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Classical
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Vivaldi:
I Concerti di Dresda
Freiburger
Barockorchester / Gottfreid von der Goltz
Opus 111 OP 30283 Reviewed
by SG
This is the latest edition in Opus 111's ongoing undertaking to record
all 450 of the Vivaldi scores held in Turin's National Library, and like
the previous releases it is of the highest quality. Vivaldi composed these
concertos for the Dresden Hofkapelle, one of the finest and largest orchestras
of the period. With the exception of one sinfonia, all feature an abundance
of obbligato instruments, representing a innovative style and generating
a diversity of vibrant arrangements, with the best known being the Concerto
RV577 in G minor, whose obbligato consists of a violin, two oboes and
two recorders, which convey a delightfully dated quality to proceedings.
All are inclusive of good-humoured spectacle and discriminating splendour,
with each solo instrument weaving a tightly knit interplay of textures
and colours, and feature some prominently original themes, especially
in the Sinfonia RV192 in C major that is the real treasure of this collection.
The Freiburg players bring wonderful atmosphere and personality to the
phrasing with their intuitive expertise, and establish a measure of musical
fascination to the recording - their sympathetic ornamentation in the
slow movement of RV577, which can lack expression and texture, is admirable.
The clear and vibrant recording is simply the icing on the cake.
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Vaughan
Williams: The Early Chamber Music
Nash Ensemble
Hyperion CDA67381/2 Reviewed
by SG
While some may say that Ralph Vaughan Williams did not arrive at an established
style until A Sea Symphony of 1909, the works on this release reveal much
of genuine note among his early chamber compositions. Some are previously
unpublished or unknown pieces, often alluding to his later style. Others
are evocative of other composers, such as the String Quartet in C minor
(1898) that hints, after opening in a distinctive RVW fashion, at both
Dvorak and Tchaikovsky, and the Piano Quintet in C minor which, along
with the Quintet in D major, may embrace the French tradition, but reveals
touches of Brahms. To these works are added three later, even posthumously
published duos with piano and, from 1941, Three Preludes on Welsh Hymn
Tunes (Household Music) which was composed to be played by any combination
of instruments available during wartime, but is performed here by Vaughan
Williams' favoured ensemble, a string quartet. The Nash Ensemble play
throughout with their usual panache, and with sound that is very good
without actually approaching demonstration quality, this release should
reopen the debate on the merits of Vaughan Williams' earlier compositions
and the reasoning behind the composer's withdrawing them.
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JS
Bach: The Art of Fugue
Fretwork
Harmonic Mundi HMU 907296 Reviewed
by SG
Although Johann Sebastian Bach specified no express instrument for his
culminating achievement, The Art of Fugue is typically presented on a
solo keyboard instrument. While there are performances by ensembles as
varied as saxophone quartet and full orchestra, the use of an unaccompanied
harpsichord or organ remains a powerful and often convincing argument.
But this recital by the prominent viol consort, Fretwork, is a truly enthralling
example among ensemble recordings of this collection of sixteen fugues
and four canons. The playing is entirely discerning, liberating sporadic
tensions with the musicians' tender shaping of the vibrant rise and fall
throughout each piece - a kind of gentle ebb and flow that is completely
enthralling in its tranquillity. While many ensemble performances conceal
the beauty of the music, creating a purely technical expression of counterpoint,
here each player's total commitment shines through helped by a superb
recording - illuminating each musical gesture and allowing the driving
forces to form and flow. The overall structure of the work is superbly
portrayed and the composer's expressive writing is revealed with colourful,
yet refreshingly simple forms of uncorrupted counterpoint and distinct
characters, demonstrating that these pieces can be truly exceptional works
for the right ensemble.
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Gombert:
Magnificats 5-8
The Tallis Scholars / Phillips
Gimell CDGIM 038 Reviewed
by SG
Nicholas Gombert's glorious mid 16th Century Magnificat settings are some
of the finest works of the period. Gimell released the first four around
a year ago (CDGIM 037) and this second disc concludes the series. With
no comprehensive recording prior to this, these two issues are obviously
of great importance to lovers of Renaissance religious music. Peter Phillips
and the Tallis Scholars are, as usual, creatively assured, harmoniously
aware and inventive - not only in the selection of repertoire, but in
the bold addition of a number of accidentals which generate delightful
moments in Magnificats 8 and 8. They manage to add a touch of excitement,
especially in the plainsong segments where the melodies are allowed to
sway under the emotion of human affection, especially in the intensely
beautiful antiphon for Mary Magdalene, In diebus illis. But they still
adhere to the ardently detached side of these works, with their coherent,
precise and supremely balanced tones. There is a relentless impetus to
each piece, an inescapable melodic tide that allows each to rise in dramatic
intensity, to end in a magnificently thrilling climax. With delightfully
atmospheric, reverberant sound, this important release is musically expressive
and totally exquisite.
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Virtuoso
in the Making
Music by Heinrich Ignaz, Franz von Biber
Ricordo
Linn CKD 195
Biber:
Unam Ceylum
Holloway / Assenbaum / Mortensen
ECM New Series 1791 472 084-2 Reviewed
by SG
Virtuoso violinist and composer Heinrich Ignaz Franz von Biber's music
is admired by musicians, but divides listeners opinions. Many find his
numerous stylistic idiosyncrasies and sense of humour too extreme, too
ornate and self indulgent, while others view this same diversity as audacious,
groundbreaking creativity. Ricardo's debut recording for Linn features
several of his seldom recorded earlier works, with the majority indebted
to Biber's early mentors Bertali and Schmelzer, with the opening Pastorella
paying reverence to Schmelzeis own work -included later on the disc for
comparison. They frequently anticipate Biber's later compositions, with
the Sonata in E major, highlighting the extravagant runs, vibrant contrasts
and impressions so prominent in his Sonata Representiva in A and Battalia,
and while the Sonata in C minor may be conceptionally less inspired, it
is more than indicative of his popular Mystery Sonatas. Many excellent
ensembles have approached Biber's work, but Ricardo are certainly not
eclipsed. They manage to extract every nuance of his fertile imagination,
performing with flair and plenty of skill. Above all they exhibit a certain
sense of gratification. Violinists Kati Debretzeni and Penelope Spencer
stand out as exceptionally fine performers, and Linn's engineering is
superlative, resulting in an outstanding debut release. Having already
recorded a penetrating set of Biber's Mystery Sonatas (reissued on Virgin
VBD 5 62062 2), John Holloway's new recording of four sonatas from the
Sonatae a Violino Solo, Salzburg 1681 and two unpublished sonatas is no
less persuasive, translating the composer's breathtaking, experimental
and striking work with his elegant and brilliant gestures. While Biber
used normal tuning, he also asked for scordatura or altered tunings (Sonatas
IV and VI) that are more informal and characteristic, and it is these
pieces that come across as the most compelling. Holloway handles the change
in Sonata VI particularly beautifully. His bowing demonstrates a specific
lightness and freedom, producing a degree of resonance that is consistent
with an appreciation for 17th Century tones and textures. He is accompanied
with assurance by Aloyisa Assenbaum (organ) and Lars Ulrik Mortensen (harpsichord),
and while ECM's sound is not quite as detailed or realistic as Linn's,
it is still very good. For those wanting just one recording of Biber's
wonderful music, I recommend Romanesca's fantastic release of the complete
Sonatae a Violino Solo (Harmonic Mundi HMU 907134.35), but I would not
want to do without any of the above-mentioned discs.
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Audiophile
Recordings
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Beethoven:
Symphony No. 9
Solti, CSO and Chorus
Speakers Corner / Decca 6 BR 121/2
Reviewed by RG
It is only fitting that Beethoven's final symphony should also be (arguably)
his greatest. The 9th is a monumental work and Solti rises to the occasion.
Fitting too that he leads the perfectly drilled forces of the Chicago
Symphony Orchestra and Chorus with whom he enjoyed such an artistic-ally
productive relationship, and soloists of the calibre of Lorengar, Minton,
Burrows and Talvela, who collectively put in a storming performance in
the final movement. They're egged on by an uncharacteristically flamboyant
Sir Georg, whose sweeping reading and sudden dynamics suit the score,
while still managing to provide the deft delicacy so necessary for the
music's texture and contrast. There are of course, other great performances
of the 9th, but what sets this one apart is sound good enough to have
made it a fixture on the TAS list. The open, deep, beautifully layered
and focussed soundstage is wonderfully warm, the legendary Wilkinson again
delivering the goods. Indeed, this recording offers all the best aspects
of the Decca label, with none of the pinched tonality or second-rate performers
it sometimes suffered. The Speakers Corner pressing loses a little of
the vivid immediacy of the original, but its perfectly quiet and flat
surfaces are ample compensation, especially given the price of second-hand
copies. A very welcome release.
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Beethoven:
Symphony No.3 "Eroica"
Munch, BSO
JVC RCA Living Stereo JMCXR-0019
Beethoven:
Symphony No.6 "Pastoral"
Reiner CSO
JVC RCA Living Stereo JMCXR-0020
Reviewed by RP
The performance of these truly great Symphonies, despite a natural presence
and authority brought to each concert hall by the huge egos stood at the
podiums, still falls short of what one would expect of readings by a Charles
Munch and Fritz Refiner at their best. Of course the brilliantly written
music its heroism in the "Eroica" and those evocative and idealised recollections
of country life in the "Pastoral"- shines through, but there is a palpable
feeling that more of Beethoven's grand visions could and should have been
revealed. In this sharing process the recordings are both open, transparent
and detailed enough, the orchestral playing within the parameters allowed
under the direction is polished, but the conductors are perhaps too tightlipped.
Too focused upon imposing a particular design upon this music, although
that is not to say these interpretations are without merit. Munch's approach
to the Third Symphony has a likeable ponderous majesty about it, which
fills out the whole width and breadth of Symphony Hall, Boston. This recording
is panoramic, closely-miked and possesses fine clarity right across the
midrange, and it is the sparkling and lifelike reproduction of the tone,
timbres and drier string textures that makes up for the baton's overall
lack of incisiveness and urgency. The execution of the Funeral March,
however, is quite striking: the appropriately slow tempo here is stoic
and darkly intense without becoming slack. Munch remains stately throughout,
even if elsewhere the revolutionary Napoleonic themes demand a little
more cut and thrust to them. Dr. Refiner s version of the "Pastoral" Symphony,
with its surging speeds and efficient execution, too much neglects the
affectionate, warm-hearted and contemplative side that Beethoven envisaged
for it. His brisk Finale is, however, a sympathetically handled section,
but the rigid tempo taken as a whole removes some of the obvious delight
and spontaneity from those scenes by the brook or at the peasant's merry-making.
Even here the Chicago Symphony players are excellent. The recording is
an interesting adjunct to this album. Richard Mohr and Lewis Layton taped
this performance over two days in April 1961, but it wasn't released until
October 1963 when it appeared as the first RCA Living Stereo to feature
the notorious Dynagroove computerised frequency modulation process. Whilst
this has no effect upon the XRCD sonic, it may interest some to know that
the sound of an original U.S. cut LP is pretty disappointing. As an alternative
on record, look out for the English pressing by Decca. Even though they
probably got a second-generation master tape from RCA America, the Dynagroove
equipment used for cutting the lacquers stayed on the other side of the
Atlantic.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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Berio:
Voci
Kashkashian / Schulkowsky / Radio Symphonieorchestra Wien / Davies
ECM New Series 1735 - 461 808-2
Reviewed by SG
Luciano Berio used the folk music of his native Sicily in the construction
of both works featured on this CD - Voci and Naturale. But also included
here are historical tapes of authentic Sicilian music to demonstrate the
fact. Violist Kim Kashkashian takes the technical minefield of Voci and
tears through its complex exterior to reveal its expressive core. Accompanied
by the Radio Symphonieorchestra Wien, directed by Dennis Russell Davies,
her instrument leaps from crescendo to fiercely resonant passage and back
again, exposing Berio's very personal style. On Naturale she is joined
by the excellent percussionist Robyn Schulkowsky, and a "taped" folk singer,
recorded by the composer. The result is an intensely raw set of opposing
factions that create great vibrancy. Between the two are the six, almost
African sounding, Sicilian songs, that are sung and recorded in a rather
amateur manner, but will be of great importance, and ultimately rewarding,
to those who wish to fully understand Berio's work. Ignoring the historical
tapes, the recordings are vividly dynamic and up to ECM's usual standard.
While Berio's compositions will not appeal to everyone, this disc represents
a superb demonstration of how he incorporates conventional ethnicity into
his music.
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Shostakovich:
Symphony No. 11 (The Year 1905)
LSO / Rostropovich
LSO Live LSO 0030
Reviewed by SG
With live recordings, such as this, you can feel the tension. The audience
sit in stunned silence throughout, as Mstislav Rostropovich leads the
LSO through a most deeply considered Barbican performance. He wrings every
emotion from both the music and the orchestra, generating a most chilling
representation of Russian history. Rostropovich takes his time to establish
this intensity, weaving his own creativity into the work's musical structures,
but we are rewarded by a vivid interpretation of Shostakovich's reflection
on the St. Petersburg massacre; from his depiction of the bleak and desolate
Palace Square, to the final climax of rising defiance. You can feel the
crunch of the freezing ground beneath your feet, sense the rise in hostility,
and picture the ruthless slaughter before the period of reflection. The
composer's linking of all four movements only adds to the tension. Only
with the final movement's early energy and drive do these feelings of
bitterness and despair relent. Tony Faulkner's engineering is up to his
usual high standards, and with the help of the Barbican Hall's improved
acoustics, creates a vivid picture that only adds to the atmosphere. This
is an intensely harrowing listening experience that will leave you spellbound.
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Ravel:
Daphnis & Chloe
Munch BSO
JVC RCA Living Stereo JVCXR-0222-2
Reviewed by RP
This XRCD transfer taken from the original dualtrack, 30 ips master tapes
is a luminous and lifelike experience where the various musical threads
including the singing by New England and Alumni chorus members are all
delivered with a remarkable degree of clarity. Thematically, a ballet
about dancing shepherdesses, cowardly pirates, satyrs and the bacchanalian
rites of Pan in pursuit of his Syrinx paints a highly theatrical scene.
An equally elaborate reading is needed to do this score and those motifs
justice and Charles Munch gives us one that's full of pepper. At the root
of his gripping and emotional interpretation is the beautifully incandescent
Boston string tone that magically washes its rich palette throughout the
midrange of the recording. All that is good stems from here. That sparkle,
presence and warmth in the violin, viola and cello playing extends into
the horn and wind section dynamics as well, while a solid reproduction
of the percussion and low horn notes down in the engine room knits these
two key areas together rather nicely. Our conductor, his musicians and
the technical team of John Pfeiffer and Leslie Chase are then left to
balance out the varying demands of this frivolous, animated and thoroughly
good-natured music.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186
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