CD Reviews - April 2023

Pianist Sarah Cahill has reached the third and final volume of her series, ‘The Future is Female’. This volume is called ‘At Play’, and as with previous volumes, the very broad repertoire is set out in chronological order. The earliest work here is the Piano Sonata No. 9, Op. 5 No. 3 (1811) from Hélène de Montgeroult (1764-1836), but then following a short but delightfully virtuosic Thème varié, Op. 98, full of drama and stylistic variety, from Cécile Chaminade (1857-1944) composed in 1895, we’re straight into the mid-20th century and beyond. Going back to the Montgeroult, she was new to me when I reviewed Clare Hammond’s great disc of her Études in November last year, and this Sonata is full of the same richness of invention and subversion of convention. There is playful constant flow in the first movement, yet Montgeroult delivers a strangely unexpected end to the development section, and similarly, the lyrically meandering slow movement takes unexpected melodic turns to surprise the ear. Polish composer Grażyna Bacewicz (1909-1969) studied in Paris with Nadia Boulanger, but remained in Warsaw during World War II, composing and organising secret concerts. Her Scherzo is playful and full of dancing, cascading scales, set against a neoclassical lumbering circus procession. From the late 20^th century come two works, firstly Chinese composer Chen Yi (b.1953), who emigrated to the US in 1986. Her Guessing from 1989 employs an impressive array of techniques, with thundering crashes, challenging rhythms, dark chords and clusters, and slow octave melodies, all coherently shaped here with playful energy from Cahill. Next to Azerbaijan, and Franghiz Ali-Zadeh’s (b.1947) Music for Piano, with its mysterious modal melody and metallic rattling, produced by a glass-bead necklace stretched across the piano strings, evoking the sound of the tar, a traditional stringed instrument. The effect is fascinating, and she also uses the very low registers, beyond the glass beads, to provide ominous, even threatening contrast. Pauline Oliveros (1932-2016) wrote Quintuplets Play Pen: Homage to Ruth Crawford for Cahill in 2001, and its mathematically constructed matrix combining a slow moving bass line with a skipping melodic line and almost chanting middle voice move from being childlike in simplicity to becoming increasingly complex. Hannah Kendall’s (b.1984) three movement On the Chequer’d Field Array’d evokes the three stages of a chess game, from the insistent motion of the initial striding out of pieces, through battling clashes and then more rhapsodic exploration of the extremes of the keyboard, to final subdued acceptance in the outcome. Cahill again brings a sense of coherence and atmosphere to both Oliveros and Kendall’s seemingly cerebral yet highly individual compositions. Iranian composer Aida Shirazi’s (b.1987) Albumblatt uses glassy string scrapes and ethereal harmonics created by touching the strings at the same time as depressing the keys. The resulting effects are captivating, with low rumbling strings and insistent rocking between notes and chords evoking storm clouds and turbulence – the work’s subtitle is A Winter Memory. Cahill closes with a warm, jazz-infused set of Piano Poems by Chicago-based composer Regina Harris Baiocchi (b.1956). From folksy simplicity in the opening ‘common things surprise us’ to off-kilter rhythms in ‘cockleburs in wooly hair’ and turbulence, even anger in ‘beatitudes’, the set ends with relaxed flickering and singing lines in ‘a candle burns time’. As with the previous volumes, Cahill impresses with her range of performances here, as well as in her choice of fascinating repertoire. The only disappointment is that this is the last of this three-volume project – a follow-up is definitely needed!

Various. 2023. The Future is Female. Vol. 3 At Play. Sarah Cahill. Compact Disc. First Hand Records. FHR133.

 

Violinist Lisa Archontidi-Tsaldaraki is joined by pianist Panayotis Archontides (one half of the Ivory Duo Piano Ensemble) for Rhapsody, their selection of 20^th Century violin masterpieces. Ravel’s popular Tzigane, Karol Szymanoski’s (1882-1937) Nocturne and Tarantella, Op. 28, and Britten’s early Suite, Op. 6 form the latter half of the disc. But it is the two works that come first that are the most revelatory here, both by Greek composers most likely lesser known to most in the UK. Yannis Constantinidis (1903-1984) left his homeland in 1922 and ending up in Berlin, but returned to Greece for good in 1931. He was a composer, pianist and conductor, and also composed in popular genres (film music, musical theatre, etc.) under the alias of Kostas Giannidis. In his Petite Suite sur des airs populaires grecs du Dodécanèse there is immediately a sense of longing and sweet nostalgia in the opening Air de Karpathos, and Archontidi-Tsaldaraki brings a rich tone to this cry for lost love. There are dancing, perky rhythms in the Chant Pastoral de Kalymnos, and a darker mood surrounds a contrasting faster central section in the Chant et Danse de Rhodes. The Danse de Leros has a light swing, then heartfelt longing returns in the Air d’Archangelos, with rich lower string work and sweet singing from Archontidi-Tsaldaraki. The final Chant Nuptial et Danse is gentle and lilting to begin with, but progresses into a wild dance with virtuosic double-stopping and high harmonics echoing the melody. Manolis Kalomiris (1883-1962) trained in Vienna, where Wagner was a key influence, then taught piano in Ukraine, where he discovered Russian nationalism, and on his return to Athens, he set out to establish an equivalent Greek National School of Music. His Sonata for Violin and Piano is a substantial work, with cyclical use of material throughout its three movements. The 5/8 metre opening movement is full of uneasy, agitated motion and pulsing rhythms, with surging waves from the piano, and sliding chromatic harmonies drive to an emphatic conclusion. The second movement’s 7/8 metre means that its lyrical melodies quickly take on a more playful nature, and despite its darker diminished intervals it has lively energy throughout, with gossamer high notes from the violin to finish. The Vivo finale relentlessly twists and turns, with galloping rhythms, and apart from a sweet lyrical episode from the violin over gentle piano arpeggios, the movement drives to the finish line. Archontidi-Tsaldaraki and Archontides give a strong performance here of this weighty yet richly inventive Sonata. Britten’s Suite provides a great contrast to both of these richly textured works. Immediately Archontidi-Tsaldaraki establishes this with the dramatic, angular and sustained solo violin opening. A pecking, lumbering March follows with challenging harmonics sounding almost like a breathy flute over the dancing piano part. The instruments take it in turns in the Moto Perpetuo third movement, with rapid motion over low, quiet piano pecks, and then pizzicato from the violin as the piano takes over. The Lullaby in contrast has slow sustained lines for the violin, searing at the climax, making tuning hard to centre in places, although Archontidi-Tsaldaraki maintains this well. Some delightfully watery playing from Archontides over the droning violin double-stops takes the movement towards its eery conclusion. Prokofiev’s influence is most evident in the stomping Waltz that ends the work, with drunken, spiky spiccato and surging double-stops, which could perhaps take a little more abandon, although Archontidi-Tsaldaraki delivers this virtuosic finale with confidence. She also shines in the dramatic, cadenza-like opening of the Ravel, with expressive hints of the rhythms to come, and the swirling wild race to the finish is impressive. Szymanowski’s Nocturne is suitably mysterious and dark, and the Tarantella’s crashing wild opening is followed by a virtuosic display full of drive and energy to finish. A strong debut disc from Archontidi-Tsaldaraki, encouraging more exploration of Constantinidis and Kalomiris.  

Various. 2023. Rhapsody. 20th Century Violin Masterpieces. Lisa Archontidi-Tsaldaraki, Panayotis Archontides. Compact Disc. Convivium Records. CR080.

Something special in the air: Rattle and the LSO in energetic Sibelius 5

© Mark Allan/Barbican

Janine Jansen (violin)

Sir Simon Rattle (conductor)

London Symphony Orchestra

Wednesday 19 September, 2018

Barbican Hall, London

★★★★★

Janáček: Sinfonietta, Op. 60

Szymanowski: Violin Concerto No.1 Op. 35

Sibelius: Symphony No. 5 in E flat major, Op. 82

'A fine example of live performance in every sense, and it was evident that ... the orchestra was having a ball'. 

'Janine Jansen, from the violin’s first solo entry, was in command of this tricky piece', with 'impressive focus and intensity of tone'.

'Rattle and the LSO ... gave this a freshness and energetic spirit such that one was made to listen anew throughout'.

'A highly exciting whirlwind of a rendition'.

Read my full review on Bachtrack here.

CD Reviews - February 2018

Identifying expressions of sexuality in music is dangerous territory, the ‘gayness’ or otherwise of Tchaikovsky’s music being the most notable example, with analysis often revealing frankly homophobic stereotyping.  However, regardless of the fact that Polish composer Karol Szymanowski’s (1882-1937) was gay, it is hard to deny the sensuality and eroticism in his music, particularly in the first Violin Concerto.  There is a rich, sumptuousness in the orchestration, and the seductively wandering solo violin lines are intriguingly captivating.  Written for violinist Paweł Kochański, who also wrote the closing cadenza, the solo part dominates throughout, and the single movement work flows without break.  And this month, two recordings of the work are out.

Tasmin Little is joined by the BBC Symphony Orchestra, conducted by Edward Gardner, and her reading of the first Violin Concerto is taught and precise, as well as allowing the fuller, overtly romantic moments to blossom with full intensity.  Gardner again extracts precision from the BBCSO, as well as giving freer rein in the more ecstatic outbursts.  Little couples the first Violin Concerto with Szymanowski’s Violin Concerto No. 2, from about 16 years later, and also the Violin Concerto by a Polish contemporary of Szymanowski, Mieczysław Karłowicz (1876-1909).  Szymanowski’s second Concerto is less overtly sensual, with perhaps more edge and bite, and the central cadenza which links the two movements, again written by Kochański, has much more of a sense of contemplation and reflection, despite its virtuosic challenges, and Little manages this combination with great subtlety of expression.  The Concerto’s final swirling cadenza has great energy from Little, ably supported by Gardner and the BBCSO.  Karłowicz’s Concerto that completes Little’s disc is a much lighter affair, with some delicate woodwind writing in the orchestral textures.  Following clearly in the Tchaikovsky/Bruch concerto mold, this perhaps lacks a distinctive enough voice, but is an enjoyable vehicle for the soloist nevertheless, and Little enjoys the lyrical melodies and expressive flourishes here.

American violinist Anne Akiko Meyers places the Szymanowski at the centre of her disc, preceded by a work she commissioned from Finish composer Einojuhani Rautavaara (1928-2016), which turned out to be his penultimate composition. Fantasia, from which Meyers took the title for her disc, is a single movement work, with a slow, lyrical solo line supported by warm orchestral textures, also relatively slow moving in terms of pulse and harmonic direction.  Meyers’ tone is warm and sweet, and she is supported in the music’s wandering ebb and flow by the rich tones of the Philharmonia Orchestra, conducted by Kristjan Järvi.  This beautiful, lyrical music is ultimately a relatively fleeting reflection at just under 14 minutes, but a highly engaging one nonetheless.  Meyers’ Szymanowski is full-bodied and incisive, and the Philharmonia and Järvi match with a strong dynamic range and rich string sound in particular.  Meyers closes her disc with a lively rendition of Maurice Ravel’s (1875-1937) Tzigane, full of delicate touches and fine articulation, and if the opening cadenza could be grittier, she has great fun with the orchestral dance, and her race to the finish is exhilarating.

Both Szymanowski interpretations are strong, with little to separate them – Little just edges ahead in terms of expressiveness for me.  Little’s Szymanowski No. 2 is also highly engaging, whilst Meyers’ warmly personal Rautavaara is a great attraction.  On value for money, I would say Meyers disc at just over 48 minutes is a little sparse in comparison to Little’s 73 minutes.  Otherwise, both are welcome additions to the catalogue.

Various. 2017. Szymanowski, Karłowicz: Violin Concertos. Tasmin Little, BBC Symphony Orchestra, Edward Gardner. Hybrid Super Audio Compact Disc. Chandos CHSA 5185.

Various. 2017. Fantasia. Anne Akiko Meyers, Philharmonia Orchestra, Kristjan Järvi. Avie AV23850.

Composer Cheryl Frances-Hoad's (b.1980) continues to demonstrate great originality and variety in her compositions, and her new disc is a great showcase for her writing.  The opening work, Katharsis for Cello and Ensemble, was commissioned by and is performed here by cellist David Cohen, with the Rambert Orchestra, conducted by Paul Hoskins.  Frances-Hoad trained as a cellist at the Yehudi Menuhin School, so clearly has great understanding in writing for the instrument, but what strikes me most here is the writing for woodwind, particularly in the Minuet and Trio, with wind instruments delicately dancing around the solo cello harmonics.  Throughout, whilst there is plenty for the cello to display, much of the interest is in the interplay between soloist and the chamber ensemble.  The Forgiveness Machine, performed by the Phoenix Piano Trio is inspired by Beethoven’s Archduke Trio, and has an ethereal, almost stationary feel, with momentary outbursts subsiding into richly textured harmonies and delicate, long melodic lines, building to a full-blooded climax, before once again falling away to nothingness.  Quark Dances was written for a slightly larger ensemble, again performed here by the Rambert Orchestra and Paul Hoskins, and originally formed part of a ballet inspired by a visit to the Large Hadron Collider at CERN.  Again, Frances-Hoad’s imaginative orchestration is striking, with quirky moto perpetuo writing for the harpsichord in the Scherzando, and slightly seasick string slides underpinning a calling horn and wind flourishes in the central Andante.  Her seven solo piano pieces, Homages, have clear inspiration in specific works by seven different composers, yet she takes these initial inspirations in unexpected directions.  For example, the opening Contemplation, drawing on Grieg’s Op. 7 Sonata, has a cool, jazzy feel, and the dreamy Lullaby moves from Schubert to a much darker, slightly ominous soundworld.   The Ravel-inspired Un Canard hors de l’eau is perhaps closer in terms of harmonic language to the source, but the ethereal Mendelssohnian Song without Words once again has a darkness of mood.  Whilst the harmonic language of Stolen Rhythm is a along way from Haydn, his wit and lively spirit is discernible, and Balkan rhythms abound in Bar(tik)tok.  Pianist Ivana Gavrić negotiates the demands of such diverse styles and moods with ease and convincing commitment.  A Refusal to Mourn for Oboe and String Orchestra closes the disc, with oboist Nicholas Daniel joining the Rambert Orchestra and Hoskins. Written to commemorate the 250^th anniversary of the death of Bach, there are roots here in Lutheran chorales, but once again, Frances-Hoad takes her points of inspiration to imaginatively evocative new places.  She exploits the plaintive tones of the oboe in the opening Recitative, then makes great use of the instrument’s quirkier side in the bouncing Fugato, before long lyrical lines return for the oboe in the closing Chorale, and Daniel’s breath control in the final extended solo line is highly impressive.  Frances-Hoad is a composer with impressive creative inspiration, as well as technical command of writing for varied musical forces – highly recommended.

Frances-Hoad, C. 2017. Stolen Rhythm. Nicholas Daniel, David Cohen, Ivan Gavrić, Phoenix Piano Trio, Rambert Orchestra, Paul Hoskins. Champs Hill Records CHRCD119.

(Edited versions of these reviews first appeared in GScene, February 2018)

CD Reviews - June 2017

Last year, I had the great fortune to perform Elgar’s Dream of Gerontius in the Brighton Festival with Brighton Festival Chorus.  It was evident then that conductor Edward Gardner has expert command of Edward Elgar’s (1857-1934) music, so I was very much looking forward to his new recording of Elgar’s Symphony No. 1.  An added bonus is Elgar’s often overlooked Introduction and Allegro for string quartet and string orchestra, a piece I remember fondly from youth orchestra days (a very long time ago!), and on this disc, the BBC Symphony Orchestra are joined by the Doric String Quartet.  Like many others before him, Elgar waited a long time before composing his first symphony, perhaps feeling the weight of expectation, and the great symphonists that had gone before. Yet when it finally came, in his 50^th year, it proved to be a huge success, described by Hans Richter as 'the greatest symphony of modern times', and it was performed nearly one hundred times in the first year alone. The orchestration is rich and lavish, yet Elgar uses great contrasts in texture too. The opening noble theme sets us off perhaps expecting Elgar in Pomp and Circumstance mode, but the restless Allegro shocks the listener out of any nostalgic pomp very quickly. Gardner takes a balanced approach here, not allowing the noble opening to get bogged down, and giving the Allegro the right degree of turbulent energy, eliciting some particularly bright brass playing from the BBCSO players.  The second movement is also turbulent, and here again Gardner injects drive and energy. The beautiful Adagio that follows without a break, and masterfully transforms the theme from the previous movement, prompted a standing ovation at the first performance, and here it is given a particularly touching reading.  The final movement has incredibly full string textures, with the string sections subdivided several times, and the triumphant return of the opening noble theme with a blaze of trumpets gives a rousing finish.  Gardner keeps his powder dry, and holds the tension, so that when we finally arrive at the triumphant conclusion it has the powerful impact that Elgar surely intended.  In the Introduction and Allegro, Elgar plays with the contrast between the intimate forces of the string quartet and the larger, richer sounds of the full strings.  Gardner points out the detail in Elgar’s writing, with incisive playing from the Doric String Quartet, and precise ensemble from the full strings, particularly in the Allegro’s angular fugal writing.  This is a taut reading of the work, emphasising detail over emotional impact, perhaps, but highly engaging nonetheless, leaving me wanting more Elgar from Gardner very soon.

Elgar, E. 2017. Symphony No. 1, Introduction and Allegro. Doric String Quartet, BBC Symphony Orchestra, Edward Gardner. Hybrid Super Audio Compact Disc. Chandos CHSA 5181.

Last year I reviewed a couple of discs of Alex McCartney playing lute music.  Now he has released a recording performing on the lute’s very big brother, the wonderful theorbo.  Often used as part of an accompanying ‘basso continuo’ section, it’s great to hear it placed centre-stage as a solo instrument.  Giovanni Girolamo Kapsberger (c.1580-1651) was a virtuoso lute and theorbo performer, as well as composer, and McCartney has recorded here a selection of pieces from his 3^rd and 4^th books of works for the latter instrument.  They consist of predominantly Toccatas and Preludes, the former (which translates as ‘Touched’) giving the title to McCartney’s CD.  The Preludes are brief, barely a minute each, and the Toccatas are also slight.  But they nevertheless contain some fascinating and downright quirky harmonies and unexpected clashes.  With the rich, deep tones of the theorbo, and some rippling and cascading runs, deftly articulated here by McCartney, this is a delightful programme.  There are one or two more substantial movements, such as a Gagliarda, with wonderful falling chains of clashing suspensions, and a pleasing Passacaglia, but two of the shorter movements stuck out for me – the bell-like ‘Capona’, and the Spanish inflections of ‘Canarios’, for which McCartney managed a tastefully subtle dying repeat at the end.  Another enjoyable disc – notably recorded and produced by McCartney himself on his on micro record label, Veterum Musica – and a great chance to hear the theorbo up close.

Various. 2016. Toccata: Touched. Alex McCartney. Compact Disc. Veterum Musica. VM015.

Violinist Tasmin Little and pianist Piers Lane have been performing together for many years, and they follow on from highly successful recordings of Schubert, Strauss and two discs of British violin sonatas with their new disc.  They combine several works by Polish composer Karol Szymanowski (1882-1937) with César Franck’s (1822-1890) highly dramatic and romantic Sonata, with Gabriel Fauré’s (1845-1924) Romance thrown in for good measure.  Franck’s Sonata has a deceptively delicate opening, and Lane and Little are particularly sensitive to this intimate start. The turbulent Allegro that comes next is given great passion, followed by the emotionally operatic third movement, with touchingly sweet tones from Little especially.  In the spring-like canon that opens the finale, Little matches Lane’s delicate touch, and they follow this movement’s trajectory into the light, with a bright, summery flourish to finish.  We move into late summer/autumn with Fauré’s nostalgic Romance, which allows Little the freedom to demonstrate her singing tone in its delicate lyricism.  Szymanowski’s Sonata has comparable passion to Franck’s, and it follows a similar cyclical structure.  It is full of youthful exuberance, yet he can do intimate simplicity too, as demonstrated in the gentle, almost prayerful piano opening to the second movement, contrasted with a playful central section with jaunty pizzicato from the violin, and the finale has an infectious driving energy.  Szymanowski’s Romance is also passionate, although the temperature drops for an intimate central section with wandering harmonies, before the passion returns for its conclusion.  The Notturno e Tarantella that ends the disc comes from just 11 years after the Sonata, yet we’re into new territory here, with the mysterious, glassy rumblings and dramatic outbursts of the Notturno followed by a highly virtuosic, wild and swirling Tarantella to finish, with Little adopting a suitably harsher sound to add bite to their expert reading.  Another strong set of performances to add to Little & Lane’s already substantial portfolio of recordings together.

Various. 2017. Franck, Szymanowski, Fauré: Works for Violin and Piano. Tasmin Little, Piers Lane. Compact Disc. Chandos CHAN 10940.

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

CD Reviews - February 2015

Clare Hammond is a fearless pianist, specialising in virtuosic repertoire from the 20^th and 21^st centuries, often championing the work of contemporary composers and premiering their work.  She performed in a stunning lunchtime recital at the 2013 Brighton Festival.  Her latest CD is ‘Étude’.  It includes 26 études, a form which began as study exercises for pianists to develop a particular aspect of technique, but largely through the efforts of Chopin and other pianist-composers after him, has become an art form in itself, with composers exploring the outer limits of technique and pushing the pianist to new extremes of virtuosity.  The disc begins with three from a set of twelve ‘Études d’exécution transcendante’ by Russian composer Sergei Lyapunov (1859-1924).  This set was dedicated to Liszt, and completed the cycle which Liszt had begun of studies in all the 24 major & minor keys.  Though whilst Liszt was clearly a major influence, this is undoubtedly music from the late Romantic Russian nationalistic school.  With surging rivers (‘Térek’), an atmospheric ‘Nuit d’été’ and an full-on raging ‘Tempête’, the three chosen here give Hammond a perfect opportunity to set the scene for some barnstorming playing.  The six Piano Études which follow are from South Korean composer Unsuk Chin (b.1961).  Often thinner in texture, yet no doubt more technically demanding, these pieces manage to convey remarkable energy and imagination within the potentially restrictive demands of studies based on repetition or scales, and are probably the most pianistically challenging works on the disc.  Hammond seems to relish the challenges set, yet also manages to find a sensitive touch in the delicate moments amid the fireworks.  Polish composer Karol Szymanowski’s (1882-1937) set of 12 Studies live in the same soundworld in many ways as Debussy’s études, composed just one year earlier than Szymanowski’s (in 1915).  These are short pieces, all under two minutes long, and Szymanowski does well to create a specific mood in such a short space of time, although there is perhaps less variety across the different études here, with the consistently bitonal harmonies creating an other-worldy feel throughout.  The disc ends with Ukranian pianist/composer, Nikolai Kapustin’s (b.1937) Five Études in Different Intervals, providing the perfect closing sequence for this astonishing disc.  Kapustin combines classical and jazz styles in a unique way, and here he takes a seemingly restrictive concept, a specific interval for each study, as a starting point for five exuberant and joyous confections, once again fiendishly challenging. 

Various. 2015. Étude. Clare Hammond. Hybrid Super Audio Compact Disc. BIS Records. BIS-2004 SACD.

The Six Concerti Armonici for strings and basso continuo were first published in 1740, but without an ascribed composer.  There have been many theories, and the most popular choice for many years was Pergolesi.  But the mystery was solved in 1980 by the Dutch musicologist, who found a manuscript of the concerti with a preface by Count Unico Wilhelm van Wassenaer (1692-1766).  A renowned Dutch diplomat, he was also admired for his compositions.  The Innovation Chamber Ensemble consists of principal string players from the City of Birmingham Symphony Orchestra, under the artistic direction of Richard Jenkinson, and they certainly show how much they enjoy this change of repertoire with stylish and spirited playing throughout.  This are not early instrument expert performances, but they play sensitively, and it is only perhaps in the slow movements where occasionally the sound is a little heavy for my liking.  However, these are beautiful concerti and contain great variety and invention, giving the Innovation Chamber Ensemble plenty of scope for varying tone and dynamics, which they do well.  Predominantly in the Italian style, they are nevertheless far from formulaic works, and many of the faster movements practically fizz with energy.

Van Wassenaer, U. W. 2015. Six Concerti Armonici. Innovation Chamber Ensemble, Richard Jenkinson. Compact Disc. SOMM Recordings. SOMMCD 0141.

Harpsichordist Steven Devine performs regularly with the Orchestra of the Age of Enlightenment and London Baroque, and has performed on numerous occasions in events in the Brighton Early MusicFestival.  His Goldberg Variations recording won much deserved phrase, and he follows this with a further disc of J S Bach, including the ‘Italian’ Concerto and ‘French’ Overture, both from the second part of his ‘Clavier-Übung’.  But Devine starts his disc with the Chromatic Fantasia and Fugue, BWV 903.  Right from the word go, it is clear that this is full-blooded harpsichord playing, and and recorded sound from Chandos is appropriately warm and upfront.  It is refreshing to hear the harpsichord played with command and intent, and not in an overly sensitive and precious way, which is sadly often the case.  I like the rhythmic drive he gives, not allowing the rapid ornamentation in the Fantasia to upset a strong sense of pulse.  This is equally evident in the Aria variata which follows – a theme with 10 variations ‘in the Italian manner’.  The Fantasia in C minor, BWV 906 comes next, and again precision and rhythmic integrity is paramount here. Although the form of the ‘Italian’ Concerto which follows is clearly based on the concerti with orchestra, of Vivaldi, Bach takes this and uses dynamic contrast and varying textures to create a virtuoso concerto for the solo instrument.  Once again the opening movement has drive and energy, but in the central slow movement, Devine shows that he can also make the instrument sing, allowing the beautiful aria solo line to breathe, before the crashing Presto sweeps aside contemplation.  The ‘French’ Overture closes the disc, and opens with a long Ouverture movement which is a phenomenal construction in itself.  Here Devine’s programming makes perfect sense, with this great work offering the opportunity for him to bring together his strong virile approach with a lighter touch in the faster dance movements such as the Passpieds and Bourées, as well as giving us a touching Sarabande.  The closing Écho is given suitable panache, and he clearly enjoys the echo effects to their full – a joyful end to a stunning recording.

Bach, J. S. 2015. 'Italian' Concerto, 'French' Overture and Other Works for Harpsichord. Steven Devine. Compact Disc. Chaconne, Chandos Records. CHAN 0802.

(Edited versions of these reviews first appeared in GScene, February 2015)