Mariann Shirinyan Takes Over Mozart Series

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!

A gentle end to May

This week's Vivace begins with one of the real classics, the Piano Concerto No. 1 in E minor by Chopin, composed in 1830 and first performed in Warsaw, with the composer as soloist, during one of his "farewell" concerts before leaving Poland.

At 7 am, we'll enjoy one of those fine oboe concertos of Antonio Rosetti, after which we have an all-star quartet for a Mozart Quartet for flute and strings. 

At 8 o'clock, we'll have an enjoyable, dramatic work by French baroque composer, Jean-Philippe Rameau, and to conclude the program, a very rarely heard piano work by the Russian conductor, Evgeny Svetlanov.

As ever, I hope you'll join me Friday morning, 6-9 am, for Vivace, here on WTJU-Charlottesville.

Leif Ove Andsnes: The Beethoven Journey Continues

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.

Joyce Yang: Tchaikovsky Piano Concerto No. 1

Tchaikovsky: Piano Concerto No. 1; The Tempest
Joyce Yang, piano
Odense Symphony Orchestra; 
Alexander Lavarev, conductor
Bridge Records

It seems every pianist has to record the Tchaikovsky 1st, and Joyce Yang's no exception. So how does her interpretation stack up against the others? In this live recording, Yang seems to approach the work from a fresh perspective, presenting the music on her own terms.

Yang avoids the temptation of bombastic drama. She can play with plenty of power, but it's always under control. Her fluid technique was especially well-suited to the lyrical middle movement, which seemd to take on a warm glow somehow.

Because it was a live performance, one could hear little irregularities that are missing in studio recordings -- such as Yang's occasional grunts and sharp intakes of breath. Rather than distract, to me they added to the intensity and authenticity of the performance. I had no doubt that Yang was fully committed to the music she was playing.

Included on this release is another Tchaikovsky work, The Tempest, Op. 18 -- a welcome relief from the usual fillers. This 1873 tone poem is based on Shakespeare's play of the same name. While similar in sound to Tchaikovsky's "Romeo and Juliet," the relative unfamiliarity of the work keeps the drama and big tunes sounding fresh and exciting.

As good as this disc is, I do have one quibble. The recording sometimes sounds a little hollow, especially when the full orchestra's playing. Some of the detail of the ensemble gets washed out (although it returns in quieter passages).

American Grace: Orli Shaham's album of connections

American Grace
Piano music from Steven Mackey/John Adams
Orlie Shaham, piano
Los Angeles Philharmonic; David Robertson, conductor
Jon Kimura Parker, piano
Canary Classics

This album is all about connections -- and those connections help make this release such a strong program of contemporary piano music. Orli Shaham and Steven Mackey are close personal friends. His piano concerto "Stumbling to Grace" was composed for her, and in this recording, the performance is conducted by David Robertson, Orli's husband. These close connections facilitate communication, and to my ears, translate into a superior composition and performance.

The music is well-suited to Shaham's technique, and she plays with a deep understanding of the material. And the Los Angeles Philharmonic, led by Robertson, is right there with her. This concerto, as the name implies, is one with a destination in mind. Disjointed themes gradually coalesce over the course of the 26-minute work, stumbling towards a satisfying finale that pulls all the pieces together. Without a deep understanding of the structure and purpose of all these seemingly unrelated bits, the concerto could come off as rambling mess. In this case, though, composer, soloist, and conductor all seem to be of one mind, And the result is phenomenal.

The John Adams works included are also worth the price of admission. Shaham breezes through "China Gates" with metronomic precision tempered by an expressive delicacy. Hallelujah Junction, a work for two pianos, is another outstanding performance. Jon Kimura Parker and Orli Shaham are perfectly matched, sounding like a single uber-pianist.

Penderecki: Piano Concerto "Resurrection"

Krysztof Penderecki: Piano Concerto "Resurrection"
Florian Uhlig, piano
Polish Radio Symphony Orchestra
Lukasz Borowicz, conductor
Hänssler Classic

The events of 9/11 triggered the creation of many musical works. Some are only of passing interest, while others, such as Pendereicki's piano concerto have taken on a life of their own. This new recording presents the revised version of this concerto. In 2007 Penderecki rewrote the final movement, and in the process made it a more hopeful and inspiring work.

Although some of the tone clusters and and atonal gestures reminded me of his 1964 "Threnody for the Victims of Hiroshima," Pendericki's piano concerto is a vastly different work. I'd almost classify it as post-romantic. It has the same sprawling bigness of a Rachmaninoff concerto. Although there's not a discernible cadenza, the piano plays almost non-stop throughout the work with virtuoso runs and chords. And although there are sections of great intimacy and delicacy, there are even more where the full orchestra's playing with maximum volume.

Florian Uhlig plays with the right emotional tone. He's a brilliant technician, of course, but he also understands that this is a work of deep emotion. Uhlig effectively communicates that emotion with virtually every note. And conductor Likasz Borowicz is right there with him. The work has some sudden shifts and juxtapositions, but under Borowicz' direction, there's never a misstep.

The revised "Resurrection" concerto is a powerful work that should find a place in the standard repertoire. Yes, it's that good -- and so is this recording.

Anne-Marie McDermott: Transparent Mozart Concertos

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.

John Musto concertos benefit from composer's performances

John Musto: Piano Concertos 1 & 2
John Musto, piano
Odense Symphony Orchestra; Scott Yoo, conductor (Concerto No. 1)
Greeley Philharmonic Orchestra; Glen Cortese, conductor (Concerto No. 2)

John Musto performs his piano concertos with telling effect. While these works are technically challenging, I don't hear keyboard prowess being the purpose of these works. Rather, the focus seems to be on the beauty and integrity of the musical expression. Which is what makes this recording work so well. Musto has the ability to play with precision and authority -- which he does -- but it's his phrasing and articulation that gets to the heart of these works.

Musto's first piano concerto (composed in 1988) opens with a solo clarinet that sets the tone for the work. It begins with a lyrical atonality that gradually builds in intensity. While this is a big composition, there are places that are surprisingly intimate. As the work progresses, the aggressive dissonances begin to soften. The second movement introduces a touch of ragtime, leading into a bustling and satisfying final movement.

The Piano Concerto No. 2, written 18 years after the first, shows how much the composer's skill has developed. The orchestration is more varied, and more adventurous. While the first concerto flirted the vocabulary of popular music, this one fully incorporated it, in the way that Gershwin's "Rhapsody in Blue" encapsulated jazz. Unlike Gershwin's Rhapsody, Musto's concerto is more fully realized, and highly structured.

That's not to say the second concerto's a stuffy academic exercise. The music flows seamlessly from start to finish in an inviting fashion. It's only later that you realize that the engaging first movement cadenza involved some deftly written counterpoint.

Separating the two concertos in the program are two of Musto's concert rags. They're appealing light classical compositions, perfect encore material.

A delightful mixture of music, and an observance of Yom Kippur

We have another fun and busy edition of Vivace coming your way this Friday.  In the first hour, we'll listen to the Symphony No. 2 in E minor, Op. 27 by Rachmaninoff.

 

In the 7 o'clock hour, we have a delightful horn concerto by Rosetti played by one of the world's finest horn players, Radek Baborak (above).  And at about 7:30 am, you can enjoy the Duo in C-Major for Guitar and Piano by Fernando Carulli.

As Friday is the Eve of Yom Kippur, we will mark the occasion at 8 o'clock with a very special piece of music, Max Bruch's arrangement for cello of Kol Nidre, the prayer (above) set to an ancient melody which begins the synagogue service at the start of the 25-hour fast.  Last February, when cellist Amit Peled visited Charlottesville, he kindly gave me a copy of his recording of Kol Nidre, to be saved for this Friday's show.

It's a little unusual because Mr. Peled's gentle yet vivacious and refreshing touch on the cello brings what we might call an Israeli perspective to the work, giving it a modern feel, rather than the soulful, melodramatic renderings, guaranteed to tug at the heartstrings of Diaspora Jewry, which have been the norm until now.  So that's the version you will be hearing at 8 am this Friday.  See what you think.

After that, we have a harpsichord sonata by Cherubini and a piano concerto by Mozart.

And a quick program note about Vivace on September 27:  we'll feature an exclusive interview with violinist Ray Chen, who will be performing in Old Cabell Hall, Charlottesville on October 1 as part of the Tuesday Evening Concert Series.

As ever, I look forward to the pleasure of your company, this Friday from 6-9 am on Vivace.

You can also replay the program anytime from the WTJU archives. The program will be available for replay through 9/20/13

Carlos Chavez Piano Concerto: Muscular Music from Mexico

Carlos Chavez: Piano Concerto
Jorge Federico Osorio, piano
Sinfonica National de Mexico
Carlos Miguel Prietro, conductor
Cedille

Cedille presents pianist Jorge Federico Osorio in an exciting program of Mexican composers. The centerpiece is Carlos Chavez's sole piano concerto. This massive work presents serious challenges to both soloist and ensemble, but the rewards are well worth the effort.

The work fairly crackles with energy, with mercurial changes in moods and timbres. Chavez had a unique compositional voice, one that doesn't neatly fit into the pigeonholes of 20th Century schools. So there are some spiky, atonal sections as well as some modernist tonality -- and running throughout (very subtly) the rhythm and pulse of Mexican traditional music.

This is a live performance by Osorio and the Sinfonica National de Mexico, and an extraordinarily clean one at that. The ensemble plays with pin-point accuracy, a must given the sudden changes and the percussive nature of the score. Osorio is in full command of the material. His phrasing gives logic and shape to the sea of notes before him, Osorio's restrained but heartfelt expressiveness in the slow movement is particularly moving.

The albums is filled out with solo piano works. Meditacion, an early work by Chavez, shows surprising maturity for such a young composer. Jose Pablo Moncayo's Muros Verdes is a spacious-sounding work that blends Mexican musical traditions with a Hindemith-like neo-classicism. Samuel Zyman's 16-minute Variations on an Original Theme is most contemporary work on the album -- both by creation date and sound.

Ferdinand Ries: Piano Concertos, Vol. 5 - A fitting finale

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.

(I've also reviewed Volume 4 in this series)

Ginastera: The Piano Concertos -- A Legacy Restored

Nissman Plays Ginastera
The Three Piano Concertos
Barbara Nissman, piano
University of Michigan Symphony Orchestra
Keith Kiesler, conductor
Perian

This release is a case of matching the right performer with the right music. Barbara Nissman enjoyed a close professional relationship with Alberto Ginastera -- his third piano sonata is dedicated to her. Not only is Nissman well-versed in Ginastera's style, but she also gives them the tender-loving care they need.

The Concierto Argentino ia a good example. Ginastera wrote this early in his career. It's a youthful work, bustling with energy. Ginastera wasn't quite happy with it, and made changes to the score. Nissman plays the original version, which provides valuable insight into the composer's development and an enjoyable listening experience.
 
Barbara Nissman performed Ginastera's first numbered piano concerto under the direction of the composer. Her authoritative command of this elegantly crafted material is impressive, and her deep knowledge of the composition reveals lines and connections I've not heard in other recordings.

Ginastera's second piano concerto is the more adventuresome of the three stylistically. The agressive harmonies and abstract melodic lines have little of the folk elements so prominent in the other concertos. Ginastera originally composed the scherzo to be played with the right hand only. The premiering soloist wanted a left hand movement, so she transcribed it, changing some of the music in the process. Nissman restores the scherzo to the original music (and hand) for this recording.

The University of Michigan Symphony Orchestra proves a first-rate ensemble under the baton of Kenneth Keisler. Don't be fooled by the lackluster DIY cover -- these are well-recorded performances and important additions to Ginastera's legacy.

Constantine Orbelian, pianist

Shostakovich, Mozart and Bach Piano Concertos
Constantine Orbelian, piano
Moscow Chamber Orchestra
Delos

Although this is a new release from Delos, it isn't a new recording. Constantine Orbelian is best known today as the innovative conductor of the Moscow Chamber Orchestra, but initially he was primarily a concert pianist. This 1992-1993 recording happened at a pivotal point in Obelian's career. He was working with the Moscow Chamber Orchestra and their conductor Andrei Korsakov when Korsakov died prematurely at the age of 47. The ensemble asked Orbelian to assume leadership, and he's been their conductor ever since.

With the exception of the Mozart concerto for Two Pianos, all the works on this release were recorded with Korsakov conducting the orchestra. The collection opens with the Piano Concerto No. 1 by Shostakovich. It's a sassy and sarcastic reading, its slightly off-skew character sounding a little like Prokofiev. The final movement is an out-and-out romp between the trumpet and piano in a race to the finish.

Orbelian performs two Mozart concertos here. The Concerto for Two Pianos, K. 365 features pianist Jonathan Shames. The chemistry between the two soloists is good, and it sounds like they had a rollicking good time playing together. Orbelian's performance of Mozart's Piano concerto No. 12, K.414 is a little lower. The work comes off as somewhat sedate, although Orbelian plays with lightness and sensitivity throughout.

The final work on the album is Bach's Keyboard Concerto No. 5, BWV 1056, which Orbelian chooses to perform on the piano. Strangely, the sound for this piece (as compared to the others) sounds a little closed-in.

Orbelian is a talented conductor, and as these recordings show, he's a gifted pianist as well. A welcome addition to the Moscow Chamber Orchestra's extensive catalog of recordings.