Definitely my recording of the year so far - Baroque
violinist Johannes Pramsohler’s
third recording on his own label, Audax Records. He is
once again joined by Philippe Grisvard
on harpsichord for a programme titled ‘Bach
& Entourage’, music by J S Bach
(1685-1750) and the circle of violin composers who gathered around him in
early 18th century Germany.
This included the great violinist and composer, Johann Georg Pisendel (1687-1755), Bach’s pupil, copyist and friend
Johann Ludwig Krebs (1713-1780), and
Bach’s eldest son’s violin teacher, Johann
Gottlieb Graun (1703-1771) (you clearly had to be called Johann to be
anyone!). Well, so far, so
straightforward – except here we have a Sonata
(BWV1024) attributed to Bach, but possibly by Pisendel, and an anonymous Sonata in A major, probably by
Bach. The former has a wonderfully
ornamented opening movement, and Pramsohler sets out his store with a beautiful
clarity of tone, tastefully underpinned with sound accompaniment from Grisvard.
The lively Presto that follows is full of energy, before both players relax into
an exquisitely relaxed slow movement, before dancing through the finale. The Bach Sonata that follows consists of five short movements, including a
touching central slow movement, and a challenging final fugal movement, with some fiendish string crossing which Pramsohler makes sound effortless. The mood changes completely next, with a Sonata for solo violin by Pisendel. Of
course one immediately thinks of the Bach solo Sonatas & Partitas,
particularly in the highly ornamented opening slow movement. The Giga finale is followed with variations,
which add difficulty on difficulty, with some highly stretching double stopping
– again, Pramsohler manages to incorporate this in a way that maintains the
line throughout. Sonatas by Krebs & Graun then follow – both premiere
recordings. They perhaps sound slightly
more formulaic than the Bach and Pisendel works, but are nonetheless charming.
The Krebs
Sonata has a striking slow
introductory movement, and the Graun Sonata’s
finale concludes with real fireworks for the violin, allow the harpsichord is
also allowed to shine here too. They end
the disc with an early Fugue by Bach, which gives both players the opportunity
to end in style. Despite the potentially
narrow soundworld of the programme’s construct, Pramsohler has really managed
to showcase the fascinating variety on offer, and this disc definitely rewards
repeated listening.
Pianist Cordelia Williams won the piano final of the BBC Young Musician of
the Year competition back in 2006, and she has now established herself as a
talented recital and concert performer.
Following a successful debut Schubert CD, for her second recording she
has chosen an all Schumann programme,
including his masterpiece, the Fantasie
in C, Op. 17. Before this, she plays
the two books of Davidsbündlertänze, Op.
6, and then rounds off the disc with the lesser known Geistervariationen, his final composition for the piano. This short set of variations was completed
the day after his failed suicide attempt, before entering the asylum where he
ended his days. The simple, choral-like
theme is given five variations, and the theme remains transparent throughout,
the rhythmic accompaniment and texture being the focus of variation. Given the work’s history, it is hard not to
feel a sense of impending tragedy here, and Williams’ performance is suitably straightforward
yet reverent. The Fantasie contains
quotations from Beethoven's song cycle, An
die ferne Geliebte, as well as Schumann's oft-used coded references to his
wife, Clara. Williams is in total control here of the wilder reaches of
Schumann’s demands here – perhaps occasionally almost too in control? However, she plays the melancholic moments of
longing highly sensitively without being overindulgent. The strangely
titled Davidbündlertänze relate to
Schumann's unfinished novel, Davidsbund, in which two characters, Florestan and
Eusebius, fight to uphold the cause of 'high art'. Schumann saw these two characters as his own
alter egos, Florestan being outgoing and assertive, and Eusebius more
introverted and introspective. The
eighteen short pieces, split into two books, are marked F or E (or sometimes
both) to indicate their underlying character. Williams shows real passion for
this music, and her command of the challenges set by Schumann is
impressive. Occasionally I would like a
little more intensity of expression in the introspective, 'Eusebius' moments.
Overall, these are strong performances, but, particularly in an all Schumann
programme, a greater range between the extremes of ‘on the edge’, almost out of
control wildness and slightly claustrophophic introversion is needed.
Edward Gardner is definitely on a roll, with yet
another cracker of a recording out on SACD.
He and the BBC Symphony Orchestra
are joined by cellist Paul Watkins
for William Walton's Cello Concerto. The mighty Symphony No. 2 follows this, and it is preceded by a lesser known
late work, the Improvisations on an
Impromptu of Benjamin Britten. The
Improvisations are based on a theme from Britten's Piano Concerto, and Britten
gave Walton his approval for the work. Despite the relative calm and comfort of
Walton's later years settled on the Italian island of Ischia, his later music
is often complex, with dark undertones. Walton's imaginative orchestration
skills are in evidence, and the BBCSO are on fine form here. The theme is first heard on the clarinet, and
it is played with mysterious delicacy by the BBCSO clarinettist here. The Cello
Concerto follows, and Paul Watkins’ performance is outstanding, not least
in the demanding two solo variations in the long finale. Although less regularly performed than his
vioin & viola concertos, Walton actually considered it better than
them. It has a range of moods, but is
often quite dark, and Watkins’ tone here is appropriately deep and mellow,
although he can also be fleet of foot when required, as in the middle scherzo
movement. The Symphony is
given a taut, flawless performance, one with real bite. The orchestra required is large, and as ever
with Walton, there is plenty for the large brass section to get their teeth
into. The dark menacing slow movement again draws on Walton's unique
orchestration, with glassy strings and inspired use of the celesta and
harps. In the finale's Passacaglia,
Walton experimented with the techniques of serialism, even though the harmonic
language is still essentially tonal, with a final Presto emphatically in the
major. Another benchmark Walton disc
therefore from Gardner, to go with his recording of the first Symphony and the
Violin Concerto – check that out too.
