Search the Music Review Database

Le Violon Vagabond
Graf Mourja / Natalia Gous
Harmonia Mundi HMC 901785 Reviewed by SG
Those expecting a release of standard violin repertoire will have to look elsewhere. It may include music by Tchaikovsky, Paganini and Sarasate that will be familiar to most listeners, but the remainder of this astonishing disc contains treasures as far from the over-recorded fare that these kinds of releases usually carry, as you are likely to find. While they may not be regarded as masterpieces, there are some 20th Century gems here. This recital also exhibits the wonderfully natural talents of violin virtuoso Graf Mourja, who’s playing balances perfectly between that of the classically trained musician and a gifted Gypsy performer, bringing each piece to life without the slightest hint of mannerism or over-exaggeration.
He plays the familiar as well as anyone, while his expressiveness paints a kaleidoscope of hues that outshines most others in the more folk-orientated works. The opening Danses populaires roumaines by Bartók is a perfect example of this, with his extraordinary performance simply surpassing any other on offer. With enthusiastic support from pianist Natalia Gous, and excellent engineering, this CD will both surprise and delight all but the most cynical music lover, and has to be one of the most entertaining albums of the year.

Beethoven: The Complete Music for Piano Trio, Vol. 3
Florestan trio
Hyperion CDA67393 Reviewed by SG
This is the third volume of a complete, four-disc, set of Beethoven’s works for piano trio planned by the wonderful Florestan Trio and Hyperion; and like the first two it is an entirely first-class issue. It comprises three trios: Op. 1, Nos. 1 and 2, and 38. The Op.1 Trios where first published shortly after the composer’s move to Vienna, and became immediate hits with the Austrians, despite Haydn not being totally enthralled by them all. The first two from that set are among the youthful Beethoven’s most endearing works, and are totally charming and positively engaging. Here they are given the most enthralling of performances: full of elegance and sophistication. This ensemble are probably the finest current interpreters of this repertoire on modern instruments, and their superb playing supplies some extra vigour and wit. Simply listen to the alluring panache of the opening movement of the E flat major trio and the two glittering presto finales of both the Op. 1 trios, and you will here some of the most superb chamber music on CD. With Hyperion’s very good sound, this has got to be a winner and has therefore got to receive a firm recommendation.

Vivaldi’s Cello
Yo-Yo Ma / Amsterdam Baroque Orchestra / Koopman
Sony Classical SK 90916 Reviewed by SG
Many will be familiar with Yo-Yo Ma’s deep, luscious sound, but even though the instrument used on this CD is the same 1712 Stradivarius that featured on the Simply Baroque albums, the sound is far more intimate, more refined and restrained, with a rasping tone. Ma wanted to restore the original timbre of the instrument, so the Stradivarius has been returned to its original set-up, with a baroque bridge and gut strings replacing the more-modern articles. The results certainly bring Vivaldi’s cello music to life, but there is a lack of independence to Ma’s performance. There is more of a sense of the soloist being drawn further into the orchestra; with Koopman and his charges performing much more on equal terms. This is a far more natural presentation and the music comes across as particularly elegant and sensitively conveyed. Apart from three concertos for cello, there are also a few transcriptions of works that Vivaldi originally composed for other instruments or voice, with mixed results – the largo from the Four Seasons’ Winter is rather lacklustre – but generally this disc is successful, with a number of superb renditions of sometimes poignant, occasionally humorous, but always engaging music.

Haydn: String Quartets Op. 64 No. 5, Op. 76 No. 2, and Op. 77 No. 1
Jerusalem Quartet
Harmonia Mundi HMC 901823 Reviewed by SG
I have always had an especially high regard for Joseph Haydn’s chamber music. There is a particular maturity that Mozart never fully achieved, although that is not to dismiss the younger composer’s work; it is just that there is a wonderful rightness to Haydn’s compositions. This disc features three of his greatest quartets performed by the youthful, yet already internationally renowned, Jerusalem Quartet, who play with a professionalism way beyond their years. The rhythmic qualities of the Lark Quartet are almost hypnotic, while the first violin soars above in the most persuasive manner. Generally their tempos are on the fast side, but even in the quicker movements their accuracy and precision are such that there is only an added sense of liveliness, but they never allow the resulting excitement to overwhelm the music’s charm.
Their tone is most ravishing, helped by the vivid, yet warm recording, with no hint of glare in the highest notes; only a natural grittiness and vibrancy that add presence to each performance. In fact the Jerusalem Quartet present these three works as if newly discovered, exhibiting their own individuality to each, but still managing to display a wonderful maturity without ever bordering on the conventional.

Penderecki: Violin Sonatas Nos. 1 and 2/ Miniatures/Cadenza for Solo Violin
Bieler / Tichman
Naxos 8.557253 Reviewed by SG
Krzysztof Penderecki’s early compositions display a strong Shostakovichian influence, and this is no better demonstrated than in his First Violin Sonata, written at the age of twenty. The piece lasts for around seven and a half minutes, during which its three wonderfully condensed movements exhibit all the repartee and distinctive themes of the Russian master’s writing. The Second Violin Sonata, receiving its premier recording here, also recalls Shostakovich, but this time more particularly his Eighth String Quartet. Its five movements produce a large pallette on to which the Polish composer has painted with rhapsodic freedom. This is particularly true of the work’s structural centrepiece, the thirteen-minute adagio, which experiences several moments of climatic expression. Between the two sonatas come the three Miniatures and the Solo Cadenza that Penderecki originally added to his viola concerto.
Throughout all the performances Ida Bieler plays with dynamic enthusiasm. Her commitment is tremendous, producing the most ardent of interpretations, and pianist Nina Tichman most ably accompanies her. Naxos’ engineering is superbly balanced, with neither instrument too prominent, and there are some fine notes to accompany the disc, making this a release that easily deserves my full recommendation.

Léonardo de Vinci: L’harmonie du monde
Quentin / Azéma / Doulce Mémoire / Raisin Dadre
Naïve E 8883 Reviewed by SG
Among his many other talents, Léonardo de Vinci was a skilled and talented musician, especially on the plucked string instrument known as the lira da braccio: devising and recounting impromptu poetry. Many of the composers of the music featured on this recital of 15th Century works are anonymous, but there are others that will be familiar to early music specialists. All originate from places that Léonardo either lived or travelled, and the selection is a fascinating group of secular and non-liturgical sacred pieces.
Throughout, but especially in the purely instrumental works, there is a particular clarity, with no overcrowding of texture and a wonderful display of timbre. The playing emphasises various points of style, enhancing the differences between music from the varying places of origin, while the songs are attractive, especially the anonymous Deh quanto è dolze, impressively sung by Anne Azéma, whose renditions of the Italian songs are particularly fine - although Anne Quertin’s more straightforward and unornamented French songs are also of a very high standard. While such a concept for an early-music recital is not the most innovative, the resulting disc is certainly a most welcome and satisfying issue.

Joan Baez - In Concert
Cisco-Vanguard: VSD 2122 Reviewed by RSF
Vanguard’s third Baez LP is a compilation from several venues offered up as an “in concert” album, although you can’t really tell that this recording was taped in several locations. Baez is clearly, both to my mind and those of the audience and folk song lovers of the day, the absolute High-Priestess of Protest. If that offends you, forget about her politics, just sit back and enjoy another aural treat from Messrs. Pincus and Gray. The album is a stunner. I’ve compared it to my original black label, early StereoLab copy and it’s way better. Once again, what was once great, is now glorious. Her voice is magnificent. The remastering has dramatically lowered the noise floor and although there is plenty of ambient information to go around, you are catapulted to the location(s) where these tapes were made. The audience is wonderfully quiet and it’s always amazed me how civilized and polite they were. True respect offered to their artist by the attending public.
Cisco has done us a big favour re-issuing this recording, so don’t hesitate to buy this gem. You’ll receive a wonderful ‘audiophile’ treat: a voice that is stunningly beautiful, and a live concert venue. I wish I were there!
Highest recommendation.

Britten, Dohnanyi: Young Person’s Guide… Variations On A Nursery Tune
Slatkin, Concert Arts S.O.
Cisco/Capitol SP8373 Reviewed by RG
There is and always has been a prejudice amongst classical listeners when it comes to the indigenous repertoire. The music of your home country, so the story goes, can only really be played by a conductor, and preferably an orchestra too, that shares the composer’s nationality. I’ll admit I’ve often thought the same – but about Finnish music rather than English.
So deeply ingrained is the dogma that many an eyebrow will be raised at Cisco’s decision to re-issue Slatkin’s Young Person’s Guide… especially given the options available from the composer himself and the pantheon of great, British conductors. But listen and you’ll hear, that Robert Pincus’ faith is well founded. Where the likes of Britten and Boult give us a perfectly poised and rather academic view, Slatkin is a bundle of life and exuberant energy, offering a performance full of mischief and humour. It sits well with the music and its aspirations, offering a vibrant, engaging quality. It’s an approach that is less effective with the subtler textures of the Dohnanyi, but the price is worth it for the Britten alone, along with the silent surfaces and superb cut. Suspend your disbelief and enjoy. It’s what this music was written for.

The London Howlin’ Wolf Sessions
Speakers Corner / Chess Records, CH-60008 Reviewed by RSF
Make no bones about it – I’m a HUGE blues fan and all those who know me, know that’s a fact. With all the great music available in the Chess catalogue, I can’t wait for some of those titles to be released and I was most impressed with the Muddy Waters sings Big Bill Broonzy, issued earlier in the year by SCR.
Here’s the lineup: Up front, the incomparable Howlin’ Wolf. The other artists, well they’re more than just okay; Eric Clapton, Steve Winwood, Bill Wyman and Charlie Watts to name a few, with the great Hubert Sumlin sneaking in there too.
Whilst there’s a certain fascination with the crossover/combination of rock and the original bluesmen, it’s not normally my thing. I prefer my blues a little more on the ‘raw’ side, however this album offers an interesting Rock slant on great blues tunes played by master musicians. The songs are all traditional ones, written mostly by the Wolf(Chester Burnett) and the superb Willie Dixon.
This really is a fine album, a comment which has probably confused you totally. It’s a bit of a lovehate thing, but I can tell you this: If I were at a friend’s house and he put this record on his ‘table, I’d buy it. You should too. It’s classic Wolf... with a solid rock undercurrent. Very Strongly recommended.

The Doors - Morrison Hotel
Elektra Records Germany-7559-60675-1 Reviewed by RSF
Originally released in 1973, this is, in my opinion one of The Doors’ best albums. Early Elektra’s sometimes contained good sound... but I always felt they were a little on the thin side. Perhaps the only original I own that I can’t say that about is their first album, simply titled The Doors... but mine is a mono copy and I’ve not heard a stereo gold label US pressing for years.
Last issue, I waxed rhapsodically about what a stunning job Elektra had done on L.A. Woman. Well here I have the same pleasure. I didn’t know at the time that they had also released this album, so imagine my joy when I obtained it. Classic Doors with 11 stunning tracks from ‘Roadhouse Blues’ to ‘Maggie M’Gill’. Whatever Mr. Makkee is doing, he’s got my vote for his involvement in re-mastering some outstanding albums.
Standout tracks comprise just about the whole of side 1: ‘Roadhouse Blues’, ‘Waiting for the Sun’, ‘You Make Me Rea’l, ‘Peace Frog’, ‘Blue Sunday’ (perhaps a little weak) and the final cut: ‘Ship of Fools’.
To have the last two albums Morrison recorded in outstanding sound is a real pleasure. Don’t waste any time in obtaining this. I’m sure they won’t be around forever and you will be mighty sorry if you miss out. Highest recommendation.

Elgar/ Bach: Violin Concerto; Chaconne
Boult / LPO
Testament SBT 1146 Reviewed by RP
Elgar’s B minor Concerto is one of the most challenging of orchestral violin works and it demands an intense and deeply committed reading from the soloist. Haendel picks up this gauntlet with her usual firmness of tone and exercises beautiful control and sweeping tempi that will astound those who have not heard this account before. On the podium in front of her and very much enjoying his Indian Summer in the recording studio was Sir Adrian Boult. Although the four sessions at Abbey Road spanned some nine months between April 1977 and January 1978 (reflecting the physical frailty of a maestro who was then in his late Eighties) the direction is still wonderfully secure.
The vision is impeccable, unclouded and so infectious that it draws out equally sympathetic playing from the London Philharmonic musicians. On the technical side this EMI recording (ASD 3598) was a tale of two Christophers: Chris Bishop’s brilliantly handled production and Chris Parker’s engineering – an abundance of riches indeed. He also allows us to hear the full drama, fluidity, depth and range of feelings that Haendel brings to this virtuoso performance. The filler, Bach’s Chaconne from Partita No.2 in D minor for solo violin again captured at Studio No.1 some seventeen years later is breathtaking, and will have you hurriedly reaching for the complete work.
Supplier: Vivante - www.vivante.co.uk (44)(0)1293-822186

Winds in HI-FI
Frederick Fennell, Eastman Wind Ensemble
Speakers Corner/Mercury SR 90173 Reviewed by RSF
Recorded March of 1958 at the Eastman Theatre in Rochester, New York, this record contains some wonderful wind music conducted by one of the greatest conductors of this medium, Frederick Fennell. Of the four composers represented – Percy Grainger’s ‘Lincolnshire Posy’; Bernard Rogers’ ‘Three Japanese Dances’; Darius Milhaud’s ‘Suite Français’ and Richard Strauss’ ‘Serenade in E flat major, op.7’ – for me, and this is highly personal, I could live without the Strauss and Rogers.
The sound quality is outstanding on the original U.S. issue and Speakers Corner has done an admirable job in recreating that sound. The Eastman Theatre recordings, for whatever reason, have always tended to contain a little more tape hiss than other Mercury recordings. Wilhelm Makkee has done a fine job in taming, just slightly, some of the hiss removing the life from the recording.The Grainger is a joy. The pace is perfect and Fennell and his students are right at home with this music. I don’t know if you’ll find a better reading. I also think the Milhaud performance is top drawer and find it extremely engaging.
Listen carefully on side 1, band 9 from Rogers’ ‘Dance with Swords’. As the music ends, there is a decay that seems to go on forever which will tell you just how much inner detail your system is capable of retrieving. Recommended Recording

© Images and text copyright Absolute Multimedia (UK) Ltd 1999-2008
another fine webwork by Global WebTrader