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Monday, September 24, 2012

The Gliere Orchestral Collection

This boxed set of Glière’s orchestral music is a great opportunity for those to whom his name is little known to discover some tremendous music of great power and beauty.

“If not the [Third] symphony's first outing on disc, it remains the best...Chandos's recordings still sound glorious and the orchestra's manifest engagement with the music shines through. Watkins is excellent in the Horn Concerto but overall it is Downes's enthusiasm that makes the set so valuable.” --Gramophone Magazine, Awards Issue 2011

BBC Philharmonic, Sir Edward Downes, Vassily Sinaisky

Sir Edward Downes enjoyed a long association with the BBC Philharmonic, serving as its Chief Guest Conductor, then Principal Conductor, and finally as Conductor Emeritus. His recording of Glière’s Symphony No. 3 Ilya Muromets proved the beginning of an enduring relationship between Chandos and the orchestra, which has made around 200 highly acclaimed recordings for the company, all noted for their sonic – as well as artistic – brilliance.

Although he died in 1956, Glière wrote in the great Russian romantic tradition, specialising in large-scale forms and combining tunefulness with unashamedly colourful orchestrations. This Chandos box set, which includes many rarities in the concert and record repertoires, is the most comprehensive survey of this composer’s music available; it comprises Glière’s three symphonies and a host of tone poems, ballet suites, and other orchestral works. Among the most famous will be the epic Third Symphony Ilya Muromets and the Suite from the ballet The Red Poppy, which includes the famous ‘Russian Sailor’s Dance’, one of the catchiest classical pops in the whole repertoire.

The ballet music of Glière was particularly effective, demonstrating great sensitivity and beauty, the composer’s aptitude for ear-tickling sonorities most apparent. The forty-six-minute Suite from The Bronze Horseman is an excellent example, here coupled with the appealing Horn Concerto. A CD of miscellaneous overtures and orchestral works continues to illustrate Glière’s tuneful art, much of it imbued with ‘local’ colour and dressed in bright orchestral garb. All is presented with relish by the BBC Philharmonic. The late Sir Edward Downes and Vassily Sinaisky are both masters of this colourful repertoire, and the sonic quality of Chandos’ BBC Philharmonic recordings is legendary.

Sunday, September 23, 2012

Live at the Royal Albert Hall

“there's an admirable lightness of touch and appreciation of rhythmic flow to her "Für Elise", and her negotiation of Liszt's "Un Sospiro" is captivating.” --The Independent, July 2012 ****

“genuine gifts for lyricism and dazzling display...those musical gifts quickly hit the ears on this closely recorded CD.... Track three is Liszt’s La campanella, intelligently shaped, its bell sounds glittering as rarely before...Lisitsa tends to play with the lights fully on, with not enough shading in the wide expanse between loud and quiet. This gets rather tiring...But at the moment there is only one Valentina Lisitsa.” --The Times, July 2012

Born in Kiev, Ukraine, Valentina began playing the piano at the age of three and performed her first solo recital just one year later. She has won prestigious awards for her playing internationally, including the Murray Dranoff Two Piano Competition (together with her husband Alexei Kuznetsoff).

Valentina Lisitsa has already performed at major international venues including Carnegie Hall and Avery Fisher Hall in New York and the Vienna Musikverein, and in countries as far apart as the Netherlands and Brazil. She has played with renowned orchestras including Chicago Symphony, Seattle Symphony, San Francisco Symphony and the Pittsburgh Symphony, collaborating with conductors Manfred Honeck, Yannick Nézet-Séguin, and Jukka-Pekka Saraste, among others. Upcoming performances are confirmed with the Rotterdam Philharmonic, Philharmonie im Gasteig, Munich with Münchner Symphoniker and recitals at the Victoria Hall in Geneva and Philharmonie in Berlin.

With more than 43 million views and over 52,000 subscribers to her YouTube channel, the young pianist is not only one of the fastest-rising stars of the international concert scene but probably the single most-watched classical musician, having rapidly overtaken long-established giants of the piano world in terms of global online viewing figures.

CPE Bach: Oboe Concertos

C.P.E. Bach’s two surviving oboe concertos both began as keyboard concertos that were later transcribed for oboe; their intended performer was probably Johann Christian Fischer, a virtuoso based in Potsdam in the mid 1760s. This would perhaps account for their technical and immensely challenging solo lines, which suggest that, like his father, Carl Philipp Emmanuel revelled in pushing instruments and performers to their limits.

The highpoints of both concertos are their slow movements, which feature music of such beauty and chromatic melancholy – achieve by muting the oboe with sheep’s wool – that the emotion is profoundly moving. The concertos are complemented by the Pastorale in A minor and Sonata in G minor. Although the Pastorale is of uncertain authorship and may have been composed by C.P.E Bach’s brother Wilhelm Friedemann, the Sonata can be dated to the mid 1730s.

Like the concertos, this work has a highly effective slow movement, in this case the opening movement, containing music of great beauty and high emotional charge. A fast movement follows, and the work concludes with a virtuosic set of variations.

Avison: Concertos after Scarlatti

This recording presents a vivid and fresh account of Avison’s astonishing arrangements of Scarlatti’s sonatas. In making these transcriptions, Avison capitalised not only on the interest in Scarlatti’s music, but also on the popularity of the concerto grosso form.

Charles Avison was a remarkably influential composer, conductor, organist, teacher, and writer on music in England (and specifically London) during the 18th century. These string arrangements, or "grand concertos for violins" after Domenico Scarlatti's keyboard sonatas, geared mainly for amateur groups, were among his most popular and lucrative ventures, and it's easy to see why. They're absolutely gorgeous! All are based on Arcangelo Corelli's seductive concerto grosso model, where a larger ensemble alternates with a smaller one, observed here by Café Zimmermann dividing into "concertino" and "tutti" sections. When not reproducing Scarlatti's scores to the letter, Avison fine tunes or adjusts the orchestration to compensate for either extended or overly-difficult passages. What's not to like?

Avison's craftsmanship and Café Zimmermann's performances are impeccable. Rhythmically charged movements such as the Con furia of the Sixth, and the concluding Vivacemente of the Third concerto are as instrumentally if not inspirationally driven as any penned by Corelli or by Avison's more immediate competitor in the form, Handel. At the opposite extreme, and equally beautiful, are the ravishing sustained legato of the opening Grave temporeggiato and the following elegantly-dotted Largo tempo giusto of the 12th concerto. But then, there's not a moment throughout this program that doesn't in some way joyously celebrate the Baroque concerto form.

Alpha's sound is exceptionally vivid and clear. Jack Cassingham's notes are informative and entertaining, and they include a concordance that identifies, movement by movement, which sonata (by Kirkpatrick number) Avison used for his transcriptions. While there have been many recordings of these works, few match Café Zimmermann's virtuosity and uncanny idiomatic flair. And while there's no indication anywhere here, let's hope that Café Zimmermann will soon offer the remaining six concertos in Avison's Op. 6. Highly recommended! --John Greene, ClassicsToday.com

Thursday, September 20, 2012

Nielsen: The Complete Concertos

"Niels Thomsen’s powerfully intense account of the late Clarinet Concerto is completely gripping. Michael Schøwandt gives sensitive and imaginative support, both here and in the two companion works. Toke Lund Christiansen is hardly less successful in the Flute Concerto. Kim Sjøgren and Schønwandt give a penetrating and thoughtful account of the Violin Concerto: there is real depth here, thanks in no small measure to Schønwandt. The recording is first class." --The Penguin Guide - 1000 Greatest Classical Recordings 2011-12

Kim Sjøgren's account of the Violin Concerto has a great deal going for it: he may not have the lyrical purity and aristocratic finesse of ChoLiang Lin (CBS—a 1989 GRAMOPHONE Awardwinner), nor his effortless virtuosity but he plays with great understanding and intensity. Moreover he has the advantage of an infinitely more sympathetic and understanding orchestral support. Right from the beginning and throughout the work—I should add the whole record—Michael Schønwandt shows an innate feeling for this music and its atmosphere, and is far more responsive to its natural flow than Lin's conductor, Esa-Pekka Salonen. The perspective between soloist and orchestra is well-judged (Sjøgren is never larger than life) and so, for the most part, is the internal balance: only at one point a little way into the finale did I feel the woodwind was a bit too prominent. If Sjngren does not produce quite as noble a sound as Lin, the performance as a whole can hold its head high alongside it.

In the Flute Concerto Toke Lund Christiansen gives a very fine account of himself, full of spirit and intelligence. In some respects he is not quite the equal of the remarkable Patrick Gallois with the Gothenburg Symphony Orchestra and Myung-Whun Chung (BIS/Conifer) who has great expressive intensity and conveys the "lightness of spirit and awareness of pain" you find in this concerto to striking effect. All the same, this fine Danish player, a pupil of Poul Birkelund, produces good sound and has no want of brilliance, authority or character. Last but emphatically not least, Niels Thomsen's account of the Clarinet Concerto is one of the very finest I have ever heard, and I do not forget the masterly performance by Kjell-Inge Stevensson with Blomstedt (EM!, 10/75—nla) or 011e Schill's tine Gothenburg version (BIS) listed above. There is no attempt to beautify the score or to overstate it: every dynamic nuance and expressive marking is observed by both soloist and conductor, and the risks that are taken come off. Niels Thomsen plays as if his very being is at stake and Michael Schønwandt secures playing of great imaginative intensity from the Danish Radio orchestra.

In short a very impressive recording and well worth acquiring, even if you have some of the rivals listed above. R. L. --Gramophone, April 1991

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