CD Reviews - February 2013

The Doric String Quartet have quickly established themselves in a relatively crowded field of young quartets, and their recordings have won awards and high acclaim.  Their latest disc is no exception, despite the fact they have chosen to record two of the most well-known Schubert quartets, the two known as ‘Rosamunde’ (No. 13 in A minor) and ‘Death and the Maiden’ (No. 14 in D minor).  Both works were composed towards the end of Schubert’s life, when the syphilis that would kill him had taken hold.  Both the names of these quartets refer to the slow movements – the main melody of the ‘Rosamunde’ quartet comes from Schubert’s incidental music for a play of the same name, and the theme for the variations in ‘Death and the Maiden’ comes from his song setting of Der Tod und das Mädchen by Matthias Claudius.  Both quartets combine incredibly dark, almost painful music with moments of lyrical beauty and grace – the intensity of the outer movements of No.14 verges at times on violence.  The Dorics perhaps emphasis the darkness more than the light, with their sparse use of vibrato and accurate use of the full range of dynamics.  Yet they are still able to produce moments of lightness and beauty when required – it’s just that the sense of tragedy and foreboding is never far away, which surely is the intrinsic power of this music.  Even the light melody of the ‘Rosamunde’ tune in No. 13, almost trite in its simplicity, acquires a mystery as it rises to a brief climax before subsiding once more into calm.  Yet the dark heart of No. 14, the Death and the Maiden variations, is where the Dorics show their total mastery of this music.  The relentless rhythm of the tune, taken here at a more pressing tempo allows every player to shine in turn, but cellist John Myerscough stands out in the fifth variation, before the music returns with painful inevitability to the simple theme in the coda.  You can hear the Doric String Quartet play this quartet in Lewes at the Nicholas Yonge Society (Friday 22 February) – not to be missed!

Schubert, F. String Quartets, 'Rosamunde' and 'Der Tod und das Mädchen'. Doric String Quartet. 2012. Compact Disc. Chandos CHAN 10737.

Pianist Benjamin Grosvenor was just 11 when he won the keyboard final of Young Musician of the Year in 2004 (losing in the final to violinist Nicola Benedetti).  He became the youngest pianist to play at the First Night of the Proms in 2011, making his debut there with Liszt’s Second Piano Concerto, to great acclaim, and recently he won two Gramophone awards (Best Instrumentalist and Best Young Artist).  I’ve been listening to his 2011 CD of Chopin, Liszt and Ravel, and I have to say this is one performer who deserves the hyperbolic reviews he has been receiving lately.  The disc includes Chopin’s four Scherzos, alternated with three of the Nocturnes.  The disc ends with Ravel’s enormously challenging Gaspard de la nuit, and in the middle are three short works from Liszt – two transcriptions of Polish songs by Chopin, and Liszt’s own Nocturne, ‘En rêve’.  His virtuosity in these challenging works is without question, but what impresses even more is the maturity of interpretation.  From the wild first Scherzo at the start of the disc, through Liszt’s surprisingly introspective ‘En rêve’, to the technical nightmare of Scarbo, Gaspard de la nuit’s notoriously difficult final movement, Grosvenor’s playing is captivating and inspiring.

Various. Chopin, Liszt, Ravel. Benjamin Grosvenor. 2011. Compact Disc. Decca 478 3206.

Jean-Efflam Bavouzet is back with more Haydn (1732-1809).  His 4^th volume of Haydn’s Piano Sonatas brings us three Sonatas (Nos. 30, 38 & 40) and a set of Variations in F minor.   The well-known Variations were composed in 1793, so towards the end of the composer’s life, and he perhaps jokingly subtitled the work ‘Un piccolo Divertimento’ – this is fact a substantial piece, certainly not a lightweight novelty.  This is actually a double set of variations, with two musical episodes, each varied twice.  As with previous discs in the series, Bavouzet demonstrates his authoritative immersion in this music, through his informative performance notes, but also in his sensitive and appropriate use of ornamentation and decoration.  He brings out Haydn’s humour, particularly in Sonata No. 30’s opening movement, as well as the joy and spirit of the more well-known No. 38’s closing Finale.  No. 40 is somewhat shorter, with just two movements, but no less interesting, with particularly clever use of canon in the second Menuet movement.  Once again, Bavouzet is a joy to listen to, and the intermittent arrival of the volumes from this series is always something to look forward to – roll on Volume 5!

Haydn, F. J. Piano Sonatas, Volume 4. Jean-Efflam Bavouzet. 2012. Compact Disc. Chandos CHAN 10736.

The fact most often stated about Czech composer and violinist Josef Suk (1874-1935) is that he was a pupil of, and married the daughter of Dvořák – talk about being overshadowed!  Yet despite this, his music is well worth exploration, and he produced some fine chamber and orchestral works – his Serenade for Strings is perhaps one of his best known pieces.  Czech conductor, Jirí Bêlohlávek, with the BBC Symphony Orchestra, have recorded two of his orchestral works and a glorious new disc, which can be highly recommended.  The first work on the disc, ‘A Summer’s Tale’, is a beautiful evocation of summer and nature, and is a real discovery for me.  The orchestration is striking, and the use of hazy, shimmering strings, and bright and perky wind playing creates a fascinating soundworld which deserves greater recognition.  The Intermezzo, with its representation of blind musicians playing a mournful tune, oblivious of the sunshine around them, is particularly striking and evocative. The other work here, ‘Prague’, was composed shortly after the tragic loss of first his father-in-law Dvořák, to whom he was very close, and then soon just two months later, the death of his beloved wife, Dvořák’s daughter Otilka.  The work makes use of a love theme that he used in an earlier work composed just before his marriage to Otilka, and a Hussite chorale tune, and the work climaxes with the two themes combining triumphantly.  Both works receive performances full of life and the BBC Symphony Orchestra rise to the challenge of the many solo opportunities that the works also present.

Suk, J. Prague, A Summer's Tale. BBC Symphony Orchestra, Jirí Bêlohlávek. 2012. Super Audio Compact Disc. Chandos CHSA 5109.

(Edited versions of these reviews first appeared in GScene magazine, February 2013)

Mass in B Minor, BWV 232 - J. S. Bach

John Hancorn

East Sussex Bach Choir and the BREMF Singers will be joining together for a performance of Bach's B MInor Mass.  We will be joined by the wonderful Baroque Collective, led by Alison Bury, and the soloists  Georgina Stalbow, Rachel Lloyd, Nick Pritchard and Stephen Varcoe, all directed by John Hancorn.

The concert will take place at All Saints Church, Hove on Saturday 9 March, 7.30pm.

Tickets are available via the BREMF website, at the Lewes Information Centre, or by telephoning 07759 878562

Nick Prtichard

Alison Bury

Georgina Stamblow

Rachel Lloyd

     

Stephen Varcoe

ESBC & BREMF Singers

CD Reviews - January 2013

Dutch cellist Pieter Wispelwey has already recorded the Bach Cello Suites twice before - so why has he now, fourteen years on from the last outing, decided to record them again?  Well, he's reached his 50th birthday, but he's also spent considerable time with eminent Bach scholars Laurence Dreyfus and John Butt, and has explored the six suites in perhaps greater depth than ever before.  Bach notoriously left very little instruction for how the suites should be played, not just in terms of tempi or articulation, but even the kind of instrument on which to play them – in fact three different types of instrument are called for.  So for this recording, Wispelwey has recorded them playing on a standard Baroque cello for the first five, and a Violoncello piccolo (with an additional fifth high string) for the sixth, but he has also gone for a lower pitch than usual.  Modern concert pitch is normally 440Hz, and Baroque pitch is generally agreed to be a semitone lower, at around 415Hz.  But Wispelwey has gone for 392Hz – known as the Cöthen pitch - a whole tone lower than modern pitch.  This creates a remarkably different sound world, and rather than being muddy or heavier than one might expect, it actually sounds lighter, freer and even natural, yet without the saccharine sweetness that many modern instrument recordings produce.  There is also an earthy grittiness, produced by the gut strings under a lower tension than usual.  Right from the word go, with the familiar Prelude of the first suite, this sound captivated me, and made me listen afresh to these incredible masterpieces.  Wispelwey talks in the accompanying DVD documentary about the dance movements, and achieving the right tempi for these – some of his tempi are faster than we might be used to, and he makes these movements really sing with a delightful spring.  The rocking cross rhythms of the Prelude to the fourth suite are a highlight for me that I could listen to again and again.  Yet Wispelwey doesn’t see this as his definitive word on the works, and talks of the possibility of further recordings in the future – his passion for them, almost an obsession, is clearly not sated yet!

Bach, Johann Sebastian. Six Suites for Cello Solo, Pieter Wispelwey, 2012. Compact Disc (2) and Digital Versatile Disc. Evil Penguin Records Classic EPRC 012.

The great English conductor, Richard Hickox, died unexpectedly four years ago now, and the loss to English music is still keenly felt.  Chandos have been re-releasing a number of his recordings which amount to no less than a definitive catalogue of music by the great English composers.  I’ve been listening to two of these – a two disc set of works by Sir John Tavener (b.1944), and ‘The Collector’s Edition’ 6-disc box set of Orchestral Works by Frank Bridge (1879-1941).  The Tavener set includes three works.  The first, We Shall See Him as He Is, is an extensive piece for soloists (Patricia Rozario, John Mark Ainsley and Andrew Murgatroyd), choruses (here the BBC Welsh Chorus, The Britten Singers and Chester Festival Chorus) and an unusually scored orchestra (BBC Welsh Symphony Orchestra) with just brass, strings, organ and timpani (so no wind instruments).  This was composed in 1990, and stems from the period when Tavener was most devoutly immersed in the Greek Orthodox religion, and before he began to embrace other religions, and moved apart from his close relationship with his spiritual adviser Mother Thekla, who died in 2012.  As always with Tavener, he creates long periods of meditative calm, here interspersed with outbursts from the brass and timpani, which don’t entirely work for me.  I have sung in performances of his later work, The Veil of the Temple, and this was more successful at creating moments of high drama to contrast with the extended meditative passages.  Eis Thanaton is for two soloists and orchestra (the City of London Sinfonia), and was written shortly after the death of Tavener’s mother in 1985, to whom he was very close.  Again, the orchestration involves just brass, strings and timpani.  An incredibly haunting work, the soloists Patricia Rozario (a personal favourite of Tavener’s) and Stephen Richardson do a great job as Mother and Son.  The final work, Theophany, makes use of pre-recorded tape with orchestra (Bournemouth Symphony Orchestra), and again two soloists (Jeremy Birchall and Margaret Feaviour).  The tape uses multi-tracked bass chant and a Chinese wind-gong, creating an otherworldly effect. 

The Bridge set contains a total of 43 separate works, yet consistently draws on most of the same forces – the BBC National Chorus and Orchestra of Wales, with Sarah Connolly (mezzo), Philip Langridge (tenor), Roderick Williams (baritone), Howard Shelley (piano)  and Alban Gerhardt (cello).  Many of these works are barely known and rarely performed – only a few crop up more regularly on the concert platform, including the suite The Sea (composed by Brighton-born Bridge in Eastbourne, and a work which particularly impressed his pupil Britten), the cello concerto Oration, and Phantasm for piano and orchestra.  Yet there are many delights to be found in this collection – from the brief yet expressive Norse Legend to the ambitious early symphonic poem, Mid of the Night.  The songs for solo voice and orchestra, collected together on the last two discs, are beautifully performed by the three singers, and many of them are premiere recordings.  I particularly liked the impressionist Day after day, with highly sensitive singing from Connolly.

These two collections demonstrate how important Hickox was in bringing forgotten English repertoire to our attention, and reminds us what a loss he was to the music world.

Tavener, John. We Shall See Him as He Is, Eis Thanaton & Theophany. Patricia Rozario, John Mark Ainsley, Andrew Murgatroyd, Stephen Richardson, BBC Welsh Chorus, The Britten Singers, Chester Festival Chorus, BBC Welsh Symphony Orchestra, City of London Sinfonia, Bournemouth Symphony Orchestra, Richard Hickox. 2012. Compact Disc (2). Chandos CHAN 241-42.

Bridge, Frank. Orchestral Works. Sarah Connolly, Philip Langridge, Roderick Williams, Alban Gerhardt, Howard Shelley, BBC National Chorus of Wales, BBC National Orchestra of Wales, Richard Hickox. 2012. Compact Disc (6). Chandos CHAN 10729(6) X.

Hot on the heels of the success of the first volume of their live recordings of Beethoven Piano Trios, the Gould Piano Trio are back with the second set.  Here we have two early works, the first of which is numbered ‘WoO 38’ – without opus – meaning that it was only published after his death, and this is followed by Op.1 No.3, composed just four years later in 1795.  Whilst they do not sound revolutionary to our ears, they were both more substantial endeavours than the domestic scale trios from other composers before, already giving notice of the expansive direction Beethoven would take from here on in.  Beethoven already uses the cello very differently in these works too, giving it a much more prominent role.  These two early works are joined on this disc by a later work from his middle period, Op.70 No.2.  Despite his deafness and uncertainty of income now dominating his existence, this work is still full of positivity, much more relaxed in feel to the first of the Op.70 set, the ‘Ghost’, which was on the Goulds’ first disc.  The recordings are again live, from one concert at St George’s, Bristol, and are full of spirit and energy.  The opening Allegro of Op.1 No.3 is especially full of drive, and the variations which follow this has a graceful and sensitive touch.  With I’m guessing another couple of discs to go, I’m very much looking forward to the next volume of what is proving to be an outstanding set.

Beethoven, Ludwig van. Beethoven Piano Trios, Vol. 2. Gould Piano Trio. 2012. Compact Disc. Somm SOMMCD 0120.

(Edited versions of these reviews first appeared in GScene magazine, January 2013)

CD Reviews - December

American choral composer René Clausen (b.1953) is perhaps less well-known here than Lauredsen, or the ubiquitous Whitacre, but in fact has a substantial catalogue of choral works, and the latest disc from the Kansas City Chorale, under the direction of Charles Bruffy, entitled 'Life and Breath' is a great showcase for his work.  Many of the texts set will be familiar - compare Lauredsen's O magnum mysterium, or Tavener's The Tyger and The Lamb, for example.  Yet this added to the interest of this collection for me.  Whilst Clausen's settings don't necessarily improve on these well-known settings, they do offer a refreshing different take.   The Lamb in particular has a striking luminosity, combined with gentle tenderness.  Here, as in nearly all the pieces on the disc, Clausen adds a soprano solo, all taken from the choir members, all highly competent.  Sarah Tannehill deserves special mention for her bell-like solo in the Credo of the Mass for Double Choir, the most substantial work, which forms the centrepiece of the programme.  There is more harmonic interest here, and the shifting dissonances in the Kyrie provide significant challenge for the singers, which they certainly meet.  The obligatory use of tone clusters is here, but Clausen makes good use of rhythmic interest, and his word-setting is strong.  His interweaving of the well-known Lutheran chorale O Sacred Head, Now Wounded into his other double choir work here, O vos omnes, is also highly effective.  An enjoyable disc, and a choral composer deserving of the exposure and expert advocacy given here by the excellent Kansas City Chorale.

Clausen, René. Life and Breath - Choral Works by René Clausen. Kansas City Chorale, Charles Bruffy. 2012. Hybrid Super Audio Compact Disc. Chandos CHSA 5105.

Mikhail Pletnev has nearly reached the end of his second recorded cycle of Tchaikovsky symphonies with the Russian National Orchestra on SACD with Pentatone.  With just the Third to come, I've been listening to the somewhat less popular Symphony No. 2, the 'Little Russian', so called because of its use of Ukranian folk tunes.  It perhaps doesn't have the intensity or drama of the later symphonies, but there is considerable interest in his use and variation of the folk melodies, possibly at the expense of overall structure.  This performance is tight, with some exemplary wind and brass playing in particular.  The original score was composed in 1872, but Tchaikovsky revised the work, changing the first movement and making cuts to the finale, as well as reorchestrating the scherzo.  It is the revised version that is most often performed, but Pletnev also includes the original first movement here as well as the revised.  Strangely, given the disc's short playing time of just over 48 minutes, the original finale is not included.  However, hearing both first movements, one can see why Tchaikovsky made the changes, although a few interesting ideas were lost in the process.  Nevertheless, this is pretty much a faultless performance, and the quality of the recording is spot on.

Tchaikovsky, Peter Ilyich. Symphony No. 2 in C minor, Op. 17. Russian National Orchestra, Mikhail Pletnev. 2012. Hybrid Super Audio Compact Disc. Pentatone PTC 5186 382.

The Russian National Orchestra return for another Pentatone SACD recording, this time under Vasily Petrenko (also Principal Conductor of the Royal Liverpool Philharmonic Orchestra), to perform the two Violin Concertos by Prokofiev, with the German violinist, Arabella Steinbacher.  Steinbacher produces a beautifully rich tone, and the RNO are once again on fine form.  Prokofiev's two concertos are a wonderful combination of full-blooded romanticism and his ability to spike this with a edge of quirky rhythmic sarcasm.  Steinbacher has the measure of this match – she plays with real lyricism (particularly noticeable in the second concerto’s slow movement), yet explodes with energy when Prokofiev calls for it.  The second’s Finale feels particularly sparky and perfectly on the edge of almost bacchanalian chaos.  Steinbacher finishes off the disc with Prokofiev’s Sonata for Solo Violin.  This piece was actually intended to be played in unison by a group of violins – this is rooted in the pedagogic tradition in Russia where students would learn to play in unison groups.  It is perhaps not the most virtuosic of sonatas for the instrument, but it requires subtle attention if it is not to sound like an academic study.  Steinbacher achieves this, and the middle movement Theme and variations are particularly delicately performed.  A delightful close to a successful recording.

Prokofiev, Sergei. The Two Violin Concertos, Sonata for Violin Solo. Arabella Steinbacher, Russian National Orchestra, Vasily Petrenko. 2012. Hybrid Super Audio Compact Disc. Pentatone PTC 5186 395. 

William Byrd's (c.1540-1623) 'Great Service' may have been written for the fortieth anniversary of Elizabeth I's accession to the throne - so perhaps a recording is fitting in this jubilee year.  And Musica Contexta have decided to perform the work set within an idea a liturgical setting in the Chapel Royal, where it may or may not have been performed - this means including motets, anthems and psalm settings, and separating the mass movements out into Matins, Communion and Evensong.  They have also introduced instruments to accompany the singers in various sections - these are the forces of the excellent English Cornett and Sackbut Ensemble.  Their further nod to 'authenticity' is their use of historically informed Elizabethan vowel pronunciation.  As worthy as the dedication to such academic accuracy is, such projects can sometimes collapse under the weight of such detail, and there are times where the seriousness of their endeavours obscures the joy of the actual music for me.  However, the overall standard of performance is strong, and the addition of two interludes for organ played by Steven Devine are an added bonus.  A well-executed project, certainly, to which one might return occasionally, but possibly not a performance for regular listening.  

Byrd, William. The Great Service in the Chapel Royal. Musica Contexta, Steven Devine, The English Cornett and Sackbut Ensemble, Simon Ravens. 2012. Compact Disc. Chandos CHAN 0789.

(These reviews first appeared in GScene magazine)