The Fantasia is a form that has been used by many composers since the sixteenth century, and has its roots in a sense of improvisation. There are therefore many choices a pianist could make when forming a programme around the genre, but pianist Martin Cousin has certainly taken us down an unexpected path on his latest recording. He begins with Kenneth Leighton’s (1929-1988) Fantasia Contrappuntistica, Op. 24, not a well-known work, but one of great interest across its five linked sections. From a majestic opening Maestoso, it quickly moves to a virtuosic, even wild Toccata, full of angular lines, and ending with pealing bells before dying away. This leads into a lugubrious Chorale, beginning in intense lower registers of the instrument, before working its way steadily upwards, the hymn-like line threading through the chordal textures. The work ends with not one but two fugues, the first darkly jerky, developing into constant, running movement, and the second races on faster, before returning to the dramatic maestoso mood of the opening briefly to end the work. Cousin’s playing is clearly articulated, and he contrasts well the almost intellectual starkness of the fugal writing with the more dramatic chordal textures. The mood of Lawrence Rose’s (b. 1943) Piano Fantasia, Op. 24 (dedicated to Cousin) that follows is not dissimilar, its six movements embracing angular, fugal writing within a constantly shifting chromatic soundworld. But there is perhaps a broader range of styles here, from the almost whimsical, light opening to the weightier, almost Brahmsian variations in the Largo, and the bouncier, almost quirky conclusion to the fourth movement Allegro. Cousin drives through the rhythmic, Bach-like second movement Allegro, with tight articulation of the angular lines, and his rapid finger work high up the keyboard in the second Allegro is highly impressive, as is the tender Andante in the final movement. From there, we jump into a completely different world, with Rachmaninov’s (1873-1943) five Morceaux de Fantasia, Op. 3. Cousin now relishes the thicker, more sustained textures, yet still gives the opening Elégie a singing, swinging lilt, to contrast with the more passionate movement of the central section. His energy at the conclusion is thrilling, as is the fiery central section of the famous Prélude that follows. The Mélodie’s melodic line is initially slightly on the heavy side, but he builds the texture well, and the Polichinelle is great fun, with orchestral textures and impressive virtuosity. The Sérénade that ends the set certainly has a mediterranean feel to its rich, swinging waltz, which provides a perfect link to the final work on the disc, Manuel de Falla’s (1876-1946) Fantasia Baetica. It was dedicated to Artur Rubenstein, but apparently he abandoned it after playing it a few times, deeming it too long and not playable enough. However, Cousin makes a strong case for it here, and what it lacks in melodic line, it makes up for with imaginative textures, from the guitar-like opening, through harp-like glissandi to more percussive repeated note patterns and weighty statements. There are plenty of cascading, dramatic flourishes, certainly evoking that improvisatory sense of a fantasia, and its insistent, hammering repetition builds via more watery glissandi and limpid clustered chords to an astonishingly virtuosic conclusion. Cousin takes us a long way from the more inwardly intellectual world of the Leighton and the almost Shostakovich-like Rose, via richly expressive Rachmaninov to the wildly expansive de Falla, all the while demonstrating effortless command virtuosity in the highly varied styles.
I’ve seen Huw Wiggin (saxophone) perform solo and with the Ferio Saxophone Quartet in the Brighton Festival, and have always found him to be a highly engaging and entertaining performer, constantly expanding perceptions of what the saxophone can do. The sax is often pigeonholed in jazz territory, but with his debut solo album, Wiggin aims to show that the instrument has much wider expressive possibilities, and he focuses on classical repertoire, much of which was composed before the saxophone was even invented in the mid 19thcentury. Consequently, most of the works are performed in arrangement, some by pianist John Lenehan, who accompanies Wiggin here. One can only assume that some of the other arrangements are by Wiggin, but they are uncredited, so may be from existing arrangements for other instruments. However, Wiggin makes a strong case for the diverse range of works on offer here, presented broadly speaking in chronological order, from Alessandro Marcello’s (1673-1747) Oboe Concerto right through to Japanese composer Takashi Yoshimatsu’s (b.1953) ‘Sing, Bird’ from 1991. Marcello’s Concerto, possibly known better in Bach’s keyboard arrangement, works surprisingly well here, and Wiggin is able to show off with some intricate ornamentation – not particularly authentic, perhaps, but effective nonetheless. Two arrangements of Schubert songs, ‘Du bist die Ruh’ and ‘Die Forelle’, follow. The former works well, with its straightforward, touching melody given a simple, unaffected touch by Wiggin. The latter I was less convinced by, the slightly four-square nature of the well-known tune sitting less comfortably with the instrument. Lenehan’s arrangement of the Air from Grieg’s (1843-1907) Holberg Suite works very well, however, and Wiggin spins the expressive line beautifully here. Camille Saint-Saëns’ The Swan from Carnival of the Animals never fails to delight, and the saxophone replaces the cello well, adding extra warmth to the beautiful, familiar melody. For two arrangements of short piano works by Debussy (1862-1918), an Arabesque and the popular ‘The Girl with the Flaxen Hair’, Wiggin is joined by Oliver Wass on the harp. The cascading harp arpeggios combine with the simple melody given to the sax in the Arabesque, and The Girl with the Flaxen Hair is given a similar treatment, with Wiggin producing a long, liquid line over the harp’s subtle accompaniment. The 7 Canciones populares españolas (7 popular Spanish songs) by Manuel de Falla (1876-1946) are beautifully atmospheric, and combine lively dance rhythms with eastern infused lyrical melodies, such as in the dark-toned Nana. The piano writing here is not without challenges too, particularly in the final driving Polo, and Lenehan provides incisive support for Wiggin’s passionate, lyrical lines. They move to France for Paule Maurice’s (1910-1967) Tableaux de Provence. This and Yoshimatsu’s piece are the only pieces here actually composed for the saxophone, although the Tableaux were originally conceived for sax and orchestra. Like the de Falla, they combine atmospheric picture-painting with livelier dance-like rhythms, and again, give Wiggin the opportunity to show off the expressive range of the instrument, and Wiggin and Lenehan both relish the set’s joyful conclusion, ‘Lou cabridan’. Two arrangements by Lenehan of well-know works by Astor Piazzolla (1921-1992) follow, the complex Fugata followed by the darkly mournful Oblivion, and Wiggin’s sensuous performance here makes this track the standout moment for me. Rimsky-Korsakov’s The Flight of the Bumble-Bee is an ever-popular and fun showpiece, and Wiggin has the opportunity to show off his impressive technical virtuosity here. Closing the disc, Yoshimatsu’s ‘Sing, Bird’ exploits the saxophone’s ability to bend notes and ‘fly’ up and down its registers in a bird-like fashion, with the piano part providing a rippling support. Wiggin’s delicate articulation, particularly in the piece’s quiet conclusion, is mesmerising. This is an impressive collection, definitely achieving Wiggin’s aim of showing the saxophone has a lot more to offer outside its traditional jazz/pop pigeonhole.
Edward Gardner and the BBC Symphony Orchestra have followed up their well-received recording of Elgar’s (1857-1934) Symphony No. 1 with his Symphony No. 2, Op. 63, premiered in 1911 just three years after the great success of the first Symphony. For this recording, as with the first, Gardner has paired the symphony with one of Elgar’s great works for string orchestra, this time the Serenade for Strings, Op. 20. After the instant success of his first Symphony, the response to Elgar’s second was more of a slow burn. Ostensibly dedicated to the late King Edward VII, it is in fact more personally inspired, Elgar saying ‘I have written out my soul’ in the work, along with the Violin Concerto and The Music Makers. The mammoth opening movement is dominated by a passionate but stately theme, known as the ‘Spirit of Delight’ (a reference to Shelley). Gardner and the BBCSO give this weight without ever getting bogged down, and the contrast between this and the more complex, reflective passages are all the more striking here. The funereal second movement also has passion, but again Gardner keeps this under control, bringing out the poignancy of Elgar’s personal lament. The short Rondo has fitful pace here, and Gardner and the BBCSO players present the finale’s complex fugal passage with taut precision. As with all his Elgar recordings to date, Gardner never overindulges, but this is never dry or without passion either. The Symphony is paired here with a warm reading of the youthfully charming Serenade for Strings. Its three short movements combine lyricism and expression with gently rocking rhythms, and Gardner and the BBCSO strings give us a particularly tender slow movement here. Another fine Elgar recording from Gardner, highly recommended.
(Edited versions of these reviews first appeared in GScene, August 2018)
The Van Baerle Trio
met while they were studying at the Amsterdam Conservatory in 2004. They have since worked with Menahem Pressler,
pianist in the Beaux Arts Trio, and their debut CD is very impressive. They perform two great French works – the
first of Saints-Saëns’ two piano
trios, and Ravel’s single work for
the combination. In between, they play a
single movement work by the Dutch composer Theo Loevendie (b.1930), called Ackermusik. This provides an interesting interlude
between the two French works, although stylistically it isn’t a great fit. However, they tackle its extremes of dynamics
and rhythmic difficulties well. But in
the two main works, they really shine.
They capture the lightness and spirit required in the Saints-Saëns, yet
also show great sensitivity in the delicate slow movement. The Ravel is a beautiful piece, full of
richness, almost orchestral colours, and their performance is suitably intense
and full. Pianist Hannes Minnaar produces beautifully sonorous playing in the third
movement Passacaille, and this is matched by touching, delicate playing from
violinist Maria Milstein and cellist
Gideon den Herder. Definitely an ensemble to keep an eye on.
Various. Piano Trios. Van Baerle Trio. 2012. Compact Disc. Et'Cetera. KTC 1438.
The Doric String Quartet garnered wonderful reviews for their recording of the
String Quartets by Erich Korngold
(1897-1957). Following further
excellent CDs of Schumann and Walton, they return to Korngold, joined by
friends for performances of the Piano
Quintet and the Sextet. First, in the Piano Quintet they are joined
by the great pianist Kathryn Stott,
and clearly have a great time. They
avoid over-sentimentalising the already highly romantic music, yet still manage
to provide the necessary nostalgic warmth and youthful spirit (the composer was
still just 23 when this was composed). In
the Sextet, the Dorics are joined by an extra viola (Jennifer Stumm) and cello (Bartholomew LaFollette). This is an even earlier
work, from 1914 – yet the child prodigy had already been composing for 8 years
by now. If anything, it is even more
intense than the Quintet, and the musicians work well together here. Unlike some string sextets, Korngold avoid a
heavy, dense texture, and rather chooses to use the instruments contrapuntally
much of the time. The slow movement here
is particularly tenderly performed.
Overall, another impressive release to add to the Dorics’ growing
catalogue.
Korngold, Eirch Wolfgang. String Sextet, Piano Quintet. Doric String Quartet, Jennifer Stumm, Bartholomew LaFollette, Kathryn Stott. 2012. Compact Disc. Chandos CHAN 10707.
Ola Gjeilo (b.1978) is a young Norwegian composer, specialising predominantly in
choral music, and he is currently the composer in residence with the excellent Phoenix Chorale from Arizona. I was looking forward to this CD, as I had
read good things about it. The
performances can’t be faulted – the Phoenix Chorale are spot on, with a warm
and well blended sound, and perfect intonation throughout. It is the music that is rather beneath their
considerable talents. In the whole disc
(which includes eleven different works), there is not a single unexpected harmonic
change, and the cumulative effect of the saccharin harmonies and relentlessly
slow (even turgid) tempi leave one longing for some dissonance and rhythmic
interest. Choral music has become trendier
of late, with the likes of Eric Whitacre, and Paul Mealor (made popular by the
Military Wives). But Whitacre does
achieve variety and produces a range of interesting choral effects in his inventive
music. Here, the sound world of each
piece is pretty much identical, the only interest being the works with added
string quartet (the Harrington String
Quartet), piano (the composer himself) or tenor saxophone (Ted Belledin). We’re two thirds of the way in before there
is a piece with any real drive (Prelude),
but this is in fact the shortest track, and then we’re straight back into soporific
‘atmospheric’ territory. A real
disappointment.
Gjeilo, Ola. Northern Lights, Choral Works by Ola Gjeilo. Phoenix Chorale, Charles Bruffy. 2012. Hybrid Super Audio Compact Disc. Chandos CHSA 5100.
French baritone Gérard
Souzay died in 2004 aged 85. He was
recognized as one of the foremost singers of French mélodie but also one of few French singers to excel in German
repertoire too. His voice had
beautifully rounded quality, never harsh, yet still full of character. The Schwetzingen Festival have been releasing
recordings from their archives, and this is a real treat, from a recital in
1960, when Souzay was accompanied by Dalton
Baldwin on piano. He performed
several Schubert songs (including An die Musik), the Six Monologues for Everyman by Frank
Martin, and ended with a set of Strauss
songs. In the middle was the French
repertoire – Ravel’s Cinq melodies
populaires grecques, and Deux mélodies
hébraiques, which are particularly touching. His voice was truly in its prime, and this is
a wonderful selection to whet your appetite if you don’t already know this
truly great singer.
Various. Gérard Souzay, Liederabend 1960. Gérard Souzay, Dalton Baldwin. 2012. Compact Disc. Hänssler Classic CD 93.717.
Next, works by
Manuel de Falla (1876-1946)
performed by the BBC Philharmonic, conducted
by Juanjo Mena. First comes the ballet ‘El sombrero de tres picos’ (The Three-cornered Hat). This is great fun, with real atmosphere and
folk spirit, energetically performed, with a lovely contribution from soprano Raquel Lojendio. Next comes a wonderfully atmospheric and
lively performance of ‘Noches en los
jardines de España’ (Nights in the Gardens of Spain), with Jean-Efflam Bavouzet on piano. They finish the programme with ‘Homanajes’ (Tributes), a suite for
orchestra written late in his life, and containing tributes to Debussy, Dukas,
and lesser known (to us) influences on Falla – the Catalan composer Felipe
Pedrell and the conductore Enrique Fernández Arbós. This is very enjoyable, and excellently
recorded – a little more abandon in places would have made this a perfect
addition to the catalogue, but it’s definitely up there, particularly
Bavouzet’s performance in the Noches.
de Falla, Manuel. Nights in the Gardens of Spain, etc. Jean-Efflam Bavouzet, Raquel Lojendio, BBC Philharmonic, Juanjo Mena. 2012. Compact Disc. Chandos CHAN 10694.
Finally, in
brief – an excellent re-release of a remastered recording from 1989 of the
late, great Sir Charles Mackerras
conducting the London Symphony Orchestra,
with Raphael Wallfisch playing the Dvořák Cello Concerto, and also Dohnányi’s Konzertstück. Surprisingly fresh recorded sound, combined
with assured interpretations from both conductor and soloist, at mid-price this
is worth snapping up.
Various. Dvořák Cello Concerto, Dohnányi Konzertstuck. Raphael Wallfisch, London Symphony Orchestra, Charles Mackerras. 2012. Chandos. CHAN 10715X.
(An abridged version of these reviews first appeared in GScene)
