I particularly enjoyed Krauss-Elka’s dance version of themes from Tannhauser and the final excerpt from Schulhoff’s Groteske. That said the whole disc is thoroughly entertaining and uplifting.

Beethoven: Septet & Clarinet Trio

Berkeley Ensemble

RESONUS RES 10255

The trio is the unusual piece here and the one which may attract particular attention. The unusual combination of clarinet, cello and piano dates from 1798 when the composer was well established in Vienna. The more familiar Septet is given a fine reading with great clarity throughout.

Bach: St Matthew Passion

Bach Collegium Japan, Masaaki Suzuki

BIS 2500

There is a great deal to enjoy here and the quality of musicianship is not in doubt but I feel that the whole does not hang together as well as the individual parts. Solo singing is excellent but the approach often seems over-precious, particularly where tempi are concerned. I wish there was a greater sense of emotional involvement with the score, one which would engage the listener rather than pointing up the magnificence of the writing at the expense of the narrative.

Malipiero: Symphony No6; Ritrovari; Serenata mattutina; Cinq studi

Orchestra della Svizzera italiana, Damian Iorio

NAXOS 8.574173

I have to admit that this is the first CD of Malipiero’s works I have come across and it is certainly engaging. The sixth symphony dates from 1947 and is easy to access on a first hearing even if unconventional in style. The Ritrovari are more complex as is the Seranata but the studies and short and engaging. Worth investigating.

Leoncavallo: I Pagliacci

Maggio Musicale Fiorentino, Valerio Galli

DYNAMIC 37863

Oh dear. I hope this production worked better in the theatre than it does on DVD. The set is very messy and it is difficult to get any sense of place or atmosphere as a result of regular lighting changes and odd pieces of scaffolding which move around of their own volition. Some of the singing is good, with Angelo Villari’s Canio forceful and convincing, but the overlarge chorus, with an equally large number of children, often seem out of their depth and left to their own devices. As such there is no real sense of direction or purpose. A pity; it has the makings of a strong approach but needs somebody to knock it into shape.

Rossini: La Cenerentola

Teatro Opera of Rome, Alejo Perez

MAJOR 752408

This is fun. Don’t look too closely or ask why the chorus are all wind-up dolls, for the musical side is so strong and the characterisation so convincing that it carries you along with it. Alessandro Corbelli is superb as Don Magnifico and the young couple, Juan Francisco Gatell and Serena Malfi, make light weight of Rossini’s florid musical lines. Alejo Perez keeps his orchestra on their toes with a sparkling account of the score. What’s not to like?

Bach: Well-tempered Clavier Book 1

Andras Schiff, piano

UNITEL 2.110653

Andras Schiff gave this concert as part of the BBC Proms in 2017. It is magnificent. His approach is reserved and precise, but never detached. He also sees the work as a whole, as if it has a logical structure throughout its nearly two hours of playing time. As such the concentration needed both from the performer and the audience is very demanding but worth the effort. Don’t dip in – listen to it straight through.

The Young Beethoven: Piano Quartets of 1785

Meret Luthi, violin; Sonoko Asabuki, viola; Alexandre Foster, cello; Leonardo Miucci, piano

DYNAMIC CDS 7854

It is difficult to accept that Beethoven was only 15 when he wrote these splendid works. While they lean on earlier models they constantly surprise by a new idea, a new unexpected twist. As such they are more than a match for later compositions and a delight to have here. The third quartet produces a melodic line which would eventually reappear in the Eroica!

Philip Glass: Violin Concerto No2; Violin Sonata

Piotr Plawner, violin, Gerardo Vila, piano, Berner Kammerorchester, Philippe Bach

NAXOS 8.559865

The second violin concerto is based loosely on Vivaldi’s Four Seasons though the composer refuses to label the movements so it is left to us to guess. The work is structured around four orchestrally based movements and four solo songs for violin. It is highly effective and unusually emotional for Glass. The sonata is more conventional but happily extrovert.

Brahms: Five Sonatas for Violin and Piano Vol2

Ulf Wallin, violin; Roland Pontinen, piano

BIS BIS 2419

This second volume includes the Sonata in E flat major Op 120 No2, Sonata No 2 in A major Op100 and Sonata No3 in D minor Op108. All are attractive works, sensitively played and recorded, of which I found Op100 the most immediate though this is very much a matter of personal taste as all three works have a gentle intimacy which is very winning.

Auber: Le Cheval de Bronze

Vienna Radio Orchestra, Kurt Richter

ORFEO C 986 192

This is an Austrian radio recording from 1953 which holds up remarkably well. The comic opera is best known (possibly only known these days) for its overture which does turn up in concert programmes. However the work itself is unlikely to be revived as it falls into the category of early 19^th century Chinese fairy tale, with all the potential cultural problems attached. As a fantasy, the music is often charming if light-weight. Only Stella’s aria in the third act comes anywhere near Rossini for character and musical interest. A rarity and good to have available if its appeal may be limited.

Verdi: Rigoletto

Bregenzer Festspiele, Vienna Philharmonic Orchestra, Enrique Mazzola

UNITEL 751608

This is a distinctly marmite experience. Set on the lakeside at Bregenz, the set is a huge clown’s head (big enough that the jaw is used as a balcony) and two huge articulated hands on either side. The cast are mainly dressed as circus characters and behave as such. The music itself is splendid but I found that the action constantly failed to live up to the intensity of the narrative or of Verdi’s magnificent score. Stephen Costello is a fine Duke and Vladimir Stoyanov a strongly focussed Rigoletto though he lacks sympathy. As a one off it was interesting but I’m not sure I would be drawn back to it.

The Romantic Piano Concerto: 80

Howard Shelley, piano, Sinfonieorchester St Gallen.

HYPERION CDA 68264

Hyperion seems to have a bottomless barrel of splendid yet totally unknown works. Here is another pair which are instantly appealing. August Dupont’s Piano Concerto No3 in F minor is a richly impressive work, not as dark toned as one might imagine from the minor key and one I will certainly return to. Peter Benoit’s Symphonic poem for piano and orchestra may not have quite the impact but is a substantial work in its own right and certainly maintained my attention throughout. Howard Shelley is a totally committed soloist and conductor throughout.

Vaughan Williams; Symphonies 3 & 4; Saraband Helen

BBC Symphony Orchestra, Martyn Brabbins

HYPERION CDA 68280

New recordings of familiar, but none the less welcome, symphonies in exemplary versions. But the real gem is the new realisation of the Saraband Helen which dates from 1913-14 but remained unpublished. For those of us who regard the Serenade to Music as one of the finest things Vaughan Williams ever wrote, Helen comes as something of a revelation as it easily sits alongside the more familiar choral work. Helen is set for tenor solo – David Butt Philip – based on a short verse, which is lovingly supported and orchestrated. The cd is more than worth it just of this final piece.

Litolff: Piano Trios; Serenade for violin and piano

Leonore Piano Trio

HYPERION CDA 68305

Surprisingly this is the first recording of the second piano trio and the serenade. Though they may not be masterpieces when judged against the finest, they are striking and most approachable works, ideal I would have thought for a chamber music series where you want to slip in something just a little different but one you know is sure to please your audience. The Leonore Piano Trio bring vitality and commitment to their playing which is a pleasure throughout.

Del Signor Graun

Ludovice Ensemble

VM021

The two cds bring us six sonatas for flute and harpsichord by Carl Heinrich and Johann Gottlieb Graun writing in the mid eighteenth century. I wish I could be a little more enthusiastic but the pieces come across as worthy rather than exciting. There is certainly nothing wrong with the playing but the scores themselves lack the excitement one might need for a live performance.

Wagner: Tristan und Isolde

Teatro Opera Rome, Daniele Gatti

CMAJOR 752208

I suppose we all have our favourite productions of any work and for Tristan mine remains Wieland Wagner’s Bayreuth production which we experienced in 1967. This new production by Pierre Audi comes pretty close in its intensity and the passion of its singers. Andreas Schager is certainly the finest Tristan since Wolfgang Widgassen and the third act is so overwhelming I don’t think I can return to it often, given its emotional intensity.

Alongside him, Rachel Nicholls is a fine Isolde but it is Michelle Breedt’s Brangane and Brett Polegato’s Kurvenal who are outstanding. John Relyea is a young and very moving King Marke and the whole is held together by the loving intensity which Daniele Gatti draws from the pit.

Pierre Audi’s sparse production style may not be to everyone’s taste but it never intrudes and frequently makes subtle and very telling points. This is a tactile-less approach which some may find too cold, but the emotional intensity – particularly in the last act – which underpins the action makes it all the more necessary. A really valuable new recording.

Tchaikovsky: Swan Lake

Ballet Company of the National Opera of Ukraine

BELAIR BAC174

This is about as indulgently traditional as one could wish for. The sets are beautifully painted but could easily be almost a century old. The magnificent costumes are almost museum pieces but still flow with easy grace. The dancing itself is pleasing throughout and the Odette/Odile of Natalia Matsak and Siegfried of Denys Nedak are both impressive and personable. A real delight for Christmas.

Bach, Vivaldi: Concertos

Chamber Orchestra of the Vologda Philharmonic Society, Alexander Loskutov

MELODIA MEL CD 02595

Two cello concertos and three harpsichord concertos, played on the piano. So far so good but pleasant as the recording is there seems to be a lack of energy in it which means that the scores flow without a sense of wishing to communicate with an audience. It is almost as though we are dropping in uninvited. There are times when this can work well but here it does not really work in either direction. One is left wondering why the recording was made.

Like to the Lark

The Swedish Chamber Choir, Simon Phipps

CHANDOSN CHSA 5255

This recording of Vaughan Williams’ The Lark Ascending is marmite. Using a choral arrangement alters the balance totally. Some of my friends really like but I regret it is not to my taste. The other choral works are more convincing with rare pieces by Judith Bingham, Wilhelm Stenhammar, Hugo Alfven, David Wikander, Mahler and Ola Gjeilo – this later piece being gently impressive.

Bach: The Six Partitas

Angela Hewitt, piano

HYPERION CDA 68271/2

Angela Hewitt manages to combine real clarity of line and tone with an emotional impact which communicates throughout. Consequently what can too easily turn into a set of test pieces is here lovingly crafted and carries us throughout with ease. A lovely recording.

Debussy: solo edition 10/11

Idil Biret, piano

IBA 8.571401-02

I wish I could be more enthusiastic about this recording but much of the playing here seems dull and often academic. That is not to say that occasional pieces don’t come to life but the overall effect is of going through the motions. I am sorry if this sounds damning as Idil Biret has a fine reputation and has made strong recordings in the past. Dare I say this is not really one of them.

Schubert: Winter Journey

Matthew Gee, trombone; Christopher Glynn, piano

NAXOS 8.574093

This is a strange undertaking. I love Wintereise and the piano part here is given exactly as it would be with a singer. The Trombone part is essentially the singer’s line without the words. Though the trombone certainly has an impressive range of tone and technique it never quite has the subtlety of the human voice. Some songs come across well whereas others leave me wanting a fine tenor.

Brahms: The Final Piano Pieces

Stephen Hough, piano

HYPERION CDA 68116

This recording includes the Fantasias Op116; Intermezzos Op117; Clavierstucke Op118 and Clavierstucke Op119. Stephen Hough brings an expected mastery to the 20 short pieces included here and I particularly enjoyed the immediacy of the Op118 set.

Pierantonio Tasca: A Santa Lucia

Anhaltische Philharmonie Dessau, Markus L Frank

CPO 555 181-2

This is one of those romantic operas which has vanished without trace though the score is immediately engaging, tuneful and dramatic. If you are draw to Cavalleria Rusticana then this should be right up your street. I can see it working well at Buxton or Wexford.

Verdi: La Traviata

Royal Opera House, Antonello Manacorda

OPUS ARTE OA12920

A most unusual recording if only because Richard Eyre’s production in Bob Crowley’s richly evocative sets is as naturalistic as one might wish for. At a time when director’s concepts and imposed ideas are still very much in fashion it is refreshing to find a presentation unafraid to set the story in its original time frame and allow the characters to develop in line with the narrative and score.

The singers not only work closely as an ensemble but are outstanding, if slightly unusual, in their own right. Charles Castronovo is a dark voiced Alfredo, though the top of the voice is certainly secure and passionate. By contrast Placido Domingo’s Giorgio Germont allows his tenor heritage to shine through in the lighter and higher lying passages. It is unusual and utterly convincing. Ermonela Jaho is a strong minded Violetta in the opening scenes but fades as she goes to, providing a very moving death scene.

Orchestra and chorus are excellent and the quality of the recording in faultless.

Tchaikovsky: Eugene Onegin

Bolshoi Opera, Alexander Vedernikov

BELAIR BAC246

Dmitri Tcherniakov’s production may be unusual but it is remarkably effective. Essentially every scene is set around a large dining table – middle class at the start and distinctly aristocratic by the end. Where most approaches feature the three very different dances, here we have three very different meals, with Onegin himself the outsider at each. He is warmly welcomed at the first two but cold-shouldered with the Gremins. Mariusz Kwiecien’s Onegin is a vulnerable individual, uncomfortable within close family settings yet equally out of place with the aristocracy. Tatiana Monogarova’s Tatiana on the other hand is aloof when at home but the life and soul of the party once married to Gremin. Lensky’s death is an accident rather than a brutal duel and occurs more because of the callousness of those at the party than any real animosity with Onegin.

It is all very effective and wonderfully well sung with Anatolij Kotscherga outstanding as Prince Gremin. A splendid addition even given the competition.

Shostakovich: Symphony No10

Bavarian Radio Symphony Orchestra, Mariss Jansons

BR KLASSIK 900185

A dark brooding recording of a dark work. The sense of tension which comes from a live performance is very much in evidence and the individual playing is excellent if often subdued by the scoring. Not an easy work but one which I return to more often than I might once have expected.

Handel Uncaged: Cantatas for Alto

Lawrence Zazzo, counter-tenor, continuo

INVENTA INV 1002

I wish I could be more enthusiastic about this recording. The voice is fine, the small continuo group plays convincingly but for all that I admire Handel these are not among his greatest works. Two are here given world premiere recordings and it is difficult not to jump to conclusions as to why this might be. The notes refer to Handel’s daring experiments in composition but I suspect you might need to be a Baroque expert to sense these.

Johann Joachim Quantz: Flute Concertos

Greg Dikmans, flute; Elysium Ensemble

RESONUS RES 10252

Resonus has an uncanny knack of finding composers unknown to the majority of listeners – even those of us who love Baroque music. Here is another of them. J J Quantz was born in 1697 and worked at the courts in Dresden and Berlin, having a close relationship with Frederick the Great who was of course a fine flute player himself. Quantz set a standard of flute playing and his books on music theory far outlived him even if his work is little known today. The three full concerti recorded here are an admirable introduction to his work and the care of original instrument performances brings us some way to understanding his professionalism and innovation.

Tchaikovsky: The Nutcracker

Arranged for brass ensemble with Derek Jacobi, narrator

Septura

NAXOS 8.574157

One has to assume this is aimed at the Christmas market. The arrangement if delightful and works extremely well for brass ensemble. However – unless you have a very skilful technical set-up – each short piece of music is preceded by narration from Derek Jacobi. This is fine the first time through but I doubt it will last more than a few hearings, at which point one might prefer to hear just the score. Maybe the music will be reissued later together with other brass arrangements. It would be a pity to lose them.

Beethoven: Piano Trios

George Malcolm Piano Trio

FHR FHR96

One of the real joys of the recorded music industry is that tracks which were laid down half a century ago can pop up just as fresh and bright as the day they were recorded. This is certainly true of these two piano trios recorded in 1976 and as delightful today as they were back in the 1970s. many thanks to First Hand Records for making them available again.

MASAAKI SUZUKI PLAYS BACH ORGAN WORKS VOL 3

Masaaki Suzuki, Silbermann organ of Freiburg Cathedral

BIS BIS-2421 79’07

The latest volume of Bach’s organ works played by Masaaki Suzuki sees a fine recording on an historic organ with which the composer would have felt very much at home. The programme includes the Prelude & Fugue in C major and in C minor as well as the extended treatments of the chorales Allein Gott in der Hoh sei Her and  Ach was sol lich Sunder Machen. The CD ends with the longest work, Passacaglia & Fugue in C minor.

JON LEIFS – EDDA II : THE LIVES OF THE GODS

Hanna Dora Sturludottir, mezzo-soprano, Elmar Gilbertsson, tenor

Kristin Sigmundsson, bass, Schola cantorum

Iceland Symphony Orchestra

Hermann Baumer, conductor

BIS BIS-2420 65’10

This truly is epic music! The second part of the (unfinished) trilogy based on medieval Icelandic literature, this oratorio in 6 parts includes sections on Odin and the Valkyries. This work occupied much of the composer’s life and it is good to see it presented here in a fine, well resourced performance. A comprehensive booklet gives some useful background, full texts and translations.

HAYDN – ORGAN CONCERTOS

Iain Quinn, organ

Sophie Gent, violin

Arcangelo, director Jonathan Cohen

CHANDOS CHAN 20118 69’41

Arguably less well known, but no less interesting than Handel’s, these works for organ and orchestra are amongst Haydn’s earliest concertos. In this new recording made in St Mary’s Church, South Woodford these pieces are recreated with care and attention to detail. Concertos 1,2 & 6 can be found here. In addition it is stated that Concerto No 10 is available for download only. Still being dedicated to CD format I don’t know how or why!

IVAN ILIC PLAYS HAYDN SYMPHONIES TRANSCRIBED BY CARL DAVID STEGMANN

Ivan Ilic, piano

CHANDOS CHAN 20142 68’42

This is an unusual release – recordings of three Haydn Symphonies in transcriptions made close to the time of their composition. Whilst there are different opinions about the place and value of transcriptions this is a good insight into the nineteenth century practice of transcribing works for orchestra so that they could be widely disseminated and experienced by audiences who would otherwise be denied access to new music. In these recordings we are in good hands as Ivan Ilic brings this music to us on the piano once more.

HOWARD SKEMPTON – MAN & BAT; PIANO CONCERTO;

   THE MOON IS FLASHING; ETERNITY’S SUNRISE

Roderick Williams, baritone, James Gilchrist, tenor, Tim Horton, piano

Ensemble 360

FHR FHR90 70’25

Howard Skempton continues to compose music that is fresh and exciting. Here we have his Piano Concerto (version for piano & string quartet) alongside another piece for instrumental ensemble, Eternity’s Sunrise. These works are complemented by two extended pieces for voice and instruments – a setting of DH Lawrence’s Man and Bat (2017), together with The Moon is Flashing, drawing on texts from the composer, Chris Newman and more DH Lawrence.

THE SECRET LIFE OF CAROLS – 800 YEARS OF CHRISTMAS MUSIC

The Telling

FHR FHR94 51’17

This four part ensemble produces a haunting sound, harking back to medieval times, with the combination of female voices, harps and drum. This production reposits a more resolutely folk approach to the singing of carols, enthused with vitality and rhythm.

FANTASY

Tessa Lark, violin, Amy Yang, piano

FHR FHR86 66’42

The basis for this recording are three 18^th Century Fantasies by Telemann. Other works, from varying periods, but using the same or similar name are added to the mix. The longest work, Schubert’s Fantasie in C major, sits alongside works by Kreisler and Ravel as well as Tessa Lark’s own Appalachian Fantasy. A good balanced programme.

MACHAUT – THE SINGLE ROSE

The Orlando Consort

HYPERION CDA68277 56’48

This programme of secular vocal music from the pen of 14^th Century French composer Guillame de Machaut transports the listener to a very specific sound world. Pristine performances are given by the four male members of The Orlando Consort.

DOHNANYI – PIANO QUINTETS; STRING QUARTET NO. 2

Takacs Quartet

Marc-Andre Hamelin,piano

HYPERION CDA68238 81’00

This CD would make a very good introduction to the music of Erno Dohnanyi. This neglected Hungarian composer is beginning to receive more recognition and this release can only help in that regard.

COBBETT’S LEGACY – THE NEW COBBETT PRIZE FOR CHAMBER MUSIC

Berkeley Ensemble

RESONUS RES10243 50’44

This is a very interesting release for those wishing to discover new music. Together with the winner of the original Cobbett prize for chamber music the three winning pieces from the newly inaugurated “New Cobbett Prize for Chamber Music”. Composers are William Hursltone, Barnaby Martin, Samuel Wesley Lewis & Lawrence Osborn. A bonus is the inclusion of A Purcell Garland – arrangements by Oliver Knussen, George Benjamin and Colin Matthews.

LA GRACIEUSE – PIECES DE VIOLE BY MARIN MARAIS

Robert Smith, viola da gamba, Israel Golani, baroque guitar & theorbo

Joshua Cheatham, viola da gamba, Olivier Fortin, harpsichord

RESONUS RES10244 66’13

Four suites from Marais’ five volumes of characterful Pieces de viole are presented here by this specially formed group of instrumentalists which includes the Amsterdam-based viola da gamba player, Robert Smith

THE WAITING SKY – MUSIC FOR ADVENT & CHRISTMAS

SANSARA

RESONUS RES10250 62’25

This beautifully performed and recorded disc blends mostly contemporary vocal works with music from the 15^th & 16^th Centuries. Despite so many seasonal offerings each year there is surely room for this.

AMADIO FREDDI – VESPERS (1616)

The Gonzaga Band, director Jamie Savan

RESONUS RES10245 58’10

This second recording from The Gonzaga Band on Resonus includes premiere recordings of the various movements of this contemporary of Monteverdi’s. Interwoven are pieces by other composers of the period including Giovanni and Andrea Gabrieli.

O GEMMA CLARISSIMA – MUSIC IN PRAISE OF ST CATHARINE

The Choirs of St Catharine’s College, Cambridge, Director Edward Wickham

RESONUS RES10246 72’02

A beautiful collection of 15^th & 16^th Century motets and hymns in praise of St Catharine presented by the choirs of the Cambridge College that bears her name.

LEOPOLD HOFMANN – FLUTE CONCERTOS 3

Uwe Grodd, flute

Czech Chamber Philharmonic Orchestra Pardubice, conductor Michael Halasz

NAXOS 8.573967 62’55

Volume 3 of this series of the 18^th Century Vienese composer’s flute concertos consists of four works – in D & A and two in G.

GEORGE PHILIPP TELEMANN – 12 FANTASIES FOR SOLO FLUTE

Giovanni Roselli, flute

NAXOS 8.579054  55’27

Here for a change we are treated to a programme for solo flute, allowing the instrument to speak for itself in this original and contrasting music.

MILITARY BEETHOVEN – COMPOSITIONS & TRANSCRIPTIONS FOR PIANO

Carl Petersson, piano

NAXOS 8.573928 72’43

An intriguing and entertaining disc. Music includes Wellington’s Victory (or The Battle of Vitoria), 7 Variations on God Save the King & 5 Variations on Rule Britannia as well as the extended Music for a Ballet of the Knights.

MESSIAEN – MEDITATIONS SUR LE MYSTERE DE LA SAINTE TRINITE

Tom Winpenny, organ of Hallgrimskirkja, Reykjavik, Iceland

NAXOS 8.573979  74’30

Tom Winpenny continues to explore the twentieth century organ repertoire and proves he is very much at home with this music, Messiaen’s moving theological cycle exploring the Holy Trinity. A fresh recording on this very suitable Icelandic instrument.

SYNAGOGUE ORGAN MUSIC

Stephan Lutermann, organ of St Maria & Cacilia, Verden

Cantor Assaf Levitin, Bass

CPO CPO 555127-2  73’34

This is a very welcome recording of 19^th & 20^th Century organ music for the synagogue based on traditional Jewish themes. The vocal music which provides the basis of these works is also included courtesy of the Cantor. A disappointment is the fact that this is not recorded on a synagogue organ. Perhaps there could be a project to record such organs for a future release?

SATIE – COMPLETE PIANO WORKS 4

Nicolas Horvath, piano

GRAND PIANO GP823 61’59

Volume 4 of this series presents a very interesting selection of pieces embracing different styles including music for theatre, pantomime, ragtime and more reflective styles. Very enjoyable.

SP

Heitor Villa-Lobos: Guitar concerto & Harmonica Concerto

Sao Paulo Symphony Orchestra, Giancarlo Guerrero

NAXOS 8.574018

Not as familiar as they might be, this forms an interesting collection as it includes the Sexteto Mistico and the Quinteto Instrumental in addition to the two concerti. Though popular at the time of its writing the guitar concerto is rarely played today and the appealing harmonic concerto entirely absent. This is a pity as both works have much to commend them and it would be good to feel that programme organisers moved outside of their comfort zone at times.

Philip Glass: Glassworlds 6: America

Nicolas Horvath, piano

GRAND PIANO GP817

The arrangement for solo piano of the second piano concerto works very well and sits comfortably alongside the world premiere recordings of Three pieces from Appomattox and A secret solo 2 which is a charming early work. I was not entirely convinced by Wichita Vortex Sutra with its mumbled narrative. I was unclear whether I was actually supposed to hear the text or not. Apart from this, the cd is a strong addition to the series.

Schumann; Violin concerto

Brahms: Double concerto

Antje Weithaas, violin; Maximilian Hornung, cello,

NDR Radiophilharmonie, Andrew Manze

CPO 555 172-2

The Schumann violin concerto is a surprising rarity on the concert platform and its complex construction may give some indication of why this is. Unlike the very familiar Sibelius, Mendelssohn, Bruch etc the soloist often seems lost within the denser orchestration and the melodic lines and more dissipated. Well worth getting to know but something of a challenge. No such problem with the Brahms which is here lovingly played with warm enthusiasm throughout and an indulgent slow movement second to know. Worth obtaining for both items.

Beethoven: Symphonies 3 & 1

Arranged for flute and piano trio

Uwe Grodd, flute; Gould Piano Trio

NAXOS 8.574039

With the Beethoven anniversary coming up next year we are bound to get some unusual recordings and this may be something of a precursor. Hummel’s arrangements are particularly striking in both their faithfulness to the originals and yet the sense that they could have been written like this in the first place. The Eroica is particularly impressive given the expectation of orchestral colour and dynamic one has come to expect, yet the limited palette seems to work extremely well. Thoroughly enjoyable and hopefully we might get the rest of the series!

Gluck: Orphee et Euridice

Lyric Opera Chcago, Harry Bicket

CMAJOR 714308

This recording arrived the day after I had been to see ENO’s new production of Gluck’s Orfeo. There were some unexpected parallels. Both dispense with the all-important chorus, replacing them with dancers. This made a little more sense in John Neumeier’s Chicago staging as he has changed Orpheus into a choreographer and re-created the narrative as a nightmare following Eurydice’s death in a car accident. This is somewhat easier to take on DVD where most of the visual impact is in close up than it might be live and the chorus are singing off-stage. Dmitry Korchak brings a strong tenor to the lead part – unusual when so often cast as an alto or counter-tenor. His acting is convincing within the limits of the production and the final scenes are certainly effective. Andriana Chuchman has to dance as well as sing and does so with quite confidence, but the most engaging singing comes from Lauren Snouffer’s delightful Amore.

I am increasingly surprised that opera directors seem to find it impossible today to simply tell a story without having to fill out the psychology in graphic detail. It is as if we have no ability to use our imaginations any more. It seems ok for the cinema to indulge in fantasy but not the stage!

Bach Violin Concerti

Kati Debretzeni, violin, English Baroque Soloists, John Eliot Gardiner

SOLI DEO GLORIA SDG 732

A splendidly lively rendition of the two familiar violin concerti and two which lie on the edges of the canon. The A minor BWV 1041 and E major BWV1042 are joined by an arrangement of BWV 1053, originally scored for harpsichord solo and BWV 1052 whose origins have long been argued over – arguments which continue today. No such problem with the outcomes which are convincing in all cases with bright, crisp playing from all concerned and exceptional clarity of line.

Virtuosa of Venice

Fieri Consort

FIER003VOV

Female composers are still overlooked today, and early music composers probably more than others. All the more welcome then this disc of works primarily by the 17^th century Venetian composer Barbara Strozzi.  She was an acclaimed singer before she started to compose and these works sit beautifully for the voice. They are light and captivating, and the voices are accompanied by a small chamber ensemble of viola da gamba, theorbo and baroque harp.

Tchaikovsky: Symphony No 5

Symphonieorchester des Bayerischen Rundfunks, Mariss Jansons

BR KLASSIK 900104

This cd is linked to the new catalogue from BR and is a strong indication of their overall approach to recording. Taken from a live broadcast, it has all the frisson one could hope for and a great deal of exciting playing. Maris Jansons is a key conductor for the label and continues to impress with his ability to see an entire series of works as a whole.

Beethoven: Piano Concertos 1 & 2

Boris Giltburg, piano;  Royal Liverpool Philharmonic Orchestra, Vasily Petrenko

NAXOS 8.574151

Beethoven: Piano Concertos 0, 2 & 6

Sophie-Mayuko Vetter, piano / fortepiano; Hamburg Symphony Orchestra, Peter Ruzicka

Two releases of Beethoven’s Second Piano Concerto – though on this occasion we have to be very careful about the titles. It is a familiar truth that the second concerto pre-dates the first, but less well known that there was an even earlier concerto, written when the composer was only 14. This has become known at No0 and is here recorded on an 1806 fortepiano which brings it to life in a highly convincing way. At the other end of his life, Beethoven had started work on a sixth concerto, though little of it survives. Here we have an opulent Allegro completed by Nicholas Cook and Hermann Dechant. Effectively, Beethoven intended to compose seven piano concerto rather than the five we conventionally know.  Strong performances on each disc though I am particularly glad to hear the two rarer works.

Dohnanyi: Symphony No1

Deutsche Staatsphilharmonie Rheinland-Pfalz, Roberto Paternostro

CAPRICCIO C5386

This recording of the first symphony is coupled with the five Symphonic Minutes Op36. The symphony was written in 1901 at a time when the composer had achieved early success. Though his name is still familiar to us, the symphony certainly isn’t and it quickly becomes obvious why this might be so. The work is finely scored and has much warmly rich writing, but the actual melodic ideas don’t abide in the memory and the overall impact is somewhat less than its parts. The cover photo is striking but seems to have nothing to do with the works recorded!

Mahler: Symphony No4

Radio-Sinfonieorchester Stuttgart des SWR, Roger Norrington

SWR MUSIC SWR19524CD

Another live performance from 2005 with all the vigour and immediacy that one might expect from both orchestra and conductor.  Anu Komsi is a gentle soloist at the end and brings the symphony to a reflective end.

Avet Rubeni Terterian: Symphonies 3 & 4

Bournemouth Symphony Orchestra, Kirill Karabits

CHANDOS CHSA 5241

I found that the way in to these two symphonies is very much through the two extra items between them. Two short works for duduks (an Armenian double-reed instrument) give the folk background and something of the feel of the works before one launches into the symphonies which are both highly charged and demanding. They are worth the effort of investigating but I doubt if they would ever sit happily within the western musical tradition.

Darkness Illuminated; works by Scriabin and Stanchinsky

Nafis Umerkulova, piano

UA UA0012

The fascinating items here are the works by Stanchinsky, a name all but unknown in Britain. They sit very comfortably alongside the works by Scriabin which may be more familiar – if only stylistically. Most of these are short pieces but none the less demanding on both player and listener, though very much worth the effort. Nafis Umerkulova is a highly convincing exponent and a delight to listen to.

Verdi; Il Trouvere

Teatro Comunale di Bologna, Roberto Abbado

DYNAMIC 37835

There is no mistaking a Robert Wilson production, but what can work magnificently, and entirely convincingly, for one opera does not necessarily translate into another. I had really enjoyed his approach to Aida where the static, often monumental, staging was entirely appropriate for what is an intensely personal narrative where little actually happens. Verdi’s Il Trovatore – here given in its full French version at Il Trouvere – suffers in the opposite direction. Robert Wilson’s production drains the whole story of emotion and interaction. The singers have no room to show responses or to interact. If anything I have seen far more emotional frisson in a concert staging than is allowed here. The ballet is staged in full – and good to hear all the music for once – but the pseudo boxing max which is the ‘danced’ staging is so inappropriate as to be utterly confusing.

The singers do what they can, though the makeup, close to, makes them look unreal and often unnatural. If this is what Robert Wilson intended then it really does not work and too often lets the singers down. Listening, one would not credit the lack of visual interest.

Rossini: Ricciardo e Zoraide

Rossini Opera Festival, Giacomo Sagripanti

UNITEL 752608

If the Verdi above suffered from a lack of emotional involvement, this goes rather too far the opposite way with an old-fashioned blood-and-thunder approach and some of the dullest choreography I have seen for some time. Unfortunately, it also boasts Juan Diego Flores and Sergey Romanovsky singing their hearts out and producing thrilling accounts of Rossini’s early score.

If you are a Rossini enthusiast and don’t have a recording of a respectable but hardly barn-storming score then this is certainly worth a look but thankfully Rossini wrote far better, even if not all later operas are as well sung as this.

Haydn: String Quartets Op20

Dudok Quartet, Amsterdam

RESONUS RES 10248

String Quartets Op 71 & 74

The London Haydn Quartet

HYPERION CDA 68230

The Dudok Quartet are planning to record all of the Op20 quartets and the second volume will be very welcome given the loving attention to detail they show in this first cd. The quartets date from 1772, and show a marked stylistic development away from the Op9 and 17 quartets –  a development clearly delineated in this recording.

The Op71 & 74 quartets, brought to us by the London Haydn Quartet, date from 1793 – over two decades on from Op20 and composed as a response to the success he had had in London. Their more overt style seems to respond to the public performance of chamber music which was now increasingly familiar. The players respond to this with aplomb and enthusiasm, making for a most welcome release.

Pavel Kolesnikov plays Chopin

HYPERION CDA 68273

This is a deceptive recording which draws us in through very familiar works – Fantasy Impromptu, Waltz in A flat and D flat – to some less familiar ones, but all of which are captivating in their immediacy. The quality of sound is also impressive with a sense of a warm room within which we are standing rather than the microphone stuffed into the piano lid. All the more convincing then given that the recording was made in the concert hall of the Wyastone Estate, Monmouth, (owned by Nimbus records) on a modern Yamaha concert grand.

Beethoven transformed

Boxwood & Brass

RESONUS RES 10249

The sextet is given here in the arrangement the composer himself made for wind instruments, and is coupled with an arrangement of the Septet Op20 made by his pupil Carl Czerny. Both are charmingly convincing.

Schubert & Brahms

Gerald Finley, baritone, and Julius Drake, piano

HYPERION CDA 68288

The cd combines Schubert’s Schwanengesang with Brahms’ Vier ernste Gesange. Gerald Finley’s diction and sensitivity to the text is well known but even here it is almost unexpectedly intimate and compelling. This is a deeply personal approach, at times almost whispered as if in confidence, at others raging with emotion that almost overwhelms. A wonderful disc.

20^th century British works for solo cello

Rohan de Saram, cello

FHR FHR45

Five works by five modern composers, three of whom are very much still alive. What strikes me about them is the serious, often darkly melancholic, tone they provide taken as a whole. This may say as much about Rohan de Saram’s compelling and deeply felt approach as it does about the works which open with a brief Suite by Richard Drakeford, followed by Zuhuy Kak by Hilda Paredes, Sons and Dances for Mourning by David Matthews, Eos by James Dillon and finally Sannyasin by John Mayer. The recording is in honour of the cellist 80^th birthday and is certainly a fine tribute to his playing and his championing of contemporary music.

Dame Ethel Smyth: Mass in D; Overture to The Wreckers

BBC Symphony Orchestra, Sakari Oramo

CHANDOS CHSA 5240

With all the awareness of the need to promote female composers it is surprising that no national opera company has taken up Ethel Smyth’s masterpiece The Wreckers. I well recall the magnificent proms performance under Odaline de la Martinez in 1994 – thankfully still available on cd – but since then there seems to have been no attempt to mount a full professional production. This new recording of the overture reminds us of just what a splendid work it is. We can but hope!

The bulk of the new recording is given over to the Mass in D, which is an exultant outpouring, here given its head by the BBC forces under a conductor who seems to have an innate understanding of the British musical temperament. Solo voices are secure if a little reserved compared to their choral partners. Perhaps Sakari Oramo could consider live performances of either of these works?

Brahms: Symphonies 1 & 3

Bergen Philharmonic Orchestra, Edward Gardner

CHANDOS CHSA5236

After his fine Mendelssohn series, Edward Gardner turns his attention to Brahms with the first and third symphonies. The approach is calmly effective, with close attention to detail and balance, without any sense of unnecessary weight or romanticism. The outcome is highly effective and enjoyable without any sense of the music overwhelming the listener – an impression somehow closer to its classical origins than its potential later romantic development.

Eric Coates: orchestral works vol 1

BBC Philharmonic Orchestra, John Wilson

CHANDOS CHAN 20036

Volume 1 implies we are to get more like this and they can’t come soon enough. Eric Coates is surprisingly undervalued, even with the resurgence of interest in light music. There are some very familiar pieces here – The Merrymakers, By a Sleepy Lagoon, London Suite – alongside the ballet The Jester at the Wedding and two symphonic rhapsodies. All engaging and here splendidly played by the BBC Phil under one of the real champions of light music, John Wilson.

J S Bach: The French Suites

Alexandra Papastefanou, piano

FHR FHR 70

The first cd comprises French Suites 1-4 while the second includes two arrangements for keyboard of sonatas for solo violin. Alexandra Papastefanou plays a modern Steinway and there is no attempt to produce anything other than a crisp contemporary sound. This is actually quite refreshing when set against many versions on original instruments, a wide variety of keyboards and temperaments. It is strangely old-fashioned – the sort of sound I grew up with – but if anything this makes it all the more compelling. I particularly enjoy the balance she brings to the various voices and the clarity of the inter-play.