CD Reviews - December 2022

Johannes Pramsohler (violin) and Ensemble Diderot are back with an intriguing collection of so-called ‘Travel Concertos’, centred around the assertion that some of these virtuoso works may have been designed to be taken ‘on tour’ as opportunities to show off their instrumental and compositional talents. They begin with a blistering performance of an earlier version of Bach’s Brandenburg Concerto No. 5, BWV 1050a. There is lively pace in the two outer movements, with sliding chromatic harmonies in the first's harpsichord cadenza, and spiky articulation over joyful double speed harpsichord playing from Philippe Grisvard on harspichord. In between, there is real delicacy and stylish ornamentation from both flute (Alexis Kossenko) and violin. There are also three violin concertos, two from Johann Georg Pisendel (1688-1755) and one from Johann Jakob Kress (1685-1728), allowing Pramsohler to shine as ever here. The Kress is unusual as the solo violin is tuned a semitone higher, giving a brightness to the sound, ringing out from about the other instruments. The Pisendel concertos are full of invention, with triplets adding an edge against the four square rhythm of the opening movement of the Concerto da camera in B flat Major, which also has its beautiful arioso solo line emerge out of the texture and then intertwine with the second violin in the central movement. In the Concerto da camera in F major, Pisendel gives the bright opening a slight side swerve into the minor, and the ornamented solo line increases in virtuosity as the movement progresses. Pramsohler is particularly dazzling in the dancing final movement. There is also a wonderful Concerto by Johann David Heinichen (1683-1729), with solo lines for violin, flute, oboe, theorbo and cello. The ensemble strings are muted, allowing the various solo lines to burst out of the unusual timbre, with dramatic string crossing for the violin and some rattling, deep twanging from the theory's lower registers. Finally, there is a Concerto by Carlo Paolo Durant (1712-1769), for harpsichord, lute, cello and strings, with some great rippling textures from the solo instruments, concluding with delicate bounce from the soloists contrasting with the more bombastic textures of the ensemble in the finale. All in all, some delightful and striking works on offer here, four out of the six being premiere recordings, and all performed with such virtuosic expertise and sensitivity, making this a joy to listen to again and again.

Various. 2022. Travel Concertos. Ensemble Diderot, Johannes Pramsohler. Compact Disc. Audax Records. ADX 11204.

Organist Tom Wilkinson has recorded the six Trio Sonatas, BWV 525-530 by J S Bach on the organ of the Reid Concert Hall at the University of Edinburgh. These Sonatas are unusual in that Bach took the format of the trio sonata, with its three individual lines, and transplanted that onto the organ. Of course, it is not unusual for there to be three ‘voices’ in organ music - the right hand, the left hand and the feet on the pedals - but the degree to which Bach made these three voices independent and used them almost as separate instruments is very different, even from the rest of his own organ compositions. The organ used here has a beautifully soft sound, and Wilkinson selects carefully the stops used for each movement (these are all listed in the notes for organ specialists) to give variety of timbre. So for example, there is a bright, bell-like sound in the right hand for the Allegro of Sonata No. 1, which dances along, contrasting with the lyrical darkness of the Adagio which precedes it. The Adagio of Sonata No. 3 has a gentle, reedy quality, contrasting with the walking bass and intertwining top lines, then rapid articulation of the outer movements. That bright, ringing right hand features again in the Allegro of Sonata No. 5, and there’s a moody, tremulous sound to Sonata No. 6’s Lente. Overall, this is a very pleasing disc, and for a non-organ fan, Wilkinson’s effortless and even articulation of the complex three-part lines really brings out Bach’s daring use of the Trio Sonata form.

Bach, J. S. 2022. Trio Sonatas, BWV 525-530. Tom Wilkinson. Compact Disc. First Hand Records. FHR138.

The Tippett Quartet have added to the 150th celebrations of Vaughan Williams’ (1872-1958) birth with a strong recording of his two String Quartets, alongside Gustav Holst’s (1874-1934) Phantasy on British Folk Songs, Op. 36. Vaughan Williams’ String Quartet No. 1 was composed in 1909, after his time studying with Ravel in Paris, but he didn’t publish the work until after the First World War, in 1922. The influence of Ravel can certainly be heard in the opening movement, in its slithering chromatic lines and shifting harmonies. The second movement has more elements of folk-like melody, but that sense of fluid tonality is still present. The unsettling 5 beat metre of the Romance is striking, undermining the seemingly calm melodic lines and more straightforward harmonies. Following its subdued ending, the Finale bounces along with energetic propulsion, although there are glassy textures, contemplative reminiscence and an angular fugue before the final showy race to the finish, with rushing scales down through all four instruments. The String Quartet No. 2 was composed during the Second World War, in 1942-43, and was dedicated to violist Jean Stewart, and the viola features heavily throughout. Lydia Lowndes-Northcott on viola here sets the tone for an expressive reading of the work. The viola sets off in the opening movement, which is full of nervous energy, before the bleakly stark (coldly, and with no vibrato, as written, from the Tippett players here) opening to the Romance. The first warmth comes from the viola, and the violins’ pentatonic meanderings are reminiscent of The Lark Ascending, whilst the richly surging chords recall the Fantasia on a Theme of Thomas Tallis. The viola is again to the fore in the nervy, darkly shimmering Scherzo, as well as starting off the contrasting mood of the finale, full of meandering serenity and calm. Holst’s Phantasy was written in 1916, and performed the following year, but he withdrew the work, and it was only following his death that his daughter Imogen published a version for string orchestra. The version for string quartet used on this recording was edited by Roderick Swanston.   It begins with another viola solo, with ethereal violins joining in pentatonic mode, before the first violin leads off with a sprightlier version over meandering accompaniment. The viola then takes over again with a jauntily swinging melody over a drone. Gradually the complexity of the textures builds, with weighty octaves and spread chords, before the intensity falls away at the end. The Tippett Quartet’s performances here are exemplary, but it is the String Quartet No. 1 that sets this recording alight with energy and variety of expression.

Various. 2022. Ralph Vaughan Williams String Quartets 1& 2, Gustav Holst Phantasy Quartet Op. 36 (ed. Swanston). Tippett Quartet. Compact Disc. SOMM Recordings SOMMCD 0656.

Finally, two discs from Convivium, with Christmas in mind. The Silver Swan is a disc of songs by two lesser known contemporaneous English composers, Eric Thiman (1900-1975) and Michael Head (1900-1976), Emily Gray (mezzo-soprano) and Nicole Johnson (piano) do a great service in bringing their songs to our attention. Both composers taught at the Royal Academy of Music, as well as having extensive careers as examiners and adjudicators at festivals. There are a few Christmas works from both composers, including Head's more well-known Little Road to Bethlehem, and an effectively simple setting of In the Bleak Midwinter from Thiman. Amongst the other songs on offer here, highlights from Head include the nostalgic Sweet Chance, and the passionate Nocturne, Johnson particularly impressive with its challenging piano part. From Thiman, The Silver Swan setting is strong, as are Sleeping and Song of Farewell, both full of lyrical expression and subtlety of setting. Gray’s command of the range required here is impressive, and her pure light tone can be contrasted with power at the extremes of the register when required. 

Moving into unashamed Christmas territory, the Celestia Singers and Celestia Brass, conducted by David Ogden, with Rebecca Taylor on piano, have recorded Christmas Tidings, an album of choral pieces by Brian Knowles (b.1946). Knowles spent many years as touring musical director for Roger Whittaker, but many of the works stem from his time as teacher and composer in residence at The Royal School, Haslemere. Some of the 'swingier' numbers are less to my taste, but would be effective in a school setting, and they are performed with gusto by the singers and brass players. The more contemplative works here work better for me, such as the gentle setting of I Sing Of A Maiden, and Twelfth Night. Soprano Lucy Hughers also deserves mention for her touching solo in The Promise. The jollier numbers move more into John Rutter territory – so it depends whether you are a fan of that Christmas style or not. The performances here cannot be faulted, and the recorded sound is clear and warm throughout.

Various. 2022. The Silver Swan: Songs by Eric Thiman & Michael Head. Emily Gray, Nicole Johnson. Compact Disc. Convivium Records. CR075.

Knowles, B. 2022. Christmas Tidings. Celestia Singers, Celestia Brass, Rebecca Taylor, David Ogden. Compact Disc. Convivium Records. CR077.

 

Albéric Magnard steals the show in all-French recital at Wigmore Hall

Orsino Ensemble
© Matthew Johnson

Jean-Efflam Bavouzet (piano)

Orsino Ensemble:

   Adam Walker (flute)

   Nicholas Daniel (oboe)

   Matthew Hunt (clarinet)

   Amy Harman (bassoon)

7.30pm, Tuesday 15 November, 2022

Wigmore Hall, London

★★★★★

Claude Debussy (1863-1918): Syrinx

                                                 Première rhapsodie

Pierre Sancan (1916-2008): Sonatine for flute and piano

Francis Poulenc (1899-1963): Trio for oboe, bassoon and piano

Albéric Magnard (1865-1914): Quintet for piano and winds, Op. 8

Jean-Efflam Bavouzet

Debussy:

'A beautifully ethereal rendition of Debussy's Syrinx ... performed off stage with warm-toned delicacy by Adam Walker'.

'Bavouzet delivered a warmth of tone, matched by depth and richness from Hunt'.

Sancan:

'Bavouzet clearly enjoyed Walker's prowess in the cadenza, as well as visibly getting into the rhythmic energy for the gallop that followed'.

Poulenc:

'Harman and Daniel gloriously blended .... Bavouzet was a lively presence, alert to the wind players' every moves, and clearly enjoying himself throughout'.

Magnard:

'Walker's playfulness was matched by raucous humour from Hunt, but Bavouzet and Daniel had the most fun here, with Bavouzet's rocking cross-rhythms fighting against Daniel's twisting, eastern-infused melodic line to Bavouzet's obvious delight'.

'Five exceptional musicians, clearly enjoying every minute of their music-making as much as the audience'.

Read my full review on Bachtrack here.

Jean Efflam-Bavouzwet and the Orsino Ensemble
© Ian Farrell