Mozart: Piano Concertos Volume 4 Concertos Nos. 12 and 23 Marianna Shirinyan, piano Odense Symphony Orchestra Scott Yoo, conductor Bridge Records
Although this is the fourth volume of Bridge Records' survey of the Mozart piano concertos, it's actually the first to feature pianist Mariann Shirinyan. She replaces the previous soloist (who has since left the label) to continue the series with Scott Yoo and the Odense Symphony Orchestra.
Not to worry, though. Shirinyan is more than capable of continuing the series. She performs with a light touch, and subtle phrasing that sometimes is only apparent after repeated listening. The liner notes suggest that Shirinyan wrote her own cadenzas. Whether she did or not, Shirinyan seem to take the opportunity to delve deeper into the music rather than dazzle with fireworks, making them sound like organic parts of the movement, rather than the showstoppers they can sometimes become.
All in all, a pleasurable listening experience from start to finish. I look forward to volume five!
Haydn, Beethoven, Schubert Gilbert Kalish, piano Bridge Records
In this recording, Gilbert Kalish presents an appealing program of works he knows well. The opening and closing works are the final piano sonatas of their respective composers -- Haydn and Schubert, with a selection of short works by Beethoven in the middle.
Haydn's Sonata No. 62 in E-flat (Hob.XVI:52) was composed for a gifted performer, and is one of Haydn's more complex piano works. Nonetheless, Kalish keeps things light and elegant. His well-rounded phrasing and subtle emphasis captures Haydn's reserved elegance perfectly.
Kalish also plays Franz Schubert's Piano Sonata No. 21 in B-flat, D. 960 in a slightly reserved fashion -- but it works. Rather than overwhelming the listener with emotion, Kalish's performance reveals the beautiful construction of the work. One hears the intricate patterns and lines of the sonata, rather than a furious rush of notes.
The Bagatelles, Op. 119 of Beethoven balance nicely with the two sonatas. These are short, relatively simple works (by Beethoven standards). Each bagatelle is lovingly performed by Kalish, turned into miniature gems by his musicianship.
Kalish plays with the fluid assurance that comes from a lifetime of music-making. He isn't trying to prove anything, or even assert his personality. He just plays, and it sounds like he's enjoying every moment. As did I.
When Frederick William II became King of Prussia in 1786, many German composers paid the cello-playing monarch tribute with dedicated compositions. One of the first gifts to arrive was a set of twelve quartets by Ignaz Pleyel. With this release, the Pleyel Quartett Köln continues their traversal of the "Prussian" quartets.
Although similar in style to his contemporaries Haydn and Mozart, in comparison Pleyel's quartets seem to have a stripped-down simplicity. The melodies have an elegant balance to them, moving in a logical fashion from cadence to cadence. Pleyel might not be breaking new ground with these works, but there's enough originality to make them worthy of repeated listening.
The Pleyel Quartett Köln continues the same high quality of performance they established with the previous releases in this series. Their period instruments give the works a somewhat soft sound, especially on the unison attacks. The players nicely balance classical reserve with expressive energy, which I think adds to the attractiveness of the works. My only complaint is that the ensemble seems to be recorded a little too distantly (with no room ambiance to compensate).
CPO began this series with quartets Nos. 7-9, then released Nos. 4-6. Perhaps Nos. 10-12 will follow shortly. I, for one, am looking forward to the completion of Pleyel's attractive coronation gift.
Music from 18th Century Prague Zelenka: Sanctus et Agnus Dei Tuma: Stabat mater Collegium 1704 Vaclav Luks, conductor Supraphon
The latest installment of Supraphon's long-running Music from 18th Century Prague series features mostly sacred music by two composers, and an instrumental work by a third. All three share a connection with J.J. Fux, whose highly influential teachings on composition and counterpoint left their mark on virtually all Czech composers of the period.
The album opens with a Stabat mater of Frnatisek Tuma, who spent most of his working life in Vienna, rather than Prague. Written in the stile antico, the Stabat mater follows the ideals of Fux (channeling Palestrina). Tuma's composition is a glorious work of church counterpoint.
Jan Dismas Zelenka was known as a daring and inventive composer. And while that's true of his instrumental music, his sacred works are more conservative, following the guidelines set out by Fux. Still, the counterpoint seems fresher and brighter than that of Tuma, with a strong sense of forward motion.
Johann Orschler's Sonata in F for two violins and basso continuo provide an instrumental interlude between the choral works of Tuma and Zelenka. His sonata sounds Italianate, although somewhat understated in the solo parts.
The Collegium 1704 directed by Vaclav Luks performs these works admirably. The choir's blend is a little sparse, and the voices sometimes have an edge to them. For these works, though, it works. The dense counterpoint of Tuma especially would be muddied with a more homogenous vocal blend.
Anna Bon di Venezia Six Sonatas for Harpsichord, Op. 2 Barbara Harbach, harpsichord MSR Classics
Anna Bon di Venezia is a somewhat mysterious figure -- very little is known about her, save that she, along with her parents (a stage manager and an opera singer) were hired by Count Esterhazy, where (presumably) they worked under his Kappellmeister, Franz Joseph Haydn.
Anna Bon published a set of flute sonatas, a set of keyboard sonatas, a set of trio sonatas before marrying and apparently retired from music.
The harpsichord sonatas, published in 1757, are fascinating. To my ears, they sound similar in style to the ones Haydn wrote around the same time. These are short, straight-forward works that are charming in their simplicity. Barbara Harbach performs them with delicacy and authority, bringing out the beauty and elegance of Bon's carefully crafted melodies.
These works, I think, compare favorably to contemporaneous sonatas by more famous composers. Recommended to anyone interested in early classical music.
The Beethoven Journey Piano Concertos Nos. 2 & 4 Leif Ove Andsnes, piano Mahler Chamber Orchestra Sony Classical
Pianist
Leif Ove Andsnes continues his highly personal exploration of
Beethoven's piano concertos. The second release in this series features
the second and fourth concertos, which work well paired together.
Andsnes
plays and directs the Mahler Chamber Orchestra from the keyboard. The
use of a small ensemble give these works an unusual lightness and
transparency. And by combining solo and conducting duties, Andsnes is
able to have the orchestra do precisely what he wants, instead of
relying on his wishes being relayed through a third party (who may have
some artistic ideas of their own).
Andsnes plays with delicacy and an almost liquid smoothness. In these
performances, the concertos aren't stormy contests of wills, but rather a
group of musicians acting in one accord. Andsnes makes the plain the
influence Mozart had on Beethoven, especially in the second concerto.
The rough-hewn edges of Beethoven's style are smoothed over and polished
to a sheen, revealing the underlying beauty of the music. Music which
seems somehow more elegantly simple through Andsnes' performances.
It's always a challenge to present works that have
been recorded countless times in a new and original fashion -- and
remain true to the music. Yet Andsnes does just that in this
successfully completed leg of his Beethoven journey.
An appealing program played by a masterful virtuoso. That's my impression of this new release from Cedille. As with many recordings, this Chicago-based label uses local talent -- but what talent it is!
Drostan Hall and the Camerata Chicago perform with precision and sensitivity admirably suited to Haydn. And Wendy Warner, though from Chicago, is an internationally-recognized cellist who brings a fresh interpretation to some well-known works.
The two cello concertos of Franz Joseph Haydn have long been repertoire staples, and just about every major cellist has recorded them. Warner's performances are expressive without being overly dramatic. The clear, singing tone of her Guarneri cello is beautiful -- and beautifully recorded. And Warner's interpretation, accompanied by a small ensemble, makes these works sound warmly intimate.
Sandwiched between the Haydn concertos on the album is Josef Myslivecek's only concerto for cello. A contemporary of Haydn (and friend of Mozart), Myslivecek's wrote in a similar style that nicely complements the Haydn concerti. And the Myslivecek concerto does not suffer for the comparison. Myslivecek wrote in a leaner, more straight-forward manner, bringing the aesthetics of the classical style to the forefront of his music.
Stuyvesant Quartet with Alfred Gallodoro, clarinet Brahms/Mozart Bridge
The Stuyvesant Quartet was a group of talented musicians who left a remarkable legacy. Founded by by the Shulman brothers, Sylvan (violin) and Alan (cello) in 1938, the quartet consisted of preeminent musicians from broadcast network symphony orchestras. In 1950 they formed their own label -- Philharmonia -- with audio legend Norman Pickering as their recording engineer.
Although Philharmonia was short-lived, the recordings and performances were top-notch, as this current reissue attests. The sound is warm, but detailed. The ensemble is nicely balanced, with a natural-sounding blend. And the performances are very much of their time.
The Brahms Clarinet Quintet with clarinetist Alfred Gallodoro is given a heavily romantic and sometimes sweet, reading. It's a performance that's full of drama, yet there are passages where the ensemble seems to be simply savoring every note.
The Stuyvensant's performances of Mozart's String Quartet in D major, K. 499 and String Quartet in D major, K. 575 are more straight-forward. While there is more vibrato than you'd hear in a modern recording, the ensemble keeps things simple and uncluttered.
This reissue is a window into the past, and a valuable one. No modern quartet would perform these works in the manner of the Stuyvesant. Yet the high degree of musicianship and the emotional charge they give these works makes for compelling listening even today. And the Stuyvesant's interpretations yield insights that can still sound fresh to modern ears.
Hymns and Choral Concertos Ensemble Cherubim Marika Kuzma, director Naxos
Dmitry Bortniansky (1751-1825) was almost an exact contemporary of Beethoven, and just as ground-breaking. He was the conductor of the Imperial Russian court and as composer, specialized in sacred choral music. The Russian Orthodox Church does not allow instruments to used in worship services, giving rise to a rich body of a cappella liturgical music.
Bortniansky took that tradition and updated it, creating a new type of sacred work, the choral concerto. This release presents nine of these works. While the texts are Russian, the harmonies are mostly Western, sounding somewhat akin to choral works by Schubert or even Mendelssohn.
Also included are two additional sacred works: The Cherubic Hymn No. 7, and the Kol slaven. The former is one of Bortniansky's most popular sacred works, often performed and recorded. The Kol slaven is even more popular: the tune became a Russian Christmas carol, and is more widely known in that version today.
The Ensemble Cherubim under Marika Kuyzma have a clean, intimate sound. One can easily hear inner workings of Bortniansky's harmonies and the interplay between voices. If you're not familiar with Bortniansky, or Russian Orthodox sacred music, this release is an excellent place to start.
W.A. Mozart: Piano Concertos (chamber versions) Anne-Marie McDermott, piano Calder Quaret David J. Grossman, bass Bridge Records
The three piano concertos (Nos. 12-14) on this new release had a somewhat checkered history. Mozart composed them as small-scale works in 1782 for a subscription concert he wished to put on.
The ensemble parts were composed in such a way that wind instruments were optional, and the string parts could be reduced to a simple string quartet if necessary. Thus, however much money was raised, the ensemble parts would be covered. Unfortunately, the subscription was unsuccessful. The works were eventually published, but only the full orchestral versions.
Hearing these three concertos in chamber form is something of a revelation. I didn't miss the orchestra at all. The pieces work very well with just a string quartet (or in the case of Piano Concerto No. 14, K.449 string quartet and bass) supporting the piano. It's a very clean, clear sound, and one that's perfectly, well, Mozartian.
Anne-Marie McDermott plays with taste and delicacy, capturing just the right emotion. Overly dramatic or aggressive playing could easily make the piano overpower the string quartet. And that's something that never happens on this recording. The Calder Quartet and McDermott are in full agreement, mutually working towards the same end.
These are delightful performances that I'll return to again and again. These chamber versions of the concertos are Mozart at his sunniest. Highly recommended, especially if you're only familiar with the full orchestral versions of these works.
The Beethoven Journey Beethoven: Piano Concertos No 1 & 3 Leif Ove Andsnes, piano Mahler Chamber Orchestra Sony
It's taken a while for Leif Ove Andsnes to get around to Beethoven. And
judging by the first installment of his traversal of the piano
concertos, it was worth the wait.
This first volume of "The Beethoven Journey" includes the first and
third piano concertos. According to Andsnes, they were chosen to provide
a study in contrasts. The first is in C major, and has a lot of the
lightness and clarity of Haydn and Mozart. The third is in the darker
key of C minor, and brings more of Beethoven's stormy personality to the
fore.
Andsnes performs with clarity and authority. He's given this music a lot
of thought, and it shows in his playing. The lines are beautifully
shaped, and there's real emotion present. Scalar passages skip along
pleasantly, ornaments provide mordant commentary, and the cadenzas
aren't just excuses to show off. It's hard to describe, but to me the
cadenzas seem like places where Andsnes takes over, but doesn't break
character. He's not giving us pyrotechnics, he's performing a part of
the work that just happens to be written for solo piano. A part that has
clear connections to what's gone on before, and what's to follow.
The Mahler Chamber orchestra is conducted by Andsnes from the keyboard.
The use of a chamber -- rather than a full -- orchestra gives these
works a more intimate character. There's drama, sure, but it's not the
thundering of the heavens. In his dual role of soloist and conductor,
Andsnes tightly integrates the artistic direction of both piano and
orchestra. Instead of a consensus arrived at through the collaboration
between conductor and soloist, we get a singular vision of these works
Does this recording contain the ultimate versions of Beethoven's 1st and
3rd piano concertos? No. But it does present thoughtful and original
performances that serve both the composer and the artist well. I look
forward to the next phase in Andsnes' Beethoven Journey.
Ferdinand Ries: Piano Concertos Vol. 5 Christopher Hinterhuber, piano New Zealand Symphony Orchestra Uwe Grodd, conductor Naxos
Naxos concludes their survey of Ferdinand Ries' works for piano and
orchestra with this release. Ries was an interesting character. A
talented pianist and composer, he moved to Vienna to study with
Beethoven, and became his secretary. In time, Ries set out on his own to
become a highly successful performer and composer.
This installment presents Ries' first and last piano concertos. It also
features one of the large-scale single-movement works he wrote to
showcase his talents in concert.
Piano Concerto No. 2 in E-flat, Op. 42 starts the program. Despite its
number, this 1806 concerto was actually the first of the eight Ries
composed. It has the bravura of Beethoven but tempered somewhat by
simple triadic melodies that seem more akin to Mozart. This late
Mozart/early Beethoven character is reinforced in the Larghetto and Rondo movements, which sound light, and lighthearted.
The Introduction et Rondeau brilliant, Op. 144 is a big, sprawling work
full of grand gestures. Finished in 1825, the music sounds more like
Schubert than Beethoven. Especially in the slow and elegiac
introduction, the piano part seems to presage to Chopin in its
expressiveness and fluidity.
Final work on the album is Ries' Piano Concerto in G minor, Op. 177.
Finished 24 years after his first concerto, Ries displays an expected
growth in his style. Ries' melodies sound more like Brahms than Mozart.
The burliness of Beethoven is still there in the solo passages, but
Mozartean elan has been replaced by more sophisticated harmonies and
increased drama. The orchestration has also developed, with instruments
being exploited more for their colors than just providing accompaniment.
Judging by the piano part, Ries must have been a ferocious player.
Although there are some real technical challenges here, Hinterhuber
makes them sound simple, and even fun to play. And that just adds to the
listener's enjoyment. This release brings a satisfying close to this
traversal of Ferdinand Ries' most important compositions.
Barbara Govatos and Marcantonio Barone have been performing as a duo for
over a decade, which makes their traversal of Beethoven's ten violin
sonatas so enjoyable. There's an easy give-and-take between these
performers that turn the music into a lively conversation between old
friends.
Both Govatos and Barone play with precision, which makes them
well-matched. These are very clean performances. And energy isn't
sacrificed for accuracy either. The early sonatas -- especially the Op.
12 set -- sound lively and exuberant.
I especially enjoyed the "Spring" sonata (op. 24). Govatos' playing was
light and airy. Her bow seemed to just glide over the top of the
strings. Another high point of the set for me was the the seventh sonata
(Op. 30, No. 2). The duo's smooth execution and full-throttle rush to
the big cadence points ramped up the excitement. Contrast that with the
hear-breaking delicacy of the slow movement, and you have a real winner.
The "Kreutzer" sonata (Op. 47) sounded a little restrained at first, but
the energy level picked up as it went along. Overall, these are solid
performances. The drama is there -- it's just not over the top.
The recording quality of this release is quite high. There's not a lot
of room ambiance, but the instruments are recorded with enough distance
to provide some natural resonance. The result is a very transparent
sound that makes it easy to hear the interplay between the instruments.
Clementi: Gradus ad Parnassum, Vol. 4
Exercises Nos. 66-100 Alessandro Marangoni, piano Naxos
Pianist Alessandro Marangoni completes his survey of Muzio Clementi's Gradus ad Parnassum
with this release. Composed over several years, this three-volume
collection of keyboard exercises has become one of the standard teaching
tools for pianists. But these works aren't just a series of dull and
difficult finger exercises.
True, within each of the short pieces in this collection a pattern of
notes will occur over and over, sometimes obsessively. But Clementi
underpins those patterns with interesting and supple harmonies that
provides forward motion and musical organization.
Most of the 34 exercises in this volume were grouped by Clementi into
suites. Each suite, taken as a whole, aesthetically makes sense. Each
suite has collection of contrasting movements. A mid-tempo piece is
followed by an up-tempo one. A simple, lyrical movement is followed by a
complex fugue, and so on. Although the individual pieces are enjoyable
enough to listen to, the suites place the movements in context and
provide deeper musical meaning to the whole.
The contrapuntal pieces were the ones I found most interesting --
Clementi had a facility for writing canons and fugues. The fugues don't
sound like Bach warmed over. Just as with the counterpoint of Mozart and
Haydn, these movements have a strong melodic flavor to them. These
pieces work as music and not just intellectual (or fingering) exercises.
Marangoni plays with alacrity and a light touch, making these difficult
exercises sound effortless. And more importantly, he makes them sound
musical.
The premise of "Gamut" is that the program is a continual survey of the rich repertoire of classical music. By never repeating a work, I'm forced to continually seek out both lesser-known works by famous composers, and lesser-known composers of merit.
This lead me recently to Christoph Ernst Friedrich Weyse (1774-1842), a Danish composer I had never heard of before. Given his life story, that's not surprising. But I was pleasantly surprised by his music, and for the next two months I'll be airing works by this interesting figure.
Weyse was born in Altona, originally part of Denmark , but now in Germany. At the age of 15 he moved to Copenhagen to with prominent Danish composer J.A.P. Schultz, and remained in the city for the rest of his life.
Weyse was deeply influenced by the music of Mozart and Haydn, and was inspired in the 1790's to compose seven symphonies in the then-prevalent early classical style of his heroes. It was to remain his musical language throughout his career.
The New Groves Dictionary calls his symphonies "not of real importance as independent concert works." Ouch. I disagree -- which is why we'll be airing all seven symphonies over the course of the next seven weeks, so you can judge for yourself.
Weyse made his mark in the realm of vocal music, particularly operas (mostly singspiel), cantatas, and smaller choral and songs for solo voice. He was also an excellent pianist, and his compositions for that instrument are quite fine, if somewhat conservative by nature.
Below is a sample from his Easter Cantata. As you can hear, the choral writing is on par with that of Haydn or Mozart. The work was completed in 1821. At the time it might have sounded old-fashioned. Today? Not so much.
As his fame grew (at least within Denmark), Wesye became the center of musical activity in Copenhagen. But he was also recognized outside his native country as well. Carl Maria von Weber, Ignaz Molchese and Franz Liszt all paid visits to Wesye, considering him a colleague in equal standing.
Which leads us back to "Gamut." Although Weyse is an unfamiliar figure outside of Denmark, he was respected by the major composers of his day. And if Franz Liszt thinks you're a pretty good pianist, well, that has to mean something!
We'll be airing a good sampling of Weyse's music, and you can judge for yourself. I was pleasantly surprised by what I heard -- I hope you will be, too.
Sigismund von Neukomm: Grande Sinfoie Heroique & 3 Fantasies Die Kolner Akademie Michael Alexander Willens, conductor CPO
Sigismund von Neukomm was a student of both Michael and Franz Joseph
Haydn. He helped with the production of some of Mozart's late
compositions, and worked with Haydn on the editing and arranging of
Haydn's music. At one point, he even taught Mozart's son composition. As
one might expect, his musical style shares many similarities to those
of his famous colleagues.
The earliest fantasy on this disc dates from 1806, the second 1808, and
the latest from 1823 -- but there's little difference in style between
them. All have a light, transparent sound of Mozart and Haydn. Neukomm's
music is very clean and precise, with everything laid out and organized
in a sensible fashion. Neukomm's melodies aren't quite as memorable as
Mozart's but they do have the same natural flow and charming simplicity
to them.
By contrast, the Grande Sinfomie heroique has a bigger feel than
the fantasies on this disc. The orchestration is more varied, and the
drama's heightened. If the other three works were comparable to middle
period Haydn, then this would be more early Beethoven and late Mozart.
The work never loses its sense of balance and proportion (so think of a
very polite Beethoven), but it has greater energy than the orchestral
fantasies.
Michael Willens directs with a light touch, and you can hear subtle
inflections in the phrasing bring this music even closer to the
Mozartian ideal. Highly recommended for any fan of the classcical era.
