Classic fM Music Reviews

TCHAIKOVSKY: Variations on a rococo theme - Gautier Capuçon - Cello

Mon, 08 Mar 2010 11:02:38 +0200

TCHAIKOVSKY: Variations on a rococo theme
PROKOFIEV: Sinfonia concertante
Gautier Capuçon – Cello
Orchestra of the Mariinsky Theatre
Valery Gergiev – Conductor
Virgin Classics ICPN 5099969448607

“This live performance reveals Capuçon’s heartfelt Gallic charm, matched with sensitivity by a fine orchestra”. Classic fM(UK) – February 2010.

“Among the constellation of young cellists, Gautier Capuçon shines brightly… Here he teams up with the Mariinsky Orchestra and Valery Gergiev for performances of two Russian works of very different temperaments… In the Tchaikovsky Capuçon displays a blend of impeccable taste, Romantic ardour and technical aplomb… in the Prokofiev his playing is rapturous, pensive and demonstrative in a performance of impressive stature”. The Daily Telegraph – February 2010

The audio quality for a live performance on this CD is excellent and the Marriinsky Theatre Orchestra clearly demonstrate that they are among the top recording orchestras in the world. In the Mozart inspired Rococo Variations by Tchaikovsky the orchestra and soloist play as one, there is a natural and light ensemble sound that is as refreshing as it is enjoyable – Capuçon’s tone is rich, agile and never forced.

I know some reviewers were quite critical of Capuçon’s interpretation of the Prokofiev, but I found his treatment soaring and confident together with Gergiev’s sensitive control and his thorough understanding of Prokofiev’s intent. This is a stirring recording – most enjoyable!

by Mike Ford

CHOPIN: CHAMBER MUSIC

Fri, 05 Mar 2010 09:37:26 +0200

CHOPIN: CHAMBER MUSIC
Cello Sonata * Piano Trio * Grand Duo
Andreas Brantelid – Cello
Marianna Shirinyan – Piano
Vilde Frang – Violin
EMI 50999 6 87742 2 6

To celebrate the 200th anniversary of Chopin’s birth, Andreas Brantelid presents the composers chamber music for cello. As in all Chopin’s music one cannot but admire his talent for creating a wide variety of moods, from the intimate passion of the Cello Sonata and Piano Trio to the dramatic virtuosity of the Grand Duo concertant. However, I do not believe they are the most inspired works of Chopin’s output and therefore it is up to the chamber musicians to excel as these pieces are packed with dramatic possibilities.

In this recording you can hear three of Europe’s most acclaimed young rising talents: Vilde Frang, the young Norwegian violinist and protégée of Anne-Sophie Mutter, the Armenian pianist Marianna Shirinyan and the Danish cellist Andreas Brantelid. In the Cello Sonata Brantelid is technically perfect and there is a youthful enthusiasm but some sections of the first movement lack gravitas and credibility.

In the Piano Trio the ensemble is more subtle and Vilde Frang’s lyricism is really magical. Marianna Shirinyan displays a masterly approach and she has a natural affinity for Chopin’s piano style. Brantelid stays well within the ensemble adding to the whole with sensitivity and a secure technique. The Piano Trio is the most rewarding work of the CD.

The Grand Duo concertant on themes from Meyerbeer’s Robert le Diable is tuneful and well performed but it lacks cohesion and seems to carry on too long.

by Mike Ford

SIBELIUS/PROKOFIEV: VIOLIN CONCERTO - VILDE FRANG: Violin

Mon, 01 Mar 2010 09:27:41 +0200

SIBELIUS / PROKOFIEV: VIOLIN CONCERTO
VILDE FRANG: Violin
WDR Symphony Orchestra Cologne
Thomas Søndergård: Conductor
EMI 50999 6 84413 2 6

“Bow and bowing arm were raised high in the air (…) only making physically visible the depth of feeling already imbedded in her rounded tones, strong attack and mastery of the singing line. She bewitched within seconds … with her heart, soul and penetrating technique, she is definitely a violinist to look out for.” The Times

In this her debut CD for EMI, the Norwegian-born violinist, Vilde Frang chose three of Sibelius’s elusive miniatures as rarely heard companions to his fire-and-ice Violin Concerto and the tenderly voiced soul of another Northern masterpiece, Prokofiev’s first violin concerto. Frang plays a Jean Baptiste Vuillaume violin, on loan from the Anne-Sophie Mutter Freundeskreis Stifting, which has supported her since 2003.

The violin was Sibelius’ musical instrument and he may well have had dreams early on to become a violin virtuoso. In writing a challenging display piece for the violin, Sibelius was torn between the desire to provide a vehicle for the virtuoso he himself could have been and his overriding compositional drive for formal clarity and cohesion. Nevertheless the solo part is challenging in the extreme and Vilde Frang plays with such ease and confidence that she is bound to be one of the new guiding lights of the future. The three Sibelius Humoresques are seldom heard and once again in Frang’s performance she proves that she has interpretation skills well beyond her years.

I found the Prokofiev a little light-weight even though she is quite capable from a technical point of view. Overall, Valde Frang is an incredible find.

by Mike Ford

ELGAR – Violin Concerto - NIKOLAJ ZNAIDER

Mon, 22 Feb 2010 10:05:59 +0200

ELGAR – Violin Concerto
NIKOLAJ ZNAIDER – Violin
Staatskapelle Dresden Orchestra
SIR COLIN DAVIS
SONY Red Seal 88697605882

“Znaider is a wonderfully supple player, and his partnership with Colin Davis is clearly highly productive: the way Davis shapes the orchestra around Znaider’s silvery spun line in the slow movement is an object lesson in how to support a soloist. Znaider has all the virtuosity the bravura passages demand, and the way he launches into the finale is dazzling.” The Guardian, January 2010 *****

To celebrate the 100th anniversary of the world premiere of Elgar’s Violin Concerto which took place on the 10 November 1910 and was conducted by the composer himself, celebrated Danish violinist Nikolaj Znaider has recorded the concerto on the very same instrument that Fritz Kreisler used to perform the premiere: this is the first account on disc using this very special violin , a 1741 Guarneri del Gesu.

For Elgar, composing a violin concerto was indeed an affair of the heart because as a young man he had aspired to become violin virtuoso and he studied with Adolphe Politzer who one of the leading teachers of the day. Being asked to write the concerto by Fritz Kreisler was also a dream come true. The premiere on the 10th November, 1910 was wildly applauded and proved to Elgar’s final triumphant success.

The Staatskapelle Dresden Orchestra has always been one of the top orchestras in the world and Znaider’s interpretation certainly comes from the heart. To truly understand the music and spirit of Elgar one couldn’t ask for a more suitable and sensitive conductor than Sir Colin Davis. Musically this is a great performance, my only slight worry was I expected a little more depth in the orchestral sound.

by Mike Ford

Johann Sebastian Bach - Six Partitas

Mon, 15 Feb 2010 10:23:28 +0200

Johann Sebastian Bach
Six Partitas
András Schiff – Piano
ECM New Series 476 6991 (2CD Set)

This is just marvellous. …Every note of the music is in Schiff’s blood and, through his recent experience of conducting, he seems to have absorbed varied instrumental textures, breathtaking spontaneity, extrovert ornamentation, and whimsical rhythmic freedom. Nicholas Kenyon, The Observer

Schiff’s depth of musical understanding is priceless.
David Patrick Stearns, The Philadelphia Inquirer

In Bach’s day the genre known as the “suite” was merely another label for “partita”, but I think it would be true to say that Bach’s cycle of Six Partitas represents the artistic culmination of the entire history of the suite. After Bach’s publication of 1731 the suite was used less and less and eventually composers looked at other forms such as the sonata. Each of the Six Partitas is set in its own distinctive key and all the movements in a partita remain in that key which makes tonality the crucial element uniting them into a whole.

András Schiff is a pianist who has made playing Bach very much a part of his lifestyle which is borne out by his joyous spontaneity and crystal clear clarity when performing these works. There is a creative drive and musicality in these performances that I have not heard equalled in any other recording. His technical brilliance is a given but the music sings and dances with an extraordinary energy while at the same time his subtle lyrical phrasings brings out new depths.

by Mike Ford

J.S.BACH - Viola da gamba Sonatas x 3

Mon, 08 Feb 2010 09:41:29 +0200

J.S.BACH
Viola da gamba Sonatas x 3
Choral Preludes x 9
Jan Vogler – Cello
Martin Stadtfeld – Piano
SONY CLASSICAL 88697575192

Two Bach experts perform the music of the young Johann Sebastian Bach. Both Jan Vogler and Martin Stadtfeld are much the same age as when Bach composed these works and apart from their in-depth knowledge of Bach’s work, there is a virtuosic energy and sense of performance that must have been very close to what Bach intended for the time. I found this CD enthralling, they are works that are seldom heard yet you feel as though you are present at the first performance and want to applaud.

Bach’s Sonatas for viol da gamba and harpsichord (BWV 1027-1029) were most probably composed at the courts of Duke Wilhelm Ernst of Sachsen Weimar and young Prince Leopold of Anhalt-Köthen. The sonatas are not easy to perform as they are the product of a musical structure that corresponds to that of a trio sonata – ie: the right hand of the keyboard instrument is the equal partner of the string instrument and the left hand fulfils the traditional role of the continuo.

While at Anhalt-Köthen Bach dedicated himself almost exclusively to the composition of chamber music, after his efforts to create a “proper” church music was frustrated by the intellectual intolerance of the religious authorities. At Köthen he had a small but outstanding ensemble of musicians including the virtuoso viol da gamba performer Christian Ferdinand Abel and even Prince Leopold played the harpsichord and viol da gamba at a professional level. These are demanding compositions not aimed at amateur musicians.

Also on the CD are choral preludes from Bach’s Orgelbüchlein written for Advent, Christmas and New Year. Stadtfeld and Vogler have chosen eight of these pieces adapted for their instruments. If you are a Bach fan this is a must.

by Mike Ford

HAYDN Piano Trios Volume 2

Mon, 01 Feb 2010 11:04:51 +0200

HAYDN Piano Trios Volume 2
THE FLORESTAN TRIO
Piano Trio in E major Hob XV:28
Piano Trio in E flat major Hob XV: 29
Piano Trio in E flat major Hob XV:30
Piano Trio in E flat minor Hob XV: 31
HYPERION CDA 67757

“Susan Tomes is superb in these works; her fluid pianism is a joy to hear, beautiful in tone, crisp in articulation. Violinist Anthony Marwood and cellist Richard Lester are on her level, and the tightly knit ensemble delivers a full, rich sound along with lightning-fast reactions to Haydn’s many twists and turns”. (La Folia, USA)

“The Florestans play with a spring in their fingers Haydn’s last four piano trios dating from the mid-1790s”. Classic FM Magazine

Many outstanding musicians of the eighteenth and early nineteenth centuries never performed in public for one simple reason – they were women. When you hear this excellent recording by the Florestan’s, thank goodness things have changed for the better. Haydn admired many women pianists, especially Therese Jansen (a pupil of Clementi) who he met in London in the 1790s and he felt that she was among the capital’s most important pianists. Haydn wrote a set of three piano trios for her which he published in London in 1797. Here is Haydn stimulated by both the instrument and the player and it is certainly some of his most original music.

The ensemble work of this trio is ‘as one’, it is a remarkable recording. This not merely domestic entertainment, Haydn challenges the performers with unexpected turns and surprising modulations and bold dramatic gestures. This is a gem – buy it!

by Mike Ford

BRAHMS - Symphony No 1 in c minor

Mon, 25 Jan 2010 12:00:45 +0200

BRAHMS
Symphony No 1 in c minor
Variations on a theme by Haydn
Hungarian Dance No 14
BUDAPEST FESTIVAL ORCHESTRA
Iván Fischer – Conductor
CHANNEL CLASSICS CCS SA 28309
ClassicsToday.com
Artistic Quality 10/ 10 Sound Quality

Iván Fischer and the Budapest Festival Orchestra continue to go from strength to strength with new recordings that continue to stun the opposition and win accolades from all quarters. Technically, the sound is superb (SACD) and therefore the masterful interpretation and performance is that much more astounding.

The CD starts with Iván Fischer’s arrangement for strings of Brahms’s Hungarian Dance no. 14 for piano duet – the string sound is fantastic as is the phrasing and legitimate Hungarian ‘gypsy’ sound. Next are the Variations on a theme of Joseph Haydn which comprises the theme, eight variations and a concluding passacaglia. Once again Fischer’s attention to detail is crystal clear while at the same time he is able to vary the tempo without disturbing the build-up to the passacaglia. The Budapest Festival Orchestra has a superb woodwind section.

Brahms worked on and prepared for his first symphony for 14 years and as a result there are some quite diverse musical ideas in the symphony (he composed his second symphony in one summer season). In the mix are his memories of playing popular dance music in Hamburg, performing Hungarian gypsy tunes with Ede Reményi, visiting the Swiss mountains with Clara Schumann and then the enormous influence of Vienna and the music of Haydn, Mozart and Beethoven. As Iván Fischer comments, his first symphony was a ‘German-Hungarian-Gypsy-Swiss-Austrian symphony’.

I agree with ClassicsToday.com, no matter how many recordings you have of this repertoire, you really need this incredible performance.

by Mike Ford

Benda/ Pichl/ Vranický - Violin Concertos

Thu, 21 Jan 2010 12:26:01 +0200

Benda/ Pichl/ Vranický Violin Concertos
Gabriela Demeterová – Violin
Prague Chamber Orchestra
SUPRAPHON SU3977-2

This is a welcome addition for any classical radio station, three (previously unrecorded) violin concertos from three vastly talented Czech composers of the 18th century. The concertos are quite different to then popular Italian tradition although all three composers had to travel widely to pursue their musical careers as instrumentalists and composers.

František Benda (1709-1786) came from a famous Czech musical family and held posts as a violinist in Prague, Dresden, Vienna, Ruppin and Potsdam. In compositional terms his style was extremely original and independent of the Italian style.

Václav Pichl (1741-1805) held many important posts in Europe and he spend 21 years in Milan as the chapel-master of Archduke Ferdinand. His compositional style can be characterized as early Viennese Classicism with a number of Gallant elements. He is said to have composed over 900 works, the majority of which were destroyed in a fire when the French army attacked Lombardy.

Antonín Vranický (1761-1820) became a renowned Viennese composer and studied composition with Mozart, Haydn and Albrechtsberger. His compositions are very much in the style of High Classicism but some of his concertos show distinct features of early Romanticism.

Gabriela Demeterová has a beautiful and assured tone, together with the Prague Chamber Orchestra they produce a masterful interpretation of these concertos. The repertoire is accessible, fresh and well worth purchasing.

by Mike Ford

RACHMANINOV 4/MEDTNER 2 - PIANO CONCERTOS

Mon, 18 Jan 2010 11:56:55 +0200

RACHMANINOV 4 / MEDTNER 2
PIANO CONCERTOS
Yevgeny Sudbin - Piano
North Carolina Symphony
Grant Llewellyn – Conductor
BIS-SACD-1728

This is Yevgeny Subdin’s second concerto disc and as a soloist he is sure to prove that he is already one of the most exceptional musicians of his generation. His first CD released in 2007, featured Medtner’s Piano Concerto No. 1and Tchaikovsky’s first Piano Concerto for which he was nominated for a Gramophone Award. Both Medtner’s Piano Concerto No 2 and Rachmaninov’s Piano Concerto No 4 were composed in the mid-1920’s which the composers dedicated to one another. Rachmaninov’s concerto was finally performed in 1926 and it was panned by the critics for being too long and unfortunately Medtners concerto was roundly ignored after its premiere.

Medtner should not be considered ‘the poor man’s Rachmaninov’ or ‘Rachmaninov without the memorable tunes’, they were both great pianists and excellent composers. The first movement of Medtner’s second concerto is no pastiche dedicated to Rchmaninov, it is written in sonata form showing Medtner to be a true master from making new stuff from something old. I found the second movement a little dark but the exuberance of the final movement is a gem. Rachmaninov’s Piano Concerto No 4 is very much a ‘bits’n pieces’ concerto but there are truly beautiful moments.

This is an excellent SACD audio recording and I was most impressed with the North Carolina Symphony conducted by Grant Llewellyn. Yevgeny Sudbin plays with power and clarity – even if the two concertos are touch academic at times, piano concerto fans should be aware of this recording.

by Mike Ford

ROSSINI - Colibran, the Muse - JOYCE DIDONATO

Fri, 08 Jan 2010 10:48:10 +0200

ROSSINI
Colibran, the Muse
JOYCE DIDONATO – mezzo-soprano
Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia – Roma
Edoardo Müller – conductor
Virgin CLASSICS 50999 6945790 6

“ If Angela Gheorghiu is the pre-eminent Puccini interpreter of her era, then Joyce DiDonato surely lays confident claim to the equivalent position regarding Rossini (…)”

“Here she focuses on arias inspired and premiered by Isabella Colbran, Rossini’s wife and the supreme diva of her era. It’s a majestic display from first to last, DiDonato balancing precision and emotion whether she’s delivering the subtle Giusto ciel, in tal periglio from Maometto II, or negotiating the high, almost laughing line of Fra il padre, e fra l’amante from La Donna Del Iago.” The Independent ***** November 2009

“Fasten your seatbelt when DiDonato gets going (…) you may find yourself shouting “Brava!” at your loudspeakers.” San Francisco Classical Voice – November 2009

Joyce DiDonato has a massive vocal range but at the same time she has immaculate technical control. Here she concentrates on the arias written for Isabella Colbran who was Rossini’s wife, muse and his favourite Prima Donna. Although she died in 1845 there were vey mixed reviews regarding her abilities (she sang well past her sell-by date) and I doubt that she had the vocal capabilities of DiDonato. Joyce DiDonato’s clear diction, purity of tone and her phrasing really brings the characters to life – especially Desdemona in Otello. If you are not a serious opera fan you may find some of the repertoire a little heavy going.

by Mike Ford

MUSSORGSKY / SCHUMANN

Thu, 31 Dec 2009 10:26:49 +0200

MUSSORGSKY / SCHUMANN
PICTURES AT AN EXHIBITION – Mussorgsky
FROM MEMORIES OF CHILDHOOD – Mussorgsky
KINDERSZENEN (Op.15) – Schumann
LEIF OVE ANDSNES – Piano
EMI CD 50999 6 98360 2 2

“ If we had to keep one recording of Mussorgsky’s Pictures for eternity, them let it be the one of Andsnes. Today, only a few people artists play music inspiredby an inner beauty without frill. Andsnes is one of them.” Rudy Tambuyzer, Knack *****

“…Buy this CD with confidence. No piano gets drowned, trust me; and you get mature , focused artistry.” Geoff Brown, The Times 27/11/2009.

Leif Ove Andsnes embarks on a major project that marks a new departure for the internationally acclaimed pianist. Together with South African-born visual artist Robin Rhode, they have created a special program entitled Pictures Reframed which centres around Mussorgsky’s epic piano cycle Pictures at an Exhibition combining music, video and still imagery. However, in this CD release there are four other solo piano works by Mussorgsky, coupled with Schumann’s Kinderszenen.

This is by far the most powerfully different and often abrupt performance of Mussorgsky’s Pictures at an Exhibition that I have ever heard (although few recordings were as violent as Richter’s rendition). It is an unsettling performance, but so creative and with so many delicate harmonic nuances never used before, that the work takes on a new fantastical life. There also four piano miniature piano pieces by Mussorgsky, considering how little he wrote for the piano, they are worth having. The CD finishes with Schumann’s Kinderszenen where Andsnes is lyrical and provides a creative collage of childhood – pianism of the first order.

by Mike ford

KARL JENKINS – STELLA NATALIS – JOY TO THE WORLD

Mon, 28 Dec 2009 11:03:38 +0200

KARL JENKINS – STELLA NATALIS – JOY TO THE WORLD
Kate Royal – soprano
Alison Balsom – trumpet
Tenebrae – choir
Adiemus Singers
Marylebone Camerata – orchestra
Alison Halstead – chorister
EMI CD 50999 6 88648 2 8

“As a composer, he recognises no boundaries – musical, commercial, geographical or cultural. His is a way of thinking and composing that is perfectly in tune with the spirit of the times.” Classic fM Magazine (UK)

Karl Jenkins is certainly the classically trained master of global ‘crossover’ and possibly the only ‘crossover’ contemporary composer who seldom raises the ire of the classical music fraternity. In this release he has composed a new work for choir and orchestra, Stella Natalis, as a gift to music lovers of all stylistic and spiritual backgrounds for the 2009 festive season. Its coupling, Joy To The World, features arrangements by Jenkins of carols from around the world in keeping with the composer’s inclusive and universal approach to the message of music.

‘Stella Natalis’ (in Latin) means ‘star of birth’ or ‘star of origin’ and the music conveys the Christmas message of peace, goodwill, compassion and a new beginning. The influences are broad-based using Zulu texts, Hindu gods and the Old Testament texts. Jenkins as always, is creative and sure-footed in his orchestration but Stella Natalis as a whole comes across as disjointed and a little bit of a ‘hotch-potch.’ Of course there are brilliant individual items and the musical performances are fresh and inspired, it’s great entertainment but not to be taken too seriously.

Joy to the World consists of a set of idiosyncratic arrangements of carols from England, Germany, France, Spain, the West Indies and Afro-America. Great entertainment for Christmas.

by Mike Ford

SCHUBERT - BELCEA QUARTET

Thu, 24 Dec 2009 09:47:59 +0200

SCHUBERT
String Quintet in C D956*
String Quartet No 15 in G D887
String Quartet No 14 in D minor D810
(Death and the Maiden)
BELCEA QUARTET
*VALENTIN ERBEN cello
EMI 2CD 50999 9 67025 9

“Here, (…) the harrowing intensity of Schubert’s most famous string quartet is extended through the severe beauty of the Quartet in G (…) and the epic narrative of the Quintet in C, where cellist Valentin Erben matches the lean, concentrated Belcea sound in long, intelligent phrases.” The Independent, November 2009

The Belcea Quartet has added three late masterpieces by Franz Schubert to their impressive discography on EMI Classics: the Quartet in D minor ‘Death and the Maiden’, the Quartet in G Major and the beautiful String Quintet in C Major with Valentin Erben of the Alban Berg Quartet as the second cellist. With these three works one can see that Schubert was determined to establish himself as a composer of large-scale works in the Viennese line of Haydn, Mozart and Beethoven. They are difficult and tense affairs to perform and they also demand quite a bit of concentration from the listener.

The String Quintet in C was Schubert’s last visionary chamber work completed during the composers miraculously prolific final autumn of 1828. The addition of a second cello to the quartet texture (Mozart in his quintets preferred a second viola) does create a more powerful sonority and added tension and drive. Perhaps he should have considered an additional cello part in his String Quartet in D minor. The String Quintet in C is not a serene work and the Belcea Quartet version is slightly faster and full of tension – in fact it could be called a high voltage performance.

by Mike Ford

Bassoon Concertos

Mon, 21 Dec 2009 10:27:59 +0200

Bassoon Concertos
Antonio Vivaldi
Edouard Du Puy
Heitor Villa-Lobos
Kees Olthuis
Bram van Sambeek – Bassoon
Sinfonia Rotterdam
Conrad van Alphen – Conductor
Brilliant Classics 9149

Interesting bassoon repertoire here, showing just how versatile the bassoon can be and that is surprising that the bassoon is not used far more widely in modern ensembles. The CD starts with Vivaldi’s concerto for bassoon, strings and basso continuo in E - most probably his most popular bassoon concerto (he wrote 39 bassoon concertos in all but very few stand out as remarkable baroque concertos). In the Vivaldi Bram van Sambeek plays on a wooden bassoon very much like the instrument that Vivaldi’s soloist would have played – the sound is lighter and the tonguing and articulation not as clear as the modern instrument. The bassoon playing is excellent although at times I felt the string dynamics and accompaniment to be inconsistent.

Next is a bassoon concerto by the little known, but highly eccentric French composer Édouard Du Puy (1770 – 1822) who was a contemporary and fellow musician with Berwald and Crusell in the Swedish Court Orchestra. His erratic and provocative behaviour caused him to be fired from the Swedish Court, after moving to Copenhagen he was found in bed with the Crown Princess Charlotta Frederika and both were banished from the kingdom. The concerto is a highly virtuosic work for the bassoon and he unfortunately left it unfinished – the finale was composed by the oboe virtuoso Karl Braun. Nevertheless, the concerto certain nly deserves a place in the bassoon repertoire.

Villa-Lobos’s Round Dance of Seven Notes is based on the Ciranda, a Brazilian children’s dance – it is beautifully performed and it’s so creative and colourful. The final piece is Kees Olthuis’s Capricho for bassoon and string orchestra, as a contemporary concerto it is most accessible and well worth hearing.

by Mike Ford

RACHMANINOV - 24 Preludes

Thu, 17 Dec 2009 10:59:54 +0200

RACHMANINOV
24 Preludes
Steven Osborne – Piano
Hyperion CDA67700

“His dazzling technique illuminates the virtuosic allegro and allegretto sections, and his playing has a Rachmaninov pliancy and beautifully achieved rubato in lyrical passages. One of the piano discs of the year.” Sunday Times, 17th May 2009

“These are wonderfully natural performances: the best on disc since Vladimir Ashkenazy’s set in the 1970’s, with Osborne always alert to the variegated surfaces of the music, yet mindful of the deeper currents that run beneath. His sound is perfectly judged, never overbearing in even the heftiest passages, and translucent enough to allow the inner lines, which often in Rachmaninov have an expressive life all of their own to be heard. A lovely disc.”

The Guardian, 1st May 2009 *****

Steven Osborne has created a new benchmark for the performances of Rachmaninov’s preludes and he has certainly set the bar at quite a height with his matchless musicianship. Too many pianists apply far too much over emotionalism to the preludes which destroys the clearly defined melodic lines and the many subtle harmonic nuances. Osborne is a sensitive and intelligent pianist with an awesome technique and he has certainly blown new life into the complete cycle of preludes – this is a must buy.

by Mike Ford

FRÖST, PÖNTINEN & THEDÉEN - BRAHMS - Clarinet Sonatas and Trio

Tue, 15 Dec 2009 11:04:14 +0200

FRÖST, PÖNTINEN & THEDÉEN
BRAHMS – Clarinet Sonatas and Trio
Martin Fröst – Clarinet
Roland Pöntinen – Piano
Torleif Thedéen – Cello
BIS – SACD – 1353

“(His) smooth, even tone is deliciously seductive, and he can darken or lighten the sound at will, from velvet warmth with a sensitive applied vibrato, to a soaring clarity that never goes louder than lovely…I could write more, but if you’ll excuse me, I’d rather like to be seduced all over again.” (Andrew McGregor, BBC Radio 3: CD Review)

Like Mozart, Weber and Spohr before him, Brahms composed clarinet works for a specific interpreter. Richard Mühlfeld was the catalyst that caused Brahms to compose four clarinet pieces in immediate succession. Not only are these clarinet works among his finest music but they are among the most outstanding contributions to the entire literature for this instrument. On this CD you have three of his four works for clarinet – good value for money.

Young Swedish clarinettist Martin Fröst has already established himself as a leading soloist in Europe to the extent that he has inspired some contemporary composers to write new works for the clarinet. The two Brahms clarinet sonatas show that he is certainly a clarinettist who will be remembered as one of the finest performers of our time. Roland Pöntinen’s accompaniment is excellent but lacks the clarity and drive displayed by Daniel Barenboim with Gervase de Peyer.

The Trio is definitely the most neglected of Brahms’ four clarinet pieces, but shows the composer at the height of his powers. For the Trio, Brahms chose the clarinet in A, which produces a more sombre tone than its companion in B flat. Cellist Torleif Thedéen matches Fröst in imaginative and colourful playing although the piano does appear to be too far back within the ensemble.

by Mike Ford

ANGELA HEWITT - Plays HANDEL & HAYDN

Mon, 07 Dec 2009 13:15:38 +0200

ANGELA HEWITT - Plays HANDEL & HAYDN
Handel:
Chaconne in G major
Suite No 2 in F major
Suite No 8 in F minor

Haydn:
Sonata ‘Un piccolo divertimento’ (Variations in F minor)
Sonata in E flat major
Angela Hewitt – Piano

Hyperion CDA 67736

“Recorded and released in the ‘anniversary year’ of both Handel and Haydn, Hyperion’s Record of the Month is an effusive celebration of the two composers, performed by an artist whose renditions of 17th and 18th century keyboard works on the piano have received the highest possible acclaim. This recital is a welcome gesture from the ‘high priestess of Bach’.” (Sunday Times)

Listening through this CD is both inspiring and most illuminating due to the booklet which has wealth of information supplied by Angela Hewitt. Her touch, tone and interpretive skills are mind and ear boggling. The two Handel keyboard suites are magical and as a piano fan you must hear them to experience the beauty.

Haydn’s Sonata ‘Un piccolo divertimento’ (Variations in F minor) is certainly one of his more difficult piano compositions regarding touch, phrasing and interpretation – Hewitt’s rendition is mesmerising. The Piano Sonata in E flat major Hob XV1: 52 was his last piano sonata and the most technically demanding of all his piano works. He composed the sonata in 1794 for Therese Jansen, a star pupil of Muzio Clementi. This last sonata is possibly his most sophisticated piano work and like the last four Beethoven sonatas it requires masterful interpretation. Hewitt’s playing is brilliant – full of light and shade but with it all, she has the in depth knowledge of the era and exactly how these works should be performed.

by Mike Ford

Tchaikovsky: 1812 Overture - Orchestra and Chorus of the Mariinsky Theatre

Thu, 03 Dec 2009 12:35:28 +0200

Tchaikovsky: 1812 Overture
Orchestra and Chorus of the Mariinsky Theatre
Valery Gergiev – Conductor
Lyubov Sokolova – mezzo-soprano
Alexey Markov – baritone
Includes:
1812 Overture
Moscow Cantata
Marche Slave
Coronation March
Danish Overture
MARIINSKY SACD MAR0503

The five works by Tchaikovsky on this CD form a cohesive whole because they were all commissions and written to order. Unlike the majority of his Russian predecessors, Tchaikovsky’s fame meant that he received regular commissions for new work to celebrate great state and political events. Four of the five works on this CD quote the anthem of Imperial Russia, God save the Tsar, which is not surprising since Tchaikovsky was Alexander III’s favourite composer and he was also a dyed-in-the-wool monarchist. Most composers have always disliked commissions because of the usual short ‘turn-around’ times and often there were prescriptive demands that mitigated against inspirational composition. This CD however shows that Tchaikovsky was a consummate professional who produced universally inspired music regardless of the subject matter.

The 1812 Festival Overture is truly a Russian interpretation with awesome string playing although I’ve heard better brass ensemble playing regarding this work. For pure audio brilliance and clarity the Telarc recording with the Cincinnati Pops is still superior but I prefer this recording from a musical phrasing point of view.

The “Moscow” Cantata is still relatively unknown and Tchaikovsky had to compose this cantata in just two weeks. The ‘Introduction and Chorus’ is magical and the orchestra and chorus perform with passion even though the interpretation requires respect and constraint. The ‘Finale’ is a really stirring and memorable performance - compositionally Tchaikovsky felt it to be amongst his best compositions.

I found the “Marche Slave” a little pedestrian in parts and a predominance of ‘lower mid’s’ emanating from the Mariinsky Concert Hall in St Petersburg – the Festival Coronation March also suffers the same malady.

The Festival Overture on the Danish National Anthem is an overture seldom heard with some really beautiful orchestration, overall a enjoyable performance. I would purchase this recording for the Moscow Cantata and the 1812 Festival Overture.

by Mike Ford

FLORIAN UHLIG – Ludwig van Beethoven – Piano Variations

Mon, 30 Nov 2009 09:56:41 +0200

FLORIAN UHLIG – (Piano)
Ludwig van Beethoven – Piano Variations
5 Variations on Rule Britannia
15 Variations with Fugue in E flat Major op. 35 Eroica
12 Variations in A major on the Russian dance from the ballet Das Waldmädchen by P. Wranitzky
6 Variations in F major on a swiss song
8 Variations in C major on Une fièvre brûlante from Richard Coeur de Lion by A.E.M. Grétry
24 Variations in D major on Veni Amore by V. Righini
7 Variations in C major on God save the King
Hänssler CLASSIC CD 98.599

“I was amazed when I listened to the CD with Beethoven variations recorded by 35-year-old pianist Florian Uhlig…The interpretations rank among the very finest examples… This staggeringly original CD is an event.” Joachim Kaiser – Süddeutsche Zeitung

Alfred Brendel is recognised as one of the few ‘famous’ pianists who made a point of playing the Beethoven piano variations, but that was quite a few decades ago. Florian Uhlig’s selection of lesser known Beethoven variation cycles are as challenging to play as they are entertaining to listen to, you will not be disappointed. The CD has already won the award named “CD des Doppelmonats” from the journal PIANONews in the July-August issue.

Regarding the variations Uhlig comments; “…the variation form also provided ammunition for the dynamic penetrating power of Beethoven the piano virtuoso…His virtuosity was not merely limited to manual dexterity, but also comprised a facility for tonal colour and an aspect of spontaneous creativity.” The variations on ‘Rule Britannia’ and ‘God save the King’ may be taken as slightly ‘tongue in cheek’ but they are pianistically brilliant and not that easy to interpret. The Wranitzky ballet theme is enchanting as are the melodic ideas from Grétry and Righini. If you are a fan of Beethoven’s piano music, this is a must for your collection.

by Mike Ford