Selected CD Reviews

Canadian pianist Louis Lortie is now on the second volume of his planned complete Chopin collection, and this disc, as with the first, mixes and alternates Nocturnes with more substantial works – here we have the four Ballades, with the Barcarolle and Berceuse.  This approach makes for a much more satisfying listen, with pieces following in connected keys and flowing together more appropriately than the usual systematic working through of all the Nocturnes, say, in numerical order.  Lortie’s style is less overtly dramatic than some other Chopin interpreters – in fact, he allows the music to speak in a way that many other pianists do not achieve.  That is not to say that these are totally passive performances – virtuosity is certainly on display, and the Ballades in particular receive full-blooded expression.  I think it’s just that you’re left with a sense of ‘this is the wonder of Chopin’, rather than solely ‘this is an amazing pianist’, which is so often the case – and paradoxically, that is the sign of a truly great pianist.

Chopin, Frédéric. Louis Lortie plays Chopin, Volume 2.  Louis Lortie.  2012.  Compact Disc.  Chandos CHAN 10714.

The Gould Piano Trio have just celebrated their 20^th year performing together, and to mark this have released a first volume of Beethoven Piano Trios, with the ‘Ghost’ Trio and the Second Trio (Op. 1 No. 2), together with two single movement works – an Allegretto from 1812, and an early Theme and Variations.  These are in fact live recordings from performances at St George’s, Bristol, and it shows – in a good way.  There is a real energy to their playing, with spirited fast movements, and tender and sensitive playing in the slow movements.  The price is the occasional rough edge in the presto sections, and a slightly dry acoustic, but the payoff is a level of energy and immediacy rarely found in studio recordings.  The sign of a great live recording is one that makes you wish you were there, and also one that will survive repeated playing – this scores on both counts.

Beethoven, Ludwig van.  Piano Trios Vo. 1.  Gould Piano Trio.  2012.  Compact Disc.  Somm SOMMCD 0114.

Following on from complete sets of the songs of Butterworth and Delius, amongst others, baritone Mark Stone has now turned his attention to the rather trickier English composer, Havergal Brian (1876-1971), who ended his days in retirement in Shoreham.  Last year I sang in a performance in the Proms of his mammoth Gothic Symphony, which involves a massive orchestra, four choirs, a childrens choir, and four brass orchestras, as well as soloists – supposedly the largest symphony ever written.  This was certainly an event, but I remained unconvinced by the composer’s ability to maintain any sense of coherency over such a huge work So I was curious to hear how the composer managed the complete opposite end of the spectrum in terms of scale.  In fact, this disc proved rather a revelation.  I was particularly taken by the delicacy of his writing for the piano, sensitively performed here by Sholto Kynoch.  Little Sleeper is especially delicate and elegiac, with the almost Debussian harmonies in the piano supporting a beautifully wistful solo line.  Kynoch also performs Three Illuminations, and John Dowland’s Fancy for solo piano, as well as accompanying Stone’s brother, Jonathan Stone (violinist with the Doric String Quartet) in an impressively engaging Legend, and in fact these are the works that stand out for me in interest.  Mark Stone’s voice has a beauitful tone, with only an occasional loss of focus at the top of the range, and he performs these songs with great conviction.  He sings Day and Night with particular intensity, and once again, the piano writing here is very atmospheric.  This disc has certainly made me reconsider this underperformed composer anew – I look forward to the next volume!

Brian, Havergal. The Complete Havergal Brian Songbook, Volume 1.  Mark Stone, Jonathan Stone, Sholto Kynoch.  2012.  Compact Disc.  Stone Records.  5060192780154.

The Choir of St John’s College, Cambridge, conducted by Andrew Nethsingha, are on fine form at present, as is evidenced in their latest disc of Mozart masses.  They perform the popular ‘Coronation’ Mass, and appropriately separate its movements with two Church Sonatas, where the movements would have been interrupted by the liturgy.  The boy trebles sound secure at the top, and the overall initmate sound, with period instruments (the St John’s Sinfonia), is very engaging.  Soloists Susan Gritton (soprano), Frances Bourne (mezzo), Sam Furness (tenor) and George Humphreys (bass) match the scale of the performance expertly.  The well-known Ave verum Corpus comes next, but unfortunately here they follow the ‘tradition’ of performing this beautiful gem at an incredibly slow speed, which is a shame.  The then follow this with the delightful F major Missa Brevis, and here they are back on form. They end the disc with the popular favourite showcaser for Susan Gritton, ‘Exsultate, jubilate’, and she doesn’t disappoint, providing a suitably joyous finish to and enjoyable programme.

Mozart, Wolfgang Amadeus.  'Coronation' Mass, etc.  Susan Gritton, Frances Bourne, Sam Furness, George Humphreys, John Challenger, Choir of St John's College, Cambridge, St John's Sinfonia, Andrew Nethsingha.  2012.  Compact Disc.  Chandos CHAN 0786.

Clarinetist Michael Collins begins his exploration of British Clarinet Sonatas in style, with works from John Ireland (1879-1962), Arthur Bliss (1891-1975), Charles Stanford (1852-1924), Arnold Bax (1883-1953) and Herbert Howells (1892-1983).  Michael McHale ably accompanies him on piano.  As ever, Collins produces an exquisite tone, combined with effortless and fluid virtuosity when required.  Ireland’s Fantasy-Sonata is particularly beautiful, and the slow movement of the Stanford Sonata is dramatically expressive.  Bliss’ Pastoral is typically English, with lilting and rolling lines, once again played here with a warm, liquid tone.  Another great disc from a soloist at the top of his game.


Various.  British Clarinet Sonatas, Volume 1.  Michael Collins, Michael McHale.  2012.  Compact Disc.  Chandos CHAN 10704.

(An edited version of these reviews first appeared in GScene magazine)

BFC@Barts - Totus Tuus - Saturday 22 September 2012, 8.30pm

Join Brighton Festival Chorus for this first of a series of three delightful and unique concerts - a capella performances of beautiful and evocative works by Gorecki, Brahms and Stanford. While away an autumn evening in the beautiful surroundings of St. Bartholomew's Church and enjoy an accomplished performance which will be truly 'Totus Tuus' - totally yours. Click here to buy tickets. The full programme includes: Gorecki Totus Tuus Op. 60 (1987) This fervent and hypnotic a cappella piece for mixed voices was written to celebrate Pope John Paul II's third pilgrimage to Poland. The libretto was taken from a poem written by contemporary writer Maria Boguslawska which is addressed to the Virgin Mary, the patron saint of Poland. The work remains his best-known choral work. Stanford Three Motets Op.38 (1905) These three beautiful motets, Justorum animae, Coelos ascendit hodie and Beati quorum via, were written whilst Stanford was professor of music at Cambridge University, for the choir of Trinity College, where he had been appointed organist whilst still an undergraduate. They span a period from 1888 to 1905, the year of their publication. Stanford Magnificat in B flat for double choir Op.164 (1918) This piece was written in memory of Stanford's old friend, Hubert Parry. They had had a stormy relationship after Parry was appointed head of the Royal College of Music, in preference to Stanford, who was professor of composition there. However on Parry's death, Stanford lobbied successfully for him to be buried in Westminster Abbey and this was probably sung at the funeral. Brahms Marienlieder Op.22 (1862) These 'Songs of Mary' were written when Brahms was in his late twenties, for a choir he formed in Hamburg. The songs are settings of traditional poems about the Virgin Mary and one about Mary Magdalene. The construction of the songs contains elements of German folk song but also reflects the result of Brahms' early studies of Baroque counterpoint. No.2 Marias Kirchgang, No.5 Ruf zu Maria, No.7 Marias Lob. Stanford Eternal Father Op.135 (1912) Another beautiful motet, this time a setting of words by Robert Bridges. Still to come ... 2nd MARCH 2013 - BFC with Onyx Brass 7.30pm - Tickets £18 | £12 20th JULY 2013 - BFC with BBC Singers 7.30pm - Tickets £20 | £14 More on Brighton Festival Chorus at www.bfc.org.uk, including details of a subscription deal for all three concerts

There Was A Child - Jonathan Dove

In the 2011 Brighton Festival (Sunday 22 May 2011), I took part in a performance of Jonathan Dove's piece, There Was A Child.  The Brighton Festival Chorus, Brighton Festival Youth Choir and the City of Birmingham Symphony Orchestra were conducted by Simon Halsey.  The soloists were Joan Rodgers and Ben Johnson.  The reviews were good: Latest 7, The Argus

The City of Birmingham Symphony Orchestra then performed the work again back in Birmingham a few weeks later (Saturday 18 June 2011), this time with their own City of Birmingham Symphony Chorus, and their CBSO Youth Chorus and Children's Chorus, and they were kind enough to invite some BFC tenors to join them for the performance.  Six of us went along for the weekend, and had a great time.  This time, Toby Spence replaced Ben Johnson as the tenor soloist, with Joan Rodgers once again the soprano.  This performance once again received a very positive review: Birmingham Post

The CBSO wisely decided to record this concert - at this stage, there were no specific plans for a release, but it was felt that it was an important opportunity to record the work.  A year later, and Signum Classics have released the recording, and it sounds pretty good!  As I took part in the concert, I won't comment further however - so far, there's been one review from the Financial Times, which gave it 5 stars (you need to register with the FT to read this, but it's free).

The work's premiere was actually in Norwich on 2 May 2009, in the Norfolk and Norwich Festival, with the CBSO - it was in fact commissioned by Rosemary Pickering, the Norfolk and Norwich Festival and the CBSO.  The piece was written as a celebration of the life of Rosemary Pickering's son, Robert, who died tragically aged 19 in a snorkelling accident.

You can find the recording at:

Dove, Jonathan. There Was A Child.  Joan Rodgers, Toby Spence, CBSO Chorus, CBSO Youth Choir, CBSO Children's Choir, City of Birmingham Symphony Orchestra, Simon Halsey.  2012.  Compact Disc.  Signum Classics SIGCD285. 

Selected CD Reviews

The Van Baerle Trio met while they were studying at the Amsterdam Conservatory in 2004.  They have since worked with Menahem Pressler, pianist in the Beaux Arts Trio, and their debut CD is very impressive.  They perform two great French works – the first of Saints-Saëns’ two piano trios, and Ravel’s single work for the combination.  In between, they play a single movement work by the Dutch composer Theo Loevendie (b.1930), called Ackermusik.  This provides an interesting interlude between the two French works, although stylistically it isn’t a great fit.  However, they tackle its extremes of dynamics and rhythmic difficulties well.  But in the two main works, they really shine.  They capture the lightness and spirit required in the Saints-Saëns, yet also show great sensitivity in the delicate slow movement.  The Ravel is a beautiful piece, full of richness, almost orchestral colours, and their performance is suitably intense and full.  Pianist Hannes Minnaar produces beautifully sonorous playing in the third movement Passacaille, and this is matched by touching, delicate playing from violinist Maria Milstein and cellist Gideon den Herder.  Definitely an ensemble to keep an eye on.
Various. Piano Trios. Van Baerle Trio. 2012. Compact Disc. Et'Cetera. KTC 1438.

The Doric String Quartet garnered wonderful reviews for their recording of the String Quartets by Erich Korngold (1897-1957).  Following further excellent CDs of Schumann and Walton, they return to Korngold, joined by friends for performances of the Piano Quintet and the Sextet.  First, in the Piano Quintet they are joined by the great pianist Kathryn Stott, and clearly have a great time.  They avoid over-sentimentalising the already highly romantic music, yet still manage to provide the necessary nostalgic warmth and youthful spirit (the composer was still just 23 when this was composed).  In the Sextet, the Dorics are joined by an extra viola (Jennifer Stumm) and cello (Bartholomew LaFollette).  This is an even earlier work, from 1914 – yet the child prodigy had already been composing for 8 years by now.  If anything, it is even more intense than the Quintet, and the musicians work well together here.  Unlike some string sextets, Korngold avoid a heavy, dense texture, and rather chooses to use the instruments contrapuntally much of the time.  The slow movement here is particularly tenderly performed.  Overall, another impressive release to add to the Dorics’ growing catalogue.
Korngold, Eirch Wolfgang. String Sextet, Piano Quintet. Doric String Quartet, Jennifer Stumm, Bartholomew LaFollette, Kathryn Stott. 2012. Compact Disc. Chandos CHAN 10707.

Ola Gjeilo (b.1978) is a young Norwegian composer, specialising predominantly in choral music, and he is currently the composer in residence with the excellent Phoenix Chorale from Arizona.  I was looking forward to this CD, as I had read good things about it.  The performances can’t be faulted – the Phoenix Chorale are spot on, with a warm and well blended sound, and perfect intonation throughout.  It is the music that is rather beneath their considerable talents.  In the whole disc (which includes eleven different works), there is not a single unexpected harmonic change, and the cumulative effect of the saccharin harmonies and relentlessly slow (even turgid) tempi leave one longing for some dissonance and rhythmic interest.  Choral music has become trendier of late, with the likes of Eric Whitacre, and Paul Mealor (made popular by the Military Wives).  But Whitacre does achieve variety and produces a range of interesting choral effects in his inventive music.  Here, the sound world of each piece is pretty much identical, the only interest being the works with added string quartet (the Harrington String Quartet), piano (the composer himself) or tenor saxophone (Ted Belledin).  We’re two thirds of the way in before there is a piece with any real drive (Prelude), but this is in fact the shortest track, and then we’re straight back into soporific ‘atmospheric’ territory.  A real disappointment.
Gjeilo, Ola. Northern Lights, Choral Works by Ola Gjeilo. Phoenix Chorale, Charles Bruffy. 2012. Hybrid Super Audio Compact Disc. Chandos CHSA 5100. 

French baritone Gérard Souzay died in 2004 aged 85.  He was recognized as one of the foremost singers of French mélodie but also one of few French singers to excel in German repertoire too.  His voice had beautifully rounded quality, never harsh, yet still full of character.  The Schwetzingen Festival have been releasing recordings from their archives, and this is a real treat, from a recital in 1960, when Souzay was accompanied by Dalton Baldwin on piano.  He performed several Schubert songs (including An die Musik), the Six Monologues for Everyman by Frank Martin, and ended with a set of Strauss songs.  In the middle was the French repertoire – Ravel’s Cinq melodies populaires grecques, and Deux mélodies hébraiques, which are particularly touching.  His voice was truly in its prime, and this is a wonderful selection to whet your appetite if you don’t already know this truly great singer.
Various. Gérard Souzay, Liederabend 1960. Gérard Souzay, Dalton Baldwin. 2012. Compact Disc. Hänssler Classic CD 93.717.

Next, works by Manuel de Falla (1876-1946) performed by the BBC Philharmonic, conducted by Juanjo Mena.  First comes the ballet ‘El sombrero de tres picos’ (The Three-cornered Hat).  This is great fun, with real atmosphere and folk spirit, energetically performed, with a lovely contribution from soprano Raquel Lojendio.  Next comes a wonderfully atmospheric and lively performance of ‘Noches en los jardines de España’ (Nights in the Gardens of Spain), with Jean-Efflam Bavouzet on piano.  They finish the programme with ‘Homanajes’ (Tributes), a suite for orchestra written late in his life, and containing tributes to Debussy, Dukas, and lesser known (to us) influences on Falla – the Catalan composer Felipe Pedrell and the conductore Enrique Fernández Arbós.  This is very enjoyable, and excellently recorded – a little more abandon in places would have made this a perfect addition to the catalogue, but it’s definitely up there, particularly Bavouzet’s performance in the Noches.
de Falla, Manuel. Nights in the Gardens of Spain, etc. Jean-Efflam Bavouzet, Raquel Lojendio, BBC Philharmonic, Juanjo Mena. 2012. Compact Disc. Chandos CHAN 10694.

Finally, in brief – an excellent re-release of a remastered recording from 1989 of the late, great Sir Charles Mackerras conducting the London Symphony Orchestra, with Raphael Wallfisch playing the Dvořák Cello Concerto, and also Dohnányi’s Konzertstück.  Surprisingly fresh recorded sound, combined with assured interpretations from both conductor and soloist, at mid-price this is worth snapping up.
Various. Dvořák Cello Concerto, Dohnányi Konzertstuck. Raphael Wallfisch, London Symphony Orchestra, Charles Mackerras. 2012. Chandos. CHAN 10715X.

(An abridged version of these reviews first appeared in GScene)

Serenade to Music - A Celebration of English Choral Music & Poetry with The Purcell Singers

Come along to what should be a great concert - really looking forward to this one!Tuesday 24 July 2012, 7.30pmYou can get tickets from:

St Martin-in-the-Fields

More info at:

The Purcell Singers

Selected CD Reviews

Here are a few recent CD reviews, also published in my column in GScene magazine.

First of all, a simply delightful disc of encore pieces, ‘Petits-fours’ from the great Brodsky Quartet. I had the great pleasure (with Brighton Festival Chorus) to perform with the Brodskys in Tarik O’Regan’s beautiful Ecstasies Above, but the highlight of that concert for me was actually their performance of the amazing Tenebrae by Osvaldo Golijov (b.1960). The 21 works on this disc are by definition less substantial (the longest is just over 5 minutes), yet no less impressive. They are all arranged for string quartet, mostly by the violist Paul Cassidy, or the quartet’s former leader, Andrew Haveron. Highlights for me are ‘Blues’ by Ravel (from his violin sonata), Shostakovich’s Waltz No. 2 (in which they are joined by Philip Edward Fisher on piano) and old favourites like Elgar’s Chanson de nuit and Dvořák’s Humoresque. They perform throughout with a great sense of enjoyment, entirely appropriate as this release celebrates their 40th birthday – many happy returns!

Various. Petits-Fours: Favourite Encores. Brodsky Quartet. 2012. Compact Disc. Chandos CHAN 10708

Dimitry Shostakovich’s (1906-1975) Cello Concerto No. 1 came 6 years after his 10^th Symphony, and coincided with the end of his second marriage, as well as the onset of motor neurone disease.  The work is full of deep and dark emotion, building to a wild finale, with considerable challenges for the cellist.  The Cello Concerto No. 2 followed some 7 years later, and like the first, was dedicated to the great cellist Rostrapovich.  It is another dark work, with even less relief than the first – the finale is particularly bleak.  The Italian cellist Enrico Dindo is technically on top of these demanding works, and in particular, takes the first concerto’s first movement at a cracking pace.  At times, this technical command masks the necessary depth of emotion needed, but overall these are sound performances.  Gianandrea Noseda extracts appropriate caustic playing from the Danish National Symphony Orchestra, and the wind players in particular.

Shostakovich, Dmitry. Cello Concertos Nos. 1 and 2. Enrico Dindo, Danish National Symphony Orchestra, Gianandrea Noseda. 2012. Hybrid Super Audio Compact Disc. Chandos CHSA 5093.

The Trio D’Ante Vienna are an all-female piano trio formed in 2003.  On their latest CD, progress chronologically through works by Chopin, Liszt, Rachmaninov and Shostakovich.  The Chopin Piano Trio Op. 8 is his only work for the combination, yet is quite a substantial work of about 30 minutes in length.  An early student work, it is clearly not as inspired as his piano repertoire.  Yet there are some pleasing melodies here, and considerably more interest in the piano part (which Chopin himself almost certainly played).  This is followed by Tristia – La vallée d’Obermann by Liszt.  A pianist composer like Chopin, he also didn’t compose much chamber music, and this is actually a recomposition by the composer of a piano pieces (from the Années de Pèlerinage).  Unlike the happier Chopin piece, it is quite anguished, and the Trio D’Ante explore its depths well here. They follow with Rachmaninov’s ‘Trio Elégiaque’ No. 1, another one-movement piece, which the young eighteen-year-old composed, inspired by Tchaikovsky’s A minor Trio from 10 years earlier.  The inspiration is clear, yet Rachmaninov also demonstrates his pianistic virtuosity in the writing for the instrument.  The Trio D’Ante close their programme with Shostakovich’s Piano Trio No. 1, again a single movement work.  An early student work, it has the composer’s trademark wit, without some of the darker, depressive tendencies of his mature output.  This is an enjoyable programme, and the Trio D’Ante perform with feeling and restrained command of the repertoire. 

Various. Chopin - Liszt - Rachmaninoff - Schostakowitsch. Trio D'Ante Vienna. 2011. Compact Disc. Gramola 98934.

The clarinetist Michael Collins also conducts the City of London Sinfonia on his latest disc of Concertante works by Carl Maria von Weber (1786-1826).  He includes the two Concertos, the Concertino, and also the Concertino for Horn and Orchestra (with Stephen Stirling on the horn).  These are largely joyous works, composed for the great clarinetist Heinrich Bärmann.  In fact, Michael Collins performs the works incorporating the many embellishments and ornaments that Bärmann made and which survive in his annotated copies of the works.  Yet these works have more than just technical showmanship – in fact Weber also writes some gloriously lyrical music, particularly in the slow movements, and also produces moments of dark drama, for example in the first Concerto.  Collins manages to combine the technical requirements with still producing a beautiful tone in the more lyrical passages, and also commands solid playing from the orchestra.  Stirling is equally impressive in the horn Concertino, not least in the demanding cadenza, which requires ‘horn chords’, where more than one note are produced simultaneously – an eery effect.  Overall, a compressive collection, all excellently performed.

Weber, Carl Maria von. Concertante Works for Clarinet and Horn. Michael Collins, Stephen Stirling, City of London Sinfonia. 2012. Compact Disc. Chandos CHAN 10702.