CD Reviews - March 2021

American composer-pianist Michael Brown takes the title of his latest recording, Noctuelles from the first movement of Maurice Ravel's (1875-1937) Mirrors, which he performs in full here. It is followed by the Second Improvisation (in variation form), Op. 47 by Russian composer-pianist, Nikolai Medtner (1880-1951).The five movements of Ravel's Miroirs were each dedicated to members of 'Les Apaches', a Parisian artist circle, including painter Paul Sordes and the poet Léon Paul Fargue. It was a line from Fargue that inspired that opening movement, Noctuelles (Night moths), and its shimmering, fluttering textures are mesmerising. Even its slower, more limpid central section, there are slight flutterings, and Brown's dexterity and sensitivity here is striking. In Oiseaux tristes, the rippling textures are more tentative and the atmosphere darker, to which again, Brown is sensitive. Une barque sur l'océan is watery and flowing, and Brown brings out the sea-sick swells and stormier moments as the movement develops. In contrast, Albarado del gracioso is an athletic, energetic dance, and Brown enjoys the jumpy, balletic rhythms, and with its devilish repeated notes and bravura finish, he gives us a virtuosic show, before the mysterious tolling bells and dark clashing harmonies of the final movement, La Vallée des Cloches. Turning to the Medtner, Brown writes about how his research on the piece led to the discovery of two previously unpublished variations, and he adds these here to the fifteen existing variations on the theme, which Medtner calls 'The Song of the Water Nymph', an allusion to Rusalka, Russian folklore's malevolent spirit. He also discovered that Medtner had various orderings for the variations, and so Brown has combined his own take with Medtner's possible orderings to present the set here. The theme is lyrical and watery, yet chromatically ambiguous, this contrast providing the germ for Medtner's variations, from the twisting dark harmonies of Meditation, and the chorale-like and least chromatic Incantation to the shifting harmonic sands of La cadenza, in which the melody is almost hidden amongst perpetual virtuosic activity. Yet there is lightness too, in the sprightly Elves, frisky Gnomes, and chattering Feathered Ones. None of the variations are longer than a couple of minutes or so, and the calmly dark In the Forest, with its overlapping pedalling, and the racing Wood-Goblin are gone in a flash. Brown manages to bring out these contrasting characters, whilst still managing to create a unifying sense of direction, leading to a beautifully contemplative Conclusion, the melody clear and a long-held chord and quiet sombre cadence to finish. Impressive throughout, Brown demonstrates incredible virtuosity, but more than this, great sensitivity to the detail and contrasts within this remarkably evocative music.

Various. 2021. Noctuelles - Ravel, Medtner. Michael Brown. Compact Disc. First Hand Records FHR78.

The early music ensemble, Musica Poetica, directed by Oliver John Ruthven, took part in the Brighton Early Music Festival BREMF Live! scheme back in 2012. For their debut recording, they present a selection of music by the German composer, Franz Tunder (1614-1667). A new one for me, he was the father-in-law of Dietrich Buxtehude (1637-1707), and there is a clear Lutheran line through him to the music of Bach, whilst at the same time elements of Italian influence - he may have studied with Girolamo Frescobaldi. And on their recording, Tunder Appreciated, Musica Poetica indeed add to their selection of works by Tunder pieces by both Frescobaldi and Buxtehude. From Tunder's seventeen extant vocal works, they have chosen here three works for solo voice and viols, and they end their disc with a wonderful choral cantata, Ein feste Burg, Tunder's arrangement of one of Martin Luther's most famous Reformation hymns. Opening with sinuous strings, Tunder creates a wonderful mixture of textures, with choral and solo lines mixed to great effect, and the ensemble achieve just the right balance of choral blend and individuality of line. For the other three Tunder works, three of the five singers on the recording are given a solo outing. First, soprano Lucy Knight performs Tunder's setting of Psalm 137, Am Wasserflüssen Babylon (By the Waters of Babylon), with a beautifully clear voice, delivering the text with precision over the richly textured accompaniment. Alto Collin Shay brings us Salve mi Jesu, steadily declamatory in tone, and then emphasising Tunder's word-painting of sighing and weeping with great sensitivity, and the stuttering ornamentation is impressively adept. Finally the bass, Christopher Webb gets a turn, in Da mihi Domine, a highlight of the recording for me. Webb's voice is rich yet agile, and he shifts between tender pleading and weighty declamation with ease. This piece also really summed up the musica poetica style (after which the ensemble named themselves), with this declamatory setting of text combined with expressive (and often radical for the time) musical shapes and figurations. Here, the accompaniment also shines through, with rocking melodies passed between instruments, and the two violins echoing the vocal lines beautifully. The two works from Girolamo Frescobaldi (1583-1643) are O mors illa, a short but beautiful duet for tenor (Peter Davoren) and bass, beautifully blended here, and accompanied delicately by Toby Carr on theorbo and Ruthven on organ, and Partite sopra Passacagli for solo organ, with its gently lilting introduction, running, winding lines and impressively fluid passacaglia. And the only time when all five singers and the full band come together are for Buxtehude's Ad Latus, from his Membra Jesu Nostri. A meditation on the crucifixion, this glorious work is full of invention and rich detail, and the dancing string introduction here has a real spark. The blend of the five voices is initially not always even, with a couple of voices dominating, although when the opening music returns, the balance seems to have settled. In the central sections, the touch is light, and one is left eager to hear their performance of the complete work. So, impressive performances here, and a great introduction to Tunder, of whom I hope to hear more.

Various. 2018. Tunder Appreciated. Musica Poetica, Oliver John Ruthven. Veterum Musica VM020.

(Edited versions of these reviews first appeared in Scene, March 2021)

CD Reviews - October 2019

Lutenist Alex McCartneyhas brought to life the music of a composer who was new to him until recently, and will certainly be new to most of us too. Jean Paul Paladin (c.1500-1565) was originally from Milan, but moved to France around 1516 and worked for the courts of Francois I, Charles III of Lorraine, and even Queen Mary of Scotland whilst she was living in France. The music presented here consists of a selection of delightful Fantasias by Paladin, all of which have an emphasis on contrapuntal writing – that’s to say, a number of melodic lines working through the pieces at the same time, not at all easy to write, or indeed play successfully on the lute. Yet McCartney hides any difficulties that these present, and the results are full of remarkably smooth lines and subtle delicacy. He also includes various anonymous stately Praeludiums, taken from Hortus Musicalis Novus, as well as two ‘intabulations’ (i.e. transcriptions into tabular notation for the instrument) by Paladin of madrigals by other composers, Quand’io penso al martir by Jacques Arcadelt, and Anchor che col partir by Cipriano de Rore, followed by Paladin’s Fantasias on these works. These fantasias, particularly the one drawing on the Rore madrigal are full of beautiful lines and invention, and placing the relatively ‘true’ transcription next to Paladin’s imitation fantasias allows McCartney to demonstrate the fluidity of Paladin’s own writing for the instrument, as well as his own deft touch and ability to bring out the singing lines of this delicate music. Another delightful disc from McCartney, well worth exploring.

Paladin, J. P. 2018. Paladin. Alex McCartney. Compact Disc. Veterum Musica VM022.

Back in April I reviewed Oli Spleen’s collaboration with Birdeatsbaby, Gaslight Illuminations. He’s now released his third single from the album, ‘Furnace’, with the B-side being a version of Brahms' ‘Hungarian Dance No. 5’. Furnace is the final track on the album, and it describes a psychological rebirth after the spiritual and emotional decline and death of the preceding songs. You can see the music video to Furnace, directed by Steve Johnson on YouTube (below), and you can download the single and album at olispleen.bandcamp.com.

Spleen, O. & Fitzgerald, M. 2019. Furnace. Oli Spleen, Mishkin Fitzgerald, Hana Maria, Steve Johnson. Digital Download. Bandcamp.

(Edited versions of these reviews first appeared in GScene, October 2019)

CD Reviews - March/April 2019

Peter Donohoe launches his series of Piano Sonatas by W. A. Mozart (1756-91) with a disc containing two Sonatas from Mozart's set of six, composed in Munich in his late teens, together with his penultimate Sonata, composed in Vienna a couple of years before his death aged just 35.  Donohoe also throws in the popular Fantasia in D minor, K284 for good measure.  The early Sonatas are full of energy and drive, and as with all Mozart's Piano Sonatas, when played as expertly as they are hear, they sound deceptively simple. Donohoe's tempi are on the well-judged steady side, which means that Mozart's frequent rapid runs and arpeggios are always clear and precise.  The hand-crossing passages in K284 have clarity and poise, and the substantial finale here, a theme and no fewer than twelve variations, has a wonderful arc of development, with more precision in the complexity of triplets against semiquavers and more hand-crossing.  Donohoe holds the final note of the tenth variation over into the lengthy elegiac variation that follows, in which he allows himself a little freedom to allow the elaborate ornamentation to breathe, before the light brevity of the final triple time variation brings the Sonata to a lively close. K280 again appears straightforward, but its first movement surprises with striking chromatic harmonic progressions in the development section, and Donohoe brings out the plaintive lilt of the slow movement, before dancing through the sprightly Presto. His Fantasia is heartfelt and more introspective, less obviously showy, which fits well with the lightness of the D major conclusion, which can sound incongruous if the first half is overblown.  Again, Donohoe takes a measured approach to the opening movement of K570, which allows space for the ranging harmonies in its development section to be registered.  The slow movement here is beautifully contemplative, and Donohoe plays the graceful second half with great delicacy, before enjoying the perkiness of the sprightly finale.  On the basis of this first volume, Donohoe's Mozart is warm, open and precise, allowing the music to breathe, achieving a fine balance, allowing for moments of drama without ever losing classical grace and poise.  Roll on volume 2!

Mozart, W. A. 2019. Piano Sonatas, Volume 1. Peter Donohoe. Compact Disc. Somm Recordings SOMMCD 0191.

Another first volume now, this time Felix Mendelssohn (1809-1847) String Quartets, from the Doric String Quartet.  Here we have the first and last of Mendelssohn's six published quartets, together with the fifth, spanning from age just twenty to the year of his death, aged 38 (so just 3 years older than Mozart at his death).  If you don't know Mendelssohn's chamber music, then you should - it is always full of life and energy, as well as incredible invention. The first String Quartet, Op. 12 stems from the time of Mendelssohn's infamous Scottish tour that produced the Hebrides Overture and the Scottish Symphony.  Its opening movement never stops flowing, with warm lyricism as well as a turbulent urgency, and the Doric String Quartet never let that sense of perpetual progress to sag.  The canzonetta second movement is light and delicate, and the players skitter through the quicker central section with ease.  Following the passionate and striking third movement, the finale is frenzied and again turbulent, with swirling, dizzying lines for the violins, before a surprising quiet conclusion.  Mendelssohn referred to the late String Quartet Op. 80 as his 'Requiem for Fanny', his beloved sister had suddenly died following a stroke.  It is indeed a work of passion, with its frenzied, nervy opening movement and earnest scherzo with its dark trio section. The slow movement is full of yearning, the Dorics bringing this out with beauty of tone throughout, and the finale, with its hints of Schubert's Death and the Maiden, is wild and heartfelt.  On a short second disc, we have the String Quartet Op. 44 No. 3, completed just before the birth of his first son in 1838.  It is lively and spirited, with a fleeting scherzo and a beautifully lyrical slow movement that moves from light to shade and back, before an energetic finale full of remarkable invention.  The Dorics once again carry the almost relentless energy throughout the work, particularly the lengthy finale.  Highly recommended.

Mendelssohn, F. 2018. String Quartets, Volume 1. Doric String Quartet. Compact Discs (2). Chandos CHAN 20122(2).

Silvius Leopold Weiss (1686-1850), a contemporary of J S Bach, has been a bit of recent discovery for me, and regular readers will have read about several recordings of his music in these pages.  Lutenist Alex McCartney (another favourite) has brought us more of this lutenist-composer’s wonderful compositions on his latest disc, Weiss in Nostalgia.  In the notes, McCartney explains this title in a rather roundabout way, which might seem rather technical – he performs the works on a 13-course lute, basically an instrument with additional bass strings that would have appeared later than when Weiss composed the two early Suites he plays here.  So he has the idea of an older Weiss performing his early compositions on a larger, more ‘up-to-date’ instrument.  This might not be particularly discernible to anyone not versed in the myriad forms of instruments in the lute family, but there is nevertheless definitely a rather wistful, nostalgic atmosphere here.  This might be partly to do with the very resonant, close recording, which makes for strong sense of intimacy in McCartney’s playing.  But the opening Prelude of the Suite No. 1, for example, immediately establishes a serene, calm atmosphere, followed up in the elegiac Allemande that follows. Nothing is rushed, with a gentle lilt to the Courante, and Menuets played with grace and poise. Only the Gigue lifts the tempo with a bounce in its step, and McCartney expertly brings out the melodic bass and tenor lines from within the texture in the closing Gavotte. The shorter Suite No. 13 that follows has richer, thicker textures, yet McCartney’s playing is never too heavy.  The Courante is rich and flowing, and the final Menuet has drone-like repeated bass notes, presumably with added emphasis on the 13-course instrument.  Whilst clearly challenging music to play, this is never overly showy, and McCartney consistently plays with grace and delicacy, making this a joy to listen to.

Weiss, S. L. 2018. Weiss in Nostalgia. Alex McCartney. Compact Disc. Veterum Musica VM019.

We go back at least three centuries now for medieval wind music performed by the ensemble Blondel.  Here we have shawms (early oboes), recorders and even bagpipes, along with the occasional sackbut (like a trombone) or slide trumpet, and an assortment of percussion instruments including tambor, frame drum and tamburello.  So an eclectic mix, and on a disc of a lot of relatively short tracks, this means there’s an incredible variety of textures and timbres. The overarching inspiration for the disc, which is titled ‘Of Arms and a Woman’, is the work of Christine de Pizan (1364-c.1430), described in the notes as ‘a forthright feminist, writer, political theorist, royal agony aunt and author of self-help books’, and most surprisingly perhaps, the author of ‘The Book of Fayttes of Arms and of Chivalrye’, a highly influential manual on modern warfare, of which Henry VII commissioned an English translation.  Although performed here instrumentally, most if not all the pieces were originally chansons or vocal settings, drawing on a wide variety of texts.  There are the usual themes of love and loss, but also a medieval call to arms in ‘A cheval, tout home a cheval’, and the slightly unsettling ‘Gardez le trait de la fenestre’ (Beware the arrow from the window).  Only one text is by Pizan herself, a poem of grief over the loss of her husband, ‘Dueil angoisseus’ (Agonising grief), set by Gilles Binchois (c.1400-1460).  As detailed are the notes about the music, the connection to Pizan and the overall theme is not always entirely apparent.  There’s lots of anonymous music here, as well as settings by Guillaume Dufay (1397-1474), Robert Morton (c.1430-c.1479), Guillaume de Machaut (1300-1377) and others.  The contrast between the slightly more rustic, eastern-sounding bagpipes, the lively shawms and the more subdued and subtle recorders, as well as the occasional splashes of percussion, allow the five performers here to demonstrate impressive range and versatility.  From the folky bounce and rhythmic energy of ‘A cheval, tout home, a cheval’ played on shawms to the strange rhythms in canon for recorders of Johannes Ciconia’s (1370-1412) ‘Le ray au soleyl’, and the atmospheric dance for bagpipes with tamburello of Machaut’s ‘Je vivroie liement’, this is a fascinating collection, well worth exploration.

Various. 2019. Of arms and a woman - Late medieval wind music. Blondel. Compact Disc. First Hand Records FHR69.

And by way of contrast, I'd like to highlight a local artist, Oli Spleen, who has joined forces with local indie band Birdeatsbaby for his second studio album, Gaslight Illuminations.  Spleen's work might not be an obvious fit with this column, and he is hard to categorise, yet this album, with its deft writing for strings piano, and Spleen's soulful and expressive voice, should have broad appeal.  Written after the death of his father, it touches on deep and dark emotions, and Spleen's closely miked voice is rich and immediate.  There are touches of French chanson in the poignant 'Almost Young', whilst there's more than a dash of country, with steel guitar, in 'Little Lost', vocals shared between Spleen and Mishkin Fitzgerald. Spleen is Bowie-esque in the darkly self-destructive 'Mother and the Spoon', and the self-destruction, even self-harm of relationships continues in 'Ghost', which Spleen concludes with an otherworldly, pained falsetto.  Their cover of Nico & the Velvet Underground's 'I'll be your Mirror' is pared back, over simple piano and strings (with a snippet of a Brahms Hungarian Dance on music box at the end!).  Hana Maria deserves mention for the strings writing and playing, with some hauntingly glassy strings on 'Mister Crystal' and an improvisatory violin line in the weirdly dark and distorted 'Turning Tide'.  Listen and download from olispleen.bandcamp.com.

Spleen, O. et al. 2019. Gaslight Illuminations. Oli Spleen, Birdeatsbaby. Digital album.

(Edited versions of these reviews first appeared in GScene, March & April 2019)

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)