CD Reviews & Concert Listings - April 2022

Reviews

Carl Friedrich Christian Fasch (1736-1800) was expected to follow in the footsteps of his more famous father, Johann Friedrich Fasch, as Kapellmeister in Zerbst, but instead he went on to share the position of harpsichordist to Frederick II with CPE Bach, and then ultimately when CPE Bach left after the seven years war, he remained. He was also responsible for establishing the Singakademie in Berlin, which was chiefly responsible for the rediscovery of JS Bach’s music which by then had fallen into obscurity. Philippe Grisvard has recorded a selection of Fasch’s keyboard works, performing them on a gloriously ringing fortepiano from around 1790. The disc includes three of Fasch’s Sonatas, and several short ‘character’ pieces, ending with a wonderful Ariette with Fourteen Variations. The B flat minor Sonata has a dramatically rippling opening, and continues with almost perpetual motion, with falling arpeggios dropping to a sombre trill at the bass of the keyboard. In its slow movement, the rich lower tones of Grisvard’s instrument are warmly echoey, and the trumpet-like repeated notes ring out almost like an organ stop. Whilst conventional in structure, its finale has drama too in its fantasia-like explosion before the return of the opening material. The C major Sonata is full of Viennese gentility, despite its challenging hand crossing, and an expressive central movement is followed by a fiery yet playful finale, with its stop-start rhythms. Grisvard creates such a variety of tones here, from the sound of a music box in the quieter sections to a guitar-like sound at the light, hiccupping finish. The F major Sonata is equally lively and emphatic in style, with beautifully expressive touch from Grisvard in the mournful central movement, whilst demonstrating his virtuosity in the bright finale. Of the character pieces, L’Antoine perhaps stands out, with Grisvard again bringing out its mournful expressiveness with the muted tone of the instrument. La Cecchina is delightful, with its sudden runs and pleasing melodic material. But it is the Ariette and its variations that prove to be the real demonstration of Fasch’s inventiveness, taking the graceful and delicate theme through a gentle dance (3), perpetual spinning wheel motion (4), dramatic statements (7) and rich repeated chords (13) to mention just a few. Grisvard is on a roll here, and shifts effortlessly from variation to variation, shifting from a gently rocking lilt to rapid top to bottom scales with effortless smoothness. Fasch ends with a rattling motion, and Grisvard’s clattering chords bring this to a suitably striking conclusion. The combination of some delightfully inventive keyboard music, the surprisingly versatile and sonorous fortepiano, and Grisvard’s virtuosity combined with delicacy and lightness of touch make this recording a resounding hit.

Fasch, C. F. C. 2020. Works for Keyboard. Philippe Grisvard. Compact Disc. Audax Records ADX 13725.

Pianist Simon Callaghan joins the BBC National Orchestra of Wales, conducted by Martyn Brabbins for a great selection of obscure British Piano Concertos. ‘New’ piano concertos, often for modest orchestral forces, were a popular feature of concert programmes in the early half of the twentieth century, but by their very nature, many of them failed to achieve longevity and often disappeared without trace. Yet there are some great pieces here, ranging from the light and almost comical to more weightily, expressive offerings. Only one of the works here has been previously recorded (the Benjamin), and that was back in 1959. John Addison’s (1920-1998) Wellington Suite kicks things off, and this is a great, playful romp. Scored for two horns, piano, percussion and strings, the horns actually take centre stage with some really challenging and rapid exchanges, deftly handled here by Tim Thorpe and Meilyr Hughes. Written in 1959, we can hear the film music that Addison was best known for (eg. Reach for the Sky, A Taste of Honey). He relocated to Los Angeles in 1975 – receiving an Emmy for his signature tune for Murder, She Wrote. There are cartoon capers in the opening movement, with sliding piano lines and bright horns. The horns are slinkier in the more reflective second movement, with delicate piano pecks over gentle strings, before concluding with a lumbering march. Delicate pizzicato strings, played with great control by the BBC NOW build towards an almost Shostakovich-like comic second section. A light, halting waltz ends with vaudeville piano tremolos, before a playfully jaunty ride lead by the horns, with quickening pace in the piano and strings exchanges to finish. Australian born Arthur Benjamin (1893-1960) studied and later taught at the Royal College of Music, where Britten was one of his pupils. His Concertino for Piano and Orchestra (1927) was influenced by the popularity of Gershwin’s Rhapsody in Blue, and its single movement has its bluesy movements courtesy of the addition of an alto saxophone. Perhaps less extrovertly extravagant than Gershwin, it nevertheless has effective passages of sweeping strings with the piano providing energetic counterpoint. Callaghan delivers the racing light piano ripples and the wandering cadenza towards the end with elegant panache. Elizabeth Maconchy (1907-1994) was another RCM alumnus, and was an important figure in the world of new music composition, becoming the first woman chair of the Composers’ Guild of Great Britain in 1959, and the president of the Society for the Promotion of New Music in 1976, succeeding Britten. Her Concertino for Piano and String Orchestra (1949) is dramatic and virtuosic for the piano, with angular strings and intense, insistent rhythms throughout. The middle movement has more lyricism, but here still the jagged rhythmic knocks are unsettling. Insistence continues in the final movement, with rapid motion passed between piano and orchestra, and repetition of ideas hammering home its darkly infectious spirit. Humphrey Searle’s (1915-1982) short Concertante for Piano, Percussion & Strings (1954) is full of spiky rhythms and interchanges between piano and orchestra, with slinky strings and birdlike piano interjections. Following a short cadenza at the centre, the atmospheric sliding strings become more frenzied to great effect. Edmund Rubbra’s (1901-1986) ‘Nature’s Song’, a tone poem for orchestra, piano and organ (1920) is up next, and this is perhaps the most immediately engaging work here, with its filmic, rich scoring and expressive melodic lines. The sea’s ‘rich roar’ surges in the strings, and Callaghan is particularly expressive in the solo section towards the end, before the flute and oboe rise up to the sky over quiet strings to finish. Geoffrey Bush’s (1920-1998) A Little Concerto on themes of Thomas Arne (1939) is definitely of its time, yet his delicate arrangement of music taken several of Arne’s Harpsichord Sonatas and the Keyboard Concerto No. 3 is surprisingly delicate and refined. He keeps the textures relatively light, and here Callaghan weaves the piano part, often running in octaves, around the bare string textures. Overall, this is a fascinating collection. With a range of styles on offer, the Rubbra and Maconchy stand out for their overall depth, but the Addison is a comic gem.

Various. 2022. British Piano Concertos. Simon Callaghan, BBC NOW, Martyn Brabbins. Compact Disc. Lyrita SRCD407.

Concerts

Jess Gilham (credit Robin Clewley)

The London Philharmonic Orchestra perform Mussorgsky, Ravel, and Glazunov’s Concerto for Saxophone, with Jess Gillam (saxophone), conducted by Finnegan Downie-Dear (7.30pm, Saturday 23, Brighton Dome). Tickets here.

Daniel Pioro (credit: David James Grinly)

The LPO then hop over to Eastbourne to play Coleridge-Taylor, Vaughan Williams and Bruch’s Violin Concerto No. 1, with Daniel Pioro (violin), this time conducted by Tom Gauterin (3pm, Sunday 24, Congress Theatre, Eastbourne). Tickets here.

Cristian Grajner de Sa

The Worthing Symphony Orchestra perform Romantic Classics, including the Beethoven, Mendelssohn, and Bruch’s Violin Concerto No. 1, with Cristian Grajner de Sa (violin), conducted by guest conductor, Hilary Davan Wetton (2.45pm, Sunday 24, Assembly Hall, Worthing). Tickets here.

John Hancorn

The Baroque Collective Singers perform Music for Passiontide, with Scarlatti’s Stabat Mater and music by Byrd, Gibbons and Farrant, conducted by John Hancorn (5pm, Sunday 3 April, St Peter’s Church, Firle, and 5pm, Sunday 10 April, St Michael’s Church, Lewes). Tickets here.

(Edited versions of these reviews first appeared at Scene, April 2022) 

CD Reviews - June & July 2020

Richard Strauss’ (1864-1949) Eine Alpensinfonie, Op. 64 (Alpine Symphony) is a fabulous piece of extended tone poem writing, rather than a conventional symphony.  It requires a huge orchestra, including wind and thunder machines, cowbells, and the heckelphone (a member of the oboe family, similar to a cor anglais).  Yet it’s not just an overblown orchestral romp – there is some beautifully subtle music here too, and Strauss captures the drama and danger of the mountains, as well as the sheer beauty and simplicity of an alpine meadow, from sunrise to sunset. Vasily Petrenko with the Oslo Philharmonic is a revelation here in the third of their Strauss recordings – all the detail of this phenomenal journey is there, but there is always a sense of direction and forward momentum. The big, brassy moments are powerful, but never overblown, yet there is some beautifully delicate solo string playing, wandering by the stream in the forest, and the arrival at the summit is lushly climactic. In the ‘Vision’ that follows, Petrenko steers a steady path through the meandering harmonic instability, and the storm is dramatic and suitably scary, before a warm sunset and subdued sink into the night. Petrenko and the Oslo Philharmonic follow this masterpiece with a passionate reading of Strauss’ earlier tone poems, Tod und Verklärung, Op. 24 (Death and Transfiguration). The music depicts a dying artist reflecting back over his life, before reaching ultimate transfiguration in heaven. A consistent theme in Strauss’ tone poems is that idea of our hero defeated in the here and now, but somehow attaining victory, here in a final blaze of C major. Again, Petrenko is alert to detail here, but also the essential trajectory of Strauss’ story-telling arc. Highly recommended.

Strauss, R. 2020. Eine Alpensinfonie, Op. 64 & Tod und Verklärung, Op. 24. Oslo Philharmonic, Vasily Petrenko. Compact Disc. Lawo Classics LWC1192.

I reviewed Ibrahim Aziz’s solo viola da gamba album last year (here), and he’s now back, joined by harpsichordist Masumi Yamamoto in a recording of works for the two instruments by Georg Friedrich Handel (1685-1759). Here we have a mixture of his works transcribed by Handel himself, and also by Aziz from Sonatas originally for violin, and a keyboard Suite, as well as one Sonata attributed to Handel, but possibly by Johann Kress (1685-1728). But no matter, Aziz owns them for the viola da gamba with a beautifully warm tone and delicate ornamentation. The balance between Aziz and Yamamoto on harpsichord is well-judged, and despite some weighty double-stopping in the Allegro of the G major Sonata, for example, the light harpsichord is never overpowered. The Largo of this same Sonata is a beautiful gem, and Aziz makes his instrument ring with great energy in the final virtuosic Allegro. Aziz includes a stately Prélude in the French style from a Suite by Sainte-Colombe le Fils (c.1660-1720?), once again showing off his resonant tone and agility. Yamamoto follows with Handel’s Suite No. 4 for harpsichord, playing with vigour and precision in the opening Fuga, a flowing energy in the central Courante, and a joyful bounce to the final Gigue. Another transcription by Aziz next, a Prelude from one of Handel’s keyboard Suites, making particular use of the lower reaches of the instrument, again with that ringing, rich tone. The duo are reunited for the remainder of the disc, in another Aziz transcription of a keyboard Suite, and a final Sonata. The Suite concludes in a striking Chaconne, allowing both players to demonstrate their virtuosity. The Sonata, for Viola da Gamba and Obbligato Harpsichord puts the right hand of the harpsichord together with the viola da gamba in a melodic duet, particularly impressive in the two Allegros, giving the disc a suitably energetic and virtuosic conclusion. This is a delightful collection, and the two players’ commitment to and command of this repertoire shine throughout. 

Handel, G. F. 2020. Works for Viola da Gamba and Harpsichord. Ibrahim Aziz, Masumi Yamamoto. Compact Disc. First Hand Records FHR91.

Cellist Rohan de Saram is now 81, although this disc was recorded back in 2012, when he was a mere 73 years old. Born in Sheffield to Sri Lankan parents, de Saram studied with Gaspar Cassadó (1897-1966), as well as Cassadó’s teacher, Pablo Casals (1876-1973), and this heritage goes right through this recital, with transcriptions from both of them, as well as the disc’s title piece, Requiebros, by Cassadó himself, played here with clear passion and affection. Cassadó’s transcription of Granados’ Intermezzo from his opera Goyescas is another delightful gem, again played with gentle warmth. There are some old favourites here, such as Saint-Saëns’ Le cygne from Le carnaval des animaux, and Casals’ transcription of Fauré’s exquisite song, Après un rêve, both beautifully performed with touching simplicity. Yet de Saram’s commitment to performing contemporary works is also reflected, with premiere recordings of Chasse au moment by Oliver Frick (b.1973), and Toshio Hosokawa’s (b.1955) Lied III. The former is a mercurial attempt to capture a sequence of fleeting moments, and is highly atmospheric and evocative. Hosokawa aims to make a connection between the lieder of Schubert and his own musical traditions, and the result contrasts sustained, almost lyrical moments for the cello with sudden angular interjections by both cello and piano, made equally effective here by both players – de Saram is accompanied effortlessly throughout the disc by pianist Junko Yamamoto. Manuel de Falla’s Suite populaire espagnole originated as a suite for violin and piano, and six of the seven original movements were arranged by Maurice Maréchal for cello and piano. The piano accompaniment often mimics the guitar, and the themes emanate from different areas in Spain, from the Murcian El paño moruno, through the beautiful Andalusian lullaby, Nana, to the rhythmic character of Jota, from Aragon. Similarly, later in the collection, we have Schumann’s Fünf Stücke im Volkston, Op. 102, and here the folk-style influence is seen in the unusual rhythmic structures. In both sets, de Saram enjoys the rhythmic interest, whilst bringing out the folk melodies with a warm singing tone. Ravel’s Piece en forme de habanera is another popular encore piece, with its Cuban infused rhythms, and Saints-Saëns’ Allegro appassionata, Op. 43 that ends the disc also allows for a greater show of brilliance. This is a recital of exemplary performances, made all the more fascinating given the history and connections to some of the great traditions of twentieth century cello playing.

Various. 2020. Requiebros. Rohan de Saram, Junko Yamamoto. Compact Disc. First Hand Records FHR97.

Russian-born pianist Elisaveta Blumina moved to Germany in her teens, and whilst (as she points out in the notes for her latest double CD release) young pianists in Russia are often schooled in Austrian and German classical repertoire, she feels very much that Russian and Soviet music is ‘in her blood’. So this collection explores that heritage, beginning with Scriabin’s Five Preludes, Op. 16. These beautifully colourful miniatures (whilst probably not a synesthete himself, he was very much influenced by the concept, making strong associations between keys and specific colours, for example) show the influence of Chopin, but with hints of Scriabin’s stretching use of harmony. Prokofiev’s Visions fugitives that follow are equally fleeting miniatures, yet Blumina captures the individual moods wonderfully, even though none last for more than two minutes – she treats us to six here out of the complete set of twenty. Blumina has championed the revival of the music of Mieczysław Weinberg (1919-1996), a Polish-Jewish composer who fled the Nazis and spent the rest of his life in the Soviet Union. Here we have just two short Fugues, dedicated to Ludmila Berlinskaya, and the story goes that Weinberg wrote them for Ludmila who had forgotten to prepare two fugues for her homework at the Conservatory – she handed them in, but received very bad marks for them, perhaps because of their quirky yet subtle individuality, combined with some serious ‘rule-breaking’! The remainder of the first disc is given over to Griogori Frid’s (1915-2012) Hungarian Album, Op. 54. These are delightful character pieces, capturing evocative scenes such as The Amusement Park, an Evening at the River, At the Zoo, and a walk In the Forest. The longest here, at four and a half minutes, is a watery flowing Broad Danube, in great contrast to the bouncy Excursion outdoors with Hungarian Friends. These are not virtuosic pieces, but they require delicacy and intimate touch, as well as that ability once again to distil a mood in just a few moments, all of which Blumina excels at here. The second, shorter disc consists of twenty-two out of Giya Kancheli’s (1935-2019) 33 Miniatures for piano. The CD was recorded in 2018 when Kancheli was still alive, and Blumina discussed the pieces with him, particularly his original very slow tempi for some of the pieces. She clearly has a great affection for these warmly sentimental fragments drawn from the Georgian composer’s film music, and this is their first recording. They stand in stark contrast to the more incisive, angular music of the first disc, a welcome addition here, and overall, this collection of fleeting backward glances to Blumina’s homeland is a varied tribute to the power of the miniature to move and capture a mood or emotion in a moment.

Various. 2019. Memories from home. Elisaveta Blumina. Compact Discs (2). Deutschlandradio/Dreyer Gaido CD 21120.

Violinist Clare Howick joins pianist Simon Callaghan for a survey of British Violin Sonatas, and there are a surprising number to choose from – Tasmin Little recently released her third volume of them. Howick and Callaghan open with William Walton’s (1902-1983) Sonata, which consists of two substantial movements, essentially lyrical in style, despite the twelve-tone phrase in the second movement's theme.  The variations then give both players extended virtuosic and improvisatory passages on their own and together, and Howick immediately demonstrates a great range, with lyrical lines contrasting forensic precision in the more angular moments in the variations. This is followed by the Sonatina by William Alwyn (1905-1985). An earlier work (from c.1933) than Walton’s, Alwyn rejected the work later in his life, yet it is delightfully proportioned and melodically inventive, flowing effortlessly from its rippling opening, through the darkly lilting central Adagio, to the energetically bouncy finale. Again, Howick plays with warmth and lyricism, and both players use the full range of dynamics to great effect. Howick & Callaghan give premiere recordings here of three miniatures by Gordon Jacob (1895-1984), his sinuous Elegy, playfully virtuosic Caprice and delicate Little Dancer – all great programme fillers or encore pieces. Kenneth Leighton’s (1929-1988) Sonata No. 1 launches straight into a rich sound world with thick, swirling textures, particularly in its weighty piano part, played with command by Callaghan here, yet never overwhelming Howick’s rich tones. The slow movement’s beautiful chorale-like piano opening combines with an intensely nostalgic melodic line, and the emphatic finale nevertheless concludes with light hint of the chorale-like material. Alan Rawsthorne (1905-1971) wrote Pierrette: Valse Caprice as a wedding present in 1934 for his first wife, violinist Jessie Hinchliffe, and it has a light and joyful feel, played here with great tenderness. Lennox Berkeley’s Elegy and Toccata, Op. 33 Nos 2 & 3 were written for violinist Frederick Grinke (as was No. 1 from the set, variations for solo violin, not recorded here). The Elegy is tender and expressive, whilst the Toccata has an infectious drive from beginning to end. This disc amply demonstrates a huge variety of styles and textures, beyond the expected limits of forty or so years of British composition, and Howick and Callaghan deserve credit for this well thought out programme, elegantly performed throughout.

Various. 2020. British Violin Sonatas. Clare Howick, Simon Callaghan. Compact Disc. Somm Recordings SOMMCD 0610.

(Edited versions of these reviews first appeared in GScene, June & July 2020)

CD Reviews - December 2013

Sir Charles Villiers Stanford (1852-1924) was born in Dublin, but was one of the founding professors of the Royal College of Music in London at the age of 29.  However, his music has perhaps always been overshadowed by the success of his pupils, such as Holst and Vaughan Williams.  He left us with a considerable body of music, including seven symphonies, but it is perhaps for his choral music that he is best known.  Even within this repertoire, however, his sacred music is more well known than his many secular partsongs.  The Birmingham Conservatoire Chamber Choir, conducted by Paul Spicer, have released a disc of 25 of these part songs, and they demonstrate the great variety, and command of his choral writing, as well as his ability to use harmony and choral textures to illuminate a text.  On the disc, they have broken up the songs from their sets, which is a good idea, as the variety comes from the different texts and changes in Stanford’s style over the twenty years these songs span.  His settings of Mary Coleridge are the most interesting and successful, but he also set texts by Tennyson, May Byron and anonymous Elizabethan texts.  The most well-known of the partsongs, The Blue Bird, receives an accomplished performance here, with a crystal clear solo from Natalie Hyde.  The Swallow (lightly reflective) and The Haven (dark and atmospheric), two more Coleridge settings, are sensitively performed here.  A few of the songs feel very dated and time-bound now, not least the sycophantic hymn to Queen Victoria, Out in the Windy West.  However, Stanford also shows how far the format can be stretched, with ambitious double choir textures in On Time, similar in some ways to his well-known double-choir Magnificat.  The voices here are strong, full of energy and precision, and incredibly well-drilled.  Occasionally, the higher voices sound a little strident, and I miss the mellower tones that more mature voices would bring.  But these are highly accomplished performances, making this a great collection of Stanford’s partsongs, many not previously available on CD.

Stanford, Sir C. V. 2013. Part Songs. Birmingham Conservatoire Chamber Choir, Paul Spicer. Compact Disc. Somm SOMMCD 0128.

The Hickox Legacy series continues, with a rerelease includind three works by Benjamin Britten (1913-1976) - his Cantata misericordium, and two shorter works, Deus in adjutorium meum, and a Chorale after an Old French Carol.  These are sandwiched between the Requiem da camera by Gerald Finzi (1901-1956) and Two Psalms by Gustav Holst (1987-1934).  The great champion of English music, the late Richard Hickox, conducted the City of London Sinfonia, and The Britten Singers in these recordings from 1991.  Finzi's Requiem da camera, dedicated to his teacher who was killed in action in 1918, is as much of a protest against the pointless of war as Britten's later War Requiem, and deserves to be performed more.  Britten's Cantata misericordium came hot on the heels of his War Requiem, the success of which explains why this later work hasn’t achieved the same status.  Yet it follows the War Requiem remarkably well, being composed for a ceremony to commemorate the 100th anniversary of the Red Cross.   It receives a solid performance here, with John Mark Ainsley (tenor) and Stephen Varcoe (baritone) as soloists.  The two Holst Psalms which complete the disc, although well performed, seem slightly out of place in the company of Finzi & Britten's weightier, solemn works.

Various. 2013. Britten, Finzi, Holst: Works for Chorus and Orchestra. John Mark Ainsley, Stephen Varcoe, The Britten Singers, City of London Sinfonia, Richard Hickox. First released 1991. Compact Disc.  Chandos CHAN10783X.

Finally, a disc of piano transcriptions of orchestral works by Frederick Delius (1862-1934).  Delius was born in Bradford, the son of German parents, but lived the latter part of his life in France, after a spell in the USA.  As such, his music shows the influence of both African-American and more significantly, French music, and later embraced a much more individual and chromatic style.  In the late 19^th and early 20^th centuries, the transcription of orchestral works for piano solo or duet had become very popular.  In the days before mass availability of recordings, this was often the only way people could ‘hear’ the works at home that they had perhaps heard performed in the concert hall, and domestic piano playing was a significant form of home entertainment.  In this second volume of transcriptions for two pianos, pianists Simon Callaghan and Hiroaki Takenouchi perform five works, all in transcriptions made by friends and fellow composers of Delius.  Paris – The Song of a Great City has a great feel of the cafés, dance halls and night clubs of Paris, jazz harmonies and rhythms mixed with lyrical, atmospheric nocturnal scene painting.  Summer Night on the River is the second of Two pieces for Small Orchestra, the first being the well-known On hearing the first Cuckoo in Spring.  Delius’ amenuensis, Eric Fenby said of this piece: ‘One can almost see the gnats and dragonflies darting over the waterlilies, and the faint white mist hovering over willow-tressed banks and overhanging trees’.  The arrangement by Philip Heseltine (otherwise known as the composer Peter Warlock) captures this idyllic scene perfectly.  The Song of the High Hills, for wordless chorus and large orchestra is a wonderful work, and Percy Grainger’s transcription inevitably cannot capture the magic of the incredibly quiet entry by the choir 10 minutes in, but nevertheless, it does manage to communicate the sense of joy and wonder in nature.  Overall, these are fascinating takes on the orchestral works, and the range of colours and textures achieved by the two pianists here in these delightful performances is highly impressive.

Delius, F. 2013. Orchestral Music arranged for Two Pianos, Volume 2. Simon Callaghan, Hiroaki Takenouchi.  Compact Disc.  Somm SOMMCD0129.

(Edited versions of these reviews first appeared in GScene, December 2013)