Ibragimova's Mendelssohn a tad too delicate for Schwarz and the BBCNOW

Elena Schwarz
© BBC/Chris Christodoulou

Alina Ibragimova (violin)
BBC National Orchestra of Wales

Lesley Hatfield (leader)
Elena Schwarz (conductor)

7pm, Tuesday 4 August 2026
BBC Proms
Royal Albert Hall, London

★★★

Zimmermann, Bernd Alois (1918-1970): Märchen-Suite
Mendelssohn, Felix (1809-1847): Violin Concerto in E minor, Op. 64
Dvořák, Anton (1842-1904): Symphony No. 7 in D minor, Op. 70

Alina Ibragimova
& the BBC National Orchestra of Wales
© BBC/Chris Christodoulou

Zimmermann:

'Schwarz’s larger-than-life gestures encouraged the orchestra to put their full weight behind it. Elsewhere, the strings went from pianissimo shimmering to screaming forte, against shining brass and mysterious, atmospheric woodwinds, in an overall engaging performance of this curiousity'.

Mendelssohn:

'Ibragimova’s risk-taking dynamics were definitely worth it, drawing the whole hall in for her intimate cadenza, and for her passionately singing slow movement'.

'Some of the time, Schwarz managed to get the orchestra to match Ibragimova’s dynamic range, but elsewhere, it was like the orchestra hadn’t got the memo'.

Dvořák:

'Schwarz felt freer to give big gestures and allow the horns to lead the fuller sound in the opening movement'. 

Elena Schwarz
© BBC/Chris Christodoulou

'The finale fizzed with rattling horns and beefy trombones, building to a triumphant finish, although the slide into the final chords felt a tad rushed – blink and it was all over'.

Read my full review on Bachtrack here.

CD Reviews - July 2022

You may have caught Cesca Eaton’s film, Cuckmere: A Portrait back in the 2018 Brighton Festival, shown with a live score by Lewes-based composer Ed Hughes (b.1968) (I reviewed the recording of his score here back in April 2020). The local landscape continues to be an inspiration for his music, and his latest recording is titled Music for the South Downs. Once again there is a film connection – in 2021, Hughes was commissioned by the South Downs National Park Authority to provide a score for a film by Sam Moore celebrating the National Park’s 10^th anniversary. This music formed the first movement of his Nonet, here in full, and you can view the film below or here. The Nonet is in three movements, for strings, flute, clarinet, horn, trumpet and piano, performed here by the New Music Players. The opening movement is obviously filmic, with a pastoral flow, gently pulsing brass and rippling violins creating a sense of calm motion. There is a slight sense of ease in the second movement, despite its Tranquil marking, with its use of repeated notes like slightly agitated birdsong, and the atmosphere darkens as the movement progresses. Flowing motion returns in the final movement, with minimalist repletion of figures burbling below slow moving lines, and pulsing chords in the piano part. This combination of steady momentum and lyrical atmosphere runs through the other works here too, with more immediate energy and swirling repletion in the opening movement of Flint, for example – requiring deft precision from the New Music Players. The Sussex landscape is here again, as well as a connection to a Sussex folk song transcribed by George Butterworth in 1912, which inspired the central slow movement. Its tonal lyricism is interrupted with occasional jarring interjections by the violin, disturbing the otherwise gentle calm. Unease is more prevalent in the final movement, with tonal themes trying to burst through the increasingly chromatic turbulence. The two studies, Lunar I & Lunar II were inspired by Isamu Noguchi’s sculptures, exhibited at the Barbican in 2021. There is a lilt to the first study, with lyrical lines weaving around darker harmonies, and the lilting triple time of the second study is put against insistent arpeggios, and swirling, rising flute lines, finally subdued for its quiet ending. Chroma is a single movement work for just strings, and Hughes makes great use of sudden dynamic changes to shift the energy here, from unsettled, quiet rumblings to insistent repeated rocking between chords, with a perpetual motion running beneath in the violins. The final work here, The Woods so Wild, is for piano quartet, and is performed by the Primrose Piano Quartet. The title comes from a Tudor song, ‘Will Yow Walke the Woods soe Wylde’, which also inspired Byrd and Gibbons to write variations, as well as Dowland, who quotes the tune in his ‘Can She Excuse My Wrongs?’. Hughes’ piece explores the consolation provided by the landscape around us, and he began writing it during lockdown. There is a definite sense of consolation in the rippling piano part of the opening movement, with gentle string lines above. Hughes makes use of rich low piano textures in the middle movement, and the final movement has a rolling triple time, with tricky cross-rhythms and pulsing energy. There are strong performances throughout here, and Hughes’ music is always stimulating and full of contrast. Despite being largely landscape-inspired, he never gets stuck in creating a single pastoral atmosphere – there is a constant sense of life, movement and vibrant change here.

Hughes, E. 2022. Music for the South Downs. New Music Players, Primrose Piano Quartet, Ed Hughes. Compact Disc. Divine Art Recordings/Métier msv 28623. 

And now for two Shostakovich Symphonies from the BBC National Orchestra of Wales, conducted by Steven Lloyd-Gonzalez. Dmitri Shostakovich’s (1906-1975) Symphony No. 6, following the success of the fifth, promised originally a large-scale setting of a poem about Lenin, but in the event the symphony that he produced was purely instrumental. The structure is also unusual, with a weighty opening slow movement taking up more than half of its duration, followed by two relatively short, faster movements. The moods are also highly contrasting. The Largo has a searing opening with brooding strings, and a keening flute, and instantly here the BBC NOW strings present an intense sound, achieving a sense of sadness without tipping over into a harshness of tone. Lloyd-Gonzalez expertly steers the orchestra through this momentous movement, and the climax is full of heartfelt intensity. The contrast with the second movement couldn’t be stronger, with a tumbling clarinet leading into capering strings, with shrill woodwind outbursts, and here it is the BBC NOW woodwind players turn to shine, with adept playing throughout, particularly from the bassoons. The finale sets off at a gallop, and dances along, leading to a bright, humorously crashing finish. Written in 1945, again, Shostakovich had trailed a different narrative for Symphony No. 9, that this would be a celebration of Soviet victory over the Nazis. But what transpired was altogether more complex, its neo-classical humour certainly not overtly heroic. It opens in playful mood, with bustling strings against a sardonic piccolo theme, and punchy brass. Lloyd-Gonzalez keeps the insistent repetition motoring along to the end, and this is followed by a much more plaintive mood in the second movement, with a tentatively mournful clarinet solo followed by gently throbbing strings, and a lumbering rhythm. A typically Shostakovich gallop follows, with bright woodwind and precise articulation from the strings here. Not for the first time in this recording, the bassoon impresses, with a touching solo from Joshua Wilson. The finale has a building sense of energy, and the BBC NOW strings avoid their picky textures becoming too short. Lloyd-Gonzalez drives the momentum to the emphatic full orchestral climax, and a fiendishly galloping coda brings things to a lively end. These are strong performances of these two tricky symphonies, and I look forward to seeing more from Lloyd-Gonzalez.

Shostakovich, D. 2022. Symphonies Nos. 6 & 9. BBC National Orchestra of Wales, Steven Lloyd-Gonzalez. Compact Disc. First Hand Records FHR120. 

(Edited versions of these reviews first appeared in Scene, July 2022) 

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 Review - May 2021

John Mayer (1929-2004) was born in Kolkata (formerly Calcutta) to an Anglo-Indian father and Tamil mother. He moved to London in 1952 with a scholarship to the Royal Academy of Music, and worked as a violinist and composer, then co-founded the Indo-Jazz Fusions quintet in the sixties, before teaching at Birmingham Conservatoire, where he established the BMus in Indian Music. His son, Jonathan Mayer (b.1975) started on the violin, but then from the age of 16 he trained as a sitar player, and he now composes and performs. On this disc, there are works composed by father and son, two each, and Jonathan performs sitar on his own compositions, as well as playing tanpura (like a fretless sitar, providing a harmonic drone) on his father’s Violin Concerto No. 2, from 1978. The violinist here is Sasha Rozhdestvensky, and he shows phenomenal technical dexterity, particularly in the perpetual motion and breathless energy of the concerto’s second movement. The opening movement, Alap, has a pulsing orchestral background, out of which the violin emerges in winding chromatic lines, up and down. The tanpura shimmers in the background of the third movement Raga, and its improvisatory cadenza for the violin is full of birdlike fluttering. The fourth movement has dark brass and sparse woodwind chords, with lyrical moments in the violin’s response, before the final movement Gat drives with jagged rhythms to an insistent conclusion. John Mayer’s other composition here is the Concerto for the Instruments of an Orchestra, from 1975. Across its four movements, Mayer often pits orchestral sections – strings, woodwind, percussion against each other in conversation, occasionally bringing them together. The music is quite episodic, and occasionally lacks continuity, but there are imaginative effects, such as the lively coda of the first movement, and the racing strings Scherzo and spiky woodwind Trio of the third movement. The second movement is the strongest, with its drone background and the winding melody emerging from the strings, before the woodwind take over, and a solo cello and cor anglais conclude with a heartfelt lament. Jonathan Mayer’s Sitar Concerto No. 2 begins with an extended solo for the instrument, with initial unison string responses developing into a more rhythmic, almost jazzy section. The central cadenza is hypnotic, and is followed by a surging orchestral response. The second movement focuses on repeated patterns, initially a four-note figure on the sitar, with thrumming strings beneath, whereas the third movement has a driving 7 beat rhythm in a kind of offbeat march, with a whiff of Hans Zimmer’s film music. It is the most western harmonically, and the sitar gets livelier and more elaborate as the movement builds, although the ultimate conclusion is inconclusive. Jonathan Mayer’s other work here, the single movement Pranam, begins with the sitar alone, with the orchestra joining as the sitar settles into a melodic pattern. The tabla joins (here played by Shahbaz Hussain), and rhythmic interest in the orchestra grows. Mayer builds layers of texture in the orchestra, then after a hiatus, the sitar is left keening above dark, low strings, before the violins emerge with a winding upward line. Once again, the tabla helps drive the momentum, and faster rhythmic patterns crescendo, almost burying the sitar, the woodblock adding further driving repetition to an ending reminiscent of John Adams. Debashish Chaudhuri conducts the BBC National Orchestra of Wales in strong performances of these fascinating works.

Various. 2020. John Mayer/Jonathan Mayer - Concertos. Sasha Rozhdestvensky, Jonathan Mayer, Shahbaz Hussain, BBC National Orchestra of Wales, Debashish Chaudhuri. Compact Disc. First Hand Records FHR88.

(An edited version of this review first appeared in Scene, May 2021)

 

Mozart Requiem trumps the War of the Romantics for energy and drama - BBC Prom 26

Natalie Stutzmann, BBC NOW
© Chris Christodoulou

Fatma Said (soprano)
Kathryn Rudge (mezzo-soprano)
Sunnyboy Dladla (tenor)
David Shipley (bass)

BBC National Orchestra of Wales
BBC National Chorus of Wales
Natalie Stutzmann (conductor)







Wednesday 7 August 2019, 7pm

BBC Prom 26

Royal Albert Hall, London

★★★

Johannes Brahms (1833-1897): Tragic Overture, Op. 81

Richard Wagner (1813-1883): Tristan und Isolde, Prelude & Liebestod (orchestral version)

Wolfgang Amadeus Mozart (1756-1791), compl. Franz Xaver Süssmayr (1766-1803) and others: Requiem in D minor, K626

Fatma Said, Kathryn Rudge, Sunnyboy Dladla,
David Shipley, BBC National Chorus of Wales
© Chris Christodoulou 

Brahms/Wagner:
'Stutzmann’s approach highlighted (the) differences, with a strong sense of control in the Brahms, and a slow build to a very expansive climax in the Wagner'.

Mozart:
'The absolute star by far of the evening, however, was the BBC National Chorus of Wales (five stars for them!)'.

BBC National Chorus of Wales:
'They performed with conviction, impeccable tuning and precision throughout'.

'The chorus impressed with their stamina and full-on energy to the final chord'.

Read my full review on Bachtrack here.

Four centuries of British music from Ryan Wigglesworth and the BBC NOW - Prom 32

© Benjamin Ealovega

BBC Prom 32

Leonard Elschenbroich (cello)

Toby Spence (tenor)

Nicholas Perfect (bass)

BBC National Chorus of Wales

BBC National Orchestra of Wales

Ryan Wigglesworth (conductor)

Wednesday 9 August, 2017

Royal Albert Hall, London

★★★

Britten: Ballad of Heroes, Op. 14

Brian Elias: Cello Concerto

Purcell, arr. Elgar: 'Jehovah, quam multi sunt hostes mei'

Elgar: Variations on an Original Theme ('Enigma'), Op. 36

Britten:

'The largely unison text was delivered with powerful clarity by the BBC National Chorus of Wales'.

'Toby Spence delivered the final movement’s recitative with great presence, and impressive precision in Britten’s challenging, leaping lines'.

Elias: 

'Elschenbroich took the opportunity to allow the cello to sing'.

Elgar:

'Wigglesworth’s reading here lifted proceedings, and in particular, the pianissimo playing he demanded of the orchestra was most effective'.

Read my full review on Bachtrack here.

CD Reviews - July 2017

The first volume of conductor Rumon Gamba’s latest recording project of British Tone Poems, with the BBC National Orchestra of Wales is a promising start.  The disc opens with ‘Spring’, a Symphonic Rhapsody, by Frederic Austin (1872-1952).  This is a lush, filmic work, sounding perhaps more summery than spring-like, but nevertheless infectiously positive in outlook.  William Alwyn’s (1905-1985) brief ‘Blackdown - Tone Poem from the Surrey Hills’ follows, and is subtler in its pastoral hues, despite being written when he was just twenty-one.  Sir Granville Bantock (1868-1946) drew on a poem by Shelley for his tone poem, ‘The Witch of Atlas’, a work full of atmosphere and delicate orchestration and frequent solo passages, detail which Gamba & the BBC NOW bring out beautifully. Troubled composer and poet Ivor Gurney (1890-1937) ended his days in a mental hospital, destroyed by his experiences in the First World War.  Philip Lancaster and Ian Venables have worked on his sketches for ‘A Gloucestershire Rhapsody’, creating a performable work, darker and more wistful in tone, and it is given a sensitive and touching performance here. Henry Balfour Gardiner’s (1877-1950) ‘A Berkshire Idyll’ also contains darker moments within its ostensibly sunny outer frame, and definite tinges of Debussy and Delius, and again there are plenty of opportunities for individual members and sections of the orchestra to shine, which they certainly do here. The disc concludes with Ralph Vaughan Williams’ (1872-1958) early sea-inspired work, ‘The Solent’, with its hints of his Sea Symphony to come.  Even in this early work, it sits in another league of invention, with some particularly haunting quiet string writing. Whilst all these works sit in a relatively limited and harmonically safe soundworld (to our ears now), what stands out is the imaginative and varied orchestration and use of colour to illuminate these quintessentially English landscape portraits.  With richly warm and delicate performances from Gamba and the orchestra, this is a great start to what will surely prove to be a fascinating series.

Various. 2017. British Tone Poems, Volume 1. BBC National Orchestra of Wales, Rumon Gamba. Compact Disc. Chandos CHAN10939.

I first heard viola player Timothy Ridout perform in the Brighton Festival with the Teyber Trio in 2015.  This year he was back at the festival, this time with pianist John Reid, and he gave a commanding performance.  For his debut recording, he has recorded, together with pianist Ke Ma, the complete works for viola by Henri Vieuxtemps (1820-1881).  Vieuxtemps was a violin virtuoso hailed at his debut as ‘the next Paganini’.  Yet he also frequently played the viola, and wrote a number of works for the instrument, all of which are here.  Only two movements exist of an unfinished second Viola Sonata, although they amount to nearly twenty-five minutes alone, and make for a striking opening to the disc here.  The opening Allegro is full of melodic invention, and the playful Scherzo that follows is a delight, to which Ridout gives great character.  A transcription by the composer of a movement from Félicien David’s Le Désert, entitled ‘La Nuit’, follows, a sweet, salon piece, exploiting the viola’s rich tone.  Next an Etude, with its perpetual flow of rapid semiquavers for the viola supported by delicate chords from the piano. The first Viola Sonata opens with a beautiful lyrical tune in the viola’s lower register before launching into an energetic allegro. The equally lyrical central Barcarolle is followed by an animated finale, in which there is more of an exchange between the piano and viola, giving Ma the chance to join Ridout in the foreground a bit more.  The only work for solo viola here is the short Capriccio, in which Vieuxtemps underpins a lyrical melody with spread chords, building to a highly virtuosic conclusion, and Ridout’s command here is impressive. Once again, it is a lyrical melody that’s central to the yearning Elégie, perhaps the most passionate piece on the disc, and Ridout is highly engaging here.  The disc closes with a perfect encore piece, Souvenir d’Amérique, a set of variations on Yankee Doodle, full of dazzling virtuosic display, and once again Ridout is in complete command of its demands.  This is an impressive debut recording by any standards, and also great to hear lesser-known repertoire for the Cinderella of the string family.

Vieuxtemps, H. 2017. Complete Works for Viola. Timothy Ridout, Ke Ma. Compact Disc. Champs Hill Records CHRCD130. 

Finally, an intriguing release from harpsichordist Catalina Vicens, inspired by the opportunity given to her to perform on what is possibly the oldest playable harpsichord in existence.  Made in Naples in around 1525, the instrument has been restored in South Dakota by John Koster.  While deciding on repertoire to perform on the instrument, Vicens was inspired by the instrument’s possible history, old maps of Naples and writings from the time, as well as her own musings, and as a result she has written a short story to accompany the disc, titled Il Cembalo di Partenope (‘Partenope’s Harpsichord’ – Queen Partenope was the founder of Naples).  It is an atmospheric and dreamlike tale, I think best experienced in the free download audio book (available here) read by Vicens herself, accompanied with music from the CD.  The music itself is by a range of composers from the early part of the 16^th century, starting with Antonio Valente’s (fl.1564-1580) publication of harpsichord works in 1576 and working backwards.  There’s a surprising variety here, although apart from the opening Fantasia del primo by Valente, they are mostly fleeting miniatures.  The dance-like movements, such as Valente’s Gagliarda napolitana, and the lively Calata ala spagnola by Joan Ambrosio Dalza (fl. 1508) add bursts of energy amongst the more reflective love songs and poetic numbers.  There is Italian and Spanish music, and music written for the lute and the voice too.  The harpsichord has a bright tone, and Vicens plays with great delicacy and poise, making this a delightful collection, aside from the added depth of the instrument’s history and Vicens’ atmospheric accompanying tale.  All in all, a fascinating and absorbing project, beautifully performed and presented.

Various. 2017. Il Cembalo di Partenope - A Renaissance harpsichord tale. Catalina Vicens. Compact Disc. Carpe Diem Records CD-16312.

(Edited versions of these reviews first appeared in GScene, July 2017)