Sokhiev marks Stravinsky Anniversary

Stravinsky: Rite of Spring / Firebird Suite 
Orchestre National du Capitole de Toulouse
Tugan Sokhiev, conductor
Naive

It's a remarkable release for a remarkable occasion. May, 2013 is the centennial of the premier of Stravinsky's "Rite of Spring" in Paris. While the work no longer incites riots, it has become a repertoire standard, and one that can sound fresh and exotic even today.

Naive marks the event with this deluxe release. The hardbound 90-page book contains a DVD of Tugan Sokhiev conducting the Orchestre National du Capitole de Toulous in a live performance of the Rite. Also included is a CD with the same forces performing the "Rite of Spring" and Stravinsky's "The Firebird."

The multi-language booklet features essays about both works, and wonderful two-color illustrations by Sophie Chaussade. Yes, these recordings are also available for download, but get the book. The illustrations and the feel of this quality print edition are worth the investment.

Musically, Sokhiev and the orchestra perform admirably. The ensemble plays with energy and precision. The fast sections in the ballets are amazingly clean, and the articulation makes the music sparkle. The soloists are also first-rate, especially in the Rite of Spring.

The DVD is a 48kbps/16-bit recording, which sounds great, especially through a two-channel system. Intelligent editing keeps the visuals coordinated with the music. We see the soloists when they perform, and -- more importantly -- focus on relevant parts of the orchestra when the entire ensemble's playing.. Just as the conductor's gestures can draw the listener's attention to something that otherwise might be lost in the mix in a live performance, the cameras here do the same.

All in all, a nice commemorative package for an important milestone.

Apocryphal Mozart Symphonies (and more) on "Vivace"

I'm delighted to join the online blogging crew.  And I hope you'll make a regular date to join me for Vivace on WTJU (Friday mornings, 6-9 am).

As you listen to the program over the summer, you'll hear me play one of Mozart's apocryphal symphonies each week.  This Friday, I'll play Symphony No. 45. Most people are familiar with Mozart's symphonies up to No. 41, even though some of those are of uncertain origin.  However, beyond those, there are others, usually numbered 42-55, which were later attributed to him and which are rarely heard.

All the apocryphal symphonies have been recorded by the Academy of St. Martin in the Fields.  They are, as you might expect, sensitive, faithful recordings, expertly performed, and it is those recordings which will be featured on Vivace, usually sometime between 7 and 9 am.  I hope you'll tune in: enjoy fine classical music on a fine summer morning - and all year long!

This Friday, June 7, we have another special treat for you:  my esteemed co-host, Andrew O'Shanick is spending the summer in Austria, but you can hear his splendid singing voice this Friday on Vivace. As ever, thanks so much for listening to WTJU!

Zbigniew Bargielski String Quartets: Striking a Balance

Bargielski: String Quartets
Silesian String Quartet
Accord SACD

This 2-disc set present the six string quartets (and two works for string quartet plus one) by Polish composer Zbigniew Bargielski. Bargielski writes in a highly personal form of atonality, one that to my ears sounds similar to fellow countryman Henryk Gorecki in his early works. Bargielski's developed what he calls a "theory of center structures" that gives his composition direction. The idea is to balance the center sounds (melodies) with those of the harmonic centers, paying attention to dynamics, tonal color and duration.

One of the most effective works in this collection is "A Night of Farewells," for accordion and string quartet. I found it especially appealing because of the ensemble's interesting blend. The accordion doesn't playing anything remotely folk-like, yet it gives the work a decided Eastern European flavor. The clarinet in "Through the Looking Glass "(for string quartet with clarinet) also has a similar effect. Bargielski give the clarinet an aggressive sound and has it bending pitches that sound Klezmer-inspired.

At first hearing, the six string quartets seem remarkably similar. Only after living with the music for a while could I hear the gradual development of Bargielski's musical language from work to work as he explored the possibilities of his center structure concept. Make no mistake: this is difficult listening. But the music holds rewards for the thoughtful and attentive listener.

Bargielski's compositions are especially well-suited to the SACD format. His careful balancing of musical centers is done with precision and delicacy. Subtle changes in timbre and articulation that are lost on the CD version are easily heard on the SACD version.