Rossini: Semiramide

Vlaamse Opera, Ghent

DYNAMIC 33674

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

Bach: The Art of Fugue

Angela Hewitt, piano by Fazioli

HYPERION CDA 67980     89’43

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

Bach: Cello Suites

David Watkins, cello

RESONUS RES 10147    68’19; 76’42

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

Beethoven String Quartets: vol 1

Elias String Quartet

WIGMORE HALL WHLive 0073/2

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

Dvorak: String Quartets vol 2

Vogler Quartett

CPO 777 625-2     70’30: 55’46

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

Chopin: vol 4 Waltzes and Nocturnes

Louis Lorte, piano

CHANDOS CHAN 10852  83’21

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

Michael Haydn: Complete String Quintets

Salzburger Haydn-Quintett

CPO 777 907-2    146’02

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

Dvorak: Symphony No 1 & Rhapsody Op14

Deutsche Radio Philharmonie, Karl Mark Chichon

HANSSLER CD 93.330     64’53

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

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

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

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

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

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

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

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

RESONUS RES10152 (68’34)

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

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

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

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

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

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

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

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

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