Review: Hummel at the Opera - Piano Arrangements by a Classical Master

Hummel At the Opera
Madoka Inui, piano
Naxos

Like many virtuoso composer/performers of the day, Johann Nepomuk Hummel wrote arrangements and variations on popular melodies. And in that day (the early 1800’s), the best-known melodies were to be found in operas.

This collection features a number of Hummel’s operatic arrangements for solo piano. All show a wealth of musical imagination. Some of the source material is familiar to us today, such Mozart’s Die Entfuhrung aus dem Serail and Gluck’s Armide. Others are a little more obscure. In a few cases,  such as Hummel’s own fairy opera Eselshaut, his piano arrangements are the only surviving versions of the work.

As may one might expect, these variations and grand fantasias are full of attractive melodies. Compared to Liszt’s operatic transcriptions – or Beethoven’s “Diabelli Variations,” these works can seem a little tame. But Hummel’s inventiveness runs closer to  that of Mozart and Haydn. So while they’re  excessively showy, they’re all solidly constructed pieces of music.

Especially attractive is his variations of “Vivat Bacchus” from Mozart’s Die Entfuhrung. Hummel takes the aria through several permutations that vary in tone from humorous to serious.  I also found his simple counterpoint in the Grand Fantasi on Oberons Zauberhorn particularly charming.

Pianist Madoka Inui plays these works with precision and sensitivity. Her phrasing is impeccable, giving the music a sense of forward motion while maintaining a little of the emotional reserve characteristic of Hummel’s late-classical style.

Pleasant – and in some cases – thought-provoking arrangements that make for an enjoyable listening experience.

Review: ASO Moves from Strength to Strength

Theofanidis: Symphony No. 1 and Lieberson: Neruda Songs
Atlanta Symphony Orchestra
Robert Spano, conductor
Kelley O'Connor, mezzo-soprano

If they continue on the trend established by their first two releases, the Atlanta Symphony Orchestra's ASO Media label may become one of my favorite labels. For their second release, the orchestra pairs two compositions by a rising and an established composer. Christopher Theofanidis is the (relative) newcomer, and the work is his first symphony. Peter Lieberson is the established composer, with his "Neruda Songs."

The Symphony was premiered by the Robert Spano and the ASO in 2009, and it's clear that they know this music intimately. Theofanidis's symphony is a study in contrasts. It starts out with a unison wind line that contains all the motifs for the rest of first movement. When the rest of the orchestra enters, its with a lush sound well-suited to the orchestra.

Some parts reminds me of Carl Vine's orchestral music, which is not a bad thing. Like Vine, Theofanidis writes melodically, in clearly defined structures that are easy to follow. This four-movement work is symphonic in every sense; dramatic, expansive, full of rich timbres and imaginative orchestration. For those who still think that modern music is only cacophony gone wild, Theofanidis' First Symphony provides ample proof to the contrary.

The second work on the release, is Peter Lieberson's "Neruda Songs." It's a good match for the Theofanidis Symphony. It also is richly orchestrated, with some distinctively Latino musical turns, in keeping with the Chilean poetry of Pablo Neruda. Lieberson originally wrote this orchestral song cycle for his wife, Lorraine Hunt Lieberson. This recording features mezzo-soprano Kelley O'Connor, who brings her own interpretation to the work (that's her picture on the album art, BTW).

O'Connor's warm delivery and sensitive phrasing give this work new life. The "Neruda Songs" are personal love letters Lieberson composed for his wife. This performance turns them into something more universal, yet still deeply moving.

Two substantial 21st Century works performed with authority and conviction -- the Atlanta Symphony's self-released CDs just keep moving from strength to strength.

Review: Piazzolla - Tangos for Violin, Brass and Percussion - Steely Passion

Piazzolla: Tangos for Violin, Brass & Percussion
Quintetto di Ottoni e Percussion Della Toscana
Andrea Tacchi, violin
Naxos

Astor Piazzolla was an amazingly prolific composer who technically only wrote one type of music – the tango. I say technically, because this student of Ginastera and Nadia Boulanger took the form farther than anyone else before or since, developing it into a pliable frame for his complex musical ideas.

This new recording from Naxos features some of Piazzolla’s better-known works, arranged for brass quintet, percussion, and (for some pieces) violin. Reimagining Piazolla’s compositions with this decidedly classical contemporary mix of instruments offers new insights into the music.

I wouldn’t recommend this disc as someone’s introduction to Piazzolla’s music, but for those already familiar with his output, it should be a welcome addition to their collection.

The disc features “Las 4 Estaciones Portenas,” Piazzolla’s take on Vivaldi’s “Four Seasons.” The solo violin serves up most of the Vivaldi quotes, while the brass ensemble primarily play Piazzolla’s additions. The contrasting timbres make this well-known work sound fresh.

Also included are Piazzolla’s most popular work, “Oblivion” and the three tangos he wrote for Amelita Boltar.
The Quintetto di Ottoni e Percussion della Toscana plays with tightly-wound precision. Percussionist Roberto Bichi nicely balances his performance between a popular music style (suitable for the tango’s origins), and a controlled, yet expressive playing of a classically-trained musician.

I’ve heard some Piazzolla recordings that make pleasant background music. This isn’t one of them. The brass bring an immediacy to the music that cannot be ignored.  And that’s a good thing. Piazzolla imbued his compositions with the passion and fire that was always part of the tango. This recording brings a new perspective to the music while remaining true to that vision.