'Chopin sans Chopin' - pianist Adam Golka excels in viewing wide-ranging 19th & 20th repertoire through the lens of the piano giant

Polish-American pianist Adam Golka already has three recordings with First Hand Records under his belt, with repertoire covering Beethoven, Brahms and Schumann. But with his new recording, Chopin sans Chopin, he takes a different turn. The fascinating premise covers a wide range of 19^th and 20^th century music, all through the lens of Chopin, without a note of Chopin actually played. Golka explains in his fascinating and personally reflective notes the significance but also the burden of Chopin for a pianist of Polish heritage. As the son of Polish parents, a pianist and a piano technician, Chopin’s music loomed large, and perhaps in reaction to this, he describes how he turned away from Chopin to other repertoire. The album is therefore part of his ‘wading upstream towards the river’s source’, a kind of return to Chopin and his Polish heritage. So for all the music here – some close to Chopin either chronologically or stylistically, some seemingly further removed – there is a rationale for us to view it in terms of being either directly or indirectly inspired by Chopin. 

So he begins with a beautifully flowing and calm reading of Fauré’s Nocturne No. 4, Op. 36. Fauré’s later Nocturnes push the boundaries of the form harmonically and scale-wise, but here, we’re very much in the moonlit, lyrical territory of Chopin’s. Yet listening with the earlier composer in mind immediately casts a different light on the work, and the same happens with Brahms’ Scherz, Op. 4 that follows. It’s hard to comprehend that Brahms allegedly denied any influence of Chopin on the piece, as both in terms of dramatic mood and specifics of repetition and octave passages, the links are strong. Golka’s performance here also manages to bring out the lighter moments that some weightier readings miss, making the connection even stronger, particularly with the opening mercurial figures, yet he doesn’t hold back on the drama either, especially driving to the wild conclusion. Several rather neglected Polish composers also receive attention, beginning with a delightful Mazurka from Natalia Janotha (1856-1932), a premiere recording, no less. She studied with Clara Schumann, and may also have had lessons from Brahms. Golka has combined elements of two published versions of this gem from 1894, and his delicate articulation around its engaging melodic line is contrasted well with the quirky, almost jazzy, even ragtime-esque central section, with a wild flourish into its closing section. Much wilder, more extravagant Romanticism comes next in the form of Scriabin’s surging Fantasie, Op. 28, steeped in his reverence for Chopin. Golka rides its glorious waves, and the build to the conclusion is nothing short of remarkable. Back to Poland next for another Mazurka, this time by Roman Maciejewski (1910-1998), subtitled Wieczorem (Upon Evening), probably dating from the composer’s time in Sweden, to where he emigrated at the start of World War II. It has glassy, Ravelian harmonies, as well as Stravinskian and Poulenc-infused bouncy rhythmic sections, yet there are still hints of Chopin’s melodic twists that remind us of the Mazurka form, and Golka’s warm tone and delicate articulation is a delight here. Next we travel to Mexico, for Manuel Ponce (1882-1948) and his Balada Mexicana, with its infectious folk melody with gently rocking accompaniment. A florid outburst leads to a more graceful, nostalgic central section based on another folk song, Acuerdate de mi (Remember me), and Golka ripples through the runs and trills before returning with virtuosic ebullience to the opening heart-on-sleeve melody. 

A slight left-turn next, to Gershwin’s Three Preludes. Chopin, you say? Well Chopin’s Prelude No. 2 is surely there in the left hand of Gershwin’s No. 2, and the movement has the same dark edge in its movement, perfect for the bluesy right hand. It’s often played slower than here, although it is marked andante con moto, and Golka’s sense of movement works well. Either side, the first has joyful rhythmic energy, and the third drives through like a Chopin Fantasie. Back to Poland again for Władysław Szpilman (1911-2000), known to most as the protagonist of Polański’s film The Pianist. His Mazurka is full of heartbreaking nostalgia, with self-evident homage to Chopin, and Golka infuses this miniature with moving simplicity. And finally, Golka heads into the jazzy world of Nikolai Kapustin (1937-2020), for two of his 8 Concert Etudes, Op. 40. No. 7, Intermezzo moves from laid-back jazzy swing into a virtuosic, theatrical display, and No. 8, Finale, with its train-like running rhythm gives Golka the chance to show off his command of its fiendish technical demands. The Chopin thread aside, the range of repertoire on this disc is extensive, and Golka is impressive throughout. And the trick of making us listen with Chopin in mind works remarkably well, bringing out new connections in the few familiar works here, but also demonstrating the wide-spread and sometimes unexpected influences Chopin has had on piano repertoire across the centuries since. I appreciate the baggage attached, but it would be great to hear Golka record some Chopin now – maybe reverse the lens from this disc, to some of the pieces mentioned that connect with this repertoire?

Various. 2026. Chopin sans Chopin. Adam Golka. Compact Disc. First Hand Records FHR168.

My review of Golka playing Schumann here.

Deeply expressive, virtuosic cello sonatas from Sheku and Isata Kanneh-Mason

Sheku and Isata Kanneh-Mason
© James Hole

Sheku Kanneh-Mason (cello)

Isata Kanneh-Mason (piano)

7.30pm, Tuesday 28 May 2024

Barbican Hall, London

★★★★

Felix Mendelssohn (1809-1947): Cello Sonata No. 1 in B flat major, Op. 45

Ludwig van Beethoven (1770-1827): Cello Sonata No. 5 in D major, Op. 102 No. 2

Gabriel Fauré (1845-1924): Cello Sonata No. 1 in D minor, Op. 109

Frédéric Chopin (1810-1849): Cello Sonata in G minor, Op. 65

Encore:

Chopin: Largo from Cello Sonata in G minor, Op. 65

Sheku & Isata Kanneh-Mason
© Nick Boston

Mendelssohn:

'It is a lightly joyful work, and Sheku and Isata played with nimble delicacy'.

Beethoven:

'From the funereal opening, with Isata’s low soft chords and Sheku’s long sustained line, right through to the final falling harmonies and low cello notes to end, they showed remarkable sensitivity in this typically profound late Beethovenian statement'.

Fauré:

'Sheku and Isata passed the melodic fragments back and forth, with some deft pedalling from Isata in the central movement in particular to avoid muddying the line among the rich textures'.

Chopin:

'... it was the sad, lyrical Largo that sat at the heart of this performance, Sheku and Isata at their expressive best, each seamlessly taking the baton of sustained melody from the other'.

Isata & Sheku Kanneh-Mason
© Nick Boston

'This was an impressive evening from two rapidly maturing performers, not afraid to bring chamber music to audiences more familiar with more standard virtuosic concerto displays'. 

Read my full review on Bachtrack here.

Vladimir Jurowski and the Bayerisches Staatsorchester make it all look so easy

Vladimir Jurowski
© Mark Allan/Barbican

Yefim Bronfman (piano) 

Louise Alder (soprano)

Bayerisches Staatsorchester

Vladimir Jurowski (conductor)

7.30pm, Tuesday 19 September, 2023

Barbican Hall, London

★★★★★

Yefim Bronfman & the Bayersiches Staatsorchester
© Mark Allan/Barbican

Richard Wagner (1813-1883): Prelude to Tristan und Isolde

Robert Schumann (1810-1856): Piano Concerto in A minor, Op. 54

Encore:

Frédéric Chopin (1810-1849) – Nocturne in D flat major, Op. 27 No. 2

Gustav Mahler (1860-1911): Symphony No. 4 in G major

Encore:

Mahler: Suite aus den Orchesterwerken (Bach, Johann Sebastian), 4. Air

(from Suite No. 3 in D major, BWV 1068)

Wagner:

'From the opening bars ... Jurowski commanded silence in the portentous rests, with knife-edge precision from the strings, leading up to ‘that’ chord; the strings were indeed the stars of the show'. 

Louis Alder & the Bayerisches Staatsorchester
© Mark Allan/Barbican

Schumann:

'Yefim Bronfman delivered effortlessly clean Schumann'.

'it was his delicacy and tenderness in the ‘Clara’ second subject of the opening movement, and his fairy-like embellishments at the top of the keyboard in the finale that stood out'.

Mahler:

'Jurowski brought out every little detail, but it never felt that he was stressing the point'.

'Louise Alder set the mood perfectly, with intense communication of the text ... Alder’s rich tone and intensity of expression lifted this way beyond the straightforward'.

Read my full review on Bachtrack here.

CD Reviews - October 2022

There have been a crop of recordings coming out of musicians’ exploits during lockdown, and violinist Sara Trickey is a strong addition to the field (released 21 October). Trickey posted weekly videos of solo violin music via YouTube, and as well as bringing her performances to new audiences, she enjoyed the communication from listeners too. As the world returns to some sort of normality of performance, that intimacy of connection is something many performers are now missing. Trickey has recorded a range of repertoire here from those weekly videos, the majority being contemporary works, with several world première recordings and a number of compositions specifically written for her. She begins however with Albéniz’s (1860-1909) popular Asturias from his Suite Española No. 1, Op. 47, in a strong arrangement by Jane Gillie. Written for piano, but also well known in the guitar version, it works remarkably well on the violin, and the instrument has the additional advantage when it comes to sustaining the melodic lines. Trickey communicates the dramatic rhythmic energy, but also adds this element of sustain to the melodies. Telemann’s (1681-1767) Fantasie No. 1 receives a pleasingly light interpretation, with introspection in the slow sections, and an energetic bounce in the faster movements. Her Prokofiev (1891-1953) Violin Sonata, Op. 115 is full of playfulness, dancing through the outer movements, with a light-footed approach to the variations in the middle movement. Norwegian composer Bjarne Brustad (1895-1978) was new to me, and his wistful Lento from his Fanitulsuite No. 1 is beautifully played here, with an ethereal breathy tone in its repeated patterns, often echoed by glassy harmonics. Sally Beamish’s (b.1956) The Wise Maid is folksy and playful, with a surprise towards the end as the harmonies suddenly shift and slide into its quirky conclusion. James Francis Brown’s (b.1969) Soliloquy, written for Trickey, is evocative and improvisatory, again with that introspective feel that speaks of lockdown and isolation. Errollyn Wallen’s (b.1958) Bertha, for which Trickey is joined by Rosie Bergonzi on the handpan is a curious mix of racing, scratchy energy that almost can’t be contained by the gentle insistence of the handpan, followed by a move into more gently rocking rhythms and a delicate song melody from the violin, before the earlier energy returns. David Matthews’ (b.1943) Prelude no. 12 from his set of 15 was written for Trickey’s birthday, with delicate lyricism and birdlike trilling packed into its brief two minutes. Lyell Creswell (1944-2022) sadly passed away just after the recording of his Lento, written for Trickey back in 1994. It has a moving simplicity, played with touching intimacy, and Trickey also played this at Creswell’s funeral earlier this year. The disc ends with a more flamboyant encore piece from Aleksey Igudesman (b.1973). His Applemania is full of energetic, insistent rhythms, with an infectious build which almost bursts out at its conclusion – a fitting celebration perhaps of an end to lockdown. Overall, this is a fascinating survey of varied solo violin repertoire, and speaks of intense commitment and a desire to communicate, as well as clear virtuosic command from Trickey. 

Various. 2022. From an Empty Room. Sara Trickey. Compact Disc. First Hand Records FHR139.

Pianist Louis Lortie has reached Volume 7 of his Chopin survey, and this volume contains a good spread of the Mazurkas, perhaps the quirkiest genre of Chopin’s (1810-1849) output. Lortie immediately sets out his store with a stylish swagger in the first of the Op. 17 set. The second is suitably wistful, and then he manages well the slightly seasick, circling repetitions of the third, giving the sombre fourth a delicate poignancy, with some relief in its gently throbbing central section. The Op. 68 set is a more mixed bag – the first is a little on the weighty side, but the sombre mood of the second has a lightness contrasting with its thrumming central section. The third has an authoritative command, with light echoes. Lortie saves back the fourth, the most wistfully exploratory, to the end of the disc. For the Op. 30 set, we’re back in sombre territory for Nos. 1 and 2, whilst No. 3 has a ballroom swagger, and the fourth pushes chromaticism the furthest. From Op. 63, No. 1 has a gently meandering central section, surrounded by more ballroom swaying. Lortie gives the nostalgic second a gentle sway too, and the third follows in the same vein. He brings a great delicacy of touch to the delightful Rondo à la Mazur, Op. 5, composed by Chopin aged 16, and full of youthful exuberance, but equally poise and control in its lighter sections. The Boléro, Op. 19, after an opening flourish, settles into a gently lilting melody, before the boléro proper arrives, with its polonaise-like, bouncing accompaniment under its infectious melody. The Rondo, Op. 16 has a highly dramatic introduction, and Lortie lets this develop with virtuosic command, before giving the rondo theme a gently playful bounce, enjoying the gradual build in virtuosic display. The Tarantelle, Op. 43 is a swirling whirlwind, given great energy here by Lortie. The ‘Héroïque’ Polonaise, Op. 53 carries suitable weight, but Lortie avoids overegging the pudding, maintaining a sense of dance amidst the heft. Another great volume in this strong survey.

Chopin, F. 2022. Louis Lortie plays Chopin, Vol. 7. Louis Lortie. Compact Disc. Chandos CHAN 20241.

 

CD Reviews - August 2022

Baritone Roderick Williams has joined with the Coull Quartet for a wonderful new recording of works for voice and string quartet. Surprisingly, despite the centrality of the string quartet in the chamber repertoire, works that put this together with voice are relatively rare. At the centre of this disc is one of the most significant works, Samuel Barber's (1910-1981) 'Dover Beach'. Here it receives a gloriously atmospheric performance, from the mysterious opening from the strings through to its dark, almost desperate climax. Williams relishes in the word-painting, highlighting the expression on words like tremulous, slow and sadness. Williams has then arranged two other of Barber's songs here for string quartet accompaniment. This adds sensitive textures to 'Sleep Now', with a tender lullaby lilt in the strings, and disturbing interjections in the wintry central verse, with rumbles of unease remaining from the strings before the final peaceful cadence. 'Sure on this Shining Night', which lends its title to the disc, is full of soft and tender wonder, with gently pulsing strings, and a delicate violin countermelody winding its way around Williams' warm toned vocal line. Following the Barber is 'Tree Carols', a set of five songs by Sally Beamish (b. 1956). The poetry (by Fiona Sampson) is full of dark imagery, colour and emotion, with dark simplicity expressing loss in 'The trees are troubled', and high, bright lines evoking starlight and 'tree heaven' in 'The tree is a changing sky'. Writing specifically for Williams, Beamish exploits the ease and bright tone of his higher registers, and the bloom of his high lines in 'The Miracle Tree' which opens the set is contrasted wonderfully with the shimmering strings to create a sense of wonder. At the start of the disc, Williams is joined by soprano Sophie Bevan and tenor James Gilchrist for a collection of songs by Peter Warlock (1894-1930). Warlock is probably best known for his Capriol Suite, The Curlew song cycle, or perhaps some of his boisterous drinking songs, but he wrote over 120 songs, as well as numerous choral pieces and works for voice and chamber ensembles. There are a couple of duets here. 'Corpus Christi' sees a soft-toned Williams paired with mellow warmth from Bevan, against darkly sliding harmonies from the Coull Quartet, and in 'Sorrow's Lullaby', Bevan is joined by Gilchrist, the two voices weaving with a violin line, strings muted throughout. Elsewhere, Gilchrist brings a light bounce to 'Chopcherry' and 'The Fairest May', and he floats lightly above the dancing strings in 'My lady is a pretty one'. Bevan shows clarity and impressive control in the melodic leaps to high notes in 'A Sad Song', and sweet simplicity in 'My little sweet darling'. Williams is gently lyrical in 'Mourn no moe' and suitably plaintive in 'Take, O take those lips away'. The disc ends with three more arrangements from Williams, this time of songs by Frederick Delius (1862-1934). In 'I-Brasil', the mystery of the mythical island is captured in the falling snap rhythmic figure, and Williams is suitably wistful in the sorrowful calls. The open fifths at the start of 'Twilight Fancies' sit particularly well with the strings here, sounding almost like horn calls, and Williams is atmospherically expressive above the rich string textures. The accompaniment for the final song, 'Young Venevil', is playful and imaginative with bird-like violins, and Williams places the melody delicately above, with some effortlessly light top Gs. This is a fascinating disc, offering some delightful repertoire with top notch performances from singers and players alike.

Various. 2022. On This Shining Night - Music for Voice and String Quartet. Roderick Williams, James Gilchrist, Sophie Bevan, Coull Quartet. Compact Disc. SOMM Recordings SOMMCD 0654.

In this short disc, Italian pianist Alberto Nones performs the three works by Frédéric Chopin (1810-1849) with Fantaisie in the title. Nones’ approach here is to somewhat strip away the virtuosic fireworks to reveal the precise detail that sometimes gets lost in more overtly showy performances. This is very evident in the fluid Fantasie-Impromptu, Op. 66. The outer sections certainly flow here, apart from occasional halts in the momentum, and there is no compromise of tempo. The central section, however, could flow more, as there is extensive pulling about of the tempo here. But every detail can be heard, and the final section, whilst not as fiery as some other performances, is certainly impressive. In Fantasie, Op. 49, Nones’ approach is perhaps more successful, with its gentle opening to the drama that unfolds in a somewhat matter of fact way. Nones gives weight where needed, but the chorale like sections have a gentle simplicity. Nones gives the Polonaise-Fantaisie, Op. 61, a more stately, expectant opening, bridging well the transition from the recit-like statements into the flowing dance that finally gets going. There is a lightness here that allows the dancing melody to sing out, and the build to the virtuosic conclusion is not rushed or obscured by excessive weight. So whilst these might not be definitive recordings of these work, there is much to be savoured here in Nones’ refreshingly unfussy playing, revealing fresh insights into familiar works. 

Chopin, F. 2022. Complete Fantasies. Alberto Nones. Compact Disc. Convivium Records CR074.

Somewhat slightly different territory for me now - another pianist recording with Convivium, but this time the Italian jazz pianist Matteo Bisbano Memmo. Clearly a highly virtuosic pianist, he demonstrates this with some astonishing playing in the first half of the disc, a selection of standards, with a number of arrangements from the extraordinary Art Tatum. Here, Bisbano shows no fear, with rippling fluidity and startling virtuosity in Charlie Mingus' 'Duke Ellington's Sound of Love', and the wild, fiendishly racing 'Tiger Rag'. There is some lightness of touch in 'Alfonsina Y El Mar', and softness in the rich chords of 'Yesterdays', but mostly the requirements of the extreme virtuosity does lead to a somewhat harshly percussive sound in places. However, in the second half of the disc, Bisbano moves to a selection of his own compositions, and the mood is completely different. The virtuosity is still evident, in the driving energy of the extended composition, 'Metalknife', for example, but there is also more dynamic variety in the lively, urban 'Smokey Stogie', and enigmatic, more lyrical writing in 'Rose'. He uses the open piano strings effectively at the mysterious start of 'Metalknife', and the atmospheric, slow-moving harmonies in 'Stardust Light' are highly effective. And what to finish with? Well, a cover of Metallica's 'Master of Puppets', of course. He captures the relentless drive and percussive hammering here, once again with highly virtuosic playing, but there are also moments of sudden delicacy in the brief lyrical interludes. Overall, this is an impressive display of virtuosic talent, but for me, it is in his more expressively varied own compositions that Bisbano's pianistic voice shines.

Various. 2022. Metalknife - Music for modern piano. Matteo Bisbano Memmo. Compact Disc. Convivium Records CR066.

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

Roderick Williams & Paul Cibis capture the passion of youth with energetic immediacy at Kings Place

Roderick Williams
(© Benjamin Ealovega)

Roderick Williams (baritone)

Paul Cibis (piano)

7.30pm, Thursday 5 May, 2022

Kings Place, London

★★★★

Franz Schubert (1797-1828): Die schöne Müllerin, Op. 25: Das Wandern

George Butterworth (1885-1916): Six Songs from A Shropshire Lad

Rebecca Clarke (1886-1979): 8 o’clock

                                                Aufblick

Robert Schumann (1810-1856): Album für die Jugend, Op. 68 No. 21

                                                   Liederkreis, Op. 24, Nos. 1-3

Rebecca Clarke: Stimme im Dunkeln

Robert Schumann: Album für die Jugend, Op. 68 Nos. 8 & 16

                               Liederkreis, Op. 24, Nos. 4-5

Franz Schubert: Die schöne Müllerin, Op. 25: Wohin? & Halt

 

Interval

 

Franz Schubert: Die schöne Müllerin, Op. 25: Am Feierabend, Der Neugierige & Ungeduld

Ralph Vaughan Williams (1872-1958): Songs of Travel: The Vagabond

Charles Wilfred Orr (1893-1976): A Shropshire Lad: Along the field

Frédéric Chopin (1810-1849): Prelude, Op. 28 No. 10

Ralph Vaughan Williams: Songs of Travel: Roadside Fire, Whither must I wander? & Bright is the Ring of Words

Charles Wilfred Orr: A Shropshire Lad: When I watch the living meet

Frederic Chopin: Prelude, Op. 28 No. 23

Charles Wilfred Orr: A Shropshire Lad: The Lent Lily

Franz Schubert: Die schöne Müllerin, Op. 25: Die liebe Farbe, Die böse Farbe, Der Müller und der Bach

 

Encore: 

Ralph Vaughan Williams: The House of Life, No. 2: Silent Noon 

'Most striking was Williams’ immediacy of communication, often singing as if speaking conversationally'.

'Williams’ control at the higher end of his register was also impressive, with particular lightness on the opening note of Loveliest of trees'.

'Williams’ Schubert had energy and impatience, with a bright twinkle for Das Wandern, and expertly voiced different characters in Der Neugierige'.

'Williams’ ability to shift the emotions as quickly as they turn in these songs is what made this recital so captivating throughout'.

'Cibis also deserves credit for the range of his playing, both in the varied accompaniments and in his solo pieces'.

Read my full review on Bachtrack here.

A joy to behold: Evgeny Kissin on a roll at the Salzburg Festival

Evgeny Kissin
© Salzburg Festival/Marco Borelli

Evgeny Kissin (piano)

Saturday 14 August 2021

Reviewed from online stream Saturday 28 August 2021

(available at Arte here)

Großes Festspielhaus, Salzburg

★★★★★

Alban Berg (1885-1935): Piano Sonata No. 1

 

Tikhon Khrennikov (1913-2007): Dance, Op. 5 No. 3

                                                    Five Pieces for Piano, Op. 2

 

George Gershwin (1898-1937): Three Preludes

 

Frédéric Chopin (1810-1849): Nocturne in B major, Op. 62 No. 1

                                                Impromptu No. 1 in A flat major, Op. 29

                                                Impromptu No. 2 in F sharp major, Op. 36

                                                Impromptu No. 3 in G flat major, Op. 51

                                                Scherzo No. 1 in B minor, Op. 20

                                                Polonaise in A flat major, ‘Heroic’, Op. 53

 

Encores:

Felix Mendelssohn (1809-1847): ‘Duetto’, Songs Without Words Op. 38 No. 6

Evgeny Kissin (b.1971): Dodecaphonic Tango, from Four Piano Pieces, Op. 1

Frédéric Chopin (1810-1849): Scherzo No. 2 in B flat minor, Op. 31

Claude Debussy (1862-1918): Suite bergamasque, L.75 No. 3, ‘Claire de lune’

Evgeny Kissin
© Salzburg Festival/Marco Borelli

'The beaming smiles when he takes a bow – and his multiple encores – let you know that, despite the concentration, he is having a great time, and we are part of that'.

'Over one and three quarter hours playing is a feat of memory at the very least, but to maintain momentum, energy and concentration, taking a rapt audience with him all the way is something extraordinary'

'It was the intensity of his playing that captivated; the whirlwind of dark energy and thrashing chords in the Scherzo no. 1and the ringing pedalling and virtuosic final section of the second Impromptu were breathtaking'.

'After all the dramatic intensity, he ended with a masterstroke, with the calm stillness of Debussy’s Clair de lune'.

Read my full review on Bachtrack here.

CD Reviews - December 2020

I’ve been following the work of composer Cheryl Frances-Hoad (b.1980) for a number of years now, and it was a great delight to explore her latest disc of recordings of some of her chamber works, entitled ‘The Whole Earth Dances’. The title belongs to a work commissioned by The Schubert Ensemble, and in fact this recording was their last as a group before they disbanded in 2018. Inspired by the simple experiences of walking in her local park, but also by the importance of taking notice of nature in a time when it under such threat, it is a single expansive movement for the same musical forces as Schubert’s Trout Quintet (piano, violin, viola, cello, double bass). Full of long sustained string chords, with delicate piano commentary in places, the movement alternates between lively, spiky ‘thistles’ and gentler, unfurling ‘ferns’ (references to two Ted Hughes poems that also influenced here). And there is hope in the positively consonant, sudden C major ending. There’s so much on this disc, nine works in all, for varied chamber forces, and many different performers, it’s hard to do justice here to all of this. Cloud Movements for clarinet, violin and piano again makes use of slow-moving chords to evoke drifting clouds, but there’s also lyricism here, particularly in the central movement. Flanking that central movement are two dancing canons, the first in three parts, and the faster moving second in four parts, increasing the rhythmic complexity, creating unsettling cross-rhythms as the clouds pass and partially obscure one another. Two works for cello and piano follow. Songs and Dances is full of passion and lyricism for the cello in particular, but also there are strangely moth-like high, glassy flutterings, and a surprising folk-like dancing melody in the central movement. There are brief moments of peace, but the final lament is dominated by heartfelt anguish, and ends in nothingness. This leads beautifully into The Prophecy, where that sense of anguish is taken to a new level. Frances-Hoad was influenced here by quotes from people experience schizophrenia, and there is definitely a sense of mental struggle here. Again, the piece begins out of nothing, almost inaudible initially, and the strange slides from the cello build to a terrifying world, full of quotes of the Dies Irae chant. The cello emerges at one point with a higher, more lyrical melody, but the insistent piano doesn’t give up, with the Dies Irae almost screaming through at one point. This is an incredibly virtuosic piece for both players, and Rebecca Gilliver (cello) and Sophia Rahman (piano) give an outstanding performance. Towards the end, the cello cries out with a strange vibrating screech, and then a kind of unsettling calm is reached at the end, with occasional stabs from the piano punctuation an exhausted cello solo.Then for something completely different - Game On, a work for piano and Commodore 64 computer. In this, Frances-Hoad takes sounds from a 1987 puzzle game, X0R, and uses these to create a fascinating soundworld, exploring game theory, robots taking over the world, and ultimately, destruction of humanity - so not a cheery piece! In the first movement, Nash, we’re in the world of game theory, and a sense of uneasy equilibrium, where the piano matches and works around the incessant computer sounds, with nobody really getting anywhere as a result. In Robots will Rule the World, we enter the soundworld of Dr Who (the BBC Radiophonic Workshop), the theremin and ondes martenots, with weird lasers and ‘vaporising’ sounds - what starts out as maybe a conversation between piano and computer definitely becomes a battle - and the title gives the clue as to who wins. In the final Lament, the minimalist repeating patterns of the computer contrast with the melody that emerges on the piano, and then gradually the computer patterns stutter, jam and stick - like an irregular heartbeat, or ultimately the sound of flatlining - so who’s died, the robots or us? There is a chilling sense of panic here, despite the slightly comic origins of a 1980s gaming computer. 

Three more works round off the collection. First, a lop-sided, quirkily accented Mazurka for violin and piano. Then comes Medea for solo flute, a dramatic monologue of long sustained notes and pauses, interrupted by moments of impassioned activity full of flutters and trills, evoking Medea’s battle between emotion and decision. Finally, a work for string quartet, My Day in Hell, inspired by Dante’s Divine Comedy. The complex organisation of numbers of circles and groups in that work dominates Frances-Hoad’s calculations of structure, rhythm and even melody, and the angular melodic material, downward slides and richly dissonant chords definitely create a sense of being trapped in circles within circles. I’m always struck in Frances-Hoad’s music by how, despite some common devices, such as the contrast between slow, long chords and spikier rhythmic movement, with great use of pregnant pauses, the atmospheres evoked are incredibly varied and individual to each piece. I’ve focussed on the music itself here, but all the performers deserve praise here - there is some challenging music, and all the players do great justice to Frances-Hoad’s fascinating and often virtuosic demands.

Frances-Hoad, Cheryl. 2020. The Whole Earth Dances. Various. Compact Disc. Champs Hill Records CHRCD152.

Joël Marosi (cello) and Esther Walker (piano) have brought together on one disc all the works for cello and piano composed by brother and sister, Felix Mendelssohn (1809-1847) and Fanny Mendelssohn (1805-1847). This amounts to two Sonatas, a set of Variations Concertante, and a couple of miniatures from Felix, and two single movement works from Fanny. Many of the pieces were written with their cellist younger brother, Paul. Felix’s first Sonata has a real youthful urgency in the opening movement, with slight yearning in the second subject. Walker manages to produce a bright tone despite the driving repeated chords and thick textures of the piano part, and Marosi brings out that yearning as well as a virtuosic display to finish. He really gets the chance to sing out in the second movement’s lyrical central section, and the sense of rapid drive returns in the finale, with more turbulent sections, and a dramatic climax with flourishes particularly for the piano. Both players here produce the requisite drama, but also manage the piece’s quiet ending, with delicate lyricism from the cello over a gently rippling piano. The Song without Words that follows is warm and lyrical, with a delicate piano part, and Marosi delivers this with a heartfelt simplicity, and an understated sense of urgency in the central section. The single movement Assai tranquillo, possibly incomplete, has a pleasing melody passed from cello to piano, with the cello then weaving in and out of the piano’s presentation of the tune. The Variations concertantes draw on a humble, hymn-like tune, and encompass eight variations, sharing out the virtuosic moments between instruments reasonably equally, if anything favouring the pianist. The two players here exploit their moments well, and bring out effectively the more dramatic moments, such as in the seventh’s declamatory cadenza-like statement, although there could be a little more tempo differentiation between the faster

variations. Turning to sister Fanny, we then have a Fantasia, with a beautifully romantic melody presented fist on the piano, with the cello emerging from a low accompaniment to take over the melody. There is plenty of opportunity for Marosi to sing here, particularly in the slower arioso section. The quiet ending might suggest this is somewhat slight, but the melodic invention and use of repeated chords in the accompaniment are very pleasing. Similarly, in her Capriccio, lyrical melodies are passed between the instruments, with the piano leading off on a faster central section, with emphatic fanfare-like statements from the cello. Once again, the movement winds down to a quiet finish. We return to Felix for the remainder of the recording, with his Sonata No. 2. The two players bound into the opening movement, with its striding cello theme and joyful energy and drive throughout. The piano introduces the second movement’s hesitant melody, repeated pizzicato by the cello, with delicately ringing grace notes from Marosi here. The piano is in charge of the slow movement to begin with, with an arpeggiated chorale, given rich tone here by Walker. The cello joins with a lyrical melody on top, and gradually takes over direction of proceedings, with the piano receding into the background, before stealing back the lyrical melody at the end. The piano launches the finale, with an immediately racing, virtuosic delivery. The cello occasionally takes over the virtuosic runs, but the piano is in charge here. Walker and Marosi never let up with the driving rhythmic energy, right to the dramatic explosive climax, before the dynamics drop down leaving quiet, rippling exchanges to end the piece.

Mendelssohn, F. & F. 2020. Complete Works for Cello and Piano. Joël Marosi, Esther Walker. Compact Disc. First Hand Records. FHR81.

In Louis Lortie’s sixth volume of Chopin works, we have the Hommage à Mozart Op. 2, the two Op. 40 Polonaises and the Fantasie Op. 49, interspersed with sixteen of the Mazurkas. Lortie’s Mazurkas are full of character, with great attention to articulation and dynamics. From the Op. 6 set, he gives the first a wonderful halting lilt, and its falling chromatic progressions have a silky darkness. The folk-like drones and eastern-infused melodic inflections in the second are seductively accentuated by Lortie’s rubato. The third and fourth are brief gems, the former with its light droning and lively theme, and the latter with its fleeting off-kilter accents, all of which Lortie brings out well. A second set of four, Op. 24 follow, with a lyrical, more waltz-like affair to begin with, contrasting beautifully with the stomping off-beat rhythms of the second. The third has pauses in almost every phrase, and Lortie shapes and times these with delicate poise, as he does the chromatic clashes and dramatic swirls of the last of the set. The Hommage à Mozart opens with a lengthy rhapsodic introduction, with hints of Mozart’s theme, ‘Là ci darem la mano’, and Lortie delivers this with suitable grandeur and virtuosic command. The theme is then finally presented more straightforwardly, followed by a brilliant set of variations, with increasingly extreme demands on the pianist’s virtuosity. Lortie dashes this off with impressive ease, and then exploits the dark drama of the operatic Adagio variation to the full, with an electric Alla Polacca to finish. Back to Mazurkas next, and the

Louis Lortie
© Hiroyuki Ito for The New York Times

Op. 67 set. The simple dance of the first is followed by the touching, nostalgic second – again Lortie demonstrating wonderfully his ability to achieve such contrasting moods with subtle dynamic inflections and halting rubato. That nostalgic mood continues in the third, a gently swirling dance, and the darkly expressive fourth. The two Polonaises, Op. 40, especially the first, the ‘Military’, are by nature emphatic and weighty, but this can be easily overdone in the first, rendering it a shouty affairs. Here, Lortie certainly provides weight, but with precise articulation and full use of the range of dynamics he avoids the bombast. The second is full of brooding darkness, and Lortie brings this out, as well as the wistful melancholy of the lyrical central section. A final set of Mazurkas, the Op. 41 with the first drawing invention from just a few notes, and the second evoking strumming guitars in its opening chords. The third is simple and graceful, whereas the final Mazurka of the set is the most substantial and dramatic. Once again, Lortie captures the extraordinary variety of moods like a chameleon. The Op. 49 Fantasie concludes the disc, with its funereal march launching an explosion of improvisatory explorations. Lortie is definitely let loose here, although despite the extremes of virtuosity, that sense of subtle changing moods is never lost.

Chopin, F. 2020. Louis Lortie plays Chopin, Volume 6. Compact Disc. Chandos Records. CHAN 20117.

(Edited versions of these reviews first appeared in GScene, December 2020)

CD Reviews - March & April 2018

Johannes Pramsohler (violin) and Philippe Grisvard (harpsichord) have worked together on a number of recordings. Their latest, lavishly produced and beautifully packaged double CD recording focuses on French Sonatas for the Harpsichord and Violin.  They begin with Jean-Joseph Cassanéa de Mondonville (1711-1772), and explore his influence on other composers from around 1740-1760, and the changing role of the violin in accompanying sonatas for the harpsichord from that period.  So across the two discs, we have two of Mondonville’s influential Sonatas, as well as sonatas from six other composers, including no fewer than five world premiere recordings.  As ever, the energy and dedication that Pramsohler & Grisvard bring to the repertoire is highly engaging.  There is a consistent brightness and energy in their sound, always refined, and with incredible attention to the fine detail, with delicate ornamentation and graceful poise.  It is also fascinating to hear the contrasting styles of different composers, from the sophisticated grace of Jacques Duphly’s (1715-1789) characterful pieces, grouped and presented here as two ‘sonatas’, to the virtuosic and more dramatic Sonatas by Louis-Gabriel Guillemain (1705-1770).  These latter works put great technical demands on both players, and the evident enthusiasm Pramsohler and Grisvard have for them is infectious.  The harpsichord is perhaps most dominant in the Versaille harpsichordist Luc Marchand’s (1709-1799) Suite here, with its rattling repetitions and ringing scales in the final Carillon du Parnasse, whereas the melodic lines and ideas are shared and swapped back and forth between the instruments more in Michel Corrette’s (1707-1795) Sonata.  This is a fascinating collection, put together with great insight (and highly informative notes from the players), and performed with such energy and commitment throughout.  Highly recommended.

Various. 2018. French Sonatas for Harpsichord and Violin. Philippe Grisvard, Johannes Pramsohler. Compact Discs (2). Audax Records ADX 13710.

The Flautadors formed just over ten years ago when they met at the Guildhall School of Music and Drama.  The recorder quartet have performed a wide repertoire, spanning 900 or so years, and they have built up an impressive collection of all kinds of instruments, ranging through medieval, renaissance and baroque, through to modern instruments – a total of 54 different recorders are used on this new recording alone.  On this latest recording, they mix works from the last 40 years or so with arrangements of Scottish traditional melodies by Ian Wilson, one of the quartet members.  They are at times joined by three more recorder players, to perform Arvo Pärt’s (b.1935) ringing Arbos, with its characteristic falling lines and layers built up by different instruments playing the lines at differently proportioned speeds, with added overtones from three triangles.  The extra recorder players also join in for the most substantial work here, the iconic In C by Terry Riley (b.1964).  Here they use 25 different instruments to create a wider range of pitches, to perform the 53 repeated cells that make up the work, to be performed consecutively by all the players at times of their own choosing.  The homogenous textures created by performing this work on the same instruments (albeit different sizes) makes this different from many other performances I’ve heard – but then that’s part of the beauty of this hypnotically fascinating piece, that it will by definition be different every time you hear it.  Other works worthy of mention here include the disc’s title piece, Bavardage by David Murphy (b.1970).  This is full of highly virtuosic chromatic runs, intentionally overblown, harsh chordal effects and great gossipy, chattering effects.  In contrast, Ryohei Hirose’s (1930-2008) Idyll 1 is full of dark, mysterious atmosphere, which the performers enhance by using Norwegian ‘sea flutes’.  The highly effective arrangements, including the rapid patterns in Brose and Butter and the organ-like warmth on the lower instruments in Niel Gow’s (1727-1807) Lament provide welcome contrast to some of the harsher technical exploits on display in other works, and the disc is nicely rounded off with another effective arrangement of Peter Maxwell Davies’ (1934-2016) Fairwell to Stromness.  An intriguing exploration of the perhaps unexpected versatility of the recorder, expertly performed by The Flautadors throughout.

Various. 2017. Bavardage. The Flautadors. Compact Disc. First Hand Records FHR55. 

Pianist Peter Donohoe has released a comprehensive double disc of music for piano solo, and music for piano and orchestra, by Igor Stravinsky (1882-1971).  The solo works take up about a disc and a half, and include two early but highly contrasting Sonatas, as well as Three Movements from Petrushka, Stravinsky’s own recasting of music from his successful ballet score.  The first Sonata from 1904 shows the influence of his teacher Rimsky-Korsakov, with strong flavours of Rachmaninov and Prokofiev, amongst others.  Its dramatic opening and rhythmic finale in particular are full of Rachmaninovian romanticism.  Yet its sensually warm, jazzy slow movement and playful scherzo have more individual inventiveness.  For the second Sonata here, we jump forward 21 years, into Stravinsky’s neo-classical phase, and the writing is much more angular and sparse, and here Donohoe plays Stravinsky’s ironic score with great precision and bite, without ever allowing it to tip over into pastiche. The Three Movements from Petrushka have drive and those wonderfully Stravinskian crashing rhythms, and Donohoe produces a bright, almost glassy sound here.  Other works include the Serenade in A, with its Chopinesque opening, and perky Cadenza finale, and a quirky, humourously dark Tango, as well as Piano-Rag-Music, in which the jazz influences are mixed with dislocated rhythms that could only be Stravinsky’s. Donohoe is joined by the Hong Kong Philharmonic Orchestra, conducted by David Atherton, for the three orchestral works here.  These were recorded in the nineties, and there is a bit of a sudden shift in the acoustic from the solo recordings, which means that the stately brass opening to the Concerto for Piano and Wind Instruments sounds a little muffled.  But once the ear adapts to the different sound, this is a tight performance, with spiky woodwind matching the percussive piano.  The mournful and ponderous central movement is lifted by the cadenza like passages, given great energy by Donohoe here.  The short serialist Movements for Piano and Orchestra is performed here with great clarity and conviction, and the interest of the detail shines through the austere writing.  The Capriccio for Piano and Orchestra that closes proceedings is playful and exuberant, where rhythm is paramount, and there is some really tight playing from the woodwind in particular.  Overall, Donohoe convincingly traverses the wide range of styles here, from the early romanticism, through neo-classicism, jazz influences and serialism, giving us great insight into Stravinsky’s writing for the instrument over his lifetime.

Stravinsky, I. 2018. Music for Piano Solo and Piano and Orchestra. Peter Donohoe, Hong Kong Philharmonic Orchestra, David Atherton. Compact Disc. Somm Recordings. SOMMCD 266-2.

Pianist Jean-Efflam Bavouzet returns with the Manchester Camerata, conducted by Gábor Takács-Nagy for their second volume of Mozart’s (1756-1791) Piano Concertos.  As before, there are two concerti here, and they are separated by two of Mozart’s Divertimenti.  The two concerti date from 1784, composed in Vienna, although they differ in their orchestration.   In K449, Mozart adds oboes and horns to strings, but they have a largely supporting role.  He adds flute, oboes, bassoons and horns to K459, and it is the wind writing that brings added colour and interest, particularly in the opening movement, with lots of dialogue between the solo piano and woodwind.  There is some especially beautiful Mozartian wind writing in the slow movement too.  Back to K449, the Manchester Camerata begin proceedings with a warm, emphatic opening, sharply paced by Takács-Nagy.  This is matched by authoritative command from Bavouzet when the piano enters, and the overall feel is fresh and joyful.  By contrast, the slow movement is subdued, almost distant, and Bavouzet’s introspective interpretation brings out an underlying darkness here.  The rondo finale is definitely tongue-in-cheek, with perky violins poking fun at the faux formality. Bavouzet takes delight in the rapid figurations and runs, Mozart at his most inventively playful.  K459 is all about contrast and dialogue, particularly with the woodwind.  So the opening movement’s piano entry initially sounds rather plain, like a sonata for a pupil, but immediately the dialogue with the wind raises the interest, and Mozart takes advantage of the richer opportunities for contrast that his orchestration provides.  The Manchester Camerata wind players deserve special mention here, and Bavouzet’s response is sensitively balanced. The strings get their moment in the finale, with a sudden striking fugue section, and the dashing tempo brings things to a joyous conclusion.  The two Divertimenti for strings placed between the concerti give the Camerata strings more chance to shine, and shine they do, with great precision and energy. The opening movement of K136 has bite, and also real dynamic shape, Takács-Nagy ensuring the energy builds through the frequent repeated figures. The slow movements of both K136 & K138 have poise, delicacy and warm but never weighty string sound, with perhaps a touch of subtle sadness added in K138.  The violins are once again lithe and spirited in their skittering runs in K136’s finale, and the finale of K138 is boisterous, dashed off with panache. Overall, this is a joyful disc, and Bavouzet’s effortless excellence is paired so well with the precision and energy of the Manchester Camerata and Takács-Nagy.

Mozart, W. A. 2017. Piano Concertos, etc., Volume 2. Jean-Efllam Bavouzet, Manchester Camerata, Gábor Takács-Nagy. Compact Disc. Chandos CHAN 10958.

Duo Enßle-Lamprecht are Anne Suse Enßle (recorders) and Philipp Lamprecht (percussion), and they specialise in music from the Middle Ages, as well as new and experimental music. Tesserae, their new recording of medieval music, both sacred and secular, is a fascinating exploration, with inventive combinations of recorders and flute with percussion, including bells, tabor and naker (drums), tamburello (a kind of tambourine) and castanets.  As a result, they create a wide variety of textures and moods here.  So in music by the enigmatic 14^th century ‘Monk of Salzburg’, about whom little is known, we have simple plainchant on bells in one piece, and a double flute producing a strange effect of a drone with a surprisingly florid melody in another.  And a hurdy-gurdy makes an appearance, with its swelling drone and strange clickings in the dance-like ‘O Vasenacht’.  Lamprecht even lends his earthy, mournful voice to the ‘lark song’ of the famous French troubadour Bernart de Ventadorn (12^th century), accompanied again by the hurdy-gurdy and winding tenor recorder. This is highly atmospheric music, and Enßle demonstrates impressive versatility, both in switching between the various recorders, but also between the simple drawn out plainchant style melodies and the more virtuosic, florid pieces, such as in the soaring, joyful ‘Chominciamento di Gioia’, with rapid precision tonguing and birdlike swoops.  The various drums and percussion are added to different pieces sparingly and sensitively, and overall, this is a highly enjoyable collection, with virtuosity and unexpected variety from both musicians.

Various. 2017. Tesserae: Medieval music for recorders and percussion. Duo Enßle-Lamprecht. Compact Disc. Addax Records ADX 13712.

For his fifth volume of Chopin (1810-1849), pianist Louis Lortie enters the world of the mazurka.  There are twelve Mazurkas here (out of the 59 plus that Chopin wrote), and as with previous volumes, Lortie breaks up the sets of short pieces based on the traditional Polish dance with some of Chopin’s more substantial offerings, here three of the Polonaises.  As with many of Chopin’s ‘genre’ pieces, it is sometimes hard to define what links the mazurkas together – in fact it is their very oddness and individuality, harmonically and rhythmically, albeit often within a simple three-part form that marks them out.  So the drone-like bass in the middle section of Op. 7 No. 1, the constant offbeat accents in Op. 33 No. 3, and the distant key relationship of the opening theme’s return (from A minor to G sharp minor) in Op. 59 No. 1.  Lortie adds a personal flavour, with authentic rubato in Op. 7 No. 1, and those offbeat accents in Op. 33 No. 3 are highly pointed.  With such individual, quirky miniatures as these, interpretations will inevitably be personal and varied, and Lortie’s approach is generally light and airy, emphasising the delicacy and whimsy – but he captures the dark moments too, such as that strange melody over the drone in Op. 7 No.1.  The Polonaises are a different matter – grand dramatic statements with dynamic extremes. Yet here too, Lortie avoids the overly heavy attack that some use to create those extremes.  So the huge chords and octaves in Op. 26 No. 1, for example, have weight and thundering impact, but without being overblown and aggressive.  Lortie ends the disc with Chopin’s Allegro de concert, Op. 46 – possibly a projected third piano concerto in formation, and a great opportunity for Lortie to end proceedings with some dazzling virtuosity and character.  Another great volume in an impressive series.

Chopin, F. 2017. Louis Lortie plays Chopin, Volume 5. Louis Lortie. Compact Disc. Chandos CHAN 10943.

(Edited versions of these reviews first appeared in GScene, March & April 2018)