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The Wigmore Hall Trust 36 Wigmore Street, London W1U 2BP Director: John Gilhooly OBE www.wigmore-hall.org.uk Registered Charity Number 1024838 A special eight-page section focusing on recent recordings from the US and Canada JS Bach Solo Violin Sonatas and Partitas, BWV1001-1006 talks to ... Johnny Gandelsman vn In a Circle F b ICR101 (124’ • DDD) Johnny Gandelsman The violinist and co-founder

Bach’s Violin of Brooklyn Rider discusses his Sonatas and debut solo recording of Bach Partitas are among the most frequently Was it a challenge to plunge straight into performed works for the instrument, Bach for your first solo recording? or any instrument. Recordings evince a Not really. Over the the last three years spectrum of approaches, from historical I’ve performed all six Sonatas and Partitas treatments on period instruments to in concert about 30 times, which has been concepts Romantic and beyond. deeply rewarding. I wanted to capture this Among the newest journeys is Johnny moment of personal learning and growth. Gandelsman’s freshly considered account Do you miss the collaborative process of these monuments. The violinist, a Does your varied musical diet – folk, jazz, when playing alone, or is it in some co-founder of the string quartet Brooklyn classical – influence your approach to Bach? sense liberating? Rider and a member of Yo-Yo Ma’s Silk Absolutely. Through my work with Brooklyn One of the reasons I wanted to work on Road Ensemble, imbues the music with a Rider and Silk Road Ensemble I have been solo Bach at this point in my life was to focus lean, focused sound, animating rhythmic lucky to work with incredible masters of inward, after spending almost two decades impulses, and sterling attention to line various non-classical traditions. When working mostly working in collaborative settings. and harmonic implication. on the opening movement of the G minor I found it incredibly fulfilling, from carrying Gandelsman plays his modern violin Sonata, for example, I tried to imagine how sole musical responsibility for a performance with gut strings, transitional bow and the great Iranian kemancheh virtuoso to the simple things like travelling by myself. whispers of vibrato, offering something Kayhan Kalhor would approach and develop Of course there are moments of self doubt, of a crossover view of the Sonatas and an improvisation. When working on the and those are particularly lonely and Partitas. The performances abound in Partitas, I often thought of the incredible Irish frustrating, but overall it’s been a good journey. nuance and character, with every note, fiddler Martin Hayes. Like Kayhan, Martin is a even in multiple stops, emerging in lucid magician with the bow, with great articulation What is your next recording project? detail. But what’s most arresting is the and maximum freedom of expression. I have some ideas – watch this space! violinist’s ability to tie phrases together with seamless inevitability and provide a ﬂuent sense of structure from beginning to end. Gandelman’s keen ear for the Danielpour indicative of Danielpour’s longstanding long-term is most evident in Partita No 2’s String Quartets – No 5, ‘In Search of La vita love of Italy, where it and its successor, mammoth Chaconne, which he shapes nuova’; No 6, ‘Addio’; No 7, ‘Psalms of Solace’a Addio (2009), were composed. The Fifth’s with both forthright vigour and aHila Plitmann sop Delray Quartet three modest movements, written for and ruminative elasticity. Some violinists stress Naxos American Classics M 8559845 intended to give pleasure primarily, follow the work’s epic and spiritual ramiﬁcations; (76’ • DDD • T/t) a moderate-fast-slow pattern repeated Gandelsman’s subtle urgency has its own but extended in No 6, an altogether more commanding impact, especially given the ambitious work with a gravity missing from taste and agility of the reading. the Fifth. Danielpour writes in the notes In the various dance movements, the As with his symphonies that the Sixth ‘narrates the story of how violinist revels in the music’s irresistible and concertos, Richard families are eventually broken apart motion, whether lilting or courtly, Danielpour (b1956) through distance, time, and ultimately almost as if he is improvising. And likes to give his through death’; the close of the opening VLADIMIR RADOJICIC VLADIMIR Gandelsman imbeds himself in the quartets (there are seven, spread fairly movement has the same moving interweaving layers of the fugues evenly through his career) descriptive titles. simplicity as Barber’s Adagio (originally to luminous effect. No 5 (2004) bears the sobriquet In Search written as part of a string quartet), but

PHOTOGRAPHY: PHOTOGRAPHY: Donald Rosenberg of La vita nuova, a quotation from Dante without the melodic distinction.

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Compelling: the Boston Modern Orchestra Project under Gil Rose recording works by Jeremy Gill

Overall, the Sixth is a fine, if –at while in no sense a pastiche composer, Nielsen’s Concerto furnished the thematic 28 minutes – overlong achievement, its many of his works illustrate that fascination impetus for Gill’s compellingly active coda a set of variations where the players and highlight the context into which they and varied Notturno concertante. (Nielsen leave the stage one by one until the cellist fit. The three works on this involving is eventually quoted six and a half minutes alone remains, the others accompanying Boston Modern Orchestra Project disc before the end.) The lighter, playful the final bars offstage. I was less taken by have this trait in common to greater or Serenada concertante is more allusive, using Quartet No 7, Psalms of Solace (2014), lesser degrees. the named forebears as models rather than described as ‘the search for the Divine’ Before the Wresting Tides was written in quoting directly. The playing throughout is via the ‘intellect, the force of will, and 2012 as a companion piece to Beethoven’s superb, the recording first-rate, making this romantic love’, culminating in the finale’s Choral Fantasy, for performances in a very warmly recommendable disc. prayer with its soprano solo, powerfully Philadelphia early the following year. Guy Rickards sung here by Hila Plitmann. The music is Although using similar forces to often expressively static, irrespective of the Beethoven’s, Gill made no attempt to Martin amount of surface detail; if the search was write in a Beethovenian manner and his Concerto for Wind Instruments and Piano. in vain it strikes me that Danielpour’s heart cantata (setting verses by Hart Crane) is Ein Totentanz zu Basel im Jahre 1943 – was not in it. That certainly cannot be said structured very differently. The core of Concert Suite. Zwischen Rhone und Rhein of the Delray Quartet, whose advocacy is the work is the five stanzas of Crane’s Massachusetts Chamber Players / totally committed. Naxos’s sound is rather ‘Voyages II’, alternating the chorus with Matthew Westgate airless and two-dimensional but perfectly duets for soloists within the main body MSR Classics F MS1602 (53’ • DDD) clear. Guy Rickards of singers; this is then framed and punctuated by piano, the orchestra Gill accompanying throughout. Before the Wresting Tidesa. Notturno Serenada concertante (2013) and Notturno This fascinating concertanteb. Serenada concertantec concertante (2014) were conceived as a pair tribute to Frank cErin Hannigan ob bChris Grymes cl of short concerto-type works, the one for Martin is dominated aChing-Yun Hu pf aMarsh Chapel Choir; oboe, its companion for clarinet, when a by a chamber edition Boston Modern Orchestra Project / Gil Rose pair of commissions arrived serendipitously of nine movements from Ein Totentanz zu BMOP/sound F Í 1055 (57’ • DDD • T) in close order in the composer’s mailbox. Basel im Jahre 1943, a piece Martin In both pieces the impact of the past is more composed for his niece, the mime artist musically present, not least derived from the Mariette von Meyenberg, to accompany favourite works of the two commissioning a theatrical presentation of eight meetings The music of the soloists (and performers here), oboist Erin with Death. The music, which initially past is of near endless Hannigan (who chose ‘Mozart, Strauss and seems tame enough, philosophically fascination to Jeremy Goossens’) and clarinettist Chris Grymes, derived and therefore harmless, begins Gill (b1975) and, whose dream about a mis-playing of to take on an increasingly sombre, ritual gramophone.co.uk GRAMOPHONE APRIL 2018 III Choose the right subscription for you

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In the Weeds: Ventus Machina’s debut disc contains mostly unfamiliar works for wind quintet – see review on page VII air. Martin uses his consummate ease at Moravec comes early on, with lightning and a handling a wide range of materials – in The Blizzard Voices cataclysmic rush that suggests Verdi’s addition to mainstream and contemporary Emily Pulley, Deborah Selig sops Erica Brookhyser Requiem and engulfs the simple children’s classical currents, he lets himself be mez Matthew Dibattista ten David Kravitz bar games and all else before it. This sets the influenced by jazz, folk music and the David Crushing bass-bar New England scene for a series of testimonials from theatre – to work from within an Conservatory Concert Choir and Chamber survivors and victims that serve as a powerful intellectually conservative context to Singers; Boston Modern Orchestra Project / theme-and-variations narrative context; after produce occasional moments of authentic Gil Rose the impersonal, implacable opening, the emotion, undoubtedly a reflection of the BMOP/sound F Í 1054 (61’ • DDD/DSD • T) emergence of individual voices is all the time and place at which they were written. more welcome and engaging, although The forces recruited by conductor I don’t hear much of the Midwest in either Matthew Westgate for the recording the text or the music. comprise faculty members, freelancers and Paul Moravec’s The composer says in his booklet notes top students and the playing is well ambitious The Blizzard that ‘a well-balanced mixed chorus singing coached, vital and virtuoso; check out the Voices chronicles a perfectly in tune strikes me as the most trumpet riff in ‘Dance with the Athlete’ snowstorm that beautiful and resonant of sonorities’. The or the searing alto sax in ‘The Dance suddenly struck across the upper Midwest in New England Conservatory Concert Choir with the Mother and her Child’. It 1888 and killed hundreds, including a large and Chamber Singers give him all that and, captures the emotion. number of children returning home from with expert work from the orchestra and There is also much to enjoy from the school. It is a secular oratorio, the third of earnest, generally splendid work from the elegant trombonist in the Concerto for the composer’s ‘American Historical’ series soloists, give a passionate and committed Winds and Piano – two movements of large-scale choral works, and brings an performance. Laurence Vittes Martin wrote in 1924 for a Parisian impressive battery of musical resources to puppet theatre that employed many artists the task. Based on the Pulitzer Prize-winning Volker from Diaghilev’s Ballets Russes – but the poet and essayist Ted Kooser’s book of the ‘Young Prometheus’ Zwischen Rhone und Rhein march is barely same name and commissioned by Opera Dust to Dusta. Echoes of Yesterdayb. worth a parody. Omaha, The Blizzard Voices was premiered Three Quotationsc. Young Prometheusd The stunning recordings were made at in 2008, taken to Carnegie Hall in 2013 and dCarolyn Treybig fl bdMatthew Davich cl the University of Massachusetts; the large has now received its first recording, made in aKatelyn Westergard, aAlicia Enstrom, military side instruments called Basel 2015 at Mechanics Hall in Worcester, dAlison Gooding Hoffman vns aJim Grosjean va Drums on track 3 play uninterrupted for Massachusetts. dStephen Drake, aEmily Nelson vcs 90 seconds of pure audiophile hell – or A Prologue opens with ominous dKristian Klefstad pf cLuna Nova Ensemble delight. Laurence Vittes Mahlerian octaves. The blizzard itself Navona F NV6140 (67’ • DDD) gramophone.co.uk GRAMOPHONE APRIL 2018 V Pierre-Laurent Aimard releasing Messiaen’s grand hymn to nature

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music for wind quintet. The New The first movement of David Bruce’s Brunswick-based Ventus Machina are The Shadow of the Blackbird uses the opening relatively young, formed as recently as 2011, notes from Schumann’s Kreisleriana to More than half of this and their first full CD includes two pieces launch a rhapsodic, Spanish-tinged fantasia disc of music by the written specially for them (by Martin that slows down into an introspective chordal American composer Kutnowski and Mike Titlebaum), two neat episode anchored by slow repeated notes. Mark Volker is devoted arrangements and one of their favourite The repeated notes return in the manner to the titular Young Prometheus, a suite drawn items, by some way the largest work here, of flamenco-like flourishes as the music from an updated ballet inspired by Mary Cuban-born Paquito D’Rivera’s seven- builds to a climax and slowly retreats to a Shelley’s Frankenstein. The ballet’s protagonist movement suite Aires tropicales (1994). quiet conclusion. Next to this movement’s (and title) is Frank, described in the booklet Like D’Rivera, well known as a jazz freewheeling flow, the slow and sparsely lit note as ‘a young, disfigured middle school performer and composer, Ventus Machina second movement seems like an anticlimax. misfit “created” by adolescence and society’. have a foot in jazz and popular music, genre Reversing the movements might guarantee Volker’s music for the ballet eschews experience that serves them well in better box office but for now I’ll grant David horror-film blood and thunder. Instead, D’Rivera’s musical travelogue of Spanish Bruce the benefit of the doubt. the tale of Frank and his path from outsider America. There is a marked crossover aspect Doubt, however, is the operative word to admired figure is depicted in eight to the opening work, Titlebaum’s Short Set in regard to Levingston’s Kinderszenen. The scenes of colourful and propulsive activity. (2016), too, the central movement of which pianist follows his overstressed opening piece Scored for flute, clarinet, violin, cello and is loosely based on Billy Strayhorn’s Isfahan. with a rhythmically stiff No 2 and a No 3 piano, the work reveals Volker’s gift for The finale provides the disc’s title, relating to hampered by ambling detached articulation. dramatic incident and portraiture. Buoyant the quintet’s home base near the Tantramar The child depicted in No 4 is not so much rhythmic elements, sometimes nudged by salt marsh by the Bay of Fundy. pleading as emoting, while Levingston lays jazz inflections, keep tense and exuberant The other commissioned work included heavily into No 5’s inner lines. Happily, moments on their toes. Aside from its roots is Tonadas y mateadas (2015), a single- No 6’s pompous processional chords are in dance, the suite is an appealing chamber movement tone picture the title of which spot-on; but the pianist’s overly protracted piece the musicians on this recording play could loosely be translated as ‘Tunes sung No 7, ‘Träumerei’ (‘Dreaming’), ought to with vivid artistry. drinking with friends’. There is a slightly be retitled ‘Comatose’. By No 8, one really The scoring is identical, with clarinet boozy jocularity about Kutnowski’s musical begins to notice Levingston’s irritating habit doubling on bass clarinet, in Three Quotations, discourse which is rather diverting. Despite of starting certain pieces under tempo and inspired by quotes from Robert Aitken, Sylvia his Eastern European name, Kutnowski – gradually picking up speed. No 9’s hobby- Plath and Alvin Toffler; the piece is a fine also resident in New Brunswick – was born horse has rarely sounded so heavy-handed example of the composer’s affinity for moody in Argentina and Tonadas y mateadas evokes and foursquare. Levingston’s slow-motion lyricism and spunky metrical changes. the warm nights of Buenos Aires amid the crawl through No 13, ‘Der Dichter spricht’ A string quartet evokes a painting by snows of Eastern Canada. William (‘The Poet Speaks’), also warrants a new Raphaëlle Goethals in Dust to Dust, in which Scribner’s arrangement of Piazzolla’s Song title: ‘Der Dichter stirbt’ (‘The Poet Dies’). Volker binds poignant and impassioned Without Words is nicely done but given here Similarly, Levingston’s sensitive and gestures to summon ‘the ephemeral, but in the quintet’s own adaptation replacing intimately shaped Arabeske is let down substantive, progression of human life’. the oboe with a cor anglais. With a timely by a deathly slow coda. Matthew Davich is the excellent soloist in nod to the Bernstein centenary, Richard James Matheson’s title selection is a Echoes of Yesterday for clarinet and interactive Price’s 1989 arrangement of four songs five-part suite depicting a series of stained electronics. The work’s atmospheres are from West Side Story makes a pleasant glass windows created by Marc Chagall. generated as the clarinet prompts all sorts encore. Guy Rickards Much of the music evokes the statically of sonic responses from a computer, which sonorous, declamatory keyboard aesthetic is more than amenable to entering into ‘Windows’ characterising many of Olivier Messaien’s magical and otherworldly conversation. Bruce The Shadow of the Blackbird works or Liszt’s late style, with Philip Glass Donald Rosenberg Matheson Windows Schumann Arabeske, Op 18. peering in for a look. Yet Matheson goes Kinderszenen, Op 15 his own creative way. The second-to-last ‘In the Weeds’ Bruce Levingston pf movement is constructed from obsessive ‘Music for Wind Quintet’ Sono Luminus F DSL92218 (69’ • DDD) yet carefully crafted arpeggios that start Bernstein West Side Story – Suite (arr Price) in the piano’s high registers and gradually D’Rivera Aires tropicales Kutnowski Tonadas y descend to the bass, returning upwards. mateadas Piazzolla Milonga sin palabras There’s also impressive textural and Titlebaum Short Set Bruce Levingston’s emotional variety in the final movement’s Ventus Machina annual solo CD long chains of repeated bass notes and MSR Classics F MS1633 (60’ • DDD) releases follow a reiterated chords. pattern consisting of Sono Luminus’s resonantly ample a poetic title and a programme interweaving engineering particularly lends itself old and new music. ‘Windows’ is true to to Matheson’s vibrant writing and This is an engaging – form, with works by David Bruce and Levingston’s compelling, colourful pianism. and engagingly James Mattheson (both b1970) bracketing Judging from this release, Levingston is far played – programme Schumann’s venerable Kinderszenen better suited to new music than he is to of mostly unfamiliar and Arabeske. Schumann. Jed Distler gramophone.co.uk GRAMOPHONE APRIL 2018 VII ®CRYSTAL RECORDS

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CD801: All Men Are Brothers (Sym. 11, Roy- al Philharmonic), Prayer of St. Gregory, Tzaikerk, Armenian Rhap- sody No.1. CD807: Odysseus Symphony, Celestial Gate, Prayer of St. Gregory. Polyphonia Orchestra. CD811: Hovhaness Treasures: his favorite works. Christmas Symphony, Celestial Canticle, Starry Night, etc. Gerard Schwarz & Hovhaness, conductors. VERDEHR TRIO – A legend for its 225 commissions and 1000s of concerts. "The breadth of these commissions is amazing." (Fanfare) "The quality of the results is astonishingly high." (STRAD) 24 CDs, featuring many of the best-known and important international composers. See complete list at www.crystalrecords.com/Verdehrtrio.html. "As always with the Verdehr Trio, the playing is of a high order." (Gramophone) YIZHAK SCHOTTEN, VIOLA – Six CDs, including The Elegant Viola, CD837: Vaughan Williams, Suite for Viola & Orchestra; J.S. Bach, Sonata; Colgrass, Variations for 4 Drums & Viola. 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Crystal Records, 28818 NE Hancock Rd, Camas, WA 98607 USA phn 360-834-7022; [email protected]; www.crystalrecords.com Founded in 1923 by Sir Compton Mackenzie and Christopher Stone as ‘an organ of candid opinion for the numerous possessors of gramophones’ Thefocus,andfun,oferedbymusicfestivals uch are the long lead times of monthly course – we all go on holiday to enjoy new locations, magazines – and, more to the matter, the whether walking in hills or exploring unfamiliar vagaries of the weather – that we completed urban architecture – but why not combine that with Sour annual festival guide this year while snow some world-class music-making? Everything you fell steadily and travel was generally discouraged. need to know about what’s on offer this summer is in Never has reading about interval picnics on country- our 26-page guide: we hope you enjoy it, and most house lawns, let alone hikes up to mountainside importantly enjoy wherever it takes you! sculptures for late-night solo Bach, seemed so far Also this month, you’ll see that we’ve further removed from the reality outside. increased our focus on reissues. Everyone (except But, in a strange way, what makes music festivals so perhaps Gramophone’s postman) is impressed by special is, indeed, that sense of being removed from the dedication and care currently being lavished on reality. We all have our own favourite memories of box-sets, whether in remastering, or the invariably music festivals – what are yours? I’d hazard a guess beautifully presented packages themselves, full of that landscape, setting and even weather are as both written and visual context. We’ve tried to keep integral to those evocative recollections as the music- up to date with these through our Reissues pages, but making. From one festival alone – Aldeburgh – I can from this month you’ll ﬁ nd a new monthly column recall both the powerful tranquillity of stepping from by Rob Cowan devoted to box-sets. Together with a concert to see the summer sun setting scenically the familiar Reissues pages, with Rob’s long-running over the Suffolk reed beds, and on another occasion Replay column devoted to historical issues and our our car needing to pull in to the side of the road Classics Reconsidered feature – in which two critics when an unseasonal deluge made driving impossible, reassess the status of a ‘classic’ recording of the past – straight after hearing Britten’s Four Sea Interludes. we hope our new section will encourage you to spend These experiences are an inseparable part of the some time thinking about, and listening to, the artists overall memory, though that’s as it should be: great and recordings of the past. art is never meant to exist in abstract isolation, but Speaking of which, next month we’ll be celebrating to be experienced within the context of our lives an extraordinary artist from the past century, the and the world around us. So it’s about more than great Swedish soprano Birgit Nilsson. And for those simply enjoying pretty scenery. The focus that can not familiar with her legacy, we’ll be bringing readers be achieved by removing oneself from the chaos of a free CD featuring tracks from a forthcoming a city, or the crowded commute, or the juggling of celebratory box-set from Sony Classical and the commitments, can make us listen differently and more Birgit Nilsson Foundation. reﬂectively. Not to knock the attraction of scenery of [email protected]

THIS MONTH’S CONTRIBUTORS Gramophone, which has ‘Visiting Berlin’s ‘The finest ‘Pierre-Laurent been serving the classical Philharmonie is recorded Aimard could not music world since 1923, is alwaysajoy,’says performances have been a more first and foremost a monthly JAMES JOLLY remind us charming and review magazine, delivered ‘and sitting that Handel helpful guide today in both print and digital through a composed Saul in through a formats. It boasts an eminent and performance astateoffeverish masterpiece that knowledgeable panel of experts, under Robin Ticciati of Bruckner’s excitement,’ writes our Collection had always intimidated me,’ says which reviews the full range of Sixthintheemptyhallwasthe author RICHARDWIGMORE. PETER QUANTRILL of Messiaen’s classical music recordings. cherry on the cake. Afterwards, ‘Prolonged immersion only Catalogue d’Oiseaux. ‘The Musician Its reviews are completely Icaughtupwithhim,aconductor enhanced my passion for a work and the Score is a perfect title for independent. In addition to I’ve long admired and have been whose range and depth merit the the synthesis I saw between man following for quite a while.’ over-used adjective Shakespearean.’ and music.’ reviews, its interviews and features help readers to explore THE REVIEWERS Andrew Achenbach • David Allen • Nalen Anthoni • Tim Ashley • Mike Ashman in greater depth the recordings Richard Bratby • Edward Breen • Liam Cagney • Alexandra Coghlan • Rob Cowan (consultant reviewer) that the magazine covers, as well Jeremy Dibble • Peter Dickinson • Jed Distler • Adrian Edwards • Richard Fairman • David Fallows as offer insight into the work of David Fanning • Andrew Farach-Colton • Iain Fenlon • Neil Fisher • Fabrice Fitch • Jonathan Freeman-Attwood composers and performers. FABIAN FRINZEL & AYZIT BOSTAN AYZIT & FRINZEL FABIAN Charlotte Gardner • David Gutman • Christian Hoskins • Lindsay Kemp • Philip Kennicott • Richard Lawrence It is the magazine for the classical Andrew Mellor • Kate Molleson • Ivan Moody • Bryce Morrison • Hannah Nepil • Jeremy Nicholas record collector, as well as Christopher Nickol • Geoffrey Norris • Richard Osborne • Stephen Plaistow • Mark Pullinger • Peter Quantrill for the enthusiast starting a Guy Rickards • Malcolm Riley • Marc Rochester • Patrick Rucker • JulieAnneSadie• Edward Seckerson Hugo Shirley • PwyllapSiôn• Harriet Smith • David Patrick Stearns • David Threasher • David Vickers voyage of discovery.

COVER PHOTOGRAPH: PHOTOGRAPH: COVER John Warrack • Richard Whitehouse • Arnold Whittall • Richard Wigmore • William Yeoman

gramophone.co.uk GRAMOPHONE APRIL 2018 3 CONTENTS

Volume 95 Number 1160 EDITORIAL Phone 020 7738 5454 Fax 020 7733 2325 email [email protected] EDITOR AND PUBLISHER Martin Cullingford DEPUTY EDITOR Sarah Kirkup / 020 7501 6365 REVIEWS EDITOR Tim Parry / 020 7501 6367 EDITOR’S CHOICE 7 ONLINE CONTENT EDITOR James McCarthy / 020 7501 6366 The 12 most highly recommended recordings SUB-EDITOR David Threasher / 020 7501 6370 of the month SUB-EDITOR Marija Ąuric´ Speare ART DIRECTOR Dinah Lone / 020 7501 6689 PICTURE EDITOR Sunita Sharma-Gibson / 020 7501 6369 RECORDING OF THE MONTH 50 AUDIO EDITOR Andrew Everard EDITORIAL ADMINISTRATOR Libby McPhee Mariss Jansons and his Bavarian Radio forces THANKS TO Hannah Nepil and Charlotte Gardner EDITOR-IN-CHIEF James Jolly give inspiring and richly detailed accounts of FOR THE RECORD 8

ADVERTISING Rachmaninov’s The Bells and Symphonic Dances The latest classical music news Phone 020 7738 5454 Fax 02077332325 email [email protected] COMMERCIAL MANAGER ORCHESTRAL 52 TICCIATI ON BRAHMS 14 Esther Zuke / 020 7501 6368 SALES EXECUTIVE Bartók violin concertos from Renaud Capuçon; Robin Ticciati discusses recording Brahms Simon Davies / 020 7501 6373 Rattle’s Haydn Journey; a soundtrack to Howards symphonies with the Scottish Chamber Orchestra, SUBSCRIPTIONS AND BACK ISSUES 0800 137201 (UK) +44 (0)1722 716997 (overseas) End; Yevgeny Sudbin plays Rachmaninov and his new position at the DSO in Berlin [email protected] PUBLISHING CHAMBER 70 HAYDN AND BEYOND 20 Phone 020 7738 5454 HEAD OF MARKETING AND DIGITAL Brahms sonatas from Tasmin Little; the Doric As Paul Lewis embarks on a project to record STRATEGY Luca Da Re / 020 7501 6362 MARKETING MANAGER Edward Craggs / Quartet’s Haydn; a round-up of piano trio discs Haydn’s piano sonatas, he discusses repertoire 020 7501 6384 DIRECTOR, INTERNATIONAL BUSINESS past and present DEVELOPMENT Matthew Cianfarani PRODUCTION DIRECTOR Richard Hamshere / INSTRUMENTAL 82 01722 716997 Joseph Kelemen’s monumental Bach; Pavel FESTIVAL GUIDE 2018 24 PRODUCTION MANAGER Jon Redmayne CIRCULATION DIRECTOR Sally Boettcher / Kolesnikov plays Couperin; Tiempo’s ‘Legacy’ Everything you need to know about festivals large 01722 716997 SUBSCRIPTIONS MANAGER Chris Hoskins / and small to plan your summer concert-going 01722 716997 EDITORIAL DIRECTOR Martin Cullingford VOCAL 94 PUBLISHING DIRECTOR Paul Geoghegan CHIEF EXECUTIVE OFFICER Ben Allen William Christie records Bach’s B minor Mass; THE MUSICIAN & THE SCORE 68 CHAIRMAN Mark Allen Benjamin Appl sings Brahms; Gounod cantatas Pierre-Laurent Aimard discusses the unique and sacred works; Sophie Bevan at Wigmore Hall challenges posed by Messiaen’s Catalogue d’Oiseaux

OPERA 108 ICONS 80 Porpora’s Germanico in Germania; a Rossini rarity; A look at the tragically short career of the a pair of star-attraction Verdi albums magniﬁcent French violinist Ginette Neveu

www.markallengroup.com JAZZ & WORLD MUSIC 116 CONTEMPORARY COMPOSERS 92

GRAMOPHONE is published by Reviews from our sister titles Jazzwise and Songlines Richard Whitehouse explores the music of the MA Music Leisure & Travel Ltd, St Jude’s Church, Dulwich Road, London SE24 0PB, United Kingdom. inﬂuential German composer York Höller gramophone.co.uk email [email protected] or REISSUES 118 [email protected] ISSN 0017-310X. ‘Complete’ Debussy on DG and Warner Classics; MUSICAL CONNECTIONS 101

The April 2018 issue of Gramophone is on sale from March 28; a tribute to Christa Ludwig; André Tchaikowsky James Jolly offers a listening list of Debussy- the May issue will be on sale from April 25 (both UK). Every effort has been made to ensure the accuracy of statements in inspired composers, then sets out to sea with this magazine but we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ errors, or an advertiser not completing his contract. BOX-SET ROUND-UP 123 British works inspired by the waves Regarding concert listings, all information is correct at the time of going to press. Letters to the editor requiring a personal reply should be accompanied by a stamped addressed envelope. We have made every effort to secure permission to use copyright material. Where material has been used REPLAY 124 THE SPECIALIST’S GUIDE 106 inadvertently or we have been unable to trace the copyright owner, acknowledgement will be made in a future issue. Bruckner boxes; Kurt Sanderling Edition Ten ballet scores compiled from earlier music UK subscription rate £64. Printed in England by Southernprint. North American edition (ISSN 0017-310X): Gramophone, USPS 881080, is published monthly with CLASSICS RECONSIDERED 126 PERFORMANCES AND EVENTS 136 an additional issue in September by MA Music Leisure & Travel Ltd, St Jude’s Church, Dulwich Road, London Two of our reviewers put Carlos Kleiber’s Live music listings, plus reviews of Jonathan SE24 0PB, United Kingdom. The US annual subscription price is $89. Airfreight and mailing in the USA by agent named Air Business, c/o Worldnet Shipping Inc., Beethoven Symphony No 7 under the spotlight Harvey’s Bhakti and a rare Gluck performance 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA. Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to Gramophone, Worldnet Shipping Inc. (see above). Subscription records are maintained at MA Music Leisure & Travel Ltd, Unit BOOKS 128 HIGH FIDELITY 139 A Buildings 1-5, Dinton Business Park, Catherine Ford Road, Dinton, Salisbury, Wiltshire SP3 5HZ, UK. Air Beethoven and the cello; a detailed study of Our monthly offering of audio news and reviews Business Ltd is acting as our mailing agent. Liszt’s symphonic poems © MA Music Leisure & Travel Ltd, 2018. All rights reserved. No part of the Gramophone may be reproduced, stored in a NOTES & LETTERS 148 retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording, or otherwise without prior written permission of the Publishing Director. GRAMOPHONE COLLECTION 130 The views expressed do not necessarily represent those of the editor or Gramophone. Advertisements in the journal do not Richard Wigmore surveys the recorded history of NEW RELEASES 150 imply endorsement of the products or services advertised. Handel’s Saul and recommends a top version MY MUSIC 154 REVIEWS INDEX 152 Dancer Akram Khan’s musical choices

4 GRAMOPHONE APRIL 2018 gramophone.co.uk NEW RELEASES ON WARNER CLASSICS AND ERATO

JOYCE DIDONATO AUGUSTIN HADELICH ALEXANDRE THARAUD & EDGAR MOREAU & PIOTR ANDERSZEWSKI GREAT SCOTT PAGANINI: 24 CAPRICES JEAN-GUIHEN QUEYRAS DAVID KADOUCH MOZART: PIANO CONCERTOS Life meets art as Joyce DiDonato Winner in 2015 of the inaugural BRAHMS: SONATAS SONATAS This pairing of concertos Nos 25 stars in the world-premiere Warner Music Prize, Hadelich Pianist Alexandre Tharaud and Cellist Edgar Moreau and pianist and 27, recorded with Chamber recording of Great Scott, a new releases his first recording for cellist Jean-Guihen Queyras in David Kadouch in a programme of Orchestra of Europe is Piotr opera written especially for her Warner Classics: Paganini’s 24 a programme of two Brahms sonatas by Franck, Poulenc, Rita Anderszewski’s third album of by Jake Heggie. Caprices for solo violin. cello sonatas and Hungarian Strohl and Fernand de La Tombelle. Mozart concertos. Dance transcriptions.

GAUTIER CAPUÇON RENAUD CAPUCON KYUNG WHA CHUNG LES VENTS FRANCAIS FEAT. DAVID AARON CARPENTER INTUITION BARTOK: VIOLIN CONCERTOS FRANCK & DEBUSSY EMMANUEL PAHUD MOTHERLAND A captivating album of short Renaud Capuçon expands his SONATAS CONCERTANTE! The star violist brings together pieces brining together much- wide-ranging concerto discography The centrepiece of this French- The members of Les Vents concertos by Dvorˇák, Bartók, Walton loved lollipops by Saint-Saëns, performing Bartók with the London themed recital by legendary violinist Français, which has been described and a dance cycle by contemporary Fauré, Massenet, Tchaikovsky, Symphony Orchestra under Kyung Wha Chung is the splendid as “the wind-quintet equivalent of composer Alexey Shor. Rachmaninov and Elgar. François-Xavier Roth. violin sonata by César Franck. a supergroup” in five examples of the sinfonia concertante. STILE ANTICO TENEBRAE RESPONSORIES TOMÁS LUIS DE VICTORIA

he office of Tenebrae, from the liturgy of Holy Week, has always fascinated the public and offered fertile ground for composers to exercise their gifts. Such was the case for Victoria, whose Borggreve © Marco exclusively sacred output, nourished by the multiple influences of his years in Rome, offers pride of place to his Tenebrae settings. hese Responsories display unparalleled expressive power and amply justify his reputation as the greatest polyphonist of the Spanish Renaissance. HMM 902272

harmoniamundi.com Martin THEMONTH OF RECORDING Cullingford’s When the author of a pick of the finest RACHMANINOV recordings from The Bells. Collection article elevates this month’s Symphonic Dances reviews Sols; Bavarian Radio a new recording above his Symphony longstanding benchmark Orchestra / Mariss Jansons version – as reviewer BR-Klassik Geoffrey Norris does here GEOFFREY NORRIS’S REVIEW – you know it’s something IS ON PAGE 50 very special indeed.

MAHLER Symphony No 1 VAUGHAN WILLIAMS MARAIS Pièces de viole Düsseldorf Symphony Symphonies Nos 5 & 6 La Rêveuse Orchestra / Adám Fischer Royal Liverpool Mirare AVI-Music Philharmonic Orchestra / This is a truly There’s a palpable Andrew Manze delightful recording excitement from critic Onyx of early 18th-century Edward Seckerson about this developing Andrew Manze discussed his deep and French viol music, in which beauty of Mahler series, and justiﬁ ably so, the longstanding affection for Vaughan line and collegiality between players performances underpinned by an evident Williams’s music in last month’s issue; make for many exquisite moments, rapport between Fischer and his orchestra. that insight bears rich fruit here. both delicate and joyfully lively. REVIEW ON PAGE 61 REVIEW ON PAGE 67 REVIEW ON PAGE 74

MOZART ‘HOME’ BEETHOVEN Violin Sonatas, Vol 5 Kian Soltani vc Diabelli Variations Alina Ibragimova vn Aaron Pilsan pf Martin Helmchen pf Cédric Tiberghien pf DG Alpha Hyperion Kian Soltani is very The second A superb series, much a young cellist Diabelli release destined to become a benchmark in the to watch – this album of well-chosen from the same label in less than a year – repertoire, here closes with a disc that music, from Schubert and Schumann to but with a performance as virtuoso keeps up the exploratory approach and Iranian composer Reza Vali, clearly draws and imaginative as this from Martin impeccable playing right to the very end. deeply on his own artistic personality. Helmchen, it’s more than justiﬁed! REVIEW ON PAGE 74 REVIEW ON PAGE 77 REVIEW ON PAGE 82

MESSIAEN ‘FOUR PIECES, ‘VENEZIA MILLENARIA’ Catalogue d’oiseaux FOUR PIANOS’ Hespèrion XXI; Le Concert Pierre-Laurent Aimard pf Alexander Melnikov pf des Nations / Jordi Savall Pentatone Harmonia Mundi Alia Vox A fascinating work, Alexander Melnikov Another compelling and the demands it makes talked readers through ear-opening historical on performer and listener both great but his choice of piano for the Liszt piece journey by Jordi Savall, this time a rewarding, is brilliantly explored by a in February; for Chopin, Schubert and portrait of that most beguiling of cities, pianist, Pierre-Laurent Aimard, with a Stravinsky he hand-picked three others. Venice, wonderfully portrayed in diverse deep knowledge of the music of Messiaen. The results are hugely enjoyable. music from across a millennium. REVIEW ON PAGE 86 REVIEW ON PAGE 90 REVIEW ON PAGE 105

DVD/BLU-RAY REISSUE/ARCHIVE In association with ‘LES FUNÉRAILES ROYALES DE LOUIS XIV’ LISZT Sols; Pygmalion / Raphaël Pichon ‘RIAS Recordings, Vol 2’ Harmonia Mundi Jorge Bolet pf www.qobuz.com A commemorative re-creation of the funeral Münchner Philharmoniker service for the Sun King, ﬁlmed in (appropriately The second volume Listen to many of enough) Versailles: ‘fantastic music-making in action’, writes our of this Jorge Bolet series, his virtuosity the Editor’s Choice reviewer David Vickers. revealed in an all-Liszt programme. recordings online at REVIEW ON PAGE 102 REVIEW ON PAGE 59 qobuz.com gramophone.co.uk GRAMOPHONE APRIL 2018 7 FOR THE RECORD Award-winning Takács Quartet name their new second violinist ároly Schranz, second violinist with the Takács KQuartet and one of the acclaimed ensemble’s founding members, is to retire from the group on May 1. Harumi Rhodes (pictured second from right), assistant professor of violin at University of Colorado Boulder, where the ensemble are based, will replace him. Schranz’s career with the group spanned more than 40 years, and included many prestigious prizes, including Gramophone Chamber Awards for all three instalments of their Beethoven Quartet cycle on Decca. His ﬁnal concerts with the group will take place on April 29 and 30 in Boulder; Rhodes will join the quartet for the second half of these concerts.

New organist replaces Darlington Major new Decca box-set at Christ Church in September celebrates the art of Arrau fter spending 32 years as Organist at he iconic Christ Church Cathedral, Oxford, Chilean AStephen Darlington will hand over Tpianist responsibility for the choir to Steven Grahl Claudio Arrau (pictured) in September. (1903-91) is Christ Church is unique in being both the subject college chapel and cathedral, and the role of the latest of organist involves conducting the choir mega box-set in the daily services. In his time in the post, from Decca. Darlington has conducted more than Gathering his 50 recordings, including the recent series entire recorded on Avie of music for the Eton Choirbook, legacy for Volume Five of which was reviewed in the January issue. Steven Grahl Philips and moves from Peterborough Cathedral where he has been Director of Music American since 2014; he recently recorded Cheryl Frances-Hoad’s EvenYouSong Decca, the with Peterborough Cathedral Choir for First Hand Records. 80-CD box includes two sets of the Beethoven piano concertos (with Bernard Haitink and Film composer John Williams Sir Colin Davis) as well as a live DG recording of the Beethoven Fourth Piano Concerto conducted by Leonard donates his scores to Juilliard Bernstein from an Amnesty International charity concert. he composer John Williams is to give his entire library of film and Also included are Arrau’s two Beethoven piano sonata concert music scores, along with his sketchbooks, to the Juilliard cycles (one analogue, one digital) as well as the violin TSchool. Williams – the recipient of five Oscars and 51 nominations sonatas with Arthur Grumiaux, the Mozart piano sonatas, (more than anyone else) – is the composer of some of the most famous and piano works by Debussy, Schubert, Schumann, movie music of all time, including Star Wars, ET, Jaws, the Harry Potter Liszt and Brahms (including the two piano concertos). films, Superman and Schindler’s List. Many of his most famous scores, In addition, two interviews with Arrau are included: several of which now make popular appearances in the concert hall, one features the Beethoven piano sonatas and the other result from a 40-year artistic partnership with Steven Spielberg. The focuses on the concertos (made for the 1964 Amsterdam collection will prove an invaluable resource for students of film music. cycle). The set will retail at around £160.

8 GRAMOPHONE APRIL 2018 gramophone.co.uk FOR THE RECORD Watch Gramophone’s new monthly selection of music films on medici.tv ach month, Gramophone will be teaming up with medici.tv to offer a selection of Erecommended films. This year the music of Claude Debussy (pictured) is very much in The magazine is just the beginning. our minds (he died in 1918) – scarcely a hardship Visit gramophone.co.uk for … as he left us some of the most incandescent and rewarding music of the early years of the The Listening Room 20th century. His works therefore feature in this James Jolly’s playlist and blog series ‘The month’s selection; from the gloriously evocative Listening Room’ is the perfect place to seascape that is La mer (conducted by Charles discover the most interesting new classical Munch), via the infinitely inventive chamber and recordings as soon as they are released piano music (Nelson Freire), to his astounding and also to enjoy classic recordings by opera Pelléas et Mélisande (from the Opéra legendary artists. Each new episode in ‘The National de Paris in Robert Wilson’s staging), Listening Room’ series is created every week we’ve chosen some superb performances. In other across three streaming platforms – Qobuz, news, Christa Ludwig turned 90 on March 16 and Spotify and Apple Music – and each episode we celebrate this great mezzo in a performance is accompanied by a blog in which James of Schubert’s Winterreise. There’s also music explores the music he has selected and from Gramophone’s Young Artist of 2017, the draws fascinating and unexpected musical pianist Beatrice Rana, and a glimpse into how connections between a diverse range of music takes shape courtesy of Rachel Podger’s recordings. New installments appear every Bach Masterclass. Meanwhile, for a more modern approach to violin-playing, compare Oistrakh and Perlman in the Brahms Violin Concerto. To find out more, visit medici.tv and type ‘Gramophone selects’ into the ‘search here’ box ONE TO WATCH Eldbjørg Hemsing Violinist The 28-year old Norwegian violinist’s performing career began very early – together with her sister Ranghild she was a famous child prodigy in her homeland, giving her first performance with the Bergen Philharmonic aged just 11. But her recording career now takes a big step forward with her first solo album, released on the BIS label to which she recently signed. Half of the record Friday, and it is a wonderful way to discover is Shostakovich’s Violin Concerto No 1; its new music and recordings at a time when coupling, however, is a largely forgotten the almost limitless amount of music work – Hjalmar Borgstrøm’s Violin Concerto available to us online can, on occasion, be a in G major, first heard in 1914. Its sense of bit daunting. To enjoy ‘The Listening Room’ Norwegian identity clearly resonates with follow Gramophone on Qobuz, Spotify and Hemsing, who speaks of its ‘simple lyrical Apple Music. To read the accompanying melodies and distinctive harmonies which blogs, please visit: gramophone.co.uk/blog/ conjure up the sound of the Hardanger fiddle. September, while her next album, out in the the-listening-room. And for me that conjures up the image of the autumn, will feature Dvořák’s Violin Concerto untouched, raw beauty of Norwegian and Suk’s Fantasy and Love Song with the Podcast archive nature – the deep fjords, wild coastline and Antwerp Symphony Orchestra and Alan The Gramophone Podcast archive on iTunes in particular the beautiful mountain chain Buribayev. There’s also a documentary due is a treasure trove of fascinating interviews of Jotunheimen which is my home.’ The out in the autumn, something Hemsing is no with leading artists and composers, recording, with the Vienna Symphony stranger to: in 2010, together with her sister, including Dame Kiri Te Kanawa, Murray Orchestra conducted by Olari Elts, will be she featured in an exploration of the life of Perahia, Riccardo Chailly and Dame Janet GLENN J. ASAKAWA, DAVID LOWNDES, THE TULLY POTTER COLLECTION, NIKOLAJ LUND NIKOLAJ COLLECTION, POTTER TULLY THE LOWNDES, DAVID ASAKAWA, J. GLENN reviewed in the next issue of Gramophone. Norwegian violinist Ole Bull; this new one is Baker. There are now more than 140 Looking ahead, Hemsing will give the about women in the arts, and Hemsing will podcasts to enjoy and you can explore world premiere of a new work by Tan Dun in be a major focus in it. them all for free in iTunes, simply search for

PHOTOGRAPHY: ‘Gramophone Podcast’.

gramophone.co.uk GRAMOPHONE APRIL 2018 9 FOR THE RECORD IN THE STUDIO Thomas Søndergárd has just this month recorded a programme of Schumann’s Symphonies Nos 2 and 4 with the LSO for the first Strauss with the RSNO, inaugurating a new series featuring this instalment of his new Schumann cycle. The works were recorded live conductor-orchestra partnership (Søndergard takes over as in concert at the Barbican on March 11 and 15, and, together with the Principal Conductor in September). The recording – of works including Genoveva Overture, will be included on an album to be released on Ein Heldenleben and Der Rosenkavalier Suite – is released on Linn in LSO Live early in 2019. O Pianist Louis Lortie and cellist Paul Watkins the spring to coincide with a US tour. O Countertenor Andrew Watts were at Watford Colosseum in February to record their contributions was at Potton Hall, Sufolk, last month for a ‘Countertenor Songbook’ to an all-Finzi disc, to be released on Chandos in the summer. with pianist Iain Burnside. The resulting recording, on NMC, will be The Grand Fantasia and Toccata for piano and orchestra and the released later this year. O Sir John Eliot Gardiner has just recorded Cello Concerto were accompanied by the BBC SO under Andrew Davis. STUDIO FOCUS Jean-Guihen Queyras The cellist on recording Debussy’s Cello Sonata for an all-star, all-Debussy disc on Harmonia Mundi, out in October You’re one of several musicians sonata with long phrases that contributing to this Debussy go on and on – it’s more like sonata disc … a collage, but one should be I am only one piece of the puzzle, careful that it doesn’t fall apart so this recording has been the and also that it’s not ‘overplayed’ simplest I’ve ever done! We did it in a theatrical sense. I have done in one day, back in January at a lot of new music, and I find the Berlin’s Teldex Studios. It was writing here extremely modern a very diferent experience and forward-looking – which compared to recording an is probably why I feel such entire CD and having to immerse a connection with it. It has this yourself in another space and time. What was the rapport like between intellectual yet witty quality, a very special I normally find recordings quite exhausting, you and Perianes? character and style. It breaks the rules and but this one was actually very enjoyable. I knew his playing, I knew I would connect opens the door onto 20th-century possibilities. with him, and it was extremely inspiring. It’s This was the first time you’d ever worked mostly the cello who has to dictate this piece, You’d worked with the engineer/producer with pianist Javier Perianes … musically, while the piano’s in the background Martin Sauer before … Javier and I have known each other for doing interesting and unexpected things that I’ve done many recordings with him – he’s a long while but we’ve never recorded can influence the interpretation. And in fact, so incredibly experienced which is very together, or even played concerts together – Javier was very much asking me to be the valuable. On this occasion, Javier and I were so I was a bit nervous! I have actually leader – he’d say, ‘Just do what you want like two eager kids so we needed his recorded this sonata before, with Alexandre to do’. He’s an extremely supple, flexible influence – he gave us some order! We all Tharaud, but it’s an important piece in the musician and he didn’t want me to wanted to keep things fresh, and Martin is cello repertoire and I was interested to record compromise to make things easy for him. someone who doesn’t like to do too many it again with someone new. You’d never takes anyway, so we ran through each think of improvising with a new partner What makes this a significant piece? movement about three times and then in a recording of the Brahms sonatas of The Cello Sonata was written shortly before we made our corrections. With Martin, course – Alexandre and I played them for Debussy’s death and reveals him at his most once I have the edited version we’ll normally 20 years before we recorded them – but radical – it’s a piece that, in some places, is do two ‘back-and-forths’ and then that will with the Debussy there’s the sort of dialogue at the frontier between music and musical be it. In fact, I’ve just been sent a link to the where spontaneity has a huge role to play. theatre. One cannot play it like a normal final edit – I’m curious to hear it!

Pappano and colleagues celebrate Bernstein ast month, Gramophone’s current Marie-Nicole Lemieux and soprano Nadine Young Artist of the Year, the pianist Sierra as soloists in the Jeremiah (No 1) and LBeatrice Rana, joined Sir Antonio the Kaddish (No 3) respectively. Also included Pappano and the Orchestra dell’Accademia will be the Prelude, Fugue and Riffs played by the Nazionale di Santa Cecilia for a live recording orchestra’s Principal Clarinet, Alessandro of Leonard Bernstein’s Symphony No 2, Carbonare. Each of the two concerts was given IANNIELLO & MUSACCHIO BORGGREVE, MARCO The Age of Anxiety. It will form part of a late- three times and supplemented by a patch session. summer release on Warner Classics to include Our own James Jolly was there and caught up

all three of Bernstein’s symphonies, with mezzo with the artists for a future Gramophone Podcast. PHOTOGRAPHY:

10 GRAMOPHONE APRIL 2018 gramophone.co.uk

FOR THE RECORD ARTISTS & THEIR INSTRUMENTS Pavel Kolesnikov on his chosen Yamaha CFX Concert Grand

is that the sound has strong low and high frequencies, but not so much in the middle of the range – and this was exactly what I was looking for. This piano was at the Yamaha CF Centre in London, and I have a good relationship with Yamaha as I work with them sometimes – I recently used a Yamaha for my Cadogan Hall Prom. I like Yamaha very much, particularly for the fact that they are so open-minded and are ready to work with and twist the piano, to tailor the action endlessly – basically there is no ‘no’ there at all. I didn’t really have to do much to the piano, it was very good as it was. We did a little bit of work on the action so the response of the keyboard was very subtle, as it often is with Yamaha. It is very light, and at the same time extremely sensitive, and you really just need to have an intention and the instrument follows it – it’s quite a magical thing. And we had two diferent actions. Yamaha is working on the I’m always looking for some interesting new repertoire, but it was development of their pianos at the CF Centre and they have some quite unexpected to find Louis Couperin and this amazing collection interesting prototypes – so I used two of the actions that were quite of pieces. I didn’t know much about him, nor had heard anything new; one is a little bit more percussive in the sound, the another more except the odd piece. It’s very rare to discover something so strong. singing, and dark-toned and mellow. We changed the action during He is very unique; there are several styles and points of view mixing the recording for diferent pieces – and in some cases even for together in his music. You can hear diferent influences: the diferent sections within pieces. It’s not immediately noticeable, but harpsichord, lute music, singing, and also an unusual German it provided a little extra diference in the colouring of the sound. influence that comes from Couperin’s obsession with Froberger. The piano has a little bit of an Amy Winehouse sound – it’s a little It’s already Baroque, yet most of the time one can hear Renaissance bit rough, and very, very intense. And this is what I wanted to achieve too. This music is on the edge in many respects. from this music. It really fits like a glove. When I arrived in the studio I must say that I had no intention at all of making my piano sound I asked someone to play it and I walked around the piano to hear in like a harpsichord. Absolutely not. I don’t see the point of doing that which place the sound was closest to what I wanted. In the end we had on a contemporary piano. The point of using a contemporary an interesting mix, with one of the microphones placed really close to instrument was to bring the uniqueness and power of this music, with the strings so that it picked up the almost tactile connection of the all those influences I mentioned, into the limelight. It’s like paying a hammer of the string. When starting to listen back I was at first coin in a Venetian church to spotlight one of its masterpieces. I had shocked a little, because it’s a very unexpected sound. It doesn’t the ideal sound for this in mind, and I started looking for the right exactly sound like a piano, but you cannot say it sounds like a instrument. I was quite desperate – I tried some Steinways and it didn’t harpsichord either, or anything else really – it’s a fantasy sound. But work at all, and I tried Fazioli and it again didn’t quite work, and finally, then you get into the atmosphere. I’m always looking – particularly completely unexpectedly, a rather short time before the recording when I’m recording, because you can only really do it in recording – was scheduled, I found this Yamaha and thought it was something for a particular instrument that would specifically fit the composer. that could work. It’s a piano which is extremely resonant, and there is And I think this particular set-up worked well for Louis Couperin. a lot of tension in the sound. I don’t know for sure but my impression Pavel Kolesnikov’s Louis Couperin recording is reviewed on page 84

Saariaho wins Contemporary prize QEH and Purcell Room to reopen Kaija Saariaho has been named the recipient of the Contemporary At London’s Southbank Centre, the Queen Elizabeth Hall and Purcell Music category in the BBVA Foundation Frontiers of Knowledge Award, Room are reopening after two years of refurbishment. Significant worth €400,000. The jury collectively praised the Finnish composer’s examples of Brutalist architecture, the two halls will relaunch with ‘contribution to contemporary music that is extraordinary in its a programme that pays tribute to their 50-year history, featuring individuality, breadth and scope’ and ‘seamless interweaving of many artists to have performed over that time, as well as ofering the worlds of acoustic music and technology’. 32 premieres and new commissions. British Museum hosts arts festival BBC YoungMusician kicks of From April 16 to 19, the British Museum hosts its first music festival, April will see the broadcast of the 2018 BBC Young Musician category during which works by the likes of Ligeti and Liszt will feature alongside finals. The competition culminates in the concerto final in Birmingham historic music from countries including China, India and Japan. Entitled on May 13 – look out for broadcast details nearer the time. It’s the ‘Europe and the World: A Symphony of Cultures’, it will ‘strive to allow 40th anniversary of the competition, which has launched many a dialogue between works of classical and contemporary music and careers (not least cellist Sheku Kanneh-Mason’s, winner in 2016); part the British Museum’s extraordinary objects from all over the world.’ of the celebrations will include a special BBC Young Musician Prom.

12 GRAMOPHONE APRIL 2018 gramophone.co.uk FOR THE RECORD FROM WHERE I SIT Opera is not a museum culture but a bold art form that needs to evolve, says Edward Seckerson

he dramatic and somewhat predictably mixed reaction to Barrie TKosky’s staging of Bizet’s Carmen at the Royal Opera House recently (a show first seen in Frankfurt in 2016) once again raised questions as to how far opera has come and where it might be going as a living, reathing, theatrical art form. The DVDs reviewed regularly in these pages enshrine a phantasmagorical assortment of creative takes on mostly established classics of the operatic stage. More often than not the focus of rediscovery is T 16634 5186 PTC on a relatively small core repertoire. Some of these rediscoveries push the envelope wilfully, some hardly bear scrutiny, others make one think differently about a piece, illuminating aspects of it that other productions simply don’t or cannot reach. But most merit at least one viewing and a few basic questions. Why did the A CERTAIN SLANT OF LIGHT director make this choice? What is it saying? Does it ultimately Songs on Poems by Emily Dickinson serve the narrative and dramatic elements of the piece? I have been attending opera long enough to remember the A Certain Slant of Light features musical settings of Dickinson poems by howls of derision that routinely greeted every production that four outstanding American composers: Aaron Copland, Gordon Getty, dared to veer from tradition and period or did so in a way that Jake Heggie and Michael Tilson Thomas. The collection on this album reveals the diversity of Dickinson’s oeuvre, as well as the rich 20th- and stylised theatrical conventions. That still happens (and did, it 21st- century tradition of American art song composition. These songs are seems, on the opening night of Kosky’s Carmen – I attended the interpreted by the renowned American soprano Lisa Delan, general dress), but what is more worrisome is that some opera- together with the Orchestre Philharmonique de Marseille goers – and even accredited critics – have such a poor nose for under the baton of Lawrence Foster. theatre and so little imagination that you wonder why they venture into the opera house at all when they can visualise their own RECENT HIGHLIGHTS production while listening to their favourite recordings at home. Opera is not a museum culture where singers once practised what one might call the taxidermic school of stage performance. It is a bold art form where musical and theatrical elements can achieve dramatic fission in extraordinary ways. Kosky’s Carmen – which I thought stunning, by the way – does a whole lot more than that, and whilst this is not a review I do want to uphold its integrity and theatrical brilliance in the face of its naysayers. Taking the critical edition of the score as their basis, Kosky and his team have essentially reimagined Carmen for today’s sophisticated theatre audience. Abandoning the creaky dialogue PTC 5186 620 PTC 5186 658 (which even the best singing actors find hard to negotiate convincingly), along with the (even worse) sung recitative that isn’t even Bizet’s, they have fashioned a husky, sexy Carmen- like voiceover from the stage directions and character back- stories of Bizet’s librettists and Prosper Mérimée’s original novella and used some of the additional, rarely heard, music as underscoring. They have further alluded to the Frenchness of the piece by emulating boulevard cabaret, and extensively underlined its Spanishness through dance. Such allusions are not just integral to the character of the piece but an added dimension to the staging of it and if the breathtaking precariousness of the PTC 5186 696 PTC 5186 669 staircase on which the drama unfolds isn’t heartstopping in itself, www.pentatonemusic.com EVA VERMANDEL EVA Carmen’s arrival at the bullfight which is her destiny in black traditional flamenco dress, trailing what is at once a stage-filling And in all good record shops Distributed train and shroud, is an image never to be forgotten. in the UK by

PHOTOGRAPHY: So what’s not to like, you might ask? Don’t ask me.

gramophone.co.uk GRAMOPHONE APRIL 2018 13 14 GRAMOPHONE APRIL 2018 gramophone.co.uk ROBIN TICCIATI A tale of TWO CITIES James Jolly reports from ans Scharoun’s Philharmonie, which opened its doors in 1963 to Berlin’s Edinburgh and Berlin as the music lovers, remains one of the architectural wonders of the musical conductor Robin Ticciati world. It’s a building that sits alongside Jørn Utzon’s Sydney Opera House in prepares to bid farewell to the its timeless originality, and, with its so-called vineyard seating arrangement, it ushered in a style ofH auditorium design that has been imitated the world over. Scottish Chamber Orchestra It’s a hall that has witnessed plenty of changes during its half and embrace the Deutsches century: when built it was surprisingly close to the Berlin Wall; now it sits proudly at the centre of this capital city in a unifi ed Symphonie-Orchester Berlin Germany. And musically, it has seen the transition at the Philharmoniker from the Karajan era, via Abbado and Rattle, to the dawn of a new age entrusted to one of music’s least-known entities, Kirill Petrenko. But the Philharmonie also hosts the Deutsches Symphonie-Orchester Berlin, and this ensemble, too, has undergone many changes during its 72-year history. Founded in 1946 as the RIAS (Radio In the American Sector) Symphony Orchestra, it was immediately put on the map by its hugely talented fi rst Music Director, Ferenc Fricsay. When he succumbed to cancer in 1963 at the tragically early age of 48, the baton passed to a 34-year-old Lorin Maazel who proved an inspirational musical boss, as a handful of glorious recordings for DG bear witness. (Berlin in the early 1960s, as the Wall went up, must have shone like a cultural beacon for classical music in those dark days.) The DSO (its name since 1993) has proved an extraordinary launch pad for some of today’s greatest conductors: Riccardo Chailly leapt straight to Amsterdam’s Royal Concertgebouw, Kent Nagano to the Montreal Symphony Orchestra (and the Bavarian State Opera), and the latest incumbent, Tugan Sokhiev, now presides in Toulouse (as well as heading up the Bolshoi Theatre in Moscow). It’s quite a heritage and one that the British conductor Robin Ticciati has joined as the DSO’s new Music Director, a post he took up last autumn after nine years at the helm of the Scottish Chamber Orchestra (with whom this month’s set of the four Brahms symphonies was made – ‘There’s no other ensemble I would rather have done this with’ Ticciati is quick to emphasise). So, for him – for this season at least – it’s a tale of two cities, Janus-like looking back to his closing concerts in Scotland, and ahead to a new life in this most vibrant of FABIAN FRINZEL & AYZIT BOSTAN BOSTAN AYZIT & FRINZEL FABIAN Germany cities, where signifi cantly he has also chosen to make his home. Ticciati, at 34, already has an impressive CV. Though

PHOTOGRAPHY: PHOTOGRAPHY: without formal training as a conductor, he cites both Sir Simon

gramophone.co.uk GRAMOPHONE APRIL 2018 15 ROBIN TICCIATI

a tangent (though always done with exquisite politeness, as he parks one thought to be returned to in due course). And he offers – just as there surely needs to be with any conductor – a reassuring balance of head and heart, of intellect and emotion. As we chatted after the rehearsal for Brahms’s Third, Ticciati talked enthusiastically about the ‘historic sublime’, that awed-by-nature movement that so energised John Ruskin, but with the next breath, he was admitting to feeling ‘that I was going to break down’ when he engaged with the potency of the symphony’s finale and its emotion- laden significance: ‘Robert Schumann’s Recording Brahms with the Scottish Chamber Orchestra in Edinburgh’s Usher Hall, May 2017 Rhenish motif, a farewell to Clara, the fact that from Robert’s death onwards Rattle (now in his final lap at Berlin’s mighty Philharmoniker) she only wore black as well as things like Brahms saying “You’re and Sir Colin Davis as inspirational influences. He was the the only person I’ve ever loved”, and then there’s Joachim and youngest conductor to appear at La Scala, Milan (standing in Brahms’s own motif. In that last chorale all that comes together. for an indisposed Riccardo Muti – ‘I have this awful feeling I can talk about things like that with the SCO but just now that I turned up to my first rehearsal there wearing flip-flops!’ I couldn’t – I felt that words are pointless. It is all in the music.’ he confesses with a mixture of horror and amusement – before returning to conduct a triumphant Peter Grimes). He has spoke to Ticciati in the Scottish capital last May during worked at New York’s Metropolitan Opera (Eugene Onegin the Brahms sessions for Linn (surely one of the only times with Netrebko, Dolgov and Mattei) and the Royal Opera Iall four symphonies have been recorded in a single set of House, Covent Garden, and, since the start of 2014, he has unbroken sessions) as the temperature soared to 28 degrees, been Glyndebourne’s Music Director. Symphonically, as and then caught up with him in a considerably cooler Berlin well as being the SCO’s Principal Conductor, he has served this February as he rehearsed in the Philharmonie for a as Chief Conductor of Sweden’s Gävle Symphony Orchestra characteristically intriguing programme of Magnus Lindberg’s and Principal Guest of the Bamberg Symphony Orchestra. Chorale, Alban Berg’s Seven Early Songs and Bruckner’s Sixth To talk to, Ticciati is thoughtful and measured, with, for Symphony (a work that Linn was recording live over the two an interview such as this, an alarming habit of veering off on concerts). I wanted to learn how this young conductor sees his role in the musical life of a city where orchestras positively thrive. ‘My response when I arrived here’, he revealed backstage at the Philharmonie, ‘was to look at the past 10 years of programmes and ask myself what they had perhaps been missing out on. And then you think of all those orchestras in Berlin and their individual identities … But it’s also about how to excite an audience with combinations of pieces, and what I love about the DSO is that they are a daring, programmatic orchestra. At the moment, I’m not so obsessed by the idea of “keeping”; I’m more interested about what I’m going to create. So, I’m not putting pressure on myself to come up with the next great idea. I’m just seeing what repertoire holes there are, what repertoire the orchestra and I can move quickly with, and develop something fast. And, ultimately, what’s going to make the audience say, “I’ve got to hear that”, or, “What is that going to sound like?” or “Why are they doing that? Why?”. But I don’t have some Grand Plan … well, just some mini- Grand Plans! It feels very, very organic and the reason for that is the orchestra’s

16 GRAMOPHONE APRIL 2018 gramophone.co.uk ROBIN TICCIATI

history – the programming from Kent, the programming from Ingo Metzmacher, and then the sound culture with Ashkenazy and Chailly. A lot has gone on with this orchestra. And I’m realising that more and more. They’ve done so much. There’s such depth and history.’ Leaﬁng through the DSO’s 2017-18 brochure, my eye yevgeny sudbin is caught by a concert that combines Roy Harris’s Third Symphony, Schoenberg’s Piano Concerto and Sibelius’s Seventh. Ticciati laughs. ‘I’m glad that one leapt out! The rachmaninov premise behind my ﬁrst season was a mosaic. If you don’t know piano concertos 2 & 3 an orchestra so well – and our history is four weeks of work together – you don’t immediately want to pick a composer and go into him in depth, as I did in Scotland. Rather, I felt I wanted to go from Rebel to Larcher, and everything in between that I respond to. In a sense, I wanted to make every programme feel like a project and something that “pops” for the audience. Sibelius Seven I’ve lived with for a long time – that goes back to my teens and Colin Davis. But how do I bring that piece to a German radio orchestra? So, it made me think

about symphonies in one movement and that somehow led ©Peter Rigaud to the Harris and his relationship with European culture – he was fascinated by it and you hear it in his own American way. And I’m so moved by it. And I thought the Schoenberg in the middle would be a kind of squeeze of lemon juice!’ ‘If you’re ready to disrobe artistically - to give yourself to art and creativity - the city of Berlin will come with you’

Watching Ticciati rehearse Bruckner’s Sixth – without a score – was to be confronted again by many of the mysteries of the conductor’s art and craft, but also how the dynamic between podium and musicians continues to evolve. ‘The first OUT NOW couple of weeks here I really tried to speak only in German and I thought, “This is the way”. Then, suddenly, the relationship BIS2338 (Hybrid SACD) musically was developing so fast and I was wanting to convey so much more, that the vocab, the single image, just wasn’t there, so actually at the moment I’m annoyed with myself but I’m also laughing at myself because I’m speaking in English to them. But then their English is very good. They respond really well. They want to know what the conductor feels about the music.’ Even so, a good 60 per cent of that rehearsal in question actually took place in German. A word Ticciati uses often to describe the developing relationship with the DSO is ‘refining’: ‘And it’s lovely to be ALSO AVAILABLE part of that process. It’s about refining technique, even how you speak. If you’re completely in control of the rehearsal process, BIS2138 (Hybrid SACD) you can take five minutes to say something. It’s just a question of showing the orchestra that you know and are completely in control of the vision of the piece – musically, technically, the “He shares with Horowitz an ability to whole thing!’ conjure up landscapes and narratives within And Berlin as a place to work? ‘I’ve got to be careful that these sonatas, so vividly and intensely are I don’t project my own excitement on to it, but I still think they etched.” (Scarlatti Sonatas) it’s a valid thing that in this city if you’re ready to disrobe artistically – be ready literally to give yourself to art and Gramophone, April 2016 tDisc of the Month creativity – the city will come with you. I know that’s such a romantic thing to say, but you feel music is respected as part of the city’s fabric. In my first week, we did that concert of Marketed and distributed in the UK by Select Music and Video Distribution Ltd MARCO BORGGREVE MARCO Larcher and Rebel, a crazy programme that the orchestra were T: +44 (0)1737 645 600 t E: [email protected] just eating up, that they were challenged and excited by. They Available for download in Studio Master Quality from www.eclassical.com want to be pushed – they want to eat and drink music and I feel For international distribution see www.bis.se

PHOTOGRAPHY: they’ll go anywhere. But the day before, I did a symphonic mob

gramophone.co.uk GRAMOPHONE APRIL 2018 17 ROBIN TICCIATI

Rehearsing Berg’s Seven Early Songs with mezzo Karen Cargill and the Deutsches Symphonie-Orchester Berlin in the Philharmonie, February 2018 with, I think, about 900 musicians (25 flutes doing Peer Gynt – 1885. When von Bülow moved to the Berlin Philharmonic, amateurs and my guys in the middle). We did some Carmen and he was succeeded first by Richard Strauss, no less, and then Grieg and I felt this excitement from the community.’ by Steinbach who continued the Brahms tradition. But what And with the DSO there seems to be an engagement with is significant for us, all these years later, is the size of the music at an almost forensic level. ‘I had this wonderful moment Meiningen ensemble: it was built on a string contingent of yesterday when we were doing the Berg Seven Early Songs,’ 10 (first violins).8 (seconds).6 (violas).6 (cellos).4 (basses). Ticciati recalls. ‘I had a long meeting with the cellos and basses (To put that in context most symphony orchestras nowadays about seating. And the second would perform Brahms with bassoon was just waiting there. ‘I feel that when I get to the a line-up of something like I couldn’t quite catch his eye 16-18.16.12.12.8.) but he carried on waiting there topofthemountainwithBrahms, It was Sir Charles for 10 minutes, 20 minutes, Mackerras who opened incredibly patiently, and when he’s there as well – he hasn’t left you’ modern ears to this we finally finished he came up ‘Meiningen’ approach with to me. “I just want to check one of the words in the fourth song. his Telarc cycle with the same orchestra, the Scottish Chamber I feel that there’s a misprint and she’s singing ‘der’ rather than Orchestra, as Ticciati’s recording – a set that Gramophone ‘den’.” And we looked at the score and, yes, he was right. I just reviewed in October 1997. ‘One of the things I said to the thought that was incredible, that level of involvement. And it’s orchestra at the beginning of this project,’ Ticciati is quick to a song he’s not even playing in! It made me so happy …” stress, ‘is, “We are doing it with this [reduced] size of orchestra but, look, let’s not get carried away because Brahms was a man ecordings of the Brahms symphonies are hardly in who got incredibly excited by seeing 10 double basses and 18 short supply; considerably fewer than the Beethovenian first violins.” Obviously, you shouldn’t break outside the palette Ror Brucknerian nine, they make a neat quartet with but I just wanted them to be only in a chamber setting in their their variety, ambition and plentiful opportunities for minds. So already in size of orchestra, the playing field is open conductors and orchestras to show their mettle. There is and it’s ultimately about taste and, with Brahms, you always one card, however, that very few ensembles choose to play return to this thing of, “If you are a good musician you will and that is to invoke the performances that the Meiningen know”. So, 10.8.6.6.4 is what we work with. It’s essential you Court Orchestra gave both under Brahms and particularly have that depth – there just seems to be this extra layer of burial under Fritz Steinbach in the last 15 or so years of the 19th in the soil, a darkness, a different kind of hue that also lets other century. This small ensemble, which can trace its roots back instruments ring in a different way over the top.’ to 1690, already had a formidable reputation when Brahms Ticciati is, it seems, less interested in strict adherence to was introduced to it by Hans von Bülow who became its some kind of Meiningen template and more interested in how Music Director in 1880. He admired its high standards and he can achieve the sound that he hears in this music within entrusted it with the premiere of his Fourth Symphony in these forces. ‘I very much wanted to balance the violas as

18 GRAMOPHONE APRIL 2018 gramophone.co.uk ROBIN TICCIATI

hen we parted in Edinburgh last May, Ticciati had the Brahms Fourth Symphony to record. ‘I still look Wout into the middle distance with it. I have to avoid speaking of it as his last, knowing that there might have been a fifth – he burnt manuscripts of a fifth – and that opens up this whole new vista when you tackle the Fourth (like Mozart’s Nos 39, 40 and 41, it gets that status as a last statement but they’re just moments). With No 4, there’s a moment of emotional truth and compositional rigour. What I’ve been totally obsessed with over the past few months is Brahms’s chamber music, the Third Piano Sonata and the Opp 117, 118 and 119 piano pieces – the way that Radu Lupu might play a phrase in the sonata or how Christian Tetzlaff and Lars Vogt might do something in a violin sonata – I feel that intimacy and spontaneity must be in the symphonic music.’ Those thoughts were in my mind as I returned to speak to Ticciati in Berlin, but he pre-empted me … ‘Since I saw you I went to a trio concert with Christian, Tanya [Tetzlaff] and Lars last Saturday doing the Brahms C major – which I didn’t know. And I thought about what has changed over those seven months. Just to see them play that piece, the Schumann F major and the Dvo∑ák Dumky … they inspired me so much. They’ve refined this 19th-century modern style. Ultimate contact – it ceases to be about instrumental perfection a line of counterpoint. That it’s not wool in the middle; it’s or showing us the score, it’s just the music. And who knows thread. (You can enter this into Pseud’s Corner!) Joachim said, how my Brahms might have changed had I known the middle “The true tone is the unvaried tone”, which I think is a good part of the second movement where there are just these tiniest basis, but I definitely don’t go as far as Roger Norrington – utterances – they’re tiny, and yet they mean so much.’ And that I definitely don’t even go as far as John Eliot Gardiner, but I do absorption prompts Ticciati to thought – so much to discover, feel that the basic tone colour is one of open purity and then the so much to learn – and his natural modesty once again exerts absolute ornament is vibrato. Vibrato is an essential moment itself. ‘My journey with Beethoven has a long way to go, and where something blossoms into an ultimate romanticism. of course the same could be said of my journey with Brahms. And that’s what’s so hard sometimes to find in the symphonic But at this moment in time, I feel that when I get to the top of tradition as we know it now, because a lot of instrumentalists the mountain with Brahms, he’s there as well. Even at the end are taught to vibrate in an even, constant way. Nikolaus of the Fourth Symphony, which is a feeling of total despair, he Harnoncourt says this incredible thing: “Alles was immer still hasn’t left you.’ ist, ist nie” – “Everything that is always, is never”. It’s just Andrew Farach-Colton reviews Robin Ticciati’s Brahms cycle on page 55 a perfume, a moment – and then you get into a 19th-century colour. Portamenti (left hand), bow speed (right) and general ON RECORD: A TICCIATI TRIO chamber sound – that was the basis. It sounds like a recipe but Three Gramophone Editor’s Choice recordings I also hope I’m not someone reading from a recipe.’ One of the characteristics of the approach of the Meiningen Berlioz and musical interpretation closely orchestra’s director Fritz Steinbach was considerable freedom Les nuits d’été. La back what Jones and Fahie and of expression. Ticciati is wary: ‘One of the criticisms of the mort de Cléopâtre designer Stewart Laing are doing. time from Brahms’s detractors was that this was just enlarged Karen Cargill; SCO Ticciati eschews the weighty, chamber music: these weren’t proper symphonies. So, my Linn (6/13) rather Germanic approach of premise is to return to just that: enlarged chamber music where ‘One of the striking facets of older conductors, concentrating you feel that there is this potential symphonic world able to Ticciati’s conducting and the on rhythmic and instrumental reach the top dynamic of what you would want, but it’s all done SCO’s playing in Les nuits d’été is subtleties and the sheer reason with players breathing with each other and with me. I talk a the clarity and detail that spring why the music is like it is.’ lot about elasticity, of ebb and flow and the idea of rushing. from the score. This is not effected Tchaikovsky Yes, we can rush – the half beat does get faster when we get in any obtrusive, mannered way Eugene Onegin excited. We can shoot forward. On practical levels I talk a lot but rather it is an indication of Royal Opera to the strings about portamenti and a type of legato fingering Ticciati’s insight into Berlioz’s Opus Arte (12/13) where our basic espressivo comes from right-arm bow control subtle touches of colour and ‘The orchestra play and left-hand legato. Take Brahms’s falling thirds and sixths – I textural variety.’ outstandingly for don’t want my 10 violinists to go “Tee-Um” [with a marked Britten Robin Ticciati, Glyndebourne’s slide between the two notes] or “Tee. Um”. I want to hear Peter Grimes MD-elect. This is not the big, the route between the two notes, so we’ve been working a lot La Scala, Milan epic symphonic Onegin of Russian on different fingerings to get the true sense of legato. I was Opus Arte (7/13) tradition but a most attentive use MARCO BORGGREVE MARCO influenced a lot, positively and negatively, from Mengelberg ‘In the pit, Robin of Tchaikovsky’s subtle dynamics and, I feel, from Mahler. Steinbach impinges a lot – not Ticciati’s conducting and orchestral colours.’ so much about fingerings but there’s an awful lot about

PHOTOGRAPHY: articulation. And tempo.’

gramophone.co.uk GRAMOPHONE APRIL 2018 19 PAUL LEWIS STANDINGUP TO

HAYDNTappinginto the humour and structural complexities of Haydn’s sonatas has been daunting for pianist Paul Lewis, but performing them in concert has finally convinced him to begin a longterm recording project of this irrepressible music, writes Hugo Shirley

20 GRAMOPHONE APRIL 2018 gramophone.co.uk PAUL LEWIS

waiting the arrival of Paul Lewis in the I played to him. I was a student at Guildhall and he came room at the back of Berlin’s Teldex to give a masterclass. I was 20 at the time and I played Studios on a freezing January morning, the big E-flat Sonata, the last one. I remember him I’m struck by how quiet it is – almost commenting that he thought the humour could come unsettlingly so. When he appears, he out a bit more,’ he adds with another laugh. Brendel offers a warm greeting before helping nevertheless invited him to keep in touch. himself to a coffee. As we take our I ask more about what that Haydnesque humour seatsA to start chatting, he radiates a certain relaxation – actually is. ‘It’s understanding the humour, and how the main part of the recording is behind him; topping, Haydn sets up expectations and then does something tailing and listening back is all that’s left to be done. different, that makes you laugh.’ And what about the In conversation Lewis, now 45, is considered and delivery? Brendel’s, I note, was always rather deadpan. eloquent, picking words carefully; his answers to ‘I think it’s quite good like that. It doesn’t work if you questions are efficient rather than expansive. He’s find it too funny.’ happy, I realise as I listen back to the recording, to He goes on to draw the comparison with a good let me waffle on myself. Lewis, one soon realises, is also stand-up, and I wonder whether recording this music, an interested, engaged listener. In the background of the then, is like a comedian performing in an empty recording, though, I hear the occasional tapping out of room. ‘It’s a different challenge,’ he admits, ‘and also rhythms: there’s always, it seems, music somewhere in it obviously sounds different when you listen back. there, itching to get out. In a performance you have your gestures to add to the The pianist’s newest recording project for Harmonia delivery; in a recording you don’t, and certain things Mundi, he tells me, sets out to capture music that he have to be made even clearer: colours, timing … I think first consumed as a young boy: his local library was well the analogy is more like the difference between the stocked with Haydn, and specifically Alfred Brendel’s way you would say something and the way you would early recordings of the sonatas. The first disc of Lewis’s write something.’ own more modest survey of the sonatas is out this month; the current plan is for two more. ‘Let’s see how ‘Iwaslisteningtooldrecordings it goes. Three, I think, would be a good start. I have no ambition to do all of them [there are more than of me playing Schnittke and 60 in total],’ he says with one of the hearty laughs that pepper our hour-long discussion. Shostakovich and thinking, “Jeez! ‘For years I’d been thinking about doing a Haydn sonata series, a concert series, and I thought, “I can’t do Did I really play all that stuff?”’ them all”.’ It’s different, he says, from Beethoven, whose 32 sonatas he has performed many times in concert and There’s also a major difference between programming has also recorded, in a series whose volumes hungrily for a recording and the way in which Lewis plans his gathered up a clutch of Editor’s Choices, Discs of the concert programmes. And humour – its presence or Month and, for Volume 4, Gramophone’s Recording of absence – played a role in Lewis’s decision to juxtapose the Year in 2008. ‘There’s a structure to them, but with Haydn and Brahms. ‘The main reason I came up with Haydn it seems less clear what’s what.’ Brahms as a contrast to Haydn is precisely that: it’s The answer was to focus on certain pieces, but that a huge contrast. Whereas Haydn’s so full of humour didn’t necessarily solve the problem of how best to and surprises, I haven’t been able to detect a grain present them in concert. ‘Then I came up with this idea of humour in Brahms, apart from maybe sort of of combining them with other things, with Beethoven good humour, like in the third piece of Op 119.’ and Brahms.’ That combination forms the basis of Brahms was the subject of Lewis’s last interview Lewis’s current concert tour, running until 2019. in these pages, discussing the score of the composer’s Late Brahms and Beethoven – the former’s Piano Pieces First Piano Concerto, which he recorded with the Opp 118 and 119; the latter’s Bagatelles and Diabelli Op 10 Ballades. I remind him of a different interview Variations – juxtaposed with a selection of Haydn from a couple of years back when he’d announced that sonatas. ‘And then I thought, “Why not record them!”’ he’d tackle the Second Concerto in 2017. There’s a mild The pianist’s own history with Haydn is one that expletive and a laugh before he admits that was the case, inevitably brings us back to Brendel. Brendel taught but that he’s still waiting to feel entirely ready to present Lewis, and could regularly have a Royal Festival this vast piece in public. ‘I’ve sort of learned it, more or Hall audience if not exactly rolling in the aisles, then less, but then to get it on the stage … I think the older certainly appreciating the composer’s irrepressible wit. you get, the longer things take.’ Lewis remembers his own reaction to the music, the This brings us on to a period in Lewis’s career sonatas and the symphonies, as a young boy. He had when more overtly virtuosic works – though not even no problem connecting with it in a direct way, he tells then that Brahmsian behemoth – were staples of his me. ‘But I think I probably got it in an eight-year-old’s repertoire. He tells me he has recently been listening sort of way. It’s very direct, and there are things that again to some old BBC recordings of his of repertoire I probably understood more easily then than I do now – that people these days might not necessarily associate IGOR CAT/HARMONIA MUNDI CAT/HARMONIA IGOR things feel far more complicated.’ with him. ‘Shostakovich’s First Concerto, the Schnittke Brendel’s influence was felt on many levels, especially Piano and Strings: I was listening to it and thinking, since, as Lewis recalls, it was with Haydn that their “Jeez! Did I actually play all that stuff?” But sometimes

PHOTOGRAPHY: personal engagement began. ‘Haydn was the ﬁrst thing I get something like Rachmaninov Three out and just gramophone.co.uk GRAMOPHONE APRIL 2018 21 PAUL LEWIS

‘A thoughtful, self-reflexive, philosophical attitude to his craft’: Paul Lewis, pictured here at the Royal Festival Hall, has recorded the first of a projected three Haydn discs play it through and wonder if I want to play it again or not. Beethoven or Haydn. ‘A totally different skill set: it’s like doing You can get excited about it, and think, “This would be great a different job altogether.’ Lewis goes on: ‘With Rachmaninov fun”. But then you think, “Nah!”’ and this hardcore virtuosic stuff, it’s more about stamina in the I wonder, though, if he’s concerned that people will start to end. You wonder at how some composers write into the music assume that his repertoire is the same as Brendel’s, which, at this sense of struggle, this feeling of really having to commit least in his later recordings, was famously restricted to works 120 per cent physically.’ in and around the central He cites Clifford Curzon’s Austro-German tradition. ‘It’sreallyimportanttokeepintouchwith live 1955 recording of And what did Brendel have to Brahms’s Second Concerto say about Lewis playing Rach thewidestrangeofmusicyoucan...ifit with Hans Knappertsbusch Three? There’s another laugh. and the Vienna Philharmonic. ‘I remember telling him about doesn’t make it to the stage, then fine’ ‘It’s electrifying, but there it, because I was playing it have to be more wrong notes quite a bit around the time I started with him. I think he said than right notes in it – really, I’m not exaggerating! It’s just something like’ – he dusts off what’s clearly a well-practised armfuls of wrong notes, memory lapses and God knows what impression – ‘“Uuuh, that is not necessary”.’ else. But it’s amazing! It’s something you wouldn’t want to do He recalls, however, another revealing exchange: ‘One time without, a really important recording.’ But we agree that it’s in the late ’90s, I was playing a BBC Wigmore Hall lunchtime not, alas, an example that one would get away with trying to concert and the programme was the Moonlight Sonata, three emulate these days. late Liszt pieces and Prokofiev’s Seventh Sonata. When I got Such a discussion emphasises Paul Lewis’s thoughtful, home there was a message from Alfred on the answer machine self-reflexive and even philosophical attitude to his craft, and he to call him. I thought he’d give me lots of notes about the underlines again the importance of maintaining broad musical Beethoven and the Liszt. But he didn’t say anything about those curiosity. ‘I think it’s really important to keep in touch with the and wanted to talk about the Prokofiev. He had the music up widest range of music you can, to learn it and study it. And if on the piano, probably with the phone like that’ – he mimes it doesn’t make it to the stage, then fine, because you have to holding a phone to the ear with his shoulder – ‘and was playing be 100 per cent convinced – if you’re not, you’re not going to bits of the slow movement. He has such a curious mind for all convince anyone else. If people are paying to come and hear it, sorts of music.’ you really don’t want to do a half-arsed set of Chopin nocturnes The subject of this broader, more overtly virtuosic repertoire that you’re finding your way through.’ takes us into an interesting excursion where we address the Chopin, indeed, is a composer who is very much present in technical differences between such music and, say, Schubert, the pianist’s mind, and who was also particularly significant for

22 GRAMOPHONE APRIL 2018 gramophone.co.uk PAUL LEWIS

another of Lewis’s teachers, Ryszard Bakst (who taught Lewis at Chetham’s School). One of Lewis’s recent concert programmes NEW CHANNEL CLASSICS RELEASE juxtaposed Chopin waltzes with Weber’s Piano Sonata No 2 – ‘there’s so much of the ballroom in that piece that Chopin waltzes went perfectly with it’ – but Lewis is acutely aware of the difficulties the composer represents. ‘It’s fine, you can make ‘(...) if you want to take Bach's solo vio- it sound like a waltz, but to make it sound like a Chopin waltz … ’ violin music to your heart, He recalls his lessons with Bakst, who recorded all the Chopin intimately and as food for musical mazurkas – ‘probably the most difficult pieces of Chopin to really get absolutely spot-on, stylistically. When he sat down thought, then Ning Feng's recordings and demonstrated, you could pick up that language straight strike me as well-nigh ideal.’ away, but I just find it quite difficult to reach these days.’ - Rob Cowan | Gramophone: March Issue 2018 Further plans for the future will, he hopes, incorporate more French music, Debussy specifically, but he’s still new thinking about how best to programme it. Another name that comes up is Scriabin: ‘I used to be addicted to Scriabin when I was at school. I couldn’t get enough of it.’ There’s also the established collaborations. He’s been working with the tenor Mark Padmore for over a decade now (their Winterreise on Harmonia Mundi won a Gramophone Award in 2010), and it’s a relationship, he says, that has reached a rewarding level of closeness and freedom: ‘The more you know each other, the more spontaneous it becomes.’ A new programme they’re assembling will feature a composer who ignites more fiery enthusiasm: Hugo Wolf. ‘Wolf! It’s just staggering. It’s like Mahler for the piano, and some songs are just so outrageously written for the instrument.’ It’s been a decade and a half since Lewis last recorded chamber music with strings – Mozart piano quartets and Schubert’s Trout Quintet with the Leopold String Trio for Hyperion. He still enjoys this sort of repertoire, but CCS 39018 - 2 CD was particularly spoilt by the experience of playing at the Malboro Festival last summer. ‘You rehearse and rehearse previous recordings endlessly, and there’s no pressure to play in a concert. And I felt that, after spending 32 hours on the Dvo∑ák Quintet, you do end up somewhere different with it. It’s really positive. Then I played it after that with another group, where it was put together in two hours, and to be honest I just felt I was back to square one.’ Pianophiles will be excited to hear that Lewis is continuing his duet partnership with Steven Osborne. Having recorded Schubert at the beginning of the decade, they are now heading CCS 37916 CCS SA 34913 CCS 39417 ‘APASIONADO’ BRUCH & TCHAIKOVSKY Dragon Quartet into French repertoire for a tour planned for 2020. ‘That’s the ‘a dazzling left hand’ ‘clear and pure’ DVORÁK & SCHUBERT most difficult collaborative playing of all,’ Lewis admits. - Gramophone - Gramophone ‘a tremendous debut’ ‘To share the same keyboard with another pianist. When you June Issue 2016 April Issue 2014 - Audiophile Audition share that space with someone, the thing that you immediately [Best Of The Year 2017] notice is, “Where’s my sound?” I’m either not controlling the pedals myself, or if I am I’m doing it with someone else in mind. It’s really hard physically to feel that you can just relax and produce that sound, and that’s what’s most unsettling about it.’ For all the beguiling beauty of Lewis’s own sound – and his cool, calm demeanour in conversation – this is clearly a pianist who relishes such challenges, who likes to unsettle himself and his audience. And, with his Haydn, clearly the aim CCS SA 80807 is to persuade people to think again about a composer who is ‘HELLO MR.PAGANINI’ SOLO 1 SOLO 2 too often overlooked by concert promoters, and to hear him ‘grace and affection’ ‘supreme virtuosity’ ‘astonishingly accurate’ - Audiophile Audition - Gramophone - Gramophone afresh through the prism of, in particular, the programmes November Issue 2010 Awards Issue 2013 that Lewis has devised. ‘The nicest thing is to have an audience leave saying, “That’s an amazing piece – I’m going to look it up and get to know it.” That’s exactly what you want Visit our NEW WEBSITE www.ChannelClassics.com

THOMAS HULL THOMAS and use the 15% OFF coupon code NINGFENG people to go away with.’ valid on all/any of the albums above - through May 1st, 2018 The ﬁrst volume of Paul Lewis’s Haydn sonatas on Harmonia Mundi, UK Distribution www.rskentertainment.co.uk featuring Sonatas Nos 32, 40, 49 and 50, is released on April 13 and DSD Downloads www.nativedsd.com

PHOTOGRAPHY: will be reviewed in the next issue of Gramophone

gramophone.co.uk GRAMOPHONE APRIL 2018 23 Join usasaFoundation Subscriber toreceive a free copy discassoonitisreleased, ofeach individualdiscsubscription benefits andapairoffree tickets toallrecitals, launches, receptions, andevents parties thatEMRecords organises.

Visit EMR CD047 Concerto music-making, fascinating talksandconvivial socialevents. JoinustohearRoderick Williams singing Ivor Gurney; toexperien The ever-innovative, inspirational andexhilarating EnglishMusicFestival returns toOxfordshire in2018withexceptional lute; ortorelish works such astheDeliusDoubleConcerto for Violin andCello, theUKpremière ofRichard Blackford’s Violin dramatic programmes asourFirst such World War event orourEthelSmyth programme; toenjoy Jacob Heringman playing the discs orcontact Director PO Box 123, Clunton, Craven Arms, Shropshire SY77BPorby emailto: www.em-records.com E , andchoral andorchestral works by Vaughan Williams, Finzi, Ireland, Holst, Warlock, BlissandDyson. For information further pleasecontactFestival Director EmMarshall-Luck at The EnglishMusicFestival, ngli EM Records isdistributed intheUK by and in Discovery America and Canada byEM Naxos USA Em Marshall-Luck s h 25-28MAY2018 www.englishmusicfestival.org.uk DORCHESTER-ON-THAMES, OXFORDSHIRE for detailsofsubscription schemes, further audio-clipsand topurchase B ocr Orchestra Concert BBC SOUND ECSTATIC SUCH OF hrod ocrofor Concerto Sherwood: onAdes(conductor) Andrews John oe:Smhn o 5 No. Symphony Cowen: Orchestra; and Cello Violin, uetMrhl-uk(violin) Marshall-Luck Rupert nFminor F in oehSonr(cello) Spooner Joseph M M at The TwelFth [email protected] RECORDS u s ic [email protected].

EMR CD036 EMR CD037-38 F e s ti or on The Bridge Quartet and Butterworth Gurney, Warlock HERACLEITUS B ocr Orchestra Concert BBC Festival Music English The from commissions BEAUTY COMES NOW ai wnNri (piano) Norris Owen David (conductor) Sutherland Gavin Michael Dussek(piano) Michael oeikWlim (baritone) Williams Roderick Charles Daniels(tenor) uetMrhl-uk(violin) Marshall-Luck Rupert v 07808 473889 al ce . As winter gives way to warmer spells, classical music festival-goers in the UK,uropeandNorthAmericawillﬁndthatthey’respoiltforchoice.Here’s our annual guide, including several ‘ highlight events’ not to be missed! UK FESTIVALS Aldeburgh Festival period, and equally committed Beverley and East Riding by The Orchestra of Sound and June 8-24 to relaxed, accessible opera at Early Music Festival Light. The 50th anniversary of the The festival celebrates its 70th afordable prices, Bampton May 24-27 Brighton Festival Choir is marked birthday this year and has a number Classical Opera celebrates its This festival, based in the Yorkshire with two special performances of of events linked to its launch year of 25th anniversary this year with market town of Beverley and an immersive, overnight choral 1948, along with an overarching Nicolo Isouard’s 1810 Cendrillon, organised by York’s National Centre experience The Voice Project – festival theme of Britten and in a new English translation by for Early Music, celebrates music The Arms of Sleep. America, as well as the centenary of festival founders Gilly French and from London to Venice and Vienna. brightonfestival.org Leonard Bernstein. Artists-in- Jeremy Gray, and directed by Gray. Highlights include rising stars Il residence for 2018 include violinist bamptonopera.org Quadro Animato, Lux Musicae Buckingham Summer Festival Patricia Kopatchinskaja, conductor London, and the University of York’s July 7-14 John Wilson and flautist Claire Bath Festival 24. The National Centre for This festival ofers morning piano Chase, each curating part of the May 11-27 Early Music’s youth ensemble The recitals, and lunchtime and evening programme. Highlights include the Bath’s major multi-arts festival this Minster Minstrels will also perform concerts. This year is its 30th world premieres of Emily Howard’s year celebrates its 70th anniversary in Beverley for the first time. The anniversary, and the programme new opera To See the Invisible, and across 17 days of concerts and festival also features opportunities includes performances of the Bach Colin Matthews’s orchestration of events. Highlights include Lars Vogt for recorder players to hone their Brandenburg Concertos, and Britten’s Seven Sonnets of performing all the Beethoven piano skills with Piers Adams. a concert from the Orchestra Michelangelo. There is also an concertos with the Northern ncem.co.uk/bemf of Stowe Opera in Buckingham eight-choir Mass setting performed Sinfonia, Roderick Williams singing Parish Church, conducted by artistic by Le Concert Spirituel and Hervé Schubert song cycles accompanied Brighton Festival director Robert Secret, featuring Niquet. Among other highlights, on by Iain Burnside, a programme of May 5-27 Rachmaninov’s Piano Concerto No 2 the final weekend Bryn Terfel makes piano works by Debussy, Schumann The UK’s largest multi-arts festival with soloist Craig Greene. his festival debut. and Beethoven from Stephen is guest-directed this year by buckinghamsummerfestival.org snapemaltings.co.uk Hough, and a Haydn programme Brighton-based visual artist from the Orchestra of the Age of David Shrigley, and boasts an array Bury St Edmunds Festival Bampton Classical Opera Enlightenment conducted by of classical oferings. Highlights May 18-27 July 20-21, The Deanery Garden, John Butt including the Nelson Mass. include Calixto Bieito’s The String Classical highlights include Bach’s Bampton bathfestivals.org.uk Quartet’s Guide to Sex and Anxiety, Mass in B minor from the Academy August 27, The Orangery Theatre, featuring the Heath Quartet. There’s of Ancient Music and Tenebrae Westonbirt School, Gloucestershire BBC Proms also pianist Cédric Tiberghien and in St Edmundsbury Cathedral, September 18, St John’s Smith July 13 – September 8 conductor Paul Kildea performing an evening of wine tasting and Square, London Full details of the BBC Proms season with the Chopin Project, and Baroque music exploring from Dedicated to breathing new life into will be announced on April 19. Ed Hughes’s film, Cuckmere: London to Vienna by Oz Clarke and little-known works of the Classical bbc.co.uk/proms A Portrait with its score played live The Armonico Consort & Baroque gramophone.co.uk GRAMOPHONE APRIL 2018 25 BUXTON INTERNATIONAL FESTIVAL 6– JULY Opera.Music.Books

Verdi – Alzira Mozart – Idomeneo Brescianello – Tisbe Donizetti – The Daughter of the Regiment

Public booking opens 6 April %R[ 2ɝFH www.buxtonfestival.co.uk

ENGLISH HAYDN ENGLISH ORCHESTRA %"! "$#!"& (on period instruments) Conductor: HAYDN Steven Devine Soloists: FESTIVAL Crispian Steele-Perkins trumpet ' % 2arryy Festival Simon Standage violin Pavel Serbin % ! " violoncello Anthony Robson ' % oboe Eva Caballero flute Robert Percival bassoon # % TrioIsimsiz Salomon StringQuartet English Haydn Ensemble Consone Quartet & !& The Eighteenth Century Concert Orchestra & &&( Lunchtime & Evening Concerts, including Haydn’s “Creation” BRIDGG ORTH conductor John Moore

Music by: SHROPSHIRE Haydn, Beethoven, Hummel,CPEBach, Krommer, Boccherini, 6 JUNE–10 JUNE 2018 Albrechtsberger, Weigle, Gassmann www.haydn.org.uk Tel: 07547289704 On-Line Ticket Sales UK FESTIVAL GUIDE 2018

Players, and a performance in works premiered include a retelling HIGHLIGHT EVENT The Apex from the Brodsky Quartet of Hansel and Gretel by Matthew Dartington International Summer School and Willard White, including Kaner and Simon Armitage; Colin Barber’s Dover Beach, plus songs Riley’s In Place and a new chamber July 28 – August 25 by Copland, Gershwin and Kern. opera, Juliana, by Joseph Phibbs. Set on the medieval buryfestival.co.uk cheltenhamfestivals.com/music Dartington Estate in the heart of the Devon Buxton International Festival Festival of Chichester countryside, this July 6-22 June 16 – July 15 four-week festival This Peak District festival ofers an Headlining this year, as part of the under the artistic array of opera, music and literature. International Piano lunchtime series directorship of pianist This year, the festival completes its at the Cathedral, are Stephen Joanna MacGregor, trilogy of early Verdi titles with a Kovacevich and Victor Ryabchikov. celebrates its 70th production of Alzira, the Buxton Also at the Cathedral, the Kosmos anniversary in 2018. Imogen Cooper performs at Dartington this year Festival Chorus and the Northern Ensemble link up with Worthing There are a multitude Chamber Orchestra conducted by Symphony Orchestra for a new of workshops, masterclasses, coaching and concerts, premieres and the festival’s artistic director work by Errolyn Wallen. There’s also new collaborations to be enjoyed, which feature pianists Imogen Cooper Stephen Barlow, and directed by chamber music, jazz and poetry. and Adrian Brendel, soprano Felicity Lott, the Heath Quartet, Trio Gaspard the renowned Verdi specialist festivalofchichester.co.uk and folk duo Harbottle & Jonas, among a host of others. Choral projects Elijah Moshinsky. The other opera range from Bolivian Masses to Haydn’s Creation and Verdi’s Requiem, for 2018 is Mozart’s Idomeneo. Chipping Campden Music while composers are represented by Eleanor Alberga, Oliver Knussen buxtonfestival.co.uk Festival and Freya Waley-Cohen. May 12-26 dartington.org Cambridge Summer Music Taking place in Chipping Campden’s Festival St James’s Church, this two-week July 6-21 festival presents programmes Le Cid, and Puccini’s La bohème. performances take place at the The CSMF, held in atmospheric packed with the world’s top Worth noting is the festival’s relaxed Festival Theatre, Usher and Queen’s venues throughout Cambridge, performers. Highlights this year vibe, because whilst there’s the de Halls. Highlights include Simon celebrates its 40th birthday this include an illustrated lecture from rigueur fine-picnicking, champagne Rattle and the London Symphony year, under the directorship of pianist Alfred Brendel on playing bars, cream teas and five-course Orchestra, Marin Alsop and the David Hill. Solo and chamber recitals Mozart, prior to Paul Lewis dinners, there’s no dress code. Baltimore Symphony Orchestra, include performances from pianist performing three of the concertos dorsetopera.com staged productions of Rossini’s The Joanna MacGregor, the Brodsky across three concerts with the Barber of Seville and La Cenerentola Quartet, and the Gould Piano Trio. Festival Academy Orchestra Dunster Festival and, in the third instalment of the Orchestral and choral works directed by Thomas Hull. Chamber May 25-27 International Festival’s four-year include, appropriately, Mozart’s highlights meanwhile include This weekend-long Somerset presentation of the Ring cycle, Mark Symphony No 40, Fauré’s Requiem Schubert and Brahms from the festival is based in Dunster’s Elder returns to Edinburgh with the and Bach’s B minor Mass. New Nash Ensemble, a violin and piano Priory Church of St George, with Hallé Orchestra to give a concert music highlights this year include recital from regular duo partners performances from the Sacconi performance of Siegfried with the world premiere of a work by Alina Ibragimova and Cédric Quartet, the Marian Consort led by Simon O’Neill in the title-role. rising star Kate Whitley, co- Tiberghien, plus piano recitals from Rory McCleery, flautist Thomas eif.co.uk commissioned with BBC Radio 3 Stephen Hough and Steven Osborne. Hancox, harpist Rachel Wick, and to be broadcast across the UK. campdenmusicfestival.co.uk organist William Whitehead. English Haydn Festival cambridgesummermusic.com The opening concert is a particular June 6-10 Corbridge Chamber Music highlight, featuring chamber music The 2018 Festival celebrates its Carducci Festival Highnam Festival by Ravel and Debussy. 25th anniversary year with the May 18-20 August 3-5 dunsterfestival.co.uk theme of ‘Haydn’s World: A Voyage This annual weekend festival run by This Northumberland festival, based of Discovery’. The 18th century the Carducci Quartet takes place at at St Andrew’s Church, Corbridge, is East Neuk Festival was an era of great innovations and Highnam, near Gloucester. Guest hosted and directed by the Gould June 27 – July 1 discoveries in the fields of science, artists joining the quartet this year Piano Trio and clarinettist Robert Eighteenth-century music is at art and music, with Haydn’s include pianist Danny Driver for Plane, all of whom perform at this, the heart of this year’s Fife-based compositions reflecting inspired Elgar’s Piano Quintet – in a ‘War and the 20th year of the festival, with festival, with regular Christian works by artists and scientists of Humanity’-themed concert to also guests James Gilchrist, Adam Zacharias performing not only his generation. Concert highlights include Shostakovich’s string Quartet Walker, Mia Cooper and David as keyboard soloist, but also include a grand opening concert No 8 – and cellist Benedict Kloecker Adams. One anniversary highlight conducting the Scottish Chamber conducted by Steven Devine for Schubert’s Cello Quintet. is a festival commission for a new Orchestra in a programme to and featuring trumpeter carduccifestivalhighnam.co.uk clarinet and piano trio by Huw include his own arrangement of Crispian Steele-Perkins, and Watkins, who appears both as Rameau’s Les Indes Galantes Suite. a performance of Haydn’s Creation. Cheltenham Music Festival pianist and composer. The music There’s also a Big Day of Bach which englishhaydn.com June 30 – July 8 of Brahms, Poulenc and Schumann sees Jean-Guihen Queyras perform This year’s edition marks Meurig also features, and visitors can all Bach’s cello suites in diferent English Music Festival, Bowen’s last as director, and he’s get involved themselves with venues. Other highlights include Dorchester-on-Thames bowing out in style. The festival a Come and Sing Fauré Requiem. performances by the Tallis Scholars, May 25-28 opens with a weekend of concerts corbridgefestival.co.uk resident ensemble the Elias Quartet, The weekend opens in Dorchester in the Tithe Barn at Syde Manor and the Castalian Quartet. Abbey with a concert featuring the from harpsichordist Mahan Esfahani Dorset Opera Festival eastneukfestival.com UK premiere of Richard Blackford’s who is joined by the Consone July 12-28 Violin Concerto from soloist Quartet and mezzo Sarah Connolly. Set within 400 acres of Dorset Edinburgh International Rupert Marshall-Luck with John The Cheltenham Town Hall Proms countryside at Bryanston, this Festival Andrews and the English Symphony feature Mark Elder with the Hallé, 45-year-old country-house opera August 3-27 Orchestra. They are joined by cellist Maxim Vengerov, Martyn Brabbins festival runs a summer school for The Edinburgh International Festival Joseph Spooner for Delius’s Double with the BBC National Orchestra of singers aged over 16 who wish to be – a global cultural celebration for Concerto, before giving the world

SHINJI TAKEHARA Wales and Sheku Kanneh-Mason in in the chorus, followed by two people of all nations – invites some premiere of Christopher Wright’s Elgar’s Cello Concerto and an large-scale productions with full of the finest performers from the Symphony. Other highlights include all-Haydn programme from András orchestra and internationally known worlds of dance, opera, music and a recital from tenor John Potter Schif with the Choir and Orchestra soloists, which this year are the theatre to Scotland’s capital. and lutenist Jacob Heringman,

PHOTOGRAPHY: of the Age of Enlightenment. New British stage premiere of Massenet’s Classical music and opera a semi-staged Dorchester Abbey

gramophone.co.uk GRAMOPHONE APRIL 2018 27 UK FESTIVAL GUIDE 2018

HIGHLIGHT EVENT Gregynog Festival range of sacred music in celebration June 18-30 & September of Holy Week. Topping the liturgical The Grange Festival Wales’s oldest extant classical music list of highlights are Nigel Short and June 7 – July 8 festival takes ‘Borders’ as the theme Tenebrae performing a free-entry This festival is back for this year’s concerts, talks and sequence of devotional settings and after its successful exhibitions. The season celebrates responses, while concert highlights inaugural year, with the Gregynog’s Border location, and include Aurora Orchestra Bournemouth borders of many other kinds, both performing Pärt’s Passio, and Symphony Orchestra literal and metaphorical. Women Gabrieli and Paul McCreesh with and the Academy of feature prominently as composers Bach’s B minor Mass. There is also Ancient Music both and performers to mark 100 years a Come and Sing Handel’s Messiah. continuing their since the Representation of the sjss.org.uk; tenebrae-choir.com residencies. New in People Act 1918. Artistic director Dr 2018 is the presence The country-house festival features dance in 2018 Rhian Davies is the leading Iford Arts of Wayne McGregor as authority on the iconic Welsh May 26 – August 4 director of dance, as the Grange becomes the first country-house festival to musician Morfydd Owen who died Proof that the West Country can do make ballet and dance central to its programming; DANCE@THEGRANGE three weeks short of her 27th country-house opera and picnics opens with contemporary dance by Company Wayne McGregor alongside birthday on September 7, 1918, and too, this festival is set in the Grade I iconic classical ballet pieces performed by The Royal Ballet’s Edward Watson has also planned an additional listed Peto garden of Iford Manor, and others. There are three new operatic productions: Handel’s Agrippina, sequence of special events in six miles outside Bath. Opera is Rossini’s The Barber of Seville and Mozart’s The Abduction from the Wales and London for the month of staged in the round and sung in Seraglio, plus a concert staging of Bernstein’s Candide for Bernstein 100. Morfydd’s centenary. English for a seated audience of 90. thegrangefestival.co.uk gregynogfestival.org There are informal promenade concerts, and seated cloister Harrogate International concerts. This season, Iford marks performance of Purcell’s Dido and production. The Festival Festival the Bernstein centenary with Aeneas from Armonico Consort world premiere is David Sawer’s July 5-29, pre-festival day June 17 Candide as its opening production. under Christopher Monks, and The Skating Rink. Classical, jazz, outdoor theatre, ifordarts.co.uk an Ethel Smyth programme from garsingtonopera.org and family-friendly events are all contralto Lucy Stevens and pianist covered by this North Yorkshire JAM on the Marsh Elizabeth Marcus, before Camerata Glyndebourne spa town’s music festival, July 5-15 Wales and Owain Arwel Hughes May 19 – August 26 with a Young Musician Series The Kent-based festival sets the bring the festival to a close. Opening the festival is complementing the main concerts. southeast coast ablaze with music, englishmusicfestival.org.uk Glyndebourne’s first-ever staging of On June 17, there is a one-of theatre and lots more. Opening the Puccini’s Madama Butterfly,in pre-festival 1940s day featuring festival are VOCES8 and Canterbury Fishguard International Music Annilese Miskimmon’s production, the John Wilson Orchestra, while Cathedral Girls’ Choir; there’s also Festival with Omer Meir Wellber conducting July highlights include clarinettist a concert later on in the festival July 24 – August 3 the LPO. There are two new Emma Johnson celebrating the by the London Mozart Players. Set against the stunning backdrop productions this season: the first centenary of Leonard Bernstein, And don’t miss the BBC Singers of the Pembrokeshire coastline, this new version of Debussy’s Pelléas et and appearances by the Hallé performing Rachmaninov’s Vespers. two-week festival takes place at Mélisande in almost 20 years, Orchestra, violinist Rachel Podger jamconcert.org venues ranging from the majesty of directed by Stefan Herheim who and star vocal ensemble, VOCES8. St Davids Cathedral to the intimacy makes his Glyndebourne debut, harrogateinternationalfestivals.com Lake District Summer Music of medieval parish churches. with Robin Ticciati conducting. Then International Festival Visitors for 2018 include Chamber Olivier Award-winning director Keith Holt Festival July 28 – August 10 Choir Ireland, conducted by Warner makes his much-anticipated July 21-29 A focus on 1918, marking the end Paul Hillier, in a programme of Glyndebourne debut with Barber’s This North Norfolk Georgian town’s of the First World War, incorporates contemporary music from Ireland Vanessa; Jakub Hrůša conducts festival hosts a mixture of music, a screening of the 1921 anti-war film, and America. Then Mussorgsky’s a cast including Emma Bell and literary events, drama, visual arts The Four Horsemen of the Pictures at an Exhibition receives Virginie Verrez. Also on the 2018 and family events, and this year Apocalypse, to an improvised two performances: the piano programme are revivals of Der it celebrates its 10th anniversary. accompaniment. There are also original, courtesy of Peter Donohoe, Rosenkavalier and Giulio Cesare. Highlights include a two-piano concerts marking the death of and Ravel’s later transcription with glyndebourne.com recital from Gloria Campaner and Lili Boulanger and Hubert Parry, the Welsh National Opera Orchestra. Leszek Możdżer, whose programme and the creation of Czechoslovakia, fishguardmusicfestival.co.uk Grange Park Opera includes music from centenary Estonia, Romania, Poland, 7 June – 14 July composer Debussy, Chopin and Austria, Hungary and Finland Garsington Opera Under the artistic direction of Lutosławski, all melded with jazz. as independent states. Michael May 31 – July 22 Wasfi Kani, Grange Park Opera takes Tenor James Gilchrist also appears, Berkeley’s 70th birthday is also Based at the Wormsley Estate in the place in a new woodland theatre on performing the songs of Dowland, celebrated. The featured instrument Chiltern Hills, Garsington this year the estate of the 15th-century Surrey Purcell and Britten accompanied by is the bassoon, and there’s a study presents four new productions: manor house, West Horsley Place. Matthew Wadsworth on lute and day ‘In the footsteps of Beethoven’. Mozart’s Die Zauberflöte from This season opens with Oklahoma!, theorbo. Then, soprano Lisa Cassidy ldsm.org.uk director Netia Jones making her Richard Balcombe conducting the sings Poulenc’s setting of Cocteau’s Garsington debut, with Christian BBC Concert Orchestra in Jo Davies’ play La voix humaine, accompanied Lammermuir Festival Curnyn who conducts the production. It’s then the Orchestra by pianist William Ferguson, with September 14-23 Garsington Orchestra and Chorus of English National Opera who actress Tracey Catchpole reading This East Lothian festival takes and a cast including Benjamin Stephen Barlow conducts for the text in English. place in venues from historic Hulett as Tamino, Jonathan Patrick Mason’s version of Gounod’s holtfestival.org houses and churches through McGovern as Papageno, Louise Roméo et Juliette. The ENO to the Concorde Hangar at the Alder as Pamina, and Íride Marténez Orchestra also plays, under the Holy Week Festival National Museum of Flight. The as Queen of the Night. Artistic baton of Gianluca Marciano, for March 26 – April 1 2018 edition, under the artistic director Douglas Boyd then Stephen Medcalf’s production of Back for 2018 after a hugely direction of Hugh Macdonald and conducts Tim Albery’s production Verdi’s Un ballo in maschera. successful inaugural year, this James Waters, includes a residency

of Strauss’s Capriccio, with soprano Also on the bill for this year is partnership between St John’s from composer and clarinettist LOW JOE Miah Persson as the Countess. The the Novaya Opera Company Smith Square and Tenebrae Mark Simpson, the Scottish Philharmonia’s 2018 appearance is with the world premiere of presents a mix of workshops, Chamber Orchestra, pianists Jason for Verdi’s Falstaf, Richard Farnes Konstantin Boyarsky’s Pushkin. ticketed concerts and free late-night Rebello and Alisdair Hogarth, the

conducting Bruno Ravella’s new grangeparkopera.co.uk liturgical events exploring a vast BBC Scottish Symphony Orchestra PHOTOGRAPHY:

28 GRAMOPHONE APRIL 2018 gramophone.co.uk WEST CORK CHAMBER MUSIC FESTIVAL 2018 BANTRY, CO. CORK, IRELAND FRIDAY 29 JUNE SUNDAY 8 JULY

FEATURING: APOLLON MUSAGETE QUARTET QUATUOR DANEL BARRY DOUGLAS JULIUS DRAKE DUDOK KWARTET ELIAS QUARTET MAIRÉAD HICKEY RUBY HUGHES ALINA IBRAGIMOVA CAROLINE MELZER MARK PADMORE CÉDRIC PESCIA ELLA VAN POUCKE NURIT STARK CÉDRIC TIBERGHIEN ELINA VÄHÄLÄ ANNELIEN VON WAUWE & MANY MORE

For information and Online Booking visit +353 (0)27 52788 / www.westcorkmusic.ie Image: Tony O’Malley (1913 - 2003) Ripe Cornfield in the Wind, oil in canvas, (detail), Collection: Crawford Art Gallery, Cork. Clockwise from top: Elina Vähälä, Quatuor Danel, Annelien von Wauwe, Ella Van Poucke, Mark Padmore Photos: ICA, Marco Borggreve, Christain Ruvolo, Wouter le Duc, Marco Borggreve Guest Artistic Director: Sébastien Daucé

Featuring the UK premiere of Le Concert Royal de la Nuit, performed by Ensemble Correspondances. Other artists include La Nuova Musica, Iestyn Davies, Sophie Bevan, Margaret Faultless, The Bach Players, Le Poème Harmonique, The Choir of Westminster Abbey, and more. – www.lfbm.org.uk – All bookings through St John’s Smith Square www.sjss.org.uk 020 7222 1061

LONGBOROUGH FESTIVAL OPERA REACHES EVER GREATER HEIGHTS - Observer

WORLD-CLASS OPERA IN THE GLORIOUS COTSWOLDS 2018 SEASON 6June–2August

WAGNER DER FLIEGENDE HOLLÄNDER VERDI LA TRAVIATA STRAUSS ARIADNE AUF NAXOS MONTEVERDI L’INCORONAZIONE DI POPPEA Box Ofﬁce 01451 830292 | lfo.org.uk UK FESTIVAL GUIDE 2018

under Karl-Heinz Stefens, the Longborough Festival Opera HIGHLIGHT EVENT Van Kuijk Quartet, Stile Antico and June 6 – August 2 Lichfield Festival the Marian Consort, the Dunedin This country-house opera festival Consort with John Butt, and the has an especially intimate feel, July 4-14 National Youth Choir of Scotland. thanks to its 500-seat auditorium. One of the most eclectic lammermuirfestival.co.uk It also has a special commitment to multi-arts festivals in the the music of Wagner. As such, 2018 UK, Lichfield Festival this Leeds Piano Festival opens with a new production from year takes May 14-22 Thomas Guthrie of Der Fliegender ‘Extraordinary Women’ Taking place both in London and Holländer conducted by the as its theme, celebrating Leeds, this eight-day event is a new festival’s music director, Wagner the centenary of addition to the Leeds International expert Anthony Negus. The other emancipation. Classical Piano Competition, now under the productions, all of which are new artists appearing in directorship of Paul Lewis and for the festival this year, are Lichfield Cathedral The CBSO perform at Lichfield Cathedral this year Adam Gatehouse. Highlights of the Daisy Evans’s staging of Verdi’s include the City of inaugural festival include La traviata conducted by Thomas Birmingham Symphony Orchestra with Edward Gardner, BBC National performances from winners and Blunt, Strauss’s Ariadne auf Naxos, Orchestra of Wales, The Cardinall’s Musick, and La Nuova Musica with alumni of the competition, Lars and then for the Young Artist soprano Lucy Crowe. There are six artists in residence, too: pianists Danny Vogt, Alessio Bax and Sunwook Kim. production, this year Monteverdi’s Driver and Joseph Atkins, the Carducci Quartet, clarinettist Matthew Hunt, Another key element will be L’incoronazione di Poppea. violinist Joo Yeon Sir and singer Jessica Walker. They perform individually performances from three young lfo.org.uk and collectively in repertoire from Haydn and Mozart through Elgar, scholars from festival partner, Bernstein and Glass. Premieres meanwhile include works by Nico Muhly the Lang Lang International Music The Ludlow English Song and featured composer Ninfea Cruttwell-Reade. Foundation, linked to a programme Weekend lichfieldfestival.org of outreach work in Leeds April 6-8 and London, the latter in Under the artistic directorship of collaboration with Wigmore Hall. Iain Burnside this festival focuses on Malcolm Arnold Festival Scottish-based Maxwell Quartet leedspiano.com 20th- and 21st-century English song October 13-14 who recently won the Trondheim with recitals, choral music, The 13th Malcolm Arnold Festival, International Chamber Music London Festival of Baroque masterclasses, poetry and talks. held at the Royal & Derngate in Competition, baritone Benjamin Music This year’s theme is Ireland, with Northampton, features live music Appl, fortepianist Kristian May 11-19 song settings by great Irish writers (including, this year, several Bezuidenhout, guitarist Sean Shibe Under the leadership of guest and poets such as James Joyce and world premieres), films and talks and cellist Steven Isserlis. artistic director Sébastien Daucé, Yeats, and with the music of Bax, on this multi-faceted composer. musicatpaxton.co.uk and hosted by venues including Bridge, Warlock and Moeran malcolmarnoldfestival.com St John’s Smith Square, St Peter’s featuring alongside Irish composers Musicfest Aberystwyth Eaton Square and St Alfege including Ina Boyle and Jennifer Milton Abbey International Festival Greenwich, 2018’s festival explores Walshe, and a new work from Music Festival July 28 – August 4 the French Baroque under the title, Belfast-born Philip Hammond. July 30 – August 4 The spectacular coastline of ‘Treasures of the Grand Siècle’. Singers include soprano Ailish Tynan Hosted by vocal group VOCES8, Cardigan Bay in West Wales is a fine Highlights among 22 events and tenor Robin Tritschler; there’s the festival presents a week of backdrop for an inspirational week include Charpentier’s Te Deum in also a masterclass from Ann Murray. performances in Dorset’s 12th- for music-making. Aberystwyth Arts Westminster Abbey, and the UK Instrumentalists include flautist century Milton Abbey, running in Centre’s MusicFest is an enticing premiere of ‘Le Concert Royal de la Adam Walker, oboist Nicholas Daniel tandem with a musical summer fusion of Summer School and Nuit’ with Sébastien Daucé’s own and the Gildas String Quartet. school open to all. Highlights this Music Festival, so you can expect group, Ensemble Correspondances, ludlowenglishsongweekend.com year include Robert Hollingworth masterclasses with the likes representing the event that saw conducting VOCES8 and VOCES8 of international clarinettist Louis XIV emerge as the Sun King. Machynlleth Festival Scholars in a programme that David Campbell alongside an There’s also ‘Paris-Madras’, August 19-26 includes Bach’s Actus Tragicus. intriguing programme of concerts a collaboration between Indian This Welsh chamber music festival, There’s also a chance to hear and recitals, details of which are classical musicians and French under the artistic direction of pianist Guardian Angel, the VOCES8 yet to be announced. Baroque specialists, and ‘Le Poème Julius Drake, includes three days of collaboration with Baroque musicfestaberystwyth.org Harmonique’, exploring the influence traditional Welsh music amid its violinist Rachel Podger. Andy of the East on the French Court. classical programme. Highlights for Dickens and his jazz band are Newbury Spring Festival lfbm.org.uk 2018 include a mini-residency from back too, and then the festival May 12-26 Bulgarian pianist Plamena Mangova concludes by marking the Bernstein The Newbury Spring Festival turns London Handel Festival with cellist Frans Helmerson and with Barnaby Smith conducting 40 this year, celebrating with a mix March 17 – April 16 violinist Mihaela Martin. Other massed forces for Bernstein’s of classical, musical theatre, folk, Venues beyond Handel’s old parish collaborations worth catching Chichester Psalms. jazz and cabaret. The festival church, St George’s Hanover Square, include the Piatti String Quartet miltonabbeyfestival.com opens at St Nicolas Church with include a new space, Grade II listed with viola player Rosemary Ventris a newly commissioned work Fitzrovia Hospital Chapel, plus the and cellist Marcin Sieniawski for Music at Paxton Festival by Hannah Kendall, followed by Charterhouse, the Foundling a programme featuring Debussy’s July 13-22 a performance of Elgar’s Museum, and Handel & Hendrix String Quartet, and Drake himself This chamber music festival takes Cello Concerto played by in London. Opening the four weeks accompanying mezzo Christine Rice place in the intimate surroundings Sheku Kanneh-Mason with the of music, walks and talks is for Poulenc’s La Voix Humaine. of the Picture Gallery at Paxton Philharmonia Orchestra and a 300th-birthday performance of moma.machynlleth.org.uk House, Berwick-upon-Tweed, in the Edward Gardner. Other highlights Acis and Galatea under LHF musical Scottish Borders. This year marks include Ex-Cathedra with 40-part director Laurence Cummings, who Mendelssohn on Mull Festival 100 years since the end of the music from both Elizabethan Ages, also conducts the London Handel June 30 – July 7 First World War, and Debussy’s and Solomon’s Knot performing Orchestra in Bach’s St Matthew Set on the Scottish isles of Mull and death, with performances including Bach’s monumental Mass in B minor. Passion. Other highlights include Iona, and on the mainland in Oban, Alasdair Beatson and Friends Additional artists for 2018 include Mr Handel’s Scholars, which gathers this festival presents an annual playing Messiaen’s Quartet for the John Lill, Alina Ibragimova,

REDLOCK PHOTOGRAPHY REDLOCK together alumni of the Handel commemoration of Mendelssohn’s End of Time, and Trio Apaches John Tomlinson, Llyˇr Williams, Singing Competition, plus the visit to Scotland. Details for 2018 playing Ireland’s Piano Trio No 2 the Bournemouth and Flanders 2017 finalists Maria Ostroukhova weren’t available as we went to and Beamish’s arrangement of symphony orchestras, and singers and Nathan Vale. press, so keep checking the website. Debussy’s La mer. Visiting artists Elizabeth Watts and Natalie Clein. london-handel-festival.com mendelssohnonmull.com include pianist Pascal Rogé, the newburyspringfestival.org.uk PHOTOGRAPHY:

gramophone.co.uk GRAMOPHONE APRIL 2018 31 UK FESTIVAL GUIDE 2018

HIGHLIGHT EVENT Quintet, Mozart’s C major Piano Trio and Adrian Brendel performing K458 and the String Sextet No 1 of all five of Beethoven’s cello sonatas. North York Moors Chamber Music Festival adopted Viennese, Brahms. Lectures The festival’s final day features the August 12-25 range from Professor Frank Close annual Young Musicians Workshop ‘Music for a While’ is the on scientific spies, MI5 and music for local students. British-inspired theme for the around Oxford, to Professor David plushfestival.com 10th anniversary of this festival Owen on the body’s ‘white van’ founded and directed by the cellular delivery network. Portsmouth Festivities cellist Jamie Walton. Eleven Florilegium also return for the June 15-24 concerts explore as many traditional Sunday Baroque concert. With more than 100 events on ofer, churches dotted throughout the oxfordmaymusic.co.uk there are plenty of multi-arts National Park and along the experiences to be enjoyed this year. coast, presenting in particular Oxford Piano Festival and Highlights include percussion artists some of the darker, more Adès’s chamber music features in 2018 Summer Academy O Duo, Spanish guitarist Carlos subversive British repertoire of July 28 – August 5 Bonell and the Tallis Scholars. the past century. Highlights include Walton’s Façade, and song cycles by The Festival combines a concert portsmouthfestivities.co.uk Elgar, Britten and George Benjamin with mezzo-soprano Anna Huntley. series in some of the most beautiful Newer music highlights include a new commission, a theorbo concerto by buildings in Oxford with a daily Presteigne Festival Stephen Goss performed by Matthew Wadsworth, and the chamber music programme of public masterclasses. August 23-28 of Thomas Adès. Artists taking up their usual two-week residency include Festival patron Alfred Brendel opens This contemporary music festival Katya Apekisheva, Simon Blendis, Roman Mints and the Oculi Ensemble. the festival ofering insights into has a Baltic flavour in 2018, northyorkmoorsfestival.com performing Mozart’s keyboard presenting works by Estonian, works, ahead of Piotr Anderszewski Latvian and Lithuanian composers. playing Beethoven’s Diabelli New British music also features Norfolk and Norwich Festival Opera Holland Park Variations. Festival president András strongly, with festival commissions May 11-27 May 29 – July 28 Schif concludes with Book II of including a Marian text setting from This multi-arts festival is probably OHP’s season starts with Verdi’s Bach’s The Well-Tempered Clavier. David Bednall, a song-cycle by Huw the oldest in the UK, tracing its La traviata; Matthew Kofi Waldren oxfordphil.com Watkins, and Concertante Dances history back to 1772. There are two conducts a cast headed by Lauren for piano and chamber orchestra by major classical events this year: the Fagan as Violetta. There’s also a new Perth Festival of the Arts the festival’s composer-in-residence, first, in St Andrew’s Hall, sees the production from Oliver Platt of May 17-26 Martin Butler. Royal Philharmonic Orchestra Mozart’s Così fan tutte, featuring Classical highlights for this, one of presteignefestival.com perform Mahler’s Symphony No 5 Eleanor Dennis making her OHP the oldest continuously running arts under the baton of Robert Trevino, debut, as well as Peter Coleman- festivals in Scotland, is the festival’s Proms at St Jude’s plus Rachmaninov’s Piano Concerto Wright, Sarah Tynan, Kitty Whately closing concert from the Dresden June 23 – July 1 No 2 with soloist Arseny Tarasevich- and Nicholas Lester. OHP also stages Philharmonic, which celebrates its At St Jude-on-the-Hill in North Nikolaev. For the second, in Norwich its first Strauss opera, Ariadne auf 150th birthday year. Under the London’s Hampstead Garden Theatre Royal, Thomas Adès Naxos. The final opera is Mascagni’s directorship of Michael Sanderling Suburb, Aurora Orchestra play conducts the Britten Sinfonia in Isabeau with Anne Sophie Duprels they will perform the Bruch Violin the first night with a Mozart Beethoven’s Symphonies Nos 4 in the title-role. Completing the Concerto with soloist Jennifer Pike, programme, while other visiting and 5, plus a Beethoven piano season are showcase performances plus Shostakovich’s Symphony No 5 artists include the Kanneh-Mason concerto with Nicolas Hodges. from The Royal Ballet School. and Weber’s Euryanthe Overture. Piano Trio with Beethoven and nnfestival.org.uk operahollandpark.com Other events include English Brahms, the Academy of Ancient Touring Opera’s The Marriage of Music with a programme of Vivaldi North Norfolk Festival The Oxford Lieder Festival Figaro, Tenebrae, and appearances and Handel, and Nevill Holt Opera August 13-24 October 12-27 from the Royal Northern Sinfonia performing Mozart’s comic Highlights for 2018 include Melvyn Themed ‘The Grand Tour: with Lars Vogt, and Grimethorpe masterpiece The Marriage of Figaro. Tan performing Beethoven and A European Journey in Song’, this Colliery Band. promsatstjudes.org.uk Schubert piano sonatas, a song year’s festival aims to place the perthfestival.co.uk cycle from soprano Lisa Milne familiar masterpieces of song and Ryedale Festival accompanied by Tim Horton, poetry within the wider context of Peasmarsh Chamber Music July 13-29 guitarist Sean Shibe making his a traversal of Europe, while also Festival This North Yorkshire festival brings festival debut with a programme celebrating the major anniversaries June 21-24 established and emerging artists to ranging from early Scottish lute of Debussy, Gounod and Hubert Co-directed by Anthony Marwood perform in historic venues across music to Villa-Lobos, and the Parry. Leading British singers and Richard Lester, the festival in Ryedale. Details for 2018 weren’t Doric Quartet with pianist Alasdair among the visiting artists are Louise East Sussex celebrates its 20th available as we went to press, so Beatson to include piano quintets Alder, James Gilchrist and Carolyn anniversary this year. International keep an eye on the website. by Thomas Adès and Dvořák. Sampson, while international names guests include Mark Steinberg of ryedalefestival.com northnorfolkmusicfestival.com include Véronique Gens, Christoph the Brentano Quartet and pianist Prégardien and Camilla Tilling. Dénes Várjon, and a particular Sherborne Abbey Festival Occupy the Pianos oxfordlieder.co.uk highlight for 2018 includes the May 4-8 April 20-22 premiere of a new work for With 70 per cent of all performances Hosted by St John’s Smith Square, Oxford May Music string quartet and children’s voices. ofering free entry, this is one of Rolf Hind’s iconoclastic new festival May 3-7 [email protected] Dorset’s most accessible music returns with a dual focus on political This festival combines music festivals. It has close ties with protest and inner spirituality. The and science, under the artistic Plush Festival, Dorset nearby Sherborne School, so expect 2018 edition will present some vivid directorship of violinist Jack Liebeck August 3-4 & 6, September 14-16 the best of their musicians onstage and theatrical modern classics: and administration of particle Plush Festival’s events take place in over the course of the week, as well Rzewski’s Coming Together, physicist Professor Brian Foster. St John’s Church in Plush, Dorset, as Sherborne Abbey Choir. As for Kagel’s Staatstheater (with Visiting artists include violinist and running alongside the concerts visiting artists, this year these amateur musicians from CoMa) Alexander Sitkovetsky, soprano themselves are open rehearsals. include lutenist Elizabeth Kenny and Miss Donnithorne’s Maggot Ailish Tynan, guitarist Craig Ogden, The 2018 edition is guest-curated by and tenor Kieran White, the by Peter Maxwell Davies, as well as clarinettist Julian Bliss and pianist pianist Tim Horton, and one Tallis Scholars in a programme

Rolf Hind’s own Way Out East for Danny Driver. Themes include the highlight is András Schif’s return to of Orthodox music featuring VOCE BRIAN saxophone, singer, piano and rise and fall of Romanticism, with the festival for Book II of Bach’s Rachmaninov’s Vespers alongside percussion, receiving its first works by Brahms, Strauss, Mahler Well-Tempered Clavier. Other Tavener’s Great Canon of 1982. British performance. and Schoenberg. The finale focuses visiting artists include the Heath There’s also a Concerto Feast

sjss.org.uk on Austria, with Korngold’s Piano Quartet, Italian pianist Filippo Gorini, concert in which Thomas Hull PHOTOGRAPHY:

32 GRAMOPHONE APRIL 2018 gramophone.co.uk OXFORD LIEDER FESTIVAL 2018 12 – 27 October

15~24 JUNE 2018 The Grand Tour A European Journey in Song

Louise Alder Christoph Prégardien Véronique Gens Carolyn Sampson James Gilchrist Toby Spence 10 DAYS OF Thomas Oliemans Camilla Tilling ARTS, CULTURE AND and many more of the world’s great artists HERITAGE FOR ALL

www.oxfordlieder.co.uk portsmouthfestivities.co.uk

23–28 AUGUST 23–28 AWST 2018

13th–29th July 2018 ‘… the sheer love of music displayed by all the featured performers elevates this annual event above all others.’ Musical Opinion Quarterly

Navarra Quartet ∙ Nova Music Opera ∙ Ruby Hughes Kristīne Balanas ∙ Huw Watkins ∙ Joseph Tong The 2018 programme of ‘Yorkshire’s boldest music festival’ (The Choir of Royal Holloway ∙ Rupert Gough Times ) features Richard Goode, Gabriela Montero, Sheku James Turnbull ∙ Martin Butler ∙ Joanna Gutowska Kanneh-Mason, Benjamin Appl, Rachel Podger, Orchestra of Opera North, Orchestra of the Age of Enlightenment, Royal Festival Ensemble ∙ Festival Orchestra Northern Sinfonia, Tamsin Waley-Cohen, a new production of and much more... Così fan tutte, and residencies by I Fagiolini, Fretwork, Albion Quartet, Judith Weir and Chineke! Free brochure available www.ryedalefestival.com 01544 267800 | www.presteignefestival.com THREE CHOIRS FESTIVAL

28July–4August HEREFORD 2018 Saturday 28 July The greatest choral, orchestral Ireland These things shall be and chamber music at the world’s Smyth Mass in D oldest classical music festival! Full Sunday 29 July programme and tickets from April. Programmetoinclude: Holst The Planets 01452 768 928 3choirs.org Monday 30 July Elgar King Olaf Tuesday 31 July THE BEST OF CLASSICAL MUSIC IN THE Monteverdi Vespers HEART OF NOTTINGHAMSHIRE Wednesday 1 August Sheku Kanneh-Mason plays Elgar Bruckner Te Deum piano recital Mendelssohn Clare Hammond Lobgesang Herbert Howells Requiem The Diary of One who Disappeared Thursday 2 August -DQ£ÍHN

Parry Blest pair Messiaen Quatuor pour la fin du temps of Sirens Tippett A Child of Our Time Parry Symphony No 5 and Bach Mass in B minor Parry Invocation to Music An ensemble of 80 leading professional singers and players Artistic Director Marcus Farnsworth Friday 3 August Saturday 4 August Associate Artistic Director Jamie Campbell Ravel Le tombeau Vaughan Williams de Couperin Toward the Unknown “The artistic results are remarkable.” THE SUNDAY TIMES Boulanger Psalm 130 Region #SouthwellMusic Walton Viola Concerto Parry Elegy for Brahms Stravinsky Symphony Brahms Ein deutsches southwellmusicfestival.com of Psalms Requiem Registered charity no: 1153135. stour music

Pepusch’s Venus & Adonis The English Concert Emma Kirkby & Chelys Consort of Viols The King’s Singers The Gonzaga Band Purcell’s King Arthur Festival of Early Music in East Kent Boughton Aluph Church 22 June -1 July 2018 Ticket enquiries 01227 769075 Brochure 01233 812740 www.stourmusic.org.uk UK FESTIVAL GUIDE 2018

conducts the Iuventus Chamber founding group included Peter HIGHLIGHT EVENT Orchestra in Bruch’s Violin Concerto Maxwell Davies, uses venues York Early Music Festival with Ruth Rogers and Schumann’s throughout the ancient Orcadian Cello Concerto with Adrian Brendel. landscape including the medieval July 6-14 sherborneabbeyfestival.org Cathedral of St Magnus in Kirkwall, Themed ‘Power and as well as on the islands of Westray Politics’, the 2018 Southern Cathedrals Festival and Hoy. Highlights for 2018 include festival includes July 18-21 Telemann’s comic opera Pimpinone concerts from Music, services and talks combine in from the Danish Sinfonietta with Brecon Baroque this festival that rotates around the Aarhus SommerOper. There are also directed by cathedrals of southern England, and several performances from the Rachel Podger, stars their choirs. This year it’s the Barokksolistene directed by Bjarte Gallicantus directed by turn of Salisbury Cathedral, Eike, including their Music at the Gabriel Crouch with the featuring performances by nearly Alehouse programme of Purcell Rose Consort of Viols, 100 choristers and 24 lay clerks overtures, English sea shanties, and The Sixteen from Chichester, Salisbury and and Scandinavian folk songs. Other under the direction of Winchester Cathedrals. The 2018 artists and ensembles include Harry Christophers. programme marks the end of the pianist Tom Poster with violinist There’s a strong focus The 2017 winners BarrocoTout return to York First World War with an afternoon Elena Urioste, and Red Note on emerging talent, concert exploring war-themed Ensemble with a new production of with appearances by Prisma, Voces Suaves, Rumorum, and the 2017 winners music and poetry, and a lecture Peter Maxwell Davies’s dance piece of the York Early Music International Artists Competition, BarrocoTout. recital given by the chairman of Vesalii Icones. ncem.co.uk/yemf the Elgar Society, Dr Steven Halls, stmagnusfestival.com in which he explores Elgar’s Piano Quintet and Violin Sonata. Other Stour Music Festival workshops over eight days, include a lunchtime recital from highlights include performances of June 22 – July 1 highlights include the opening oboist Nicholas Daniel, and Hewitt Handel’s Coronation Anthems and Founded by the countertenor Alfred concert, celebrating the centenary pairing up with fellow Ulverstonian Brahms’s Ein deutsches Requiem, Deller in 1962, this annual festival of universal sufrage with a rare saxophonist Jess Gillam and an organ recital by Daniel Cook, devoted to early music takes place performance of Ethel Smyth’s Mass Camerata Tchaikovsky for and candlelit Bach piano concerts. in the pilgrim church of All Saints’ in D. Sir Andrew Davis returns for a concerto double-bill of Glazunov’s southerncathedralsfestival.org.uk Boughton Aluph in the Kent two concerts: the first, Elgar’s Saxophone Concerto and countryside. The Chelys Consort King Olaf, and the second Shostakovich’s Piano Concerto No 1. Southwell Music Festival of Viols with soprano Emma Kirkby commemorating Sir Hubert Parry. ulverstonmusicfestival.co.uk August 22-27 and lutenist James Akers open this The festival also completes its cycle This festival, under the artistic year’s proceedings, whilst other of Mendelssohn’s major choral Vale of Glamorgan Festival directorship of baritone Marcus visiting ensembles include The works with his Lobgesang, and an May 9-16 Farnsworth, takes place in and English Concert and The King’s orchestral concert pairs Holst’s Notable for celebrating the work of around Nottinghamshire’s Singers. Young artists appearing The Planets with a new commission. living composers, the festival has as Southwell Minster, ofering more in the Late Night Extra slots include Chamber music recitals include one of its 2018 highlights a concert than 30 events across six days. One recorder player Tabea Debus, harpsichordist Mahan Esfahani, in Hoddinott Hall featuring the highlight for 2018 is a performance lutenist Matthew Wadsworth, pianist Clare Hammond, soprano BBC National Orchestra of Wales of Elgar’s Cello Concerto from 2016 and the ensemble Concentus VII. Ruby Hughes and renowned tenor performing the UK premiere of BBC Young Musician of the Year stourmusic.org.uk James Gilchrist. Late-night Qigang Chen’s Jiang Tcheng Tse winner, Sheku Kanneh-Mason, in highlights include percussion (For the Sake of Art) in a concert a festival programme to also include Swaledale Festival pioneer Joby Burgess and an to also include Thierry Escaich’s Tippett’s A Child of Our Time. May 26 – June 9 ‘organ ceilidh’ with Kit Downes. Psalmos. Another is a solo recital southwellmusicfestival.com This Yorkshire festival combines 3choirs.org in Ewenny Priory from cellist Alice top-class musical acts and a very Neary. The final concert, at Penarth St Endellion Summer Festival local flavour thanks to brass bands, The Two Moors Festival Pier Pavillion, sees Ensemble July 31 – August 10 folk music, and guided walks in the October 12 – 21 Midtvest deliver the world premiere This Cornish festival under the Dales countryside. Bach’s Goldberg Taking place across the Dartmoor of a new work created for them artistic direction of Mark Padmore Variations features in a number of and Exmoor national parks, this by the festival’s Artistic Director, opens this year in St Endellion events this year, with performances festival presents a mix of chamber John Metcalf, that will explore Church with a programme including by both harpsichordist Mahan music, Lieder recitals, a sprinkling of the musical palindrome. Ryan Wigglesworth conducting Esfahani and pianist Angela Hewitt. jazz, and also a musical church valeofglamorganfestival.org.uk Ravel’s G major Piano Concerto with Likewise, Marcus du Sautoy’s Reeth crawl. Amongst the artists for 2018 Charles Owen as the soloist, and Lecture focuses on Bach’s use of are pianists Yevgeny Sudbin and West Meon Festival Aidan Oliver conducting Elgar’s symmetry in Goldberg Variations, Stephen Kovacevich, cellist September 14-16 The Music Makers featuring Susan plus it features in the screenings of Alexander Chausian, tenor Mark Located in the Hampshire village of Bickley. Elgar features prominently 32 Short Films About Glenn Gould. Padmore, and flautist and West Meon, this festival features the in the Truro Cathedral concert too, Another highlight is the Aurora recorder player Ashley Solomon. musicians of the Primrose Piano with Tim Gill as soloist in the Cello Percussion Duo performing the thetwomoorsfestival.co.uk Quartet and their guests, presenting Concerto. Meanwhile the festival world premieres of a piece by chamber music ranging from solos opera is Berlioz’s Damnation of Graham Fitkin and of a Swaledale Ulverston International Music to piano quintets over the course of Faust under Ryan Wigglesworth; Festival commission by Andy Scott. Festival a long weekend. This year the there is also a performance of Other visiting artists include the June 6-16 festival culminates with a concert Mahler’s Symphony No 4, with Hallé, the Marian Consort, violinist This annual festival under the featuring tenor James Gilchrist, Rowan Pierce as soloist. Also on Jennifer Pike and Sacconi Quartet artistic directorship of local pianist in commemoration the 100th the bill are chamber recitals and with James Gilchrist. Anthony Hewitt is located within anniversary of the end of the late-night concerts. swalefest.org a stone’s throw of the Lake District First World War. Elsewhere, radio endellionfestivals.org.uk National Park, and ofers presenter and pianist Paul Guinery Three Choirs Festival performances from top contributes readings and chairs St Magnus International July 28 – August 4 international artists and exciting talks, and takes centre stage himself

MATHILDE TROUSSARD MATHILDE Festival It’s Hereford’s turn to host the young talent which span the as pianist on Saturday afternoon June 22-28 historic festival and its orchestra-in- stylistic range from English Touring with ensemble Harmoniemusik. Under the directorship of Scottish residence, the Philharmonia Opera, the Grimethorpe Colliery Saturday morning, meanwhile, composer Alasdair Nicolson, this Orchestra. With over 70 concerts, Band and jazz singer Joe Stilgoe, to features a children’s concert.

PHOTOGRAPHY: Orkney festival whose 1977 recitals, talks, exhibitions and chamber music. Highlights for 2018 westmeonmusic.co.uk

gramophone.co.uk GRAMOPHONE APRIL 2018 35

EUROPE FESTIVAL GUIDE 201 EUROPE FESTIVALS

Aix-en-Provence Festival are always an impressive and Morts conducted by François-Xavier Bergen PO under Edward Gardner, July 4-24 interesting bunch, and indeed it’s Roth, the sacred trilogy L’Enfance and the Russian National Orchestra It’s is a big year for this major a great place to hear some of the du Christ with the Orchestre de under Mikhail Pletnev. opera festival in 2018, as it top keyboardists not so regularly Chambre Nouvelle Aquitaine, and en.chopin.nifc.pl/institute celebrates its 70th anniversary, the seen on UK or US shores. Pianists the Messe Solennelle with the 20th anniversary of its Academie, for 2018 include Boris Berezovsky, Concert Spirituel & Choir under Chorégies d’Orange and marks the conclusion of Anne Quefélec, Nikolaï Lugansky, Hervé Niquet. Also on the bill are June 20 – August 4 Bernard Foccroulle’s directorship. Claire Désert and Nicholas Angelich, two major concerts from John Eliot With performances staged in the One highlight promises to be harpsichordists Bertrand Cuiller Gardiner with the English Baroque 8300-seat ancient Roman Théâtre Katie Mitchell’s new production and Pierre Hantaï. Trio Wanderer Soloists and the Orchestre Antique d’Orange near Avignon, of Strauss’s Ariadne auf Naxos also perform, plus violinists Olivier Révolutionnaire et Romantique, this opera festival has a particularly featuring Sabine Devieilhe. Other Charlier and Renaud Capuçon. one featuring a Bach cantata, and awe-inspiring backdrop. This year operas are the world premiere of festival-piano.com the other Berlioz’s Le Corsaire opens with, for the first time in Ondrej Adamek’s Seven Stones, overture, the Cléopâtre cantata the festival’s history, a woman Mozart’s Die Zauberflöte conducted Bergen International Festival and Harold in Italy with viola soloist on the conductor’s podium, as by Raphaël Pichon, Mariusz May 23 – June 6 Antoine Tamestit. Nathalie Stutzmann conducts Trelinski’s production of Prokofiev’s Two weeks in which one of the festivalberlioz.com Arrigo Boito’s Mefistofele with a L’Ange de feu (at the Grand Théâtre oldest cities in Norway, set against cast headed by Erwin Schrott in de Provence) conducted by Kazushi a dramatic backdrop of fjords, Bregenz Festival the title-role, and Jean-François Ono, the premiere of Orfeo & showcases the best of Norwegian July 18 – August 20 Borras as Faust, supported by Majnun conducted by Bassem arts and the wider northern Famed for its picturesque lake L’Orchestre philharmonique de Akiki, and Purcell’s Dido and Aeneas European scene. This year opens stage, the Bregenz Festival opens Radio France, the choirs of the performed by the young artists of with Edward Gardner conducting this year with the Austrian premiere Operas of Avignon, Monte-Carlo Académie d’Aix. the Bergen Philharmonic Orchestra of Berthold Goldschmidt’s opera and Nice, and the Children’s Choir of festival-aix.com and brass/percussion ensemble Beatrice Cenci (completed in 1950 the Académie Rainier-III-de-Monaco. Eikanger-Bjørsvik Musikklag in but not premiered until 1988), A ballet highlight meanwhile is Amiata Piano Festival Berlioz’s Grande Messe des Morts, directed by Johannes Erath with Maurice Béjart’s La Flûte enchantée May 19 – December 9 the choral component consisting Johannes Debus conducting the of 1981, danced by the Béjart Once again, the Tuscan festival – of the Bergen National Opera, the Vienna Symphony Orchestra. Ballet Lausanne. Recitals in the founded in 2005 – includes five Edvard Grieg Choir, the Bergen Also on the lake stage for 2018 Cour Saint Louis are by Edgardo stages of concerts: ‘Concerto Philharmonic Choir, Collegiûm is Carmen, while the Workshop Rocha, Eva-Maria Westbroek and Anteprima’ on May 19; ‘Baccus’ from Mûsicûm and the Royal Northern Theatre will stage a brand new George Petean. June 28 to July 1; ‘Euterpe’ from July College of Music Choir, with festival-commissioned opera by choregies.fr 26 to 28; ‘Dionisus’ from August 30 the young tenor Bror Magnus Thomas Larcher, directed by actor to September 2; and ‘Concerti di Tødenes as soloist. and film director Karl Markovics, Dans les Jardins de Natale’ from December 8 to 9. For fib.no and with Michael Boder conducting William Christie details of the individual concerts, the Ensemble Modern. Non-operatic August 25 – September 1 keep checking the website. Festival Berlioz highlights at the Festspielhaus Taking place in Thiré, in France’s amiatapianofestival.com August 18 – September 2 include the Austrian premiere Pays de la Loire region, Les Arts The festival is held in Hector of Thomas Larcher’s Alle Tage, Florissants’ summer festival under Festival International de Berlioz’s birthplace town of La Côte followed by Beethoven’s Symphony the artistic direction of their leader Piano de La Roque d’Anthéron Saint-André, near Grenoble, with No 5; also the Vorarlberg Symphony William Christie fuses together July 20 – August 18 concerts in the hilltop Chateau Louis Orchestra with a programme Christie’s two passions of music This major French festival boasts XI and the surrounding villages. including Mark Padmore singing and gardens. It also shines a light an impressive main concert space This year’s theme is Berlioz Sacré Britten’s Nocturne. on young talents including those in the grounds of the Château (Sacred Berlioz), performances bregenzerfestspiele.com from The Juilliard School’s Historic de Florans. Its visiting artists including the Grande Messe des Performance department. Concerts Budapest Festival, Bruges take place on the miroir d’eau, HIGHLIGHT EVENT May 16-19 while short concerts (promenades The Amsterdam Concertgebouw musicales) are dotted around the Beethovenfest Bonn hosts this four-day visit from the numerous themed gardens and August 31 – September 23 Budapest Festival Orchestra centred candlelit, meditative performances This festival celebrates the on the music of Mahler. It begins in the village church. works of Beethoven alongside with a chamber music concert arts-florissants.com/main/en_GB/ complementary Classical pieces, featuring Dénes Várjon, Izabella festival-jardins-william-christie. and brand new works inspired Simon and musicians of the BFO. html by his music. This year opens Then comes Symphony No 4 with with a tribute marking the soloist Christiane Karg, Das Lied Dresden Music Festival First World War: Mikko Franck von der Erde, and the Second May 10 – June 10 directing the Orchestre Symphony to conclude. Mirrors is the 2018 theme for this Philharmonique de Radio Bonn waves the flag for Beethovenfest concertgebouw.be/en/ festival under the artistic direction France in Ravel’s Tombeau de programmagids/detail/8478 of cellist Jan Vogler, with highlights Couperin, plus Saint-Saëns’s Piano Concerto No 5 with Bertrand Chamayou including the world premiere as soloist, and Beethoven’s Symphony No 5. The closing concert sees the Chopin and His Europe Festival of Tan Dun’s Buddha Passion. ORF Radio-Symphonieorchester Wien conducted by Michael Boder pair August 10-31 Also worth noting is the festival- Morton Feldmann’s Coptic Light of 1986 with Bruckner’s Symphony No 9. This is the 14th edition of the within-the-festival celebration The annual world premiere of a festival commission programmed either side Warsaw-based festival, and boasts of the cello, Cellomania, whose

SONJA WERNER SONJA of the Beethoven work that inspired it is Bernhard Lang’s piece for piano and 50 concerts performed by a total highlights include Helmut Branny orchestra, Monadologie XXXIV Loops for Ludvik; the MDR Sinfonieorchester of 500 musicians. Soloists this conducting the soloists of the perform this, directed by Stefan Asbury with pianist Marino Formenti. year include Leif Ove Andsnes, Dresdner Kapellsolisten in both beethovenfest.de Benjamin Grosvenor and Nelson Haydn cello concertos, played

PHOTOGRAPHY: Freire. Ensembles include the by Johannes Moser and Daniel

gramophone.co.uk GRAMOPHONE APRIL 2018 37 Alfred Brendel KBE Oxford Patron Sir András Schi Philharmonic President Orchestra Marios Papadopoulos MBE Artistic Director Oxford Piano Festival 28 July - 5 August 2018

Box oce: 01865 980 980 2018 Faculty oxfordphil.com Piotr Anderszewski Alfred Brendel Seong-Jin Cho Julius Drake Richard Goode Niel Immelman Yoheved Kaplinsky Marios Papadopoulos Menahem Pressler Anne Queélec Sir András Schi Dame Fanny Waterman EUROPE FESTIVAL GUIDE 201

Müller-Schott. Mischa Maisky Gstaad Festival in 1957, and these HIGHLIGHT EVENT celebrates his 70th birthday with days it’s a star-studded and Grafenegg Festival a performance alongside his many-stranded afair. The theme children, violinist Sascha Maisky for 2018 is, appropriately enough, August 17 – September 9 and pianist Lily Maisky, and there’s ‘The Alps’, highlights of which Under the artistic direction then a whopper of a finale in the include a ‘Wagner in the Mountains’ of pianist Rudolf Buchbinder, form of a Kulturpalast performance Symphony Gala, with Jaap van this ‘Austrian Tanglewood’ bringing together no fewer than Zweden conducting the Gstaad takes place in the grounds of 17 international cellists, including Festival Orchestra, plus tenor Jonas Grafenegg Castle just outside Andreas Brantelid, Pablo Ferrández, Kaufmann, soprano Martina Serafin Vienna. This year’s opening Alban Gerhardt, Miklós Perényi, and baritone Falk Struckmann. performance commemorates Christian Poltéra, Kian Soltani, Other Alpine-themed highlights the end of the First World War Jan Vogler, Alisa Weilerstein and include ‘High on the mountain, deep with the resident Tonkünstler Pieter Wispelwey. in the valley’, for which Van Zweden Orchestra under Yutaka musikfestspiele.com and the Orchestra are joined by Sado performing Britten’s Grafenegg 2018 marks the end of World War I pianist Hélène Grimaud, and Valery War Requiem. The other Rencontres d’Évian Gergiev conducting Denis Matsuev Orchestra in Residence is the European Union Youth Orchestra, while June 30 – July 7 and the Mariinsky Orchestra in other performing ensembles and artists include the Staatskapelle Dresden, This Swiss chamber music festival Strauss’s Eine Alpensinfonie. the Filarmonica della Scala di Milano, Nicolaj Znaider, Hélène Grimaud, and under the artistic direction of Other visiting artists include cellist two tenors making their festival debuts, Jonas Kaufmann and Juan Diego Quatuor Modigliani presents Sol Gabetta, countertenor Philippe Flórez. The composer-in-residence meanwhile is Ryan Wigglesworth, who concerts in the pretty 300-seater Jaroussky, and violinists Maxim also leads the composer-conductor workshop Ink Still Wet. There are also Théâtre Antoine-Riboud of Vengerov and Janine Jansen. two new concert strands for 2018 in the form of Late Night Sessions and 1892 in Évian’s centre, plus the gstaadmenuhinfestival.ch the afternoon Music in the Park. extraordinary all-wood 1200-seater grafenegg.com La Grange au Lac, built in 1993 for Heidenheim Opera Festival previous artistic director Mstislav June 13 – July 29 Rostropovich. Kicking of 2018 is the ‘Refuge’ is the 2018 theme for this Incontri in Terra di Siena International Chamber Music Hagen Quartet, with a programme festival, based at Hellenstein Castle July 28 – August 4 Festival Utrecht: Harriet including anniversary-composer under the artistic directorship This Tuscan festival is under the Krijgh and friends Debussy’s String Quartet. Other of Marcus Bosch. For 2018, there artistic directorship of pianist June 27 – July 1 top chamber ensembles include are two new productions of Verdi Alessio Bax; concerts take place Five days hosted by Utrecht’s the James Ehnes Quartet and operas. First is Nabucco, with a cast in the courtyard of the La Foce TivoliVredenburg under which Trio Zimmermann. Those with including Antonio Yang, Astghik estate, famous for its garden, as top international soloists and an eye on the next generation Khanamiryan and Randall Jakobsh, well as venues throughout the Val ensembles come together to should catch the collaboration with Bosch himself conducting the d’Orcia region. The festival turns 30 perform chamber music, under the between violinist Marc Bouchkov, Czech Philharmonic Choir Brno this year, and has a suitably starry artistic direction of cellist Harriet viola player Lise Berthaud, cellist and the Stuttgart Philharmonic programme. Highlights include Krijgh. Full details of the festival’s Victor Julien-Laferrière and pianist Orchestra. Then I Lombardi, cellist Antonio Lysy and Emmanuel programme will be available on the Éric Le Sage. Esa-Pekka Salonen directed by Tobias Heyder, and Pahud joining the Camerata festival’s website from April 3. closes the festival directing its Bosch conducting Cappella Aquileia. Strumentale di Prato for Haydn’s kamermuziekfestival.nl newly formed Sinfonia Grange au The opening concert features Fazıl Cello Concerto No 1 and Devienne’s Lac, comprised of instrumentalists Say’s Clarinet Concerto with soloist Flute Concerto No 7 conducted Itinéraire Baroque from top European ensembles, in Reto Bieri alongside the Nuremberg by Jonathan Webb. Ian Bostridge July 26-29 Beethoven’s Eroica. State Philharmonic Orchestra returns, appearing in three Harpsichordist and conductor rencontres-musicales-evian.fr under Josep Caballé-Domenech. A diferent programmes including a Ton Koopman’s festival is set in Pauluskirche chamber highlight is Schubertiade with colleagues Leif the northern Dordogne region of Göttingen International recorder player Stefan Temmingh Ove Andsnes, Lawrence Power and Périgord Vert, and celebrates both Handel Festival in a programme of Baroque Antonio Lysy. Other visiting artists Baroque music and the medieval May 10-21 music with soprano Dorothee include Lucille Chung, Daishin architecture of the area. This year ‘Conflicts’ is the theme for 2018, Mields and Wolfgang Katschner’s Kashimoto, Annabelle Meare and opens with Koopman directing his not least because of the First Lautten Compagney Berlin. Christian Poltéra. Amsterdam Baroque Orchestra with World War anniversary. To that opernfestspiele.de itslafoce.org a programme including Telemann end, the main operatic event at the and Bach. There’s also a Spanish Deutsches Theater Göttingen is the Herrenchiemsee Festival Innsbruck Festival of theme, with Baroque dance from conflict-themed Arminio inanew July 17-29 Early Music dancers Anna Romaní, Carles production by Erich Sidler, with ‘Europa!’ is the theme of this year’s July 17 – August 27 Mas and Jaime Puente. Then the festival Artistic Director Laurence Herrenchiemsee Festival, which This early music festival in the annual highlight is the Saturday Cummings directing the festival’s takes place in Herrenchiemsee capital of Austria’s Tyrol is a ‘itinéraire’, which this year starts resident orchestra. Other highlights Castle’s Spiegelsaal and in the great place to hear top period- with a recorder recital by Reine- include the opening concert of monastery of the Fraueninsel. performance specialists who Marie Verhagen, followed by five Judas Maccabaeus, with the NDR Highlights this year include the don’t appear regularly in the UK ‘taster’ concerts in a circuit of small Chor and Kenneth Tarver in the opening concert in the monastery, or US. Take the opening concert Romanesque churches, a diferent title-role. Visiting instrumental featuring three Bach cantatas in Ambras Castle’s Spanish Hall, set of performers in each church soloists and ensembles performing performed by the KlangVerwaltung which celebrates the period wind- performing a 40-minute concert to in venues such as the Great Hall Orchestra and Chamber chorus instrument maker Rudolf Tutz, who each group of concert-goers. of Göttingen University include under the direction of Enoch died last year. Barthold Kuijken, itinerairebaroque.com recorder player Giovanni Antonini, zu Guttenberg with soloists Linde Brunmayr-Tutz and other violinist Midori Seiler, and the Sibylla Rubens, Olivia Vermeulen, transverse flute players will perform Lofoten Piano Festival London Handel Players. Also in Daniel Johannsen and Thomas quintets by Boismortier on Tutz July 9-15 the mix are lectures, guided tours, Laske. Another is a concert flutes, as well as high-Baroque trio Set amid the spectacular scenery ‘crossover’ events, and concerts in the castle’s Hall of Mirrors sonatas, accompanied by Lars Ulrik of Norway’s Lofoten islands, this for both young and old. where Europa Galante and Fabio Mortensen on the harpsichord. Also festival now alternates each year

KLAUS VYHNALEK haendel-festspiele.de Biondi present a double-faceted to be enjoyed are church services between piano and chamber music. programme focusing on Italian featuring early music, and the This year it’s the turn of piano, Gstaad Menuhin Festival composers in France, and also final of the Baroque opera-singing and is under the artistic direction July 13 – September 1 French composers in Italy. Cesti Competition. of Betrand Chamayou. Highlights

PHOTOGRAPHY: Yehudi Menuhin founded the herrenchiemsee-festspiele.de altemusik.at/en include the opening concert where

gramophone.co.uk GRAMOPHONE APRIL 2018 39 Inspired by classical music

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GOLD Visit Bruges and discover classical music Polyphony festival Bruges voices from the Renaissance

Concertgebouw Brugge Thu 10.05.18 Obrecht’s Missa de Sancto Donatiano www.concertgebouw.be by The Tallis Scholars A Bruges masterpiece by a genuine Renaissance celebrity

Mon 07 – Sun 13.05.18 Sat 12.05.18 Jacob Clemens’s Missa Gaude lux Donatiane by Huelgas Ensemble A new festival interconnects the best of Bruges’s Golden The music of a mythical church rings through Age: its fascinating history, its architectural heritage, its art to the present treasures and above all its music, which for centuries set WKH WRQH LQ DOO RI (XURSH 'RQ·W PLVV WKLV ÀUVW HGLWLRQ ZKLFK Sat 12.05.18 Take Out Obrecht coincides with the Ascension weekend and the annual Free concert trail through the city with season Procession of the Holy Blood! composer Frederik Neyrinck EUROPE FESTIVAL GUIDE 201

Chamayou performs alongside in Floriana from the Armenian State HIGHLIGHT EVENT fellow pianists Lise de la Salle, Symphony Orchestra and the Malta Kissinger Sommer Francesco Piemontesi, Ah Ruem Philharmonic Orchestra. Ahn and Yulianna Avdeeva, joined maltafest.eu June 15 – July 15 by the Oslo Camerata and the Held in the Bavarian Engegard Quartet. Leif Ove Matthias Kendlinger Festival spa town of Bad Andsnes also appears. July 10-14 Kissingen, this festival lofotenfestival.no Run by Austrian composer Matthias has the Deutsche Georg Kendlinger, and featuring Kammerphilharmonie Lucerne Summer Festival his own works, the MK Festival’s Bremen as its resident August 17 – September 16 concerts take place in the Lviv orchestra. The Featuring four weeks of more Philharmonic and in the Lviv theme for 2018 is than 100 concerts by some of Opera. Highlights include the world ‘1918 – Departure into the world’s major international premiere of his Symphony No 3. Modernity’, a highlight Cellist Sol Gabetta opens 2018’s Kissinger Sommer artists and ensembles, this year’s philharmonia.lviv.ua of which is Stravinsky’s festival opens with Riccardo Chailly The Soldier’s Tale, featuring violinist Daniel Hope, Thomas Quasthof conducting the Lucerne Festival Festival de Musique Menton as the narrator and actress Katja Riemann as the Devil. Opening night Orchestra and soloist Lang Lang in June 28 – August 11 sees the orchestra joined by cellist Sol Gabetta; she can also be seen in Mozart’s Piano Concerto No 24 in Established in 1950, this French a duo recital with pianist Bertrand Chamyou, and in a one-of trio concert C minor, K491, the programme also Riviera festival is one of Europe’s that will only be performed at the festival with violinist Janine Jansen including Stravinsky’s The Firebird oldest and most prestigious, and pianist Alexander Gavryluk. Other visiting artists include soprano and Dumbarton Oaks. Among the attracting big names each year. Anna Caterina Antonacci, percussionist Martin Grubinger, conductor other visiting artists are Daniel Details for 2018 hadn’t been Valery Gergiev and the orchestra of the Russian-German Music Academy, Barenboim with the West-Eastern announced as we went to press, violinist Giuliano Carmignola, and pianist Menahem Pressler. Divan Orchestra, the Chamber though the opening and closing kissingersommer.de Orchestra of Europe conducted concerts are hosted by the town’s by Bernard Haitink with keyboard Baroque basilica of Saint Michel soloist András Schif, the Berlin Archange, so do check the website. his 80th birthday this year; then New Ross Piano Festival Philharmonic with Kirill Petrenko, festival-musique-menton.fr Haydn’s Orlando Paladino,Ivor September 26-30 the Mahler Chamber Orchestra Bolton conducting Axel Ranisch’s This County Wexford-based festival, conducted by François-Xavier Moritzburg Festival staging. Two further premieres founded in 2006, features three Roth with cellist Sol Gabetta, and August 11-26 from the Festival Workshop are Die pianists at each main concert. the Lucerne Symphony Orchestra A Dresden-based festival under Vorübergehenden (The Passers-By) Among the many artists appearing under James Gafigan with pianist the artistic directorship of cellist and Zeig mir deine Wunder (Show this year are the American pianist Daniil Trifonov. Jan Vogler, the Moritzburg Festival me your miracles). Another pillar Anne-Marie McDermott, making her lucernefestival.ch has become one of the most of the festival this year is Petrenko Irish debut, and the young Romanian renowned international chamber conducting Andreas Kriegenburg’s pianist Alexandra Dariescu. MA Festival music festivals since its inception 2012 production for the company newrosspianofestival.com August 3-12 in 1993. Established and young of Der Ring des Nibelungen. Based in Bruges, this early music musicians rehearse, then perform Highlights of the ballet evenings Operadagen Rotterdam festival has a special focus on the chamber music together in venues meanwhile are the three Young May 18-27 next generation of artists, and such as the Moritzburg Castle and Choreographers evenings. The 10-day festival presents to that end one of its key events Dresden’s Transparent Factory of staatsoper.de contemporary music theatre and is its International Competition Volkswagen. Highlights for 2018 opera productions, as well as a Musica Antiqua for young Baroque include the Long Night of Chamber Musique Cordiale fringe programme with many more soloists. Beyond the competition, Music in the Lutheran Church, July 28 – August 11 shows taking place in unexpected 2018 is themed ‘Cherchez la and the ‘Proschwitz Picnic’ in the Orchestral concerts, song and locations throughout the city of femme’, scanning early music for gardens of Proschwitz Castle. oratorio in medieval hill towns Rotterdam, adding up to over 100 the voices of woman composers, Visiting artists include mandolin take place between Nice and performances. This year’s festival along with those whose actual player Avi Avital, violinists Paul Aix-en-Provence, as well as the opens with Wouter Van Looy’s voices sounded from cloisters, Huang, Benjamin Beilman and Mira Musique Cordiale Strings Academy Earth Diver, a musical-theatrical opera houses and salons, and Wang, cellist Narek Hakhnazaryan for advanced string players, led spectacle, for which the audience those who commissioned or had and flautist Mathieu Dufour. by Chilingirian Quartet members sit within an installation surrounded music dedicated to them. Visiting moritzburgfestival.de/english Levon Chilingirian and Susie by video images, and singers of artists and ensembles include Mészáros. Concert highlights for the ChorWerk Ruhr performing the harpsichordists Skip Sempé and Molyvos International 2018 include a performance of music of Heinrich Schütz. Other Catalina Vicens, Theatre of the Ayre, Music Festival Haydn’s The Seasons. musical highlights include Capella Ensemble Le Caravansérail, and August 16-19 musique-cordiale.com Mediterranea under conductor alto Wiebke Lehmkuhl. Themed ‘Genesis’ in 2018, this Greek Leonardo García Alarcón, and the mafestival.be chamber music festival under the The New Generation Festival Orkest van de Achttiende Eeuw and artistic direction of Danae and August 29 – September 1 Cappella Amsterdam with Brahms’s Malta International Kiveli Dörken brings together the This Florence festival of opera, Ein deutsches Requiem conducted Music Festival greatest international young talents music and theatre, set in the private by Daniel Reuss and featuring April 15 – May 1 alongside established names. Gardens of the Renaissance-era soloists Carolyn Sampson and This Valletta-based festival is in molyvosfestival.com/en/ Palazzo Corsini, is devoted to André Morsch. its sixth year, and boasts some bringing up the next generation operadagenrotterdam.nl/en top artist appearances among its Munich Opera Festival of top artists. Highlights for 2018 mix of solo recitals, chamber and June 24 – July 31 include Mozart’s Don Giovanni, Prague Spring Festival orchestral concerts. Artists making ‘Show Me Your Wound’ is the Tchaikovsky’s Violin Concerto May 12– June 3 their festival debuts this year theme for 2018. The premieres with soloist Charlie Siem, a late- The Czech Philharmonic & Tomáš include violinists Maxim Vengerov, are Wagner’s Parsifal directed night concert in the Chiesa di Netopil open this year’s festival Ray Chen and Salvatore Accardo, by Pierre Audi, Kirill Petrenko Ognissanti featuring Siem with with a Smetana programme. clarinettist Andreas Ottensamer conducting a cast with Christian cellist Erica Piccotti and pianist Other ensembles performing MARCO BORGGREVE MARCO and pianist Nikolai Lugansky. Gerhaher, Bálint Szabó, René Pape, Itamar Golan, and a full staging include the Royal Concertgebouw Meanwhile there will be orchestral Jonas Kaufmann, Wolfgang Koch of Shakespeare’s Henry V set to Amsterdam and the Monteverdi performances in the Republic Hall of and Nina Stemme, and with sets by William Walton’s orchestral score, Singers under John Eliot Gardiner, Valetta’s Mediterranean Conference internationally celebrated painter performed live. while chamber highlights include

PHOTOGRAPHY: Centre and the Robert Samut Hall Georg Baselitz who celebrates newgenerationfestival.org a recital from violinist Julian Rachlin

gramophone.co.uk GRAMOPHONE APRIL 2018 41 EUROPE FESTIVAL GUIDE 201

HIGHLIGHT EVENT Michi Gaigg, and Renaud Capuçon, things of in style on opening night, Kian Soltani and Lahav Shani playing conducting the Verbier Festival Rosendal Chamber Music Festival Dvořák’s Piano Trio in F minor and Orchestra in Rodion Shchedrin’s August 9-12 Tchaikovsky’s Piano Trio in A minor. Diptyque symphonique and Situated in Rosendal on the Schwarzenberg highlights include Rimsky Korsakov’s Sheherazade, west coast of Norway, this the Armida Quartet and clarinettist plus three works that showcase chamber music festival, Jörg Widmann playing Schubert, some of today’s top young soloists: founded by pianist Leif Ove Weber and Scarlatti, and Lieder from Saint Saëns’s Introduction et Andsnes, takes the First Anne-Sophie von Otter with Kristian Rondo capriccioso with violinist World War as its theme Bezuidenhout on fortepiano. Daniel Lozakovich, Mendelssohn’s for 2018. The opening schubertiade.at Piano Concerto No 1 with pianist concert in the Great Hall George Li, and Bernstein’s of the Baroniet Rosendal Stresa Festival ‘Glitter and be Gay’ (Candide) estate ofers a programme July 14-27; August 23 – September 9 with soprano Pretty Yende. Later, including Nielsen’s Andsnes (third from right) celebrates Debussy Under the artistic directorship of the 25th birthday Gala Concert Chaconne Op 32, Ravel’s Gianandrea Noseda, 27 concerts presents a 30-strong line-up of Tombeau de Couperin and Dohnányi’s Piano Quintet No 2, with Andsnes are performed on stunning Lake festival regulars including Pinchas joined by the Dover Quartet, violinist Akiko Suwanai, cellist Edgar Moreau, Maggiore and its surrounds. Zukerman, Martha Argerich, and pianists Ingrid Andsnes and Bertrand Chamayou. For the Debussy As always, while the focus is on Maxim Vengerov and Yuri Bashmet, anniversary, there’s Danses sacrale et profane, and the cello and violin music, there are opportunities alongside the Festival Orchestra. sonatas, among other works; for this Andsnes is again joined by Chamayou, for audiences to enjoy theatre, verbierfestival.com Moreau, Suwanai and the Dover Quartet, plus double bassist Tim Gibbs, dance, literature and film. harpist Sivan Magen, flautist Guy Eshed and viola player Lars Anders Tomter. stresafestival.eu Verona Arena Opera Festival rosendalfestival.com June 22 – September 1 Suoni dal Gofo Verona’s arena, the third largest August 16-31 Roman ampitheatre in the world, and Itamar Golan. One of the most mostly performed by the resident This festival of music and poetry is the spectacular setting for this exciting elements of the festival Vienna Philharmonic. This year was launched only last year Italian opera festival. A new staging is its competition, split into cello opens with a new production by Italian conductor Gianluca of Bizet’s Carmen from Hugo de Ana and French horn strands; on the from Lydia Steier of Mozart’s Marcianò, in his hometown of opens 2018’s oferings. Other operas programme for the cello finalists is Die Zauberflöte, Costantinos Lerici. The festival programme for 2018 include Verdi’s Aida and Dvořák’s Cello Concerto, performing Carydis conducting the Vienna is inspired by the sea and by the Nabucco, Puccini’s Turandot and with the Prague Radio Symphony Philharmonic. Other oferings in poets who were drawn to the Rossini’s Il barbiere di Siviglia. There Orchestra and Jiří Rožeň, while the 2018 include new productions of Ligurian coast. Highlights include are also gala events in the form of horn finalists play Strauss’s Horn Strauss’s Salome conducted by a full day dedicated to Rossini, a Special Opera Night, and dance Concerto No 2 under Marek Šedivý Franz Welser-Möst, Tchaikovsky’s Tchaikovsky’s Manfred Symphony, from Roberto Bolle and Friends. with the Prague Philharmonia. The Queen of Spades conducted and the Italian premiere of arena.it festival.cz by Mariss Jansons, Monteverdi’s Liszt’s recently discovered opera L’incoronazione di Poppea with Sardanapale. The festival will also West Cork Chamber Reykjavik Arts Festival Les Arts Florissants conducted include an evening for voice and Music Festival June 1-17 by William Christie, and Henze’s piano inspired by Shelley, a recital June 29 – July 8 Events take place in numerous The Bassarids conducted by with Italian pianist Vanessa Benelli The coastal town of Bantry in cultural venues in and around Kent Nagano. Mosell, and the continued summer County Cork has its usual strong Reykjavik for this wide-ranging salzburgfestival.at residency for the festival’s newly roster of performing artists. multidisciplinary festival. This formed training academy for young Highlights include the Irish premiere year the Iceland Symphony and Savonlinna Opera Festival musicians from across the globe, of Jonathan Dove’s In Damascus Osmo Vänskä open the festival in July 6 – August 4 Orchestra Excellence. from tenor Mark Padmore and the Eldborg’s Harpa Hall with Mahler’s Operas at this Finnish festival suonidalgolfo.com Elias Quartet. Other visiting artists ‘Resurrection’ Symphony, joined by take place in the grounds of the include pianist Barry Douglas, the Motet Choir of Hallgrímskirkja city’s medieval Olavinlinna castle. Trasimeno Music Festival Apollon Musagète Quartet, Halcyon with soloists Christiane Karg and The new production for this year June 29 – July 5 Quartet and soprano Ruby Hughes. Sasha Cooke. Vänskä and the is Tchaikovsky’s The Queen of Established by pianist Angela Hewitt, westcorkmusic.ie orchestra also perform Mahler’s Spades, with Alexander Vedernikov this Umbrian festival takes place Symphony No 2. conducting. Also on the bill are in beautiful venues in Magione, Zeist Music Days listahatid.is/en Gounod’s Faust, Verdi’s Otello, and Perugia, Cortona and Campo. August 11-25 three Puccini operas: Madama The 2018 festival centres around Held in the central Netherlands Rheingau Musik Festival Butterfly, Tosca and Turandot, the Hewitt’s performance of Bach’s The town of Zeist, this chamber June 23 – September 1 latter two performed by the Tuscan Well-Tempered Clavier – her first music festival ofers concerts and With 155 concerts held at scores of Puccini Festival Orchestra and Choir. in a decade, as part of her Bach masterclasses. Ensembles this year venues across the Rheingau and operafestival.fi/en Odyssey. There’s also a first festival include the Jerusalem Quartet, adjoining regions, this is a huge appearance from pianist Gabriela Hagen Quartet, Schumann Quartet, festival. The main venues are Schubertiade Hohenems, Montero, who performs Bach and Sitkovetsky Piano Trio, and the trio Eberbach Monastery, Johannisberg Markus Sittikus Hall Mozart concertos with Hewitt and of Felix Klieser (horn), Andrej Bielow Palace, Vollrads Palace and the April/May, July, September, the Salzburg Camerata. Other artists (violin) and Herbert Schuch (piano). Wiesbaden Assembly Rooms, October include violinist William Chiquito In addition to these concerts, there and these are supplemented by Schubertiade Schwarzenberg, and soprano Ilona Domnich. will be a series of masterclasses numerous churches and wineries. Angelika Kaufmann Hall trasimenomusicfestival.com for young professional ensembles Details for 2018 weren’t yet June/July, August/September given by the Jerusalem Quartet, available when we went to press, This celebration presents a Verbier Festival Schumann Quartet, Alexander so keep an eye on the website. multitude of events across two July 19 – August 5 Sitkovetsky (Sitkovetsky Trio rheingau-musik-festival.de diferent venues, encompassing Switzerland’s major alpine festival violinist), Wu Qian (Sitkovetsky Trio song, piano, chamber and turns 25 this year, and two pianist), cellist Marcin Sienawski, Salzburg Festival orchestral concerts, lectures, extraordinary oferings tell you and author of The Singing Body,

LIV ØVLAND LIV July 20 – August 30 exhibitions and masterclasses. all you need to know about the movement expert Iris Goren. Mozart’s birthplace becomes Hohenems highlights include the celebratory feel across its usual The masterclasses will be followed the scene for major operatic complete Schubert symphonies mix of world-class chamber and by a student concert tour. productions, theatrical productions and symphonic fragments from symphonic performances and zeistmusicdays.nl;

PHOTOGRAPHY: and concerts each summer, operas L’Orfeo Barockorchester under masterclasses. Valery Gergiev kicks zeistermuziekdagen.nl

42 GRAMOPHONE APRIL 2018 gramophone.co.uk KIRKER MUSIC HOLIDAYS FOR DISCERNING TRAVELLERS Kirker Holidays ofers an extensive range of independent and escorted music holidays. These include tours to leading festivals in Europe such as the Puccini Festival in Torre del Lago and the Verdi Festival in Parma, as well as Glyndebourne, Buxton and opera weekends in Vienna, Milan and Venice. We also host our own exclusive music festivals on land and at featuring internationally acclaimed musicians. For those who prefer to travel independently we arrange short breaks with opera, ballet or concert tickets, to all the great classical cities in Europe.

THE DRESDEN MUSIC FESTIVAL THE PUCCINI OPERA FESTIVAL A SEVEN NIGHT HOLIDAY | 15 MAY 2018 IN TUSCANY For more than forty years the annual Dresden Music Festival has added FIVE NIGHT HOLIDAYS | 25 JULY&9AUGUST 2018 to the rich fabric of musical life in the Saxon capital on the banks of Giacomo Puccini was born into a musical family in Lucca on the Elbe.The city’s grand Baroque architecture has been meticulously 22 December 1858. Each summer his operas are performed in restored after the destruction wrought in 1945, and today’s visitors quickly Torre del Lago on the peaceful shores of Lake Massaciuccoli. appreciate why the city was, in its heyday, compared to Florence. Our holidays include three performances and the operas this summer are During our visit we will see the symbolic Frauenkirche, the magniicent La bohème,Turandot and Manon Lescaut in July and Madama Butterly, rococo Zwinger Palace, and the art collections of the Electors of Saxony Il trittico and Tosca in August.We stay at the 3* Albergo Celide, just at the Albertinum.We shall attend six Festival performances, including outside Lucca’s magniicent walls and from here we shall enjoy a walking the Royal Concertgebouw Orchestra at the recently modernised tour, including a visit to the house where Puccini was born and two Kulturpalast, an iconic example of GDR architecture, and three operas at great Tuscan gardens – theVilla Reale in Marlia and theVilla Garzoni. Gottfried Semper’s famous opera house. Price from £2,193 per person Price from £2,987 per person (single (single supp. £198) for supp. £398) including return lights, ive nights including lights, accommodation with breakfast, three accommodation with breakfast, lunches, two dinners, tickets for six four dinners, tickets for three performances, all sightseeing, entrance operas and one concert, all fees and gratuities and the services sightseeing, and the services of of the Kirker Tour Leader. the Kirker Tour Leader.

THE KIRKER CORNWALL THE KIRKER MUSIC FESTIVAL MUSIC FESTIVAL IN TENERIFE A FOUR NIGHT HOLIDAY|1OCTOBER2018 A SEVEN NIGHT HOLIDAY | 12 JANUARY 2019 Following on from the annual success of the Kirker Music Festival in For our fourth exclusive music festival on the island of Tenerife, we will St. Mawes, we’ve added a new Cornish Music Festival which includes three present a series of six concerts featuring the Gould Piano Trio, pianist concerts given by the Piatti Quartet. Benjamin Frith, soprano Ilona Domnich and violist Simon Rowland-Jones. Highlights include visits to Boconnoc near Lostwithiel, where we will Staying at the 5* Hotel Botanico, surrounded by lush tropical gardens, be welcomed by Elizabeth Fortescue who lives on the vast estate.We we shall also enjoy a programme of fascinating excursions. Highlights will visit the house twice – once for a morning concert and again for an include the Sitio Litro Orchid Garden, a cable car journey to the peak evening concert followed by dinner in the house.There will be a third of Mount Teide and a visit to the primeval cloud forest of the Anaga concert in the St. Mawes Methodist Chapel. Based in the pretty town of Mountains.We will also visit historic and picturesque villages along Fowey,our holiday will also include a visit to the newly reopened Tate the spectacular north coast, including Garachico with its 17th Gallery in St. Ives and the Barbara Hepworth Studio and Garden. century convent.

Price from £1,498 (single supp. Price from £2,698 per person (single supp. £298) for four nights including £375) for seven nights including lights, accommodation with breakfast, one transfers, accommodation with breakfast, lunch, four dinners, three concerts, six dinners, six private concerts, all sightseeing, entrance fees and all sightseeing, entrance fees and gratuities and the services of the gratuities and the services of the Kirker Tour Leader. Kirker Tour Leader.

Speak to an expert or request a brochure:

020 7593 2284 quote code GGM www.kirkerholidays.com Jed Distler offers an insight into three American festivals which combine serious music-making with the peace and beauty of some stunning scenery

he American West evokes the world of myths and long held special attraction to musicians, who draw inspiration legends, folk heroes and film genres, plus archetypes from rural and remote surroundings at far remove from big city Tand stereotypes that resist tearing down. It’s also pressures. Such situations lend themselves to concentrated work home to one spectacular natural setting, landscape and spontaneous play; they also create a sense of community that and national park after another. While these places thrive, and appeals not just to performers, composers and students, but also sometimes suffer, as tourist destinations, certain locales have to music-loving audiences who hanker for travel and adventure. Grand Teton Music Festival he Grand Teton Music musicians, bearing witness to Festival was launched the generous support by Jackson Tin 1962 as part of the Hole’s tremendous community larger Jackson Hole – that is the veritable source Fine Arts Festival. Concerts of the unique alchemy to be originally took place at the experienced at the Grand Teton historically landmarked Music Festival.’ Jackson Lake Lodge and The 2018 season takes place in the Jackson Hole High between July 3 and August 18, School gymnasium before and simultaneously looks both the festival moved into the Grand Teton owes its alchemy to ‘fresh mountain air and outstanding musicians’ to the past and to the future. neighbouring Teton Village. Leonard Bernstein’s centenary A permanent structure at the foot of housed, you’ll be more likely to hear takes centre stage with soloists that Rendezvous Mountain, Walk Festival musicians practising in the distance, as include violinists Leila Josefowicz and Hall, became the festival’s home in opposed to bear growls and moose calls. Julian Rachlin, pianists Daniil Trifonov, 1974, and is significant for its excellent The Grand Teton Music Festival Kirill Gerstein and Olga Kern, cellist sightlines, amphitheatre-style seating Orchestra members are chosen from Johannes Moser and composer/bassist and sophisticated sound reinforcement. many of America’s first-tier ensembles, Edgar Meyer, along with Broadway World-class music-making and intense including the Philadelphia Orchestra, the luminary Audra McDonald headlining the outdoor activity go hand in hand during Chicago Symphony and the Metropolitan festival’s annual gala concert. The young the festival’s seven weeks, whether one is Opera Orchestra. Conductor Donald Syrian-American Kareem Roustom has spotting wild game innocently ambling Runnicles has been Grand Teton’s been invited as composer-in-residence, about in the wilderness, or driving to the Music Director since 2006 and, more while a new festival commission from nearby Grand Teton and Yellowstone than a decade on, it clearly holds great former Cleveland Composer Fellow National Parks for some serious hiking. appeal for him. ‘Breathing the fresh Sean Shepherd receives its world Should you decide to stay closer to town mountain air, performing the great works premiere. Visit gtmf.org for the in the vicinity where festival artists are of classical music with such outstanding complete schedule and to buy tickets. Aspen Music Festival and School he upscale boutiques, industrialist Walter Paepcke gourmet coffee shops began to buy up and develop Tand mouth-watering properties. What started in dining options engulfing 1949 as a successful two-week downtown Aspen belie this celebration of the German poet venerable municipality’s roots as Goethe’s bicentennial soon a mining camp founded in the materialised into an annual 1880s during Colorado’s Silver summer music programme. Boom. However, the Aspen we The first official class in 1951 know today started coming into comprised 183 students, with its own in the mid-20th century, Igor Stravinsky on hand as when Aspen Mountain became composer and conductor. a skiing resort and Chicago The open-sided Benedict Music Tent, the setting for almost daily concerts Over the decades, Aspen’s

44 GRAMOPHONE APRIL 2018 gramophone.co.uk FESTIVAL GUIDE 2018

international roster of teachers, students, accretion, with more than a thousand Quartet’s DG Shostakovich cycle, most alumni and artists have constituted students,’ says composer/administrator concerts and talks are recorded for future a veritable who’s who of 20th- and Alan Fletcher, who came to Aspen in broadcast on National Public Radio and early 21st-century music luminaries. March 2006 as President and CEO. ‘It local affiliates, with hundreds of items During the summer, concerts take became necessary to scale back to around from recent and past seasons available for place almost daily in the main Benedict 600 students and adjust the size and streaming in partnership with the website Music Tent, an acoustically superb direction of the faculty accordingly, in instantencore.com. venue characterised by its open sides order for everyone to fully benefit from The year’s event, from June 28 to and curving roof constructed from teaching and performing opportunities August 19, marks Aspen’s 70th season Teflon-coated fibreglass. Most chamber at the highest levels.’ One significant with an overall theme focused on works music concerts, solo recitals and public development was the completion of the by Parisian composers and inspired by masterclasses are held next door in the $80m Matthew and Carolyn Bucksbaum the French capital. Three mini-festivals 500-seat Joan and Irving Harris Concert Campus in 2013, situated on 38 acres showcase distinctive creative threads: Hall that opened in 1993. By contrast, amidst woodlands, spruce-covered Impressionism (1860-1910), Diaghilev the historic Wheeler Opera House, foothills and two man-made ponds. Ballet Russes composers (1909-29), and a long-time festival partner, has been in All of the buildings can be easily a survey of Nadia Boulanger’s American business since 1889 and features a wide accessed by foot, and include state- composition students. Other highlights array of professional and community of-the-art practice rooms, orchestral include Daniil Trifonov performing his events from concerts and stand-up rehearsal halls, teaching studios, own piano concerto and a contemporary comedy to discussions and lectures. administrative offices and an impressive music programme from violinist Augustin The Aspen Festival’s infrastructure and library. While important commercial Hadelich, plus a collaboration with pianist mission have evolved over the years. ‘In recordings have stemmed from live Joyce Yang and the Aspen Sante Fe Ballet. the 1990s, Aspen had grown almost by Aspen concerts, such as the Emerson Visit aspenmusicfestival.com for details. Tippet Rise Art Center ne of America’s Steinway pianos, all chosen newest and most with care by Peter Halstead, Ounique classical a pianist in his own right. music festivals takes This writer (also a pianist in place near the south-central his own right) was particularly town of Fishtail, Montana, smitten by the lovingly restored on an 11,500-acre working Steinway concert grand, CD-18, sheep and cattle ranch, north formerly owned by Vladimir of Yellowstone National Park Horowitz and later acquired and buffered by the Beartooth by Eugene Istomin. Mountains. The Tippet Rise The 2018 season, which Art Center, which opened in The Tiara Acoustic Shell, one of Tippet Rises’s unique performance spaces runs from July 6 to September 2016, is the brainchild of artists/ 8, includes the Tippet Rise philanthropists Peter and Cathy acoustic design were in some respects debuts of pianists Wu Han, Halstead, who began the process of inspired by Snape Maltings, the Halsteads’ Gabriel Kahane, Ingrid Fliter and purchasing six contiguous ranches back favourite concert hall, although the Julien Brocal, cellists Johannes Moser and in 2009 for the purpose of creating latter’s 832-seat capacity is a far cry from David Finckel, violinist Vadim Gluzman, an environment that enables both the Olivier’s 150 seats. More unusual, and the Calidore String Quartet, along performing artists and the listening however, is the Tiara Acoustic Shell. with the return of artists from past public to experience and absorb At first glance it looks a little rough seasons, plus the premiere of the second the subtle and profound connections and ready: a bare-bones portable stage in a series of three commissioned works between nature, visual art and music. with a rudimentary covering held up by composer Aaron Jay Kernis. Happily, ‘We always were inspired by by plywood sticks, plopped down in the the Halsteads’ lofty artistic ideals translate large spaces containing sculpture, middle of nowhere. Yet the combination into a warm, familial atmosphere, created like New York’s Storm King,’ says of an expansive surrounding landscape by the combination of the reasonable Peter Halstead, ‘as well as how nature and remarkable reverberation gives new ticket prices, welcoming communal could shape a musical situation. We meaning to the term ‘psycho-acoustic.’ dining area and genial canyon tours to once heard pianist Ivo Pogorelich in an All concerts are painstakingly spontaneous events that couldn’t happen outdoor theatre where only the stage was documented in high-definition video anywhere else. For example, after giving covered. It started pouring with rain, so and audio. Items from the inaugural a substantial evening concert, violinist the pianist invited the audience up on 2016 season appear on a double-CD Caroline Goulding led a small group of stage with him, and it was like he was release in Pentatone’s Oxingale Series friends, colleagues and journalists up to making us a part of the performance.’ (including artists such as Yevgeny an Alexander Calder sculpture. Barely Tippet Rise holds concerts in several Sudbin, Stephen Hough and others), illuminated by the moonlight, she played GTMF, ALEX IRVIN, ALBAN BASSUET intimate venues. Upon entering the while an ample representation of live unaccompanied Bach for the simple joy of grounds, the Olivier Music Barn, with its performances can be found on YouTube. it. Seating is limited, and reservations are timber frame and pitched roof, appears Such high technical care extends to strongly advised; visit tippetrise.org for

PHOTOGRAPHY: like a gentle surprise. Its architectural and the upkeep of the Art Center’s dozen schedule and ticket information.

gramophone.co.uk GRAMOPHONE APRIL 2018 45 DE QUÉBEC D’OPÉRA FESTIVAL August 62018 July 24to THE LYRICTHE BRIGADE /Children Opera OPÉRA-BONBON GENS ANDLESVÉRONIQUE VIOLONS DUROY STARS THE VIENNESE UNDER CONCERT TCHAIKOVSKY RUSSIANS ANDTHE version /Debussy /Concert MÉLISANDE PELLÉAS ET BELLEHÉLÈNE/Oﬀenbach LA Lepage DIE ZAUBERFLÖTE /Robert /Mozart FESTIVAL OPERA

QUEBEC.COM WWW.CRESCENDOINSTITUTE.ORG WWW.CRESCENDOINSTITUTE.ORG 15 and festival AUGUST 1 – 13,2018 TOKAJ, HUNGARY master class International th NORTH AMERICA FESTIVAL GUIDE 201 NORTH AMERICA FESTIVALS

Aspen Music Festival Philadelphia Orchestra and the a new music highlight is the featuring the original Jerome and School New York Philharmonic. Verona Quartet premiering a festival Robbins choreography. Next there’s June 28 – August 19 bravovail.org commission from Julia Adolphe. E Loren Meeker’s new production of Aspen presents more than 400 There is also an All-Bernstein Janáček’s The Cunning Little Vixen, events ranging from orchestral Cabrillo Festival of centenary programme led by and Francesca Zambello’s concerts and recitals to fully staged Contemporary Music Broadway director Ted Sperling. production of Rossini’s The operas, and a huge educational July 29 – August 12 caramoor.org Barber of Seville conducted by programme of masterclasses and America’s longest-running festival the Festival’s music director, family events. This year’s themes of new orchestral music celebrates Carmel Bach Festival Joseph Colaneri. The final are the Bernstein centenary, its 56th season and the second July 14-28 mainstage production observes American students of Nadia season of its new music director, This California festival is under the the end of the First World War with Boulanger, and Paris. Bernstein Cristian Măcelaru. Both pre-eminent artistic direction of Paul Goodwin Kevin Puts’ and Mark Campbell’s highlights include music director and emerging composers, an and takes place in the village of Pulitzer Prize-winning Silent Night, Robert Spano conducting orchestra of dedicated professional Carmel-by-the-Sea and surrounding telling the story of the Christmas Symphony No 2, The Age of Anxiety, musicians, and renowned guest areas, with concerts in Carmel’s Truce of 1914; Tomer Zvulun, artistic with pianist Jean-Yves Thibaudet. artists from around the globe give Sunset Theatre and the weekly main director of Atlanta Opera, makes his Jonathan Biss’s three-year voice to works which are rarely choral event in historic Carmel Glimmerglass debut as director. Beethoven sonatas cycle, launched more than a year or two old. With Mission Basilica. The festival has its glimmerglass.org at Aspen, also continues. Visiting a professional training workshop own resident orchestra made up of artists include Garrick Ohlsson, for conductors and composers in modern and period instruments Grand Teton Music Festival Yuja Wang and Lise de la Salle, Alicia their early careers, open rehearsals, (the only one of its kind in the US). July 3 – August 18 Weilerstein, Nicholas McGegan, and educational programming, and The 2018 opening night programme Founded in 1962, this seven-week Daniel Hope and Augustin Hadelich. a street fair showcasing local includes Bach’s St Matthew Passion festival takes place in Jackson Hole, aspenmusicfestival.com performers and artists, the festival performed on period instruments at Wyoming, at the foothills of the ofers dozens of opportunities for Baroque pitch for the first time in breathtaking Teton Mountain Range. Blossom Music Festival meaningful engagement. Festival history; the concert’s vocal This year it celebrates Leonard July3–September 2 cabrillomusic.org soloists include Mhairi Lawson and Bernstein’s centenary with soloists The Cleveland Orchestra’s annual Rufus Müller. Another highlight is including violinists Leila Josefowicz summer festival takes place at Caramoor Buxtehude’s Membra Jesu Nostri, and Julian Rachlin, pianists Daniil Ohio’s Blossom Music Center, in the June 16 – July 29 at the Basilica, while orchestral Trifonov, Kirill Gerstein and Olga beautiful grounds of Cuyahoga This seven-week-long, multi-genre concerts include the suite from Kern, bassist Edgar Meyer, and cellist Valley National Park, and this year’s music festival is based at the On the Town, by Leonard Bernstein. Johannes Moser. Music director festival celebrates the venue’s 50th historic 90-acre Caramoor estate bachfestival.org Donald Runnicles leads the Festival birthday. Programme details weren’t in Katonah, Westchester, with Orchestra, formed of top musicians yet available as we went to press, its Italianate architecture and Chelsea Music Festival from America’s best orchestras. so keep an eye on the website. picnic-friendly gardens. The focus June 8-16 gtmf.org clevelandorchestra.com for 2018 is on new music, with In its ninth annual summer season, works by 22 living composers, and Chelsea Music Festival takes place Interlochen Arts Camp Bravo! Vail with women composers featuring in Lower Manhattan with the theme June 23 – August 6 June 21 – August 2 strongly; there’s also increased ‘Bach 333’: JS Bach’s 333rd birthday. The Michigan-based Interlochen A combination of symphonic and family programming. Opening and Musicians, visual artists and chefs Arts Camp combines concerts with chamber concerts, plus jazz and closing the festival are the resident explore the profound output of his an educational programme. pops, this festival is situated amid Orchestra of St Luke’s; new music work and play of of the ideas of Highlights of the season for its the awe-inspiring scenery of the ensembles Kronos Quartet, variation, the number three, rhythm World Youth Symphony Orchestra Rocky Mountains’ Vail Valley. Four Sō Percussion and The Knights and transformation. Events over the include Brahms’s Symphony No 4 international orchestras make the visit too. A highlight of a free day nine days feature classical, jazz and conducted by Colorado Symphony festival their home this summer: the of events is John Luther Adams’s contemporary music in evening Music Director Brett Mitchell. Other Academy of St Martin in the Fields, monumental out-of-doors concerts, lectures and family events. 2018 guest conductors include the Dallas Symphony Orchestra, the percussion piece Inuksuit, while chelseamusicfestival.org Florida Orchestra and Mainly Mozart Music Director Michael HIGHLIGHT EVENT Festival Opera Québec Francis, Interlochen alumnus and July 24 – August 6 Santa Fe Orchestra principal Bard SummerScape This opera festival showcases the conductor Guillermo Figueroa, June 28 – August 19 best of international and Québec Shepherd School of Music Taking place at Bard College in artists of today and the future. orchestral conducting professor New York’s Hudson Valley, with Among the oferings for 2018 are Larry Rachlef, and Bufalo many performances given in the Robert Lepage’s staging of Mozart’s Philharmonic and Virginia Frank Gehry-designed Richard The Magic Flute, Ofenbach’s Symphony Orchestra music director B Fisher Center, this multi-arts La belle Hélène, and a concert JoAnn Falletta. The 2018 Valade festival’s major musical oferings version of Pelléas et Mélisande. Concertmasters, who attend take place during the Bard festivaloperaquebec.com rehearsals and ofer advice on Music Festival, which covers its technical and artistic aspects of final two weekends. This year is Gehry’s Fisher Center hosts several concerts Glimmerglass Festival performance, include LA Phil first themed ‘Rimsky Korsakov and July 7 – August 25 violinist Martin Chilfour, Atlanta His World’. More widely across the festival, two major anniversaries are The Glimmerglass Festival presents Symphony concertmaster David celebrated. Firstly Bernstein: highlights include the festival’s opening four mainstage productions of Coucheron, and Interlochen alumni production – Christopher Alden’s stage adaptation of JM Barrie’s Peter Pan, opera and musical theatre every Margaret Batjer and Jef Thayer. which features music and lyrics by the composer. Then there’s the summer in its lakeside theatre in the interlochen.org PETER AARON ‘68/ESTO AARON PETER 75th anniversary of the publication of TS Eliot’s Four Quartets, marked heart of central New York. by the world premiere of a festival commission by Kaija Saariaho, Bernstein’s West Side Story is the June in Bufalo choreographed by Pam Tanowitz and played by The Knights. first of the 2018 productions: a June 4-10 fishercenter.bard.edu/summerscape co-production with Houston Grand Presented and hosted by the

PHOTOGRAPHY: Opera and Lyric Opera of Chicago University at Bufalo’s Department

gramophone.co.uk GRAMOPHONE APRIL 2018 47 NORTH AMERICA FESTIVAL GUIDE 201

of Music with the Robert and St Petersburg, Leipzig, Berlin, HIGHLIGHT EVENT Carol Morris Center for 21st-Century Budapest, and Vienna. Among the Music, and under the direction of usual guest artists and young Ravinia Festival David Felder, June in Buf alo performers, mainstage concerts June 1 – September 16 of ers an intensive schedule of and masterclasses, 2018 sees a new Summer residency of the composition seminars, lectures, Overture Series featuring talented Chicago Symphony workshops and open rehearsals as Chamber Music Institute musicians Orchestra since 1936, the well as concerts open to the general alongside mainstage artists. One Ravinia Festival is based public and critics. Each of the particular performance highlight in Highland Park, Illinois, invited composers has one piece will be the festival’s opening and is North America’s performed during the festival. ‘London’ concert, with Vaughan oldest outdoor music Among this year’s senior composers Williams from tenor Kang Wang and festival. This year sees the joining Felder are John Harbison pianist Gilbert Kalish. Meanwhile, launch of a two-season and Liza Lim. Resident ensembles a ‘Berlin’ highlight features centennial tribute to include Ensemble Signal and Boston festival-debut cellist David Requiro Leonard Bernstein, Modern Orchestra Project. Special alongside pianist Gilles Vonsattel in with performances of guest for this year is Irvine Arditti, Beethoven’s F major Cello Sonata, the compositions he Ravinia’s open-air Pavilion hosts the Chicago SO first violinist of the Arditti Quartet. as well as Mendelssohn’s Second penned, films he scored, music21c.org Piano Trio with violinist Arnaud composers he championed, and artists he influenced. Central to Ravinia’s Sussmann, and Wu Han and Finckel. celebration will be the two-year appointment of Marin Alsop – one of Marlboro Music musicatmenlo.org Bernstein’s final protégés – as the first musical curator in the festival’s July 14 – August 12 113-year history. Other conductors appearing this year are Andy Einhorn, With pianist Mitsuko Uchida as Santa Fe Chamber Emil de Cou, Ken-David Masur and Michael Stern. Visiting artists and Music Director, this rural Vermont Music Festival ensembles, meanwhile, include pianists Gil Kalish and Peter Serkin, chamber festival gives young July 15 – August 20 soprano Nadine Sierra, mezzo Frederica von Stade, and the Emerson, professionals the fantastic Set against the backdrop of the Takács and Juilliard string quartets. opportunity to collaborate with Sangre de Cristo Mountains, the ravinia.org established musicians in a mentoring festival presents six weeks of relationship. After three weeks of concerts, recitals, masterclasses, daily rehearsals, the artists present youth concerts and open rehearsals. Spoleto Festival May from other ensembles including the the results of their collaborations Alan Gilbert returns as artist-in- May 25 – June 10 New York Philharmonic, Vienna in public concerts. residence this year, he plays the Charleston, South Carolina, is the Philharmonic, Israel Philharmonic marlboromusic.org violin in Faure’s C minor Piano host town for this famous multi-arts and the Tanglewood Music Center Quartet as well as in a Baroque festival. Opera highlights for 2018 Orchestra. Beyond Bernstein’s Mostly Mozart Festival concert featuring his wife, cellist include the US premiere of Andrea music, one opera highlight includes July 12 – August 12 Kasja William-Olsson, sister-violinist Cigni’s production of Donizetti’s a semi-staged performance of A summertime tradition in New Jennifer Gilbert, and her husband, Pia de’Tolomei. Also performed is Puccini’s La bohème with a cast York, this festival run by the Lincoln viola player Harvey de Souza. the US premiere of Liza Lim’s opera including Kristine Opolais. Center always of ers big names and Among those making their festival Tree of Codes, conducted by John bso.org an array of dif erent styles and debuts this year are the New York Kennedy and directed by Ong Keng venues. Keep an eye on the website Philharmonic String Quartet, the Sen. Concert highlights meanwhile Tippet Rise for programme details. Danish String Quartet and the include Steven Sloane conducting July 6 – September 8 mostlymozart.org Zebra Trio. There are also world the Spoleto Festival Orchestra in Now entering its third season, premieres by Alexander Goehr, Mozart’s Piano Concerto No 15 with Tippet Rise is based near Montana’s Music Academy of the West Magnus Lindberg and the young soloist Pedja Muzijevic, and Mahler’s Beartooth Mountains. Its main June 18 – August 12 American composer Max Grafe. Symphony No 1. Among the dance concert venue is the 150-seat One of the US’s most prominent santafechambermusic.com of erings are Miami City Ballet with Olivier Music Barn, but there are summer schools and festivals, the a programme dedicated to the also outdoor performances at Music Academy of the West Ojai Music Festival choreography of Jerome Robbins striking sculptural structures. 2018 auditions top students from around June 7-10 titled ‘The Art of the Pas de Deux’. debuts include pianists Wu Han, the world, who then spend summer A dif erent music director curates spoletousa.org Gabriel Kahane, Ingrid Fliter and performing and studying with a this southern California festival each Julien Brocal, cellists David Finckel faculty that includes leading soloists year, and for this festival it’s the turn Tanglewood and Johannes Moser, violinist Vadim and principal players from major of high-flying Moldovan violinist June 15 – September 2 Gluzman, and the Calidore String international orchestras, all next to Patricia Kopatchinskaja. One Tanglewood is the summer home Quartet. Returning artists include the beach. James Conlon conducts highlight includes the American of the Boston Symphony Orchestra, the Dover Quartet and pianists and James Darrah directs this year’s premiere of Bye Bye Beethoven, and this season its major focus is on Yevgeny Sudbin, Jenny Chen, opera, Mozart’s The Marriage of a staged concert conceptualised the Bernstein centenary, celebrating Jef rey Kahane, Anne-Marie Figaro, and Stéphane Denève will by Kopatchinskaja who, along with his life and legacy as a composer, McDermott and Pedja Muzijevic. make his debut with the Music the Mahler Chamber Orchestra, conductor and educator, and his A highlight of the outdoor recital Academy of the West Orchestra in performs the music of Ives, contribution to the Tanglewood strand promises to be violinist the historic Granada Theatre in Cage, Bach and Kurtág, plus the Festival between 1940 and 1990. Caroline Goulding with a varied downtown Santa Barbara. Soloists Beethoven Violin Concerto. Other A highlight is the festival’s final gala programme ranging from Georg and chamber groups paying visits highlights are Kopatchinskaja Bernstein Centennial Celebration, Philipp Telemann to Philip Glass. this summer include pianist Jeremy playing a programme of works by which features a monster-sized tippetrise.org Denk and the Takács Quartet. the Russian composer Galina line-up of international names: musicacademy.org Ustvolskaya with pianist Markus conductors appearing along with REST OF THE WORLD Hinterhäuser; a free community BSO Music Director Andris Nelsons Music@Menlo Chamber event in which members of the include John Williams, Christoph Singapore International Music Festival & Institute Mahler Chamber Orchestra Eschenbach and Michael Tilson Piano Festival July 13 – August 4 perform Berio’s Sequenzas Thomas; soloists include violinist June 7-10 Under the artistic directorship of for solo instruments; and the Midori, cellists Yo-Yo Ma and Hosted by Victoria Concert Hall, this David Finckel and Wu Han, this much-anticipated world premiere Kian Soltani, singers Nadine Sierra festival features four recitalists over

festival is based in Menlo School in of a festival commission by and Thomas Hampson, and four consecutive evenings; this year GIPSON PHOTOGRAPHY PATRICK Atherton, California, with concerts Michael Hersch, performed by Broadway stars Jessica Vosk and they are Dénes Várjon, Jeremy Denk, taking place in the surrounding members of the MCO with sopranos Tony Yazbeck; plus, joining the BSO Seong-Jin Cho and Dang Thai Son. area. Creative Capitals is the theme Ah Young Hong and Kiera Duf y. and Tanglewood Festival Chorus sso.org.sg/singapore-international-

for 2018, focused on London, Paris, ojaifestival.org are an array of orchestral musicians piano-festival PHOTOGRAPHY:

48 GRAMOPHONE APRIL 2018 gramophone.co.uk FEATURING Daniil Trifonov Leila Josefowicz Kirill Gerstein West Side Story

A TOP TEN CLASSICAL MUSIC FESTIVAL - THE NEW YORK TIMES RECORDING OF THE MONTH

Geof rey Norris applauds a magniﬁ cent new recording from Mariss Jansons showcasing two of Rachmaninov’s ﬁ nest scores

Rachmaninov Munich concerts in January 2016, is at its The Bells, Op 35a. Symphonic Dances, Op 45b peak; the choir is well drilled, disciplined aTatiana Pavlovskaya sop aOleg Dolgov ten and red-blooded in the Russian text; and aAlexey Markov bar Bavarian Radio Symphony the three soloists are impeccable. Oleg aChorus and Orchestra / Mariss Jansons Dolgov brings a lyrical, seductive tenor BR-Klassik F 900154 (74’ • DDD • T/t) voice to the fi rst movement; Tatiana Recorded live at the Herkulessaal, Munich, Pavlovskaya is enchanting in the second, aJanuary 14 & 15, 2016; bJanuary 26 & 27, 2017 secure in intonation at that perilous climax where Rachmaninov has the soprano sing This superlative performance of a high G while the orchestral harmony is Rachmaninov’s choral symphony The luring her towards an A fl at or an F; and Bells is one of those stratospherically Alexey Markov has a sonorous, burnished accomplished, ‘cosmic’ ones that Jansons ‘Jansons’s command of quality ideal for the fi nale. Jansons is well says he is always trying to attain. For a known and acclaimed for the detail that long time my benchmark as a conductor rubato and the music’s he can bring out of a score, and such is the of The Bells has been Evgeny Svetlanov. case here with all sorts of subtle emphases The fact that it was the last work he ebbandflowofdynamic and shifts of dynamics that highlight, for performed in London shortly before example, an unnerving stab of harmony his death in 2002 lends his association and pacing is innate, or, in general, the panoply of bell-like with the music an additional, poignant inspiring and spot-on’ sonorities that Rachmaninov achieves with dimension, and the recording of that only the rarest recourse to bells themselves. event with the BBC Symphony Orchestra but he is also able to capitalise on his Jansons is not averse to tweaking the transmits the passion, intensity and remarkable ear for colour, clarity and tempo markings, for instance at the end of radiant glow that were qualities forever atmosphere, coupled with his distinctive the fi rst movement: according to the score, associated with a Svetlanov concert. His energy and probing depth of emotional the Meno mosso, Maestoso marking at fi g 25 1979 recording with the USSR Symphony understanding. His Bavarian Radio (5'24") holds good until the end of the Orchestra, which was my top choice in a Symphony Orchestra, captured at movement, but Jansons puts his foot on the Gramophone Collection (A/09), is accelerator at 5'46" in a way that similarly a lasting reminder of his sounds obtrusive fi rst time round interpretative power and expressive because you are not expecting it fl exibility. Call me obsessive, but but which you get used to on I have just found in Moscow repeated listening. In the great a previously unpublished live scheme of things it is not going to recording which Svetlanov made lessen the impact of the recording in 1958 in the Conservatoire’s as a whole. The sustained, proper Great Hall (SMCCD0157). Well Lento of the second movement is restored and remastered, it is sublimely judged, more or less on notably quicker than Svetlanov’s a par in timing with Svetlanov in later versions but it is still a 1958 and 2002, though Svetlanov performance which, as Pushkin exhibited an uncanny ability to said in another context, ‘breathes reveal and exploit the music’s and reeks of Russia’, with a tensile capacity with a much positively diabolical third more spacious reading in 1979. movement of alarum bells. Jansons’s third movement bristles Like Svetlanov, Jansons has with terror, the chorus excelling Rachmaninov in his very soul; Mariss Jansons directs with his trademark lucidity and luminosity in those exacting chromatic vocal

50 GRAMOPHONE APRIL 2018 gramophone.co.uk RECORDING OF THE MONTH

Rhythmic bite and echoes of nostalgia: the Bavarian Radio Symphony Chorus and Orchestra excel in Rachmaninov

parts, the orchestra contributing the freshness and crispness against mellow KEY TO SYMBOLS shivers and bronze bell images of Edgar warmth, mixing the two in an amalgam that F £10 and over D Download only Allan Poe as reimagined by Konstantin ideally suits the music’s rhythmic bite and M £7.76 to £9.99 3 Reissue Balmont, with notable thuds of foreboding echoes of nostalgia. The joy of discs in B £6.25 to £7.75 1 Historic from the double basses and bass drum at general is that you can own more than one; S £6.24 and below T Text(s) included 5'18". Here, and in the Lento lugubre of the I still treasure Svetlanov’s way with both (price per disc) t translation(s) ﬁ nale, Jansons’s command of rubato and these works (Regis has an excellent 1986 b Compact disc included the music’s ebb and ﬂ ow of dynamic and live performance of the Symphonic Dances). (number of discs S Synopsis included pacing is innate, inspiring and spot-on. But this new Jansons coupling, lustrously in set) s subtitles included Jansons has already recorded the recorded, is of such outstanding quality Í SACD (Super nla no longer available Symphonic Dances with the St Petersburg that it is in a class of its own. Audio CD) aas all available Philharmonic and with the Royal The Bells – selected comparisons: ◊ DVD Video separately Concertgebouw and, exceptional though USSR SO, Svetlanov (5/81R) (REGI) RRC1144 Y Blu-ray oas only available those discs are, this latest performance BBC SO, Svetlanov (ICA) ICAC5069 6 LP separately

PETER MEISEL PETER with the BRSO, recorded live in January Symphonic Dances – selected comparisons: last year, is even more ﬁnely honed, more St Petersburg PO, Jansons Editor’s Choice lithe in its muscle and graced throughout (12/93R) (EMI/WARN) 500885-2 or 2564 62782-7 Martin Cullingford’s pick of the with Jansons’s trademark lucidity and RCO, Jansons (2/06) (RCO) RCO05004 finest recordings reviewed in

PHOTOGRAPHY: PHOTOGRAPHY: luminosity. The orchestral timbre pits USSR SO, Svetlanov (REGI) RRC1178 this issue

gramophone.co.uk GRAMOPHONE APRIL 2018 51 Orchestral

Jeremy Nicholas on Denis Matsuev’s MarkPullingerenjoysStravinsky’s mixed Prokoﬁev and Rachmaninov: Rite from Krzysztof Urbański: ‘Matsuev’s abrasive vehemence pays dividends ‘Urbański’s bassoonist begins with the longest in a performance of Prokoﬁev that captures the heldopeningnoteI’veheard,beforecoiling music’s sardonic character’ REVIEW ON PAGE 62 into a truly mournful wail’ REVIEW ON PAGE 66

JS Bach In fact the whole feels almost a bit too occasional decision to use Bartók’s purely Violin Concertos – BWV1041; perfect at times, especially if you compare orchestral first ending (Mullova with BWV1042; BWV1052; BWV1060a all this cool elegance to the gutsy oomph Salonen and Faust with Harding prefer Frank Peter Zimmermann, and greater metric freedom heard on that option) but they certainly conspire aSerge Zimmermann vns Berlin Baroque Soloists Andrew Manze and Rachel Podger’s 1997 to have the music jump out at you. Faust Hänssler Classic F HC17046 (61’ • DDD) recording with the AAM, their BWV1060 takes a similar route, at least for part of the in particular suggesting an existential journey, whereas the more drily recorded struggle against Bach’s D minor darkness. Barnabás Kelemen with Zoltán Kocsis Likewise, while there’s not much violin- conducting, although thrilling in the way Frank Peter shaped competition on the BWV1052 they attack the music, are less wilfully Zimmerman has front, my money’s still on Amandine individualistic, and Thomas Zehetmair slipped in a couple Beyer’s 2005 reading with Gli Incogniti. with Iván Fischer conducting are awash of less predictable If you like your Bach couched in with colour throughout. offerings for this Bach violin concertos smoothly precise perfection then this is With Renaud Capuçon and François- programme, because while he opens with for you. If you prefer something with a bit Xavier Roth the issue is less a blend of the famous A minor, BWV1041, and more of a freewheeling kick about it – and folksy and modernist than modernist and E major, BWV 1042, neither of the indeed period instruments – I’d stick with romantic. Capuçon, like Mullova, makes D minor concertos occupying the disc’s Manze and Podger. Charlotte Gardner Bartók’s musical path sound warmingly second half is the famous ‘Double’. Instead BWV1041, 1042 & 1060 – selected comparison: familiar, a centrist approach which, were he’s given us a pair which survive in Podger, AAM, Manze (4/97R) (HARM) HMA195 7155 it not for Roth’s meticulously attentive manuscript as harpsichord concertos from BWV1041, 1042 & 1052 – selected comparison: approach to the orchestral score, would Bach’s Leipzig years but which probably Beyer, Incogniti (10/07) (ZZT) ZZT070501 have you concentrating exclusively on the began life as melody-instrument concertos often dreamy violin line. But time and written during the Cöthen years, when he Bartók again while listening I was drawn to this or wrote the other two. So, first and most Violin Concertos – No 1, Sz36; No 2, Sz112 that salient detail in Bartók’s orchestration: interestingly of all, we have BWV1052, Renaud Capuçon vn London Symphony the clarinet behind the trilling soloist a work now almost indelibly established Orchestra / François-Xavier Roth at 5'56" into the first movement, for as a harpsichord concerto and barely Erato F 9029 57080-7; F6 9029 56992-5 example, while the perky LSO woodwinds recorded as anything other. Then we (60’ • DDD) make a real play for the jazzy episodes have BWV1060, which does enjoy a small soon afterwards, where Capuçon jumps parallel life as a double melody-instrument in with some brilliantly dispatched concerto but largely for violin and oboe passagework. And what a sense of infinite rather than for the equally possible two Writing in the sadness Capuçon brings to the opening violins that Zimmermann serves us here. 2013 Awards issue of the second movement, mellow and Tools-wise we’re slightly outside of the regarding Patricia seamlessly drawn: this really is beautiful norm too, because Zimmermann’s Strad Kopatchinskaja’s violin-playing. is on a modern rather than a period set-up, often striking version of Bartók’s Second The opening of the finale is a little and likewise the Berliner Barock Solisten – Concerto (Gramophone Recording of the formal in comparison with Kopatchinskaja, members of the Berlin Philharmonic – Year for 2013), Philip Clark observed Kelemen, Zehetmair and Faust but albeit with period-appropriate bows. It how ‘performances of the Bartók … elsewhere a compensating sense of may come as a small surprise, then, that have tended to be judged as “folksy” emotional engagement keeps the music the overall sound of these bright, lively or “modernist”; for Kopatchinskaja and vibrant and communicative. And there’s performances is one of absolutely Eötvös [the conductor on the recording] James Ehnes (who usefully couples the precise, polished perfection. Intonation, they’re one and the same’. A fair two concertos with the Viola Concerto), articulation, attack, rhythm, metre, you assessment, I’d say, Kopatchinskaja’s Arabella Steinbacher and a whole host name it, it’s all immaculately neat and rhapsodising approach returning the music of golden oldies – so much excellence silky, whether you’re concentrating on the to its folk roots, while Eötvös stands by as to choose from. sprightly detached ensemble-playing or on a more formal commentator. If you want As to the youthful First Concerto, Zimmermann himself (and his son Serge to sample, try the opening minutes of with its adoring Andante sostenuto and for the BWV1060 double) with his elegant either the first or the third movements. dizzyingly excited Allegro giocoso, little tucked ornamentations. Their recording eschews the now Capuçon plays the lover’s role (this was

52 GRAMOPHONE APRIL 2018 gramophone.co.uk ORCHESTRAL REVIEWS

A blend of modernist and romantic: Renaud Capuçon plays Bartók’s two violin concertos with the LSO and François-Xavier Roth

a love poem for the violinist Stefi Geyer) that betrays his love of chamber music. But to perfection. Whether I’d choose it as he can be bold as well as gentle: his octaves a coupling for the Second Concerto in have power without sounding acerbic, and preference to the two magnificent violin The French pianist trills are sternly glinting. Occasionally Rhapsodies that Kelemen and Kocsis opt Adam Laloum is I wanted more of a push through this for (with variants) is open to question. Sony’s newest young mighty movement, such as Paul Lewis finds That Hungaroton CD would still be artist on the block, in his thrilling account, compared to which my first choice but the considerate and signed in 2016. Seven years earlier he won Laloum sounds almost too controlled. But musically persuasive partnership of the Clara Haskil Competition (often a his real clarity of texture is refreshing and Capuçon and Roth should certainly take marker of major musical talent). Certainly the final bars have superb confidence. The its place among top recommendations the repertoire choice for his debut slow movement is finely honed, though for both concertos, especially as the sound recording on the label is bold – reminiscent Laloum doesn’t yet have quite as much is extremely well balanced. Rob Cowan of another Sony signing, a certain to say as Lewis or Hough. But his finale Violin Concertos – selected comparisons: Mr Levit. The comparisons don’t end dances with real spirit, and he has fire in Ehnes, BBC PO, Noseda (11/11) (CHAN) CHAN10690 there, either, for they were both born in his belly where the music demands it. Faust, Swedish RSO, Harding 1987 and both are clearly being marketed The Second Concerto has many good (A/13) (HARM) HMC90 2146 as musicians of entirely serious intent, things in it – the Scherzo superbly Zehetmair, Budapest Fest Orch, I Fischer (BRIL) 9436 Laloum pictured with his eyes cast away combining energy and a lift that gives Violin Concerto No 2 – selected comparisons: from the camera. Happily, that seriousness it a real one-in-a-bar feel, compared to Mullova, Los Angeles PO, Salonen is borne out by the playing in the two which Moog sounds like a bit of a speed (5/98R) (DECC) 478 6713DC3 Brahms concertos. merchant. And the tempo of the slow Kelemen, Hungarian Nat PO, Kocsis The Sony engineers have placed the movement means that it sounds entirely (10/11) (HUNG) HSACD32509 piano at the front of the sound picture, so unfussy (unlike Moog’s overly steady Kopatchinskaja, Frankfurt RSO, Eötvös there’s never the slightest danger Laloum account), the cello solo unfolding with (12/12) (NAIV) V5285 will not be heard. He’s an artist who great naturalness, while the solo oboe is relishes the lyrical side of his chosen caressing without over-egging matters. Brahms instrument, which is clear from his very Laloum is at the centre of things yet never PAUL BATES PAUL Two Piano Concertos first entry in the D minor Concerto and overly dominant and the close of the Adam Laloum pf Berlin Radio Symphony from then on in, with Laloum insinuating Andante is very beautifully done. Again, Orchestra / Kazuki Yamada himself into the orchestral textures and Laloum can’t yet match the rapture of

PHOTOGRAPHY: Sony Classical Bb 88985 46081-2 (96’ • DDD) accompanying ﬁgures with a naturalness Freire but there’s time for that. The ﬁnale

gramophone.co.uk GRAMOPHONE APRIL 2018 53 A treat for all lovers of outstanding, idiomatic pianism as Pavel Kolesnikov proves no less at home in the music of the French Baroque as in his previous Hyperion releases of Tchaikovsky and Chopin.

CDA68224 Available Friday 30 March 2018

Louis Couperin: Dances from the Bauyn Manuscript PAVEL KOLESNIKOV piano

The fifth and final A programme of instalment of a motets linking two definitive Mozart hundred years series. of music from

CDA68175 medieval and Available Friday 30 March 2018 Tudor England.

CDA68256 Available Friday 30 March 2018

Wolfgang Amadeus Mozart: Violin Sonatas K302, 380 & 526 English Motets ALINA IBRAGIMOVA violin THE GESUALDO SIX CÉDRIC TIBERGHIEN piano OWAIN PARK conductor

COMING SOON… Benjamin Appl Schubert: Piano Sonata & Impromptus Marc-André Hamelin (piano) Berlioz: Harold in Italy Lawrence Power (viola), Bergen Philharmonic Orchestra, Andrew Manze (conductor) consolidates a Machaut: Fortune’s Child The Orlando Consort Ries: Piano Concertos Nos 8 & 9 Piers Lane (piano), The Orchestra Now, Leon Botstein (conductor) remarkable Stephen Hough’s Dream Album Stephen Hough (piano) Beethoven: Piano Sonatas Opp 27/1, 31/2, 79 & 109 Angela Hewitt (piano) reputation with this Charpentier: Leçons de ténèbres, Litanie & Magnificat Arcangelo, Jonathan Cohen (conductor) next volume in our Brahms series.

CDJ33127 Available Friday 30 March 2018

Johannes Brahms: The Complete Songs, Vol. 7 BENJAMIN APPL baritone GRAHAM JOHNSON piano

OTHER LABELS AVAILABLE FOR DOWNLOAD ON OUR WEBSITE CDs, MP3 and lossless downloads of all our recordings are available from www.hyperion-records.co.uk Gimell HYPERION RECORDS LTD, PO BOX 25, LONDON SE9 1AX · [email protected] · TEL +44 (0)20 8318 1234 ORCHESTRAL REVIEWS is as crisp as newly laundered linen, though clearly mindful of the delicacy required in ideas. Admittedly, not all are equally just occasionally I hankered after a little an orchestra of this size. And the strings? convincing, but there’s hardly a dull note, more playfulness. But certainly an On the Telarc set, there were quite a few either – and that in itself is no small feat in impressive achievement. Harriet Smith ragged moments and a sense they were such familiar repertoire. Andrew Farach-Colton Piano Concertos – selected comparisons: sometimes striving to project a larger . Hough, Salzburg Mozarteum Orch, Wigglesworth sonority than was practicable. Here, Bruckner Wagner (1/14) (HYPE) CDA67961 however, their precision and unanimity Bruckner Symphony No 4, ‘Romantic’ Freire, Leipzig Gewandhaus Orch, Chailly are beyond reproach. Listen at 8'00" in (1878/80 version, ed Nowak)a (9/06) (DECC) 475 7637DX2 the Allegro of the First Symphony, where Wagner Lohengrin – Preludeb Piano Concerto No 1 – selected comparison: they whip up a maelstrom through Leipzig Gewandhaus Orchestra / Andris Nelsons Lewis, Swedish RSO, Harding frothing, spitting articulation. And then DG F 479 7577GH (79’ • DDD) (5/16) (HARM) HMC90 2191 how nobly sung and evenly balanced their Recorded live, May 2017 Piano Concerto No 2 – selected comparison: corporate tone is in the finale’s anthemic Moog, Deutsche Radio Philharmonie/Milton tune at 4'14". (2/18) (ONYX) ONYX4169 Perhaps the most conspicuous difference between Mackerras’s and Ticciati’s Brahms It’s apposite that Brahms is in the matter of vibrato. Both officially Andris Nelsons’s Four Symphonies subscribe to Joachim’s dictum that vibrato account of Bruckner’s Scottish Chamber Orchestra / Robin Ticciati be applied only where demanded by Fourth Symphony, Linn Fb CKD601 (152’ • DDD) expressive necessity but it’s Ticciati the second release in his cycle of the who goes full tilt. The opening movement composer’s symphonies, is coupled with of the First Symphony sounds an awful the Prelude from Wagner’s Lohengrin. lot like Beethoven played on period It’s in the symphony’s slower and On paper, Robin instruments. It’s not the Brahms I grew more contemplative passages that his Ticciati’s new set of up hearing but it’s thoroughly compelling performance is at its best, highlighting the Brahms’s symphonies and often downright thrilling. I’m less influence of Wagner’s music on Bruckner’s bears a striking convinced in the intermezzo-like third symphonic language. A notable example is resemblance to the Scottish Chamber movement, despite the lovely wind-playing, Nelsons’s interpretation of the hushed Orchestra’s previous recording with because it strikes me that there are places passage at the end of the first movement Sir Charles Mackerras (Telarc, 10/97). where ‘expressive necessity’ is overlooked. exposition, the ppp playing of the first Both cycles are closely modelled on the Take the lovely violin line at 3'16", marked violins conveying a real sense of rapture performing tradition of the court orchestra molto dolce, which lies pale and flat in before the transition to the development at Meiningen, where Brahms conducted Ticciati’s reading; Andris Nelson has the and the magical return of the opening the premiere of his Fourth Symphony. Boston violins make this little line take horn call. No surprise, then, that the interpretative my breath away (BSO Classics, 9/17). Nelsons’s interpretation of the decisions Robin Ticciati enumerates in I’m more troubled, however, by Andante is on the slow side, taking just his booklet note are nearly identical to Ticciati’s tendency to allow his focus on over 17 minutes, but his sensitivity to those laid out in Mackerras’s, including detail to impede the music’s large-scale dynamics and tone colour as well as his the deployment of Viennese horns and phraseology – that fabled ‘long line’. In judicious use of rubato holds the attention. small-bore trombones, and the same the finale of the Second, for instance, The playing of the violas just after fig C configuration of 34 strings who play he appears so intent on following the (3'34") is wonderfully sepulchral and with ‘the notion of vibrato as ornament’. articulation markings that the phrases the contribution of the principal horn In practice, however, the interpretations end up sounding stitched together rather elsewhere is magnificent. The result is sound nothing alike. Mackerras’s recording than flowing easily, as they do so joyfully highly atmospheric and profoundly is reassuringly sonorous, despite the on Paavo Berglund’s account with the moving. Nelsons’s care for detail is also smaller complement of strings; Ticciati’s Chamber Orchestra of Europe (Ondine, impressive in the Scherzo, ensuring that is lean and quite dazzlingly transparent. 8/01). Or, to take a more melancholy the secondary brass voices are clearly Listening with score in hand, I marvelled example: I wish the succession of two-bar audible in tutti passages, rather than at the conductor’s meticulous observance phrases in the Poco allegretto of the Third disappearing in a blaze of sound as so of Brahms’s markings. Nearly every added up to more than the sum of their often happens. I was particularly taken by instruction regarding dynamics, parts; Chailly, for one, weaves these his unhurriedly pastoral interpretation of phrasing and articulation is accounted heaves and sighs into an expansive, unified the Trio, the playing full of warmth and for. Impressive, too, is the orchestra’s soliloquy. And I simply cannot fathom why character. By contrast, Nelsons’s reading ability to render these details with such Ticciati breaks up the granitic structure of of the finale is spacious and grand, the a fine balance of precision and expressive the opening movement of the Fourth with playing full of imaginative detail as well brio – evidence of Ticciati’s salutary so many (unwritten) pauses – particularly as powerfully dramatic in the climactic impact on the orchestra during his nine given that his readings of the outer moments. Once or twice, his approach years as music director. movements of the Third (so much trickier risks mannerism, the playing descending The woodwinds – inevitably spotlit to pull off) are so cogently argued. into near inaudibility followed by an in such a compact ensemble – are Still, there’s much to admire in these unmarked three-second pause just marvellously characterful. Sample any recordings beyond the stellar playing before fig M (11'29") for example, but of the slow movements, as their playing of the SCO and Linn’s state-of-the- otherwise Nelsons offers a faithful and is consistently and memorably affectionate art engineering. Ticciati comes to these well-structured interpretation of in all four. The brightly burnished brass are symphonies with a veritable flood of fresh Bruckner’s score. gramophone.co.uk GRAMOPHONE APRIL 2018 55 ORCHESTRAL REVIEWS

Nelsons’s Bayreuth recording of as hairpin dynamics and impulsive dabs of episodic and sometimes gets stuck in Lohengrin (Opus Arte, 10/12) is a pedal that may bother acolytes of relatively a groove. Galliano tears through the remarkable achievement and it’s not ‘purist’ Bach pianists like Tureck, Schiff, outer movements to electrifying effect surprising to find that this performance Perahia and Hewitt, yet are always in his recording. Cresens is less urgent of the Prelude to Act 1 is everything one tastefully and musically deployed. Pobπocka but, again, makes the most of the could wish for – luminous, transcendental brings a thoughtful sense of narrative to the motoric rhythms, and lingers more and ideally paced. The recording of both Chromatic Fantasy and begins the Fugue affectionately in the nostalgically works is detailed and well balanced. with limpid calm. Unfortunately the bittersweet Moderato malinconico. Applause has been excised, although some textures get thicker, louder and slower The shorter pieces are a curious lot. faint audience noise can occasionally be as they unfold, but that’s true of many Cresens prefaces the Granados and heard in the quieter sections of the live piano performances of this work. The Albéniz with a flamenco-inflected prelude symphony. Christian Hoskins Sixth Partita’s highlights include a calm, of his own to create an evocative suite. His reposeful Allemande, the Corrente’s enigmatically titled Nobody Likes an Angry Chopin . JS Bach marvellously crisp détaché articulation and Bunny is introduced by aching harmonies JS Bach ‘Chromatic’ Fantasy and Fugue, a Gavotte whose lighthearted countenance and continues with a touching, Piazzolla- BWV903a. Partita No 6, BWV830a is slightly clouded by the heavy-handed esque milonga but the denouement is Chopin Piano Concerto No 1, Op 11b concluding Gigue. Get this disc primarily saccharine. And while Cresens makes the Ewa Pobłocka pf bWarsaw Philharmonic for the Chopin Concerto. Jed Distler most of Piazzolla’s conversational Pedro y Orchestra / Kazimierz Kord Pedro, his arrangement of Oblivion is too Fryderyk Chopin Institute F NIFCD054 Galliano . Piazzolla . Cresens garishly coloured. Galliano plays Oblivion (72’ • DDD) Galliano Accordion Concerto, ‘Opale’ Piazzolla on his concerto disc, too, but in a version Recorded live b1984, a1985 Bandoneón Concerto, ‘Aconcagua’. Oblivion much closer to the sepia-toned spirit of (arr Cresens). Pedro y Pedro Albéniz Cantos de the original. Still, this is a gratifying España – Cordoba Cresens Nobody Likes an programme overall, and the recorded Angry Bunny. La noche anterior Granados sound is sparklingly clear. Although Ewa Danse espagnole No 5 Andrew Farach-Colton Pobπocka has Gwen Cresens bandoneón/accordion Brussels amassed a sizeable Philharmonic Orchestra / Diego Matheuz Haydn . Mozart discography since Warner Classics F 5419 79493-5 (69’ • DDD) Haydn Symphonies – No 26, ‘Lamentatione’; the early 1980s, only a handful of releases No 86 Mozart Violin Concerto No 3, K216a have crossed my desk, such as her highly aAisslinn Nosky vn acclaimed recording of Panufnik’s Piano Handel and Haydn Society / Harry Christophers Concerto with the composer conducting Ástor Piazzolla’s Coro F COR16158 (69’ • DDD) (RCA, 5/92), a fine Grieg Concerto Bandoneón Recorded live at Symphony Hall, Boston, (Conifer, 8/95 – nla) and a terrific recital of Concerto has January 27 & 29, 2017 Polish songs with the mezzo-soprano Ewa been well-served Podles´(CD Accord, 10/99). All the more on record, most notably by the composer reason to welcome the live archival himself in a swaggering 1987 account performances offered on this disc. on Nonesuch. A similarly trenchant Harry Christophers The Chopin E minor Concerto stems performance by French accordionist/ and his Bostonians from a 1984 concert. It’s likely that the composer Richard Galliano made a decade continue their survey presence of an audience and sense of later is nearly as fine (Dreyfus/BMG). through Haydn’s occasion fuels the first movement’s bracing Galliano included his own Concerto Opale ‘Paris’ Symphonies with the suave No 86, momentum. Lyrical passages certainly get for accordion, closely modelled on pairing it this time with No 26, the their due, yet Pobπocka’s well-proportioned Piazzolla’s work, and a selection of his Lamentatione, named for its incorporation rubatos and shapely inner voices allow no charmingly sentimental miniatures on of a chant melody into the first movement. dead spots; listen, for example, to how she his recording. Now here’s Gwen Cresens, This is a central work of the composer’s keeps the E major second theme afloat, revisiting Galliano’s programme by Sturm und Drang style and the Handel and helped by a strong left-hand presence. offering both the Piazzolla and Galliano Haydn Society strings accordingly dig in Kazimierz Kord and the Warsaw concertos (played on bandoneón and and make a proper meal of all that angst. Philharmonic keep up with the soloist accordion, respectively, as Galliano did), It’s still a smoother sound than that every step of the way. The central Larghetto and his own mix of shorter works. achieved by the likes of Giovanni also receives a fluent and robust reading, Cresens plays the Piazzolla Concerto Antonini and Il Giardino Armonico but where the decorative piano-writing and with tremendous rhythmic élan. it serves this middle-period music well. beguiling first-desk solos bask in the I admire how tautly he holds together The later work is a product of the High spotlight as equal partners. The Vivace the lyrical passages while still sounding Classical style and also benefits from the Rondo’s breathtaking yet not breakneck improvisatory, and also how sensitive he degree of sheen these players provide. speed never lets up, nor does it ever faze and the Venezuelan conductor Diego This is going to be a particularly rewarding Pobπocka’s dazzling yet intelligently Matheuz are to the music’s textural ‘Paris’ cycle when it is completed: only two pointed fingerwork. No wonder the variety. Try the passage at 4'56" in the more to go, La Reine and the woefully audience erupts with applause, and slow movement, where the bandoneón underrated No 87. you will too. and orchestra’s pulsing staccato suggests Concertmaster Aisslinn Nosky has The live Bach selections from a 1985 raindrops, heightening the melancholy recorded all of the genuine Haydn violin concert make use of pianistic devices such atmosphere. The Galliano Concerto is concertos so turns now to Mozart. This is

56 GRAMOPHONE APRIL 2018 gramophone.co.uk ORCHESTRAL REVIEWS a lovely, witty performance of the G major, finale of No 46, a B major graveyard as attested by the coos of delight from the for under-rehearsed bands. The ‘Music audience. It’s a far cry from the cool for Musical Clocks’ sounds like something brilliance of Isabelle Faust’s Gramophone The concerts last left on the cutting-room floor during Recording of the Year (Harmonia Mundi, July looked a peculiar the Sgt Pepper sessions and one has to 12/16) but has its own charm, perhaps affair and the CD forgive Rattle for milking three rounds even of the sort that might not pall on appears so too. Rattle of applause from the false endings of repeated hearings. has chosen a handful of Haydn’s wildest No 90’s finale. Each issue from these forces builds on children and sequenced them as ‘An Surely the title isn’t quite right: it the successes of its predecessors and it’s Imaginary Orchestral Journey’. And do should be ‘imaginative’ rather than gratifying that an ensemble with Haydn in you know what? It actually works really ‘imaginary’, as this music is real, still able its name is promoting his music with such rather well. to surprise and delight, and this sequence imagination and flair. Competition in the This was the second half of the concert, is a true breath of fresh air, enabling even Haydn marketplace is heating up, so it’s all following the Prelude and Liebestod and died-in-the-wool Haydnistas to hear kudos to Christophers and his players for Bartók’s Second Piano Concerto, so it’s something new in these often forgotten such distinctive performances of these still instantly clear that Rattle considers gems of genius. David Threasher underestimated works. David Threasher Haydn’s music to be just as heavyweight as that by those later masters. Nevertheless, Kabalevsky . Weinberg Haydn he’s streamlined the orchestra to a string Kabalevsky Cello Concerto No 1, Op 49a. ‘An Imaginary Orchestral Journey’ section of 8.8.6.5.3, which still provides Fantasy (after Schubert, D940)b Symphonies: No 6, ‘Le matin’ – Minuet; No 45, enough heft for the Chaos-Earthquake Weinberg Violin Concerto, Op 67c ‘Farewell’ – Finale; No 46 – Finale; No 60, opening while not obscuring the LSO’s cBenjamin Schmid vn aHarriet Krijgh vc ‘Il Distratto’ – Finale; No 64, ‘Tempora mutantur’ wonderful winds. bClaire Huangci pf ORF Vienna Radio – Largo; No 90 – Finale. The Creation – Some of these children are truly wild. Symphony Orchestra / Cornelius Meister Representation of Chaos. L’isola disabitata – The overture to L’isola disabitata is pretty Capriccio F C5310 (67’ • DDD) Sinfonia. The Seasons – Introduction to Winter. much as Sturmisch und Drangisch as Haydn The Seven Last Words – The Earthquake. Music ever got; the phrases don’t quite seem to for Musical Clocks join up in the slow movement of Tempora London Symphony Orchestra / Sir Simon Rattle mutantur; the orchestra stops to retune in With its clear-cut LSO Live MÍLSO0808 (51’ • DDD/DSD) the finale of Il Distratto. The double bass format and ready Recorded live at the Barbican, London, gets a solo in Le matin while the whole melodic appeal, July 11 & 12, 2017 orchetra shows off its virtuosity in the Mieczysław Barbican Presents 2017–18 Still to come… Bayerisches Staatsorchester Evgeny Kissin Franco Fagioli Gustavo Dudamel Iestyn Davies Jonas Kaufmann Kirill Petrenko Los Angeles Philharmonic Maxim Vengerov Monteverdi Choir and English Baroque Soloists Murray Perahia Piotr Anderszewski Sir John Eliot Gardiner Timo Andres and David Kaplan Yuja Wang barbican.org.uk/classical

gramophone.co.uk GRAMOPHONE APRIL 2018 57 ORCHESTRAL REVIEWS

Weinberg’s Violin Concerto (1959) Kernis style ‘freakout’. Roman’s extraordinary made its way to the West long before ‘Dreamsongs – Three Concertos’ performance combines the expressive its composer was as widely known (albeit Kernis Dreamsongsa. Viola Concertob. Concerto control of Casals with the creative via recordings) as he is today, and it with Echoesc. Schumann Fughetta, Op 32 No 4d individuality and virtuoso flair of should have established itself as a Traditional Tumbalalaika (arr Kernis)e Hendrix himself. Pwyll ap Siôn concert staple. Benjamin Schmid brings bePaul Neubauer va aJoshua Roman vc unstinting advocacy – whether to the deAaron Jay Kernis pf abcRoyal Northern Sinfonia / Kodály propulsive energy of the initial Allegro, Rebecca Miller Concerto for Orchestra. Dances of Galánta. tense inwardness of the ensuing Signum F SIGCD524 (78’ • DDD) Dances of Marosszék. Variations on a Hungarian intermezzo and fervent eloquence of Folk Song, ‘The Peacock’ the Adagio (the attacca between them Buffalo Philharmonic Orchestra / JoAnn Falletta tellingly observed), then the robust Naxos M 8 573838 (77’ • DDD) energy of a finale whose climactic Honoured and widely withdrawal into silence is powerfully performed in the US, conveyed here. Cornelius Meister, Aaron Jay Kernis’s increasingly a name with which to music has struggled Béla Bartók once reckon, secures playing of character to register a similar impact beyond its said of his friend and commitment from the Vienna shores. Gramophone’s 2017 label of the Zoltán Kodály that Radio Symphony Orchestra. year, Signum Classics, is doing its part ‘his true nature is While there is nothing amiss in to redress the imbalance: ‘Dreamsongs’ contemplative’. Did JoAnn Falletta have coupling the Weinberg with music follows on from the same label’s brilliantly that nugget in mind while quite literally by Kabalevsky, the works featured here quirky and imaginative 2011 release, ‘controlling’ these sturdy performances? are not among his finest. One of several ‘Goblin Market’ (5/11). Maybe not, but still we sense Kodály’s concertante works written to be played In fact, there’s a strong European slant tendency to recoil from expressive (and appreciated) by younger musicians, to Kernis’s music. His three-movement overload – where his friend Bartók the First Cello Concerto (1949) is Viola Concerto brings together a Yiddish might have gone the whole hog – in appealing though insubstantial, while song (‘Tumbalalaika’) with Schumann’s the performances as much as in the the piano Fantasy after Schubert’s D940 Fughetta from his Op 32 set of four piano works themselves. (1961) is a curious hybrid along the lines pieces, while the Concerto with Echoes The obvious point of comparison is of Liszt’s Wanderer Fantasy – deftly draws on Bach’s Sixth Brandenburg Kodály’s Concerto for Orchestra, which realised if hardly essential listening. Concerto. Echoes of the past are voiced predates Bartók’s by four years and like Harriet Krijgh and Claire Huangci through quotation or allusion and weave that piece was written for an exuberant leave nothing to be desired in their together a narrative that often takes American orchestra (though, in 1940, the respective readings but there are more personal reflection and experience as Chicago Symphony was yet to meet Fritz substantial such pieces by either its starting point. Reiner). The piece’s heart is its central composer which would have made A different kind of buried memory essay in soulful introspection induced by more pertinent couplings. flows through the two-movement cello a string sextet, played gorgeously and Those wanting just the Weinberg concerto Dreamsongs, one that shifts undemonstratively here. But I’m not sure should consider the recent account by uneasily between fantasy and reality. Naxos’s deep sound picture capitalises Ilya Gringolts or the pioneering version A delicate, songlike melody emerges from on the jungle baroque machinations with (still sounding well after almost six the solo cello’s opening line like a butterfly which the piece begins and picks up again decades) from Leonid Kogan. Torleif from a chrysalis. The second movement, later, especially as Falletta does well to Thedéen tackles both Kabalevsky cello ‘Kora Song’, sees the cello imitate the keep things structurally light by concertos, the second a masterpiece West African instrument through the controlling momentum and leaning from the later Soviet era, while use of a plectrum at various points to pluck gently into junctions. Michael Korstick includes the Fantasy notes and strum chords. The style is more Of similar architectural interest are alongside all four piano concertos. direct and dancelike but, as is often the case Kodály’s Variations on a Hungarian Folk Admirers of the three gifted soloists with Kernis, an underlying restlessness Song, written the year before. Again, featured here should not hesitate to lurks beneath the music’s calm exterior the performance is marked out by its acquire this disc, even if it could have and soon enough the music descends into sense of care: the counterpoint of been more judiciously assembled in a darker, more dramatic and disturbing rhythms in Variations 6 and 7, the terms of the repertoire available. sonic landscape. delicate sparkle in Var 10 and the steady Richard Whitehouse Both concertos are highly virtuoso. The climb to the theme’s final emancipation Kabalevsky Cello Concerto No 1 – selected comparisons: efficacy of the Viola Concerto is certainly that ratchets up from Var 12 to the end Thedéen, NDR Orch, Hanover, Prabava aided by an excellent performance by are all well plotted here. The big moments (CPO) CPO777 668-2 longtime Kernis exponent Paul Neubauer. come off fine but the journeys thereto Kabalevsky Fantasy – selected comparisons: Joshua Roman’s outstanding performance enchant more. Korstick, NDR Orch, Hanover, Francis of the cello concerto is the disc’s highlight, Kodály’s well-known dance sets speak (11/12) (CPO) CPO777 658-2 however. In the cadenza section, heard more plainly, and we hear how good some Weinberg – selected comparisons: towards the end of the concerto, intricate of the Buffalo players are (notably the Kogan, Moscow PO, Kondrashin passagework demands rapid alternation solo clarinet). Falletta is less indulgent with (1/98R) (MELO) MELCD100 2315 between arco and left-hand pizzicato, rubato than some, including Iván Fischer in Gringolts, Warsaw PO, Kaspszyk culminating (according to the composer’s the Dances of Marosszék – again, it’s about (5/15) (WARN) 2564 62248-3 directions in the score) in a Jimi Hendrix- control. Others might want more flair, but

58 GRAMOPHONE APRIL 2018 gramophone.co.uk ORCHESTRAL REVIEWS

A nose for theatre: Adám Fischer continues his superlative Mahler cycle with a terrific First Symphony – see review on page 61

there’s not an awful lot wrong with these invigorate, rather than simply replace, Hindemith and Martin≤ who turned committed performances that underline traditional styles and techniques. away from radicalism in the inter-war Kodály’s craft as much as his soul and Koffler was born in Poland and years without serious loss of expressive include a rich, to-the-point essay by studied in Vienna with (among others) or structural conviction. It could well Edward Yadzinski. Andrew Mellor the Schoenberg pupil Egon Wellesz, also be that other works, praised by becoming acquainted with Alban Berg. commentators who know the full range Koffler But a career that was already split of his output – the String Trio (1928) ‘En hommage’ between university-based research and the cantata Love (1931), for example – Piano Concerto, Op 13a. Symphony No 2, Op 17b. and teaching on the one hand and would make a more positive impression. String Quartet No 2, ‘Ukrainian Sketches’, Op 27c. composition on the other was further Here the performances of the songs and Quatre Poèmes, Op 22d. Two Songs, Op 1d disrupted by the military and political String Quartet No 2 are more convincing dFredrika Brillembourg mez aDaniel Wnukowski pf upheavals that afflicted Europe between than the rather rough-and-ready live cPolish Quartet, Berlin; abPolish Sinfonia Iuventus 1914 and 1945. Based in Lwów (now recordings of the symphony and concerto. Orchestra / Christoph Slowinski dpf Lviv in Ukraine) after 1924, Koffler was The booklet notes describe the harrowing EDA F EDA042 (67’ • DDD) successful enough to merit comparison circumstances of the abduction and abRecorded live at the Witold Lutosławski Concert with Symanowski as a leading light of presumed murder of Koffler and his Studio, Warsaw, May 7, 2016 forward-looking Polish music, but the wife during the final months of the Texts and translations available from compositions included on this CD make Second World War; at the very least eda-records.com that comparison difficult to justify. The this disc offers a rare chance to hear two sets of songs from 1917 (Op 1) and something of a Jewish composer’s brave 1935 (Op 22) have forceful moments of and determined struggle to make music late-Romantic intensity, but the three during an impossibly difficult time. Józef Koffler (1896- instrumental works seem uneasy in Arnold Whittall 1944) was an exact their attempts to link post-tonal contemporary of progressiveness to those aspects of Liszt Roberto Gerhard and neoclassicism and nationalism that, ‘RIAS Recordings, Vol 2’ Roger Sessions. Like them, his identity as Koffler evidently felt, would make them Piano Concertos – No 1, S124a; No 2, S125b. TONHALLE DÜSSELDORF/SUSANNE DIESNER DÜSSELDORF/SUSANNE TONHALLE a composer was defined in no small part more acceptable in the increasingly Three Petrarch Sonnets, S161 Nos 4-6c. by the possibility of treating Schoenbergian repressive political climate of the time. Tannhäuser-Ouvertüre (Wagner), S442c modernism – the 12-note method, in Perhaps Koffler lacked the energy Jorge Bolet pf abBerlin Radio Symphony a b PHOTOGRAPHY: particular – as something that might and confidence of composers such as Orchestra / Lawrence Foster, Edo de Waart

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Audite F AUDITE97 738 (79’ • ADD/DDD) breadth – and I mean a hair’s breadth – abRecorded live at the Haus des Rundfunks, short of pace towards that last degree of Berlin, November 30, 1971; December 19, 1982; reckless imperative. Tiny adjustments make crecorded 1973 This is a terrifi c all the difference in Mahler. But there is so account of Mahler’s much here to enjoy: the heart-easing violin fl edgling symphony – glissando into the second subject, phrased full of the rashness with unaffected honesty; the magical return The repertoire is all and impetuosity of youth and the wild to the symphony’s opening material where Liszt. Bolet was one imaginings that go hand in hand with it. the returning second subject is suddenly of the fi nest of all Each time that eight-octave-deep ‘silence’ more meaningful in the context of all that Liszt players. Liszt of the opening page sounds, hazy violin has gone before; and the barnstorming was the composer who, as we have noted harmonics tracing a haze of light on the ‘titan’ of a coda where Mahler’s rather trite before, made his name internationally dawn horizon, you have to wonder at this triumphal theme (with horns standing, of famous when he played for Dirk Bogarde twenty-something’s daring holding to the course – more ‘visual’ theatre) assumes in Song Without End (chosen, the booklet rules of symphonic form while seeking new such gung-ho confidence. reminds us, in preference to the younger dimensions with his nose for theatre. There is an extraordinary kinship Van Cliburn). One’s spirits lift even before Adám Fischer has a nose for theatre, too, and telepathy between Fischer and his the ‘play’ button is pressed. and one can imagine how long he and his Düsseldorf orchestra. They may not be the There are studio recordings of Bolet in engineers spent, for instance, getting the most glamorous-sounding ensemble in the the two concertos, both with David distancing of the offstage trumpets just right world but the heart and spirit of the playing Zinman and an earlier one of No 1 with in the opening pages. He judges the ambling sweeps all before it. This is shaping up to Robert Irving, but these Deutschlandradio ‘wayfarer’ theme just right, too, as light be the most idiomatic and exciting cycle recordings are live performances – and and airy as can be and with that fi rst-time of Mahler symphonies since Kubelík and Bolet was always at his best in front of freshness. Then there is mystery as shadows Bernstein. Edward Seckerson an audience. There may be fl ashier and fall across the music in the development – a speedier accounts of the E fl at Concerto sense of wonder at adventures to come. But Mahler (recorded 1971) but few that are more most of all in this fi rst movement there is Symphony No 3 powerful, magisterial and, ultimately, excitability. The explosion of fanfares at the Mihoko Fujimura mez thrilling (Bolet whips up a storm in climax is a release of energy and then some Israel Philharmonic Orchestra / Zubin Mehta the fi nal pages), even if the workaday but it is the exuberance of the wayfarer Helicon Fb02-9680 (90’ • DDD • T/t) Lawrence Foster is sometimes just theme set free and romping home that has Recorded live at the Charles Bronfman Auditorium, behind the beat. more than a touch of Bernstein about it. Tel Aviv, July 14, 2016 The A major Concerto elicits a The middle movements are if anything similar response of noble magnifi cence, even more ripely characterised than in closer in tempos and character to von Sauer Bernstein’s glorious Royal Concertgebouw than de Greef (the only two Liszt pupils to recording. The lumpen Scherzo is earthy Arriving have recorded both concertos), recorded and coarse, with rosiny strings digging into simultaneously with in the same venue as the First Concerto its stomping rhythms and Mahler’s stopped the news that Lahav but 11 years later and under the alert horns especially vivid sniggering in the Shani is to succeed Edo de Waart. reprise. The Trio is shy and awkward in its Zubin Mehta at the helm of the Israel The three Petrarch Sonnets provide attempts to be graceful and then it’s more Philharmonic, this recording celebrates an introspective interlude not markedly of the knees-up with Fischer whipping up one of music’s longest-lasting partnerships. different from Bolet’s later account for the tempo and making capital of the Mehta fi rst conducted the orchestra way Decca (6/84) in his recording of the second whooping horns. back in 1961, a late replacement for book of Années de pèlerinage. The Wagner- I’d like to have heard a slightly less Eugene Ormandy, which may prompt Liszt Tannhäuser Overture was one of beautiful tone from the solo double bass the refl ection that, like Ormandy at Bolet’s specialities. This astonishing studio (at least it’s solo) at the start of the eerie Philadelphia, he has perhaps stayed recording (RIAS Funkhaus, Berlin) was third movement – but the delivery of too long. By 2019 he will have clocked made in October 1973, three months that favourite children’s song sounding up 50 years as music advisor, 42 as after his RCA recording (not released so forlorn (the fi rst of a lifelong succession music director. until 2001) and four months before the of funeral marches) still gives one chills We don’t necessarily think of this unforgettable performance of February and Fischer’s exaggerated tempo rubato consummate political funambulist as a 1974 in the legendary Carnegie Hall recital throughout this movement is full of the Mahler man, his genial nature seemingly that established him as one of the all-time spirit of the backstreet coffee house with its at odds with the composer’s angst-ridden greats. The command of structure, the klezmer band of well-meaning locals. It’s sensibility. However, if we include a 2008 judicious pacing and unleashing of those heavy with Mahlerian irony, that distinctive performance accessible via the Berlin fi nal torrential octaves under the main juxtaposition of pathos and bathos, with the Philharmonic’s Digital Concert Hall, this theme send shivers up the spine. rosy Trio – hushed and beautiful here – full is Mehta’s fi fth commercial recording of Jeremy Nicholas of homely well-being. his favourite Mahler symphony. It isn’t If I have a single reservation about even his fi rst with the Israel Philharmonic. Mahler Fischer’s reading – and he is far from being Older collectors may recall his earliest LP Symphony No 1 alone in this – it concerns his tempo for the set, for Decca, and not only because of the Düsseldorf Symphony Orchestra / Adám Fischer stormy Allegro of the fi nale, which for all its sterling, Erda-like contribution of Maureen AVI-Music F AVI8553390 (53’ • DDD) shock and awe is for me just a hair’s Forrester. In the old days you had to turn gramophone.co.uk GRAMOPHONE APRIL 2018 61 ORCHESTRAL REVIEWS over the disc part-way through the The ‘Opening’ (track 2) is a brisk, well- building up to the alla marcia section, of first movement! paced allegretto with busy piano-writing a scarily frantic quality which I found at Under Mehta’s latter-day direction overlaid with string ornamentation, odds with the music. Of course, technically Mahler’s invention is apt to turn perky, suggesting the laughter and chatter of speaking Matsuev is a phenomenon: just the opening movement no longer an the two well-to-do families around whom hear how he handles the first subject of exercise in dynamic extremes, the second the story unfolds. The Schlegel family are the finale – difficult to play in tempo at full of sunlight albeit not ideally polished. apt to talk across one another, their lively the ferocious speed he adopts – but the In the third the posthorn solos ought to discourse captured by Muhly in weaving recording balance means he steamrollers sound further away; and why apply the melodic lines exhibiting a polyphonic over such passages as the dialogue between brakes for the concluding outburst? Later, process (tracks 5, 7, 20 and 22). It’s all himself and the woodwind in the bars you may wonder why Mehta didn’t insist done with the lightest of touches; yet, immediately preceding, a further example on a soloist with a more contralto-ish as these cues progress, the sense of each where this recording falls below the best. timbre than Mihoko Fujimura’s, not that being a composition in miniature lends The only time I was moved by Matsuev’s her (over-miked) singing isn’t very fine in cohesion and focus for the listener. Save playing was the return of the second subject its way. Mahler’s controversial hinaufziehen for ‘Seaside’, a slow waltz, there’s no in this movement, which he plays so (‘pull up’) markings are rendered as zany concession to period detail, a relief in itself magically well that you wonder why the glissandos. Only in the finale does Mehta’s when too often soundtracks fall back on rest of it is so hard-hearted. A burst of good-natured approach pay substantial well-known classics to satisfy some over-excitement leads to a near derailment dividends. Avoiding a self-conscious quest emotional requirement. 10 bars from the end. for transcendence, the argument moves Muhly doesn’t eschew expressiveness. The same reservations over piano/ more urgently than in Los Angeles, 1978, The cue ‘Empty House’ and his sympathetic orchestra balance pertain to the Prokofiev the final triumph notably unembarrassed, portrait of the unfortunate Leonard Bast but here Matsuev’s abrasive vehemence young man’s music. testify to that. Other cues, such as ‘Night pays dividends in a performance that Iván Fischer’s Budapest studio Walk’ and ‘Miscommunication’ live up to exactly captures the sardonic, bitter production offers greater refinement, their titles, the one a spooky nocturnal character of this ‘deeply fraught work’ deeper sonic perspectives and none of the perambulation, the other an intense study (Daniel Jaffé in his excellent booklet). bronchial noises-off afflicting the present of the unravelling of human affairs. The grotesque first-movement cadenza is live issue, but then Helicon are going for It would have been good to have had a superbly graded – one can quite understand a particular demographic. In addition to note about this music in the CD booklet. why listeners at the work’s 1913 premiere large-print texts and translations, the For that one must turn to the piece on were said to be ‘frozen with fright, hair booklet contains 10 pictures of the Muhly by Paul Griffiths in the programme standing on end’. In the perpetuum mobile handsome octogenarian. David Gutman for the ENO Marnie, where he cites how Scherzo you will hear more of Prokofiev’s Selected comparisons: the polyphonic tradition in English wonderfully deft orchestral punctuation Los Angeles PO, Mehta (5/80R) (DECC) D 443 030-2DF2 cathedral music, experienced by Muhly, from the lighter touch of Bavouzet and Budapest Fest Orch, I Fischer (6/17) (CHCL) CCSSA38817 ‘can precipitate an unexpected effect Noseda (Chandos, 3/14); and Jorge Bolet anywhere from grief to ecstasy’, a sensation and Ainslee Cox on Genesis (back in 1973) Muhly caught so well in this soundtrack to take no prisoners when it comes to the Howards End – original series soundtrack Howards End. Adrian Edwards frenetic finale. But this Matsuev/Gergiev Orchestrate / Nico Muhly Prokofiev Second can be thoroughly Milan F 399 976-2 (63’ • DDD) Prokofiev . Rachmaninov recommended … unlike its coupling. Prokofiev Piano Concerto No 2, Op 16a Jeremy Nicholas Rachmaninov Piano Concerto No 2, Op 18b Denis Matsuev pf Prokofiev In the same week Mariinsky Orchestra / Valery Gergiev ‘Romantic Suites’ last November that Mariinsky FÍMAR0599 (63’ • DDD/DSD) Cinderella, Op 87 – Suite. BBC Television Recorded live at the Concert Hall of the Mariinsky Romeo and Juliet, Op 64 – Suite unveiled its new Theatre, St Petersburg, June b25 & a26, 2016 Brussels Philharmonic Orchestra / adaptation of Howards End, ENO presented Stéphane Denève the premiere of Nico Muhly’s opera Marnie DG/Discovery F 481 6548 (68’ • DDD) at the London Coliseum. Such events are rare but nonetheless welcome in a musical Gergiev. Matsuev. world where composers stray less from Rachmaninov. What their home ground than once was the case. could possibly go For this dip into Unlike the grand affair that is Marnie, wrong? Well, quite Prokofiev’s two Howards End is scored for a small body a lot as it happens. This is, apparently, a major ballets, of strings and piano with a sparing splash live recording though you’d never know it, Stéphane Denève of synthesised percussion. From the concert hall of the Mariinsky Theatre decides against any of the published suites the moments the credits roll the ear is eerily devoid of both coughers and but makes his own pick’n’mix selection. drawn to something fresh and original, clappers. The piano is recorded very Each sequence is (mostly) played in with no hint of Edwardiana in view. well forwards, affording an excellent chronological order, so the 10 numbers Muhly’s music is hand in glove with the opportunity of hearing even the most from Romeo and Juliet culminate in Juliet’s swiftly directed, contemporary take on insignificant passagework loud and clear. death, although Cinders is left high and dry Forster’s literary classic, adapted by Right from the start, there’s a feeling of as the midnight chimes signal pumpkin writer Kenneth Lonergan. impatience from Matsuev and, when time to close the disc.

62 GRAMOPHONE APRIL 2018 gramophone.co.uk ORCHESTRAL REVIEWS

The Brussels Philharmonic is a fine Rachmaninov throwaway gesture. But then move to the orchestra. Even so, it’s quite a coup for Piano Concertos – No 2, Op 18; No 3, Op 30 section after the alla marcia and Sudbin this recording to appear on DG when the Yevgeny Sudbin pf takes your breath away with playing of Universal label boasts complete Prokofiev BBC Symphony Orchestra / Sakari Oramo matchless beauty (6'27" et seq). The slow ballet scores from the likes of the BIS FÍ BIS2338 (75’ • DDD/DSD) movement is artfully shaped, the perfect Mariinsky, Russian National, Cleveland curve that Rachmaninov loved so much, and Boston Symphony orchestras. The with the cadenza forcefully articulated. Brussels strings scurry along silkily in Hopes are high for the finale … but ‘Juliet as a Young Girl’ and there’s impish The C minor Second has there ever been a more sluggish, precision to ‘Masks’, but there are times I’d Concerto has left me deconstructed understanding of allegro have liked greater emotional intensity in sitting on the fence. scherzando? In the coda, unlike the rest other numbers. The strings never approach One moment of the concerto, the piano is buried the hysterical fever pitch of the best I found myself luxuriating in the almost inaudibly under the orchestra. Russian orchestras and the woodwinds gorgeous soundscape, the grand sweep And yet, despite the reservations, this are solidly secure rather than sardonic. of the playing and the sure-footed narrative fresh, thought-provoking and entirely I think the selection from Cinderella in the company of what seems to be an individual look at the concerto absolutely comes off marginally better, where Denève accommodating partnership. Then some demands attention. enjoys the jaunty fun of numbers such as little detail would snap me out of my No such reservations apply to the Third the ‘Shawl Dance’. Cinderella’s arrival at comfort zone – an unusual accent, a buried Concerto. All that needs to be said, really, the ball tingles with tender anxiety and phrase brought to the fore, a passage played is that this is a truly outstanding account the ‘Amoroso’ finale to the ballet as she in a fresh or unconventional way. from the recording team, soloist, conductor walks off with her prince is gorgeously Some examples: Sudbin plays the famous and orchestra (the silky-smooth strings, played (though it is tucked earlier into eight opening chords way faster than the brass ensemble and woodwind soloists Denève’s selection). composer (as, controversially, does Stephen deserve special praise). Sudbin opts for the This makes an attractive introduction Hough with Andrew Litton – taking the bigger of the two first-movement cadenzas, to these two ballets but, for the price of a score at face value, perhaps, rather than the the most convincingly I have heard it single full-price disc, you could snap up the composer’s own recording) but copies the played since the great, much-missed scores in their full glory in any number of unwritten breaks to the left-hand chords Rafael Orozco. Sakari Oramo takes the classic interpretations, Gergiev for Romeo that Rachmaninov also adds. Sudbin then Intermezzo’s opening unusually slowly and Juliet (LSO Live, 3/10), Pletnev for ignores the ritenuto before the a tempo con (a grief-stricken 2'22" as opposed to the Cinderella (DG, 6/95) being my top passione (bar 9). Why? It diminishes the composer’s 1'51" with Ormandy). It’s recommendations. Mark Pullinger effect and the eight chords become a highly effective, as is the way in which he

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gramophone.co.uk GRAMOPHONE APRIL 2018 63

ORCHESTRAL REVIEWS holds everything so tautly together in the most searching version of the work that sensuously evoked: ‘soft shivers from muted finale. For Sudbin this is no mere virtuoso I know. violins against delicately agitated cymbal vehicle (though he does not stint on that Its companion pieces are the Trittico and sparkling celesta immediately conjure element) where telling detail is subsumed botticelliano of 1927 and Vetrate di chiesa, velvet night’, as Paul Griffiths puts it in his into the whole in the most intelligent way. completed a year earlier: both derive exemplary booklet note. The eroticism of If this were the first time I had heard the their thematic material in whole (Vetrate) ‘Orgie et Danses’, meanwhile, is always Third Concerto I should count myself or in part (Trittico) from Gregorian carefully controlled, even when, halfway fortunate. Jeremy Nicholas chant. Neschling can’t disguise Trittico through, it all collapses into a big sweaty botticelliano’s episodic nature, though he heap of exhausted brass chords. Respighi conducts it with considerable grace: the The Second Symphony dates from the Il tramontoa. Trittico botticelliano. closing ‘Birth of Venus’ is exquisitely very final years of Schmitt’s life – it was Vetrate di chiesa sensuous. Rimsky-Korsakov’s influence premiered in 1958, just months before aAnna Caterina Antonacci sop Liège Royal looms large – perhaps too large – over he died. It’s a fine, serious work, full of Philharmonic Orchestra / John Neschling Vetrate, meanwhile. Sheherazade’s Young invention. Its first movement, chattily BIS FÍ BIS2250 (66’ • DDD/DSD • T/t) Prince and Princess are the model for the swapping material between sections of the opening ‘Flight into Egypt’, while the orchestra, gains considerable momentum tolling bells that usher in the climactic from the character of its simple opening portrait of Gregory the Great (the putative motif. The slow movement is noble, The latest disc in John creator of Gregorian chant itself) derive gravely seductive and quietly moving. Neschling’s Respighi from Rimsky’s version of the Boris Godunov Only the finale perhaps risks losing its survey focuses on Coronation scene. The performance, way among rather too much jauntiness. works in which his however, is powerhouse stuff, thrillingly Again, as compared with the main rival – post-Romantic idiom and love of early played by the fine Liège orchestra and from Leif Segerstem – Oramo is distinctly music collide and fuse. The centrepiece is sumptuously recorded. The whole disc is leisurely: he takes over two minutes longer Il tramonto, his 1914 setting of Shelley for an excellent addition to a very fine series. in that second movement, marked Lent sans soprano or mezzo-soprano and strings. Tim Ashley excès. But he’s convincing and persuasive A study in decadent morbidity, its in this work too, and helped by superior preoccupations are those of the Italian Schmitt playing and engineering – advantages that Symbolists, who took Shelley as a model. Symphony No 2, Op 137. Antoine et Cléopâtre, certainly pay dividends in these scores. Tristan and Pelléas are usually cited as the Op 69 – Two Orchestral Suites Recommended. Hugo Shirley primary influences, though the heated BBC Symphony Orchestra / Sakari Oramo Suites – selected comparison: string-writing and extreme chromatic Chandos FÍ CHSA5200 (78’ • DDD/DSD) Buffalo PO, Falletta (11/15) (NAXO) 8 573521 progressions are more reminiscent of Symphony – selected comparison: Verklärte Nacht. Respighi’s often syllabic Rhineland-Palatinate St PO, Segerstam word-setting is usually described as (3/95) (MARC) D 8 223689 Debussian, though the greater debt, Nearly four decades frequently overlooked, is to Monteverdi, separate the works Schubert whose operatic monologues inform the here but they are very Symphony No 9, ‘Great’, D944 subtly inflected vocal line that ceaselessly recognisably by the Brandenburg Symphony Orchestra / Peter Gülke shifts between recitative and arioso. same composer: Florent Schmitt, though Dabringhaus und Grimm FÍ MDG901 2053-6 Neschling’s soloist is Anna Caterina eclectic, was remarkably consistent. (61’ • DDD/DSD) Antonacci, who brings to the work the Overall it’s a disc, lavishly recorded (and declamatory power and textual sounding especially fine in hi-res guise), understanding that make her such a that offers a persuasive snapshot of a compelling interpreter of Monteverdi composer hardly over-represented on The last time I heard himself. Her dark, slightly acrid tone disc beyond a few key works. the Great C major suggests world-weariness at the outset and And I’m not sure the two Shakesperean (numbered 8 or 9 gives tremendous resonance to Shelley’s suites have ever sounded more luxurious, depending on where oblique narrative of a hermetic, unnamed either. Composed to accompany a grand, you are) in concert was at the 2015 Proms, aesthete, whose sudden death, after his first self-financed 1920 show by Ida Rubinstein, with Bernard Haitink and the Chamber night of love, leaves his mistress Isabella to this is music that is heavy with sultry Orchestra of Europe. That performance waste away in self-imposed solitude. The eroticism, with dashes of other French glowed with wonder as Schubert’s unique recording places Antonacci fractionally too composers of the time as well as, to my alchemy took hold and even some hard- far forwards, capturing an occasional pulse ears, the sonic ripeness of Richard Strauss’s bitten critics over post-concert beers were in the sound, but against that must be set 1914 Josephslegende. unable to suppress broad, satisfied smiles the often extraordinary range of vocal Sakari Oramo’s new account is more at the wonder that had just unfolded colour she deploys throughout: the way, leisurely than JoAnn Falletta’s recent before us. for instance, she suddenly bleaches her Naxos recording with the Buffalo Perhaps it’s unfair to compare a tone as she comments on Isabella’s deathly Philharmonic and he certainly gives the provincial German orchestra (based pallor is typical of the expressive detail and score space to convey its allure – from in Brandenburg an der Havel, 70 or so intelligence she brings to the performance the languorous shimmers of the opening kilometres west of Berlin) with the crack as a whole. Neschling’s conducting, slow portrait of the two lovers through to the troops of the COE. And there are many yet pressured, adds immeasurably to the ominously bellicose ‘Le camp de Pompée’. wonderful things here. Peter Gülke, the oppressive atmosphere of it all. It’s the The night in the queen’s palace is orchestra’s chief since 2015, has a firm gramophone.co.uk GRAMOPHONE APRIL 2018 65 ORCHESTRAL REVIEWS grip on the architecture of the outer Royal Concertgebouw Orchestra. Indeed, performance (64'45") and you’ll catch the movements; only in the Scherzo is alternative relays are available as part of second timpanist also furiously counting. there a niggling feeling of sprawl. The that orchestra’s own-label anthology: It’s a sign that the work still holds woodwind, too, delight in perky solos, ‘Mariss Jansons Live – The Radio its occasional terrors, although it’s balanced judiciously with the ticking Recordings 1990-2014’ (RCO15002). True about the only moment in the RCO’s string accompaniment figures that power to form, things have slowed down a little polished account under chief conductor the music. since those dates, not that there’s any loss Daniele Gatti. In fact very little disappoints. Perhaps of focus or control. Has Amériques (given The playing is rhythmically taut but – the rhythm of the oboe solo in the slow here in its extravagant 1922 guise) ever timpanist apart – there’s little sense of movement might have exhibited a more sounded more beautiful? Atmospheric actual peril in Amsterdam. Everything is incisive snap; in the Trio sections, others recorded sound projects the darkly plush, from the silky bassoon opening to reveal a more authentically Viennese lilt. luminous textures the conductor routinely the dusky alto flute. Gatti is no slouch – his The timpani, too, are rather boomy in achieves in Munich, the urban cacophony reading comes in at the same sort of timing what sounds like a fairly big, empty hall. evoked by Varèse’s vast array of percussion as Teodor Currentzis on his zinging Nevertheless, this is a performance that tempered by impeccable musicianship. MusicAeterna recording – but it’s all commands the attention almost throughout Stravinsky’s Symphony of Psalms retains a bit predictable and safe. For more (with a generous quota of repeats), even if sufficient urgency where it matters most danger, try Krzysztof Urban´ski and the it doesn’t quite distil the alchemy in quite and boasts the usual fine tuning, precise NDR Elbphilharmonie Orchestra. Their the same way as certain favourites: chording and attention to detail. Less new release contains not one but two Furtwängler (3/55), Beecham in 1955 happily, the choral contingent contains performances: a CD made in December (Somm, 4/11), Abbado (DG, 2/89 or 7/15), some matronly voices and the soft-grained 2016 (before the new Elbphilharmonie Iván Fischer (8/11) and Marc Minkowski sound can turn a bit woolly. The rapt opened) and then a concert filmed the (Naïve, 1/13) among them. David Threasher closing section has become more following February which is added on a ruminative, not quite somnambulistic, Blu-ray disc. Two months apart, they’re Shostakovich . closer than before to the emotive remarkably similar, taken at a marginally Stravinsky . Varèse manner favoured by Leonard Bernstein more measured tempo than Gatti but Shostakovich Symphony No 6, Op 54a (ICA Classics, 6/14). feeling much more cataclysmic. Stravinsky Symphony of Psalmsb All these recordings were captured live Urban´ski is quite the cool dude – hair Varèse Amériquesc although applause is retained only after spiked, tie not quite done up – and allows Bavarian Radio Symphony bChorus the Varèse and Shostakovich items. his bassoonist free rein to begin without and Orchestra / Mariss Jansons David Gutman any up-beat, which he does with the BR-Klassik MD900161 (80’ • DDD) longest held opening note I’ve heard, Also available in ‘Mariss Jansons: Portrait’, Stravinsky . Debussy ◊Y before coiling into a truly mournful wail. BR-Klassik Me900157 (6h 54’ • DDD) Debussy Prélude à L’après-midi d’un faune. Urban´ski draws thrilling playing from his Recorded live at the abHerkulessaal, Munich, La mer Stravinsky The Rite of Spring orchestra, which strikes me as a much more bMarch5&6,2009,aMarch 18-21, 2013; Royal Concertgebouw Orchestra / Daniele Gatti exciting partnership than Gatti’s with the cPhilharmonie im Gasteig, Munich, RCO Live F◊RCO17111; FYRCO17110 RCO. There’s real grit and a sense that October 13-16, 2015 (79’ • NTSC • 16:9 • 1080p • Auro-3D 9.0, they are playing out of their skins, grinding DTS-HD MA 5.0/2.0, DD5.0/2.0 & LPCM stereo • 0) out something urgent and earthy. They are Recorded live, January 11-12, 2017 helped by Michael Valentin’s video direction where, apart from some Available to download Stravinsky Y deliberate blurring, quick cuts between or in the context of a The Rite of Spring camera shots give a restless feel. One 75th-birthday box, this NDR Elbphilharmonie Orchestra / camera is seemingly placed at the foot of generous 20th-century Krzysztof Urbański the bass drum percussionist, providing an portrait mixes the relatively unexpected Alpha F (CD + Y) ALPHA292 (36’ • DDD) unusual but fun perspective. Ultimately, with repertoire commonly associated with Blu-ray recorded live, February 17, 2017 would you pay full price for two near- its conductor. Video director Michael Valentin identical performances of The Rite? Well, Mariss Jansons first recorded at full price Sony offers just the one audio Shostakovich’s Sixth in Oslo as part of a performance under Currentzis, but I’d still peripatetic symphony cycle 17 years in the happily pay for it, so why not? making (EMI, 11/06). The present account Gatti’s Rite is preceded by two Debussy would seem to be that first released by favourites, a long and languorous Faune, BR-Klassik in tandem with Tchaikovsky’s opening with a gorgeous flute solo from Pathétique (8/14). It’s gloriously played, as Emily Beynon, and an account of La mer one expects from this source, if without the where Gatti revels in the slow ecstasies of emotional urgency and refreshing lightness Noisy demonstrations at the premiere the piece but the lack of momentum is of Paavo Järvi’s recent Estonian Festival of Stravinsky’s The Rite of Spring caused problematic. His readings with the version (Alpha, 3/18). I find Jansons’s first choreographer Vaslav Nijinsky to have to Orchestre National de France (Sony, 8/12) movement too fast, the rest trim rather furiously shout out the numbers from the were much livelier. Here, Debussy’s marine than dangerous. wings to the dancers on stage, who could triptych is more a wallow in the pool than a While the other pieces might not no longer hear the orchestra. Fast forward bracing swim in La Manche. Mark Pullinger look like core Jansons fare, both featured to ‘The Glorification of the Chosen One’ Stravinsky – selected comparison: previously in his 2011-12 concerts with the in the Royal Concertgebouw’s filmed MusicAeterna, Currentzis (11/15) (SONY) 88875 06141-2

66 GRAMOPHONE APRIL 2018 gramophone.co.uk ORCHESTRAL REVIEWS

Embracing danger: Krzysztof Urbański draws thrilling playing from the NDR Elbphilharmonie Orchestra in Stravinsky’s Rite of Spring

Vaughan Williams The first movement of the Fifth is also Its recapitulation with harp has a visionary Symphonies – No 5; No 6 an exciting interpretation, notably in the quality – a real high point of this recording. Royal Liverpool Philharmonic Orchestra / way that the development is allowed to The broad architecture of the more Andrew Manze accelerate naturally. Yet, at the same time, ominous second movement, with its Onyx F ONYX4184 (70’ • DDD) the ‘golden’ second subject in E major is foreboding brass and side drum, is carefully given space and luxuriance in its intended judged so that the cortège-like fi gures in contrast to the more restive, mysterious the trumpets have a disturbing sense of first subject. The Romanze, too, has an menace when they recur. This almost This is the third opulence which is finely graded. The intimidating mood continues in the recording in the cycle opening, for example, is almost chamber demonic Scherzo. Here one is truly able of Vaughan Williams music-like in the lower strings, a sound to appreciate the brilliance of Vaughan symphonies that which is then permitted to grow Williams as a contrapuntist and as an Andrew Manze has made with Onyx incrementally throughout Vaughan orchestrator; this is virtuoso stuff, and the Royal Liverpool Philharmonic Williams’s long, lyrical paragraph. Its splendidly handled by conductor and Orchestra. The first two, featuring reprise, replete with gently nuanced orchestra. The impressionable shadow Symphonies Nos 2, 3, 4 and 8, countermelody, is deeply moving, as are of the probing second movement fi nds demonstrated not only Manze’s versatility the radiant closing bars of the Passacaglia, its natural conclusion in the unremittingly and insight into these monuments of where the counterpoint of the composer’s bleak finale, where Manze’s control of 20th-century British symphonic music redemptive ‘alleluias’ brings the work to a the eerily hushed dynamics (not a little but also a real affection and sympathy for tender, heartfelt conclusion, stunningly reminiscent of Holst’s ‘Neptune’) is the composer’s fecund understanding of executed by the strings of the RLPO. consummately managed. Any lover form, architecture and scoring. This new The contrast of the violent gestures of of Vaughan Williams as a symphonist recording continues that insight with the Sixth Symphony is always going to be will find this recording exceptionally panache. The clarity of the orchestral a stark one after the diatonic peace of the rewarding. Jeremy Dibble sound, especially in the pointillistic Fifth, but there is no less clarity in the KRZYSZTOF URBANSKI KRZYSZTOF orchestration of the Fifth, is compelling bigger orchestral textures or rapid Find your (the Scherzo in particular, whose string passagework at the opening, or the music on tempo Manze gives an extra injection second subject which belies the obvious www.qobuz.com

PHOTOGRAPHY: PHOTOGRAPHY: of adrenalin). ‘galumphing’ character in other recordings.

gramophone.co.uk GRAMOPHONE APRIL 2018 67 THE MUSICIAN AND THE SCORE Messiaen’s Catalogue d’oiseaux The pianist Pierre-Laurent Aimard joins Peter Quantrill to talk musical ornithology

ierre-Laurent Aimard and I meet, as it so happens, in the reception hall at the Royal Academy of Music, where Phe has given masterclasses and charmed everyone from the students to the woman on the door who escorts us to a windowless dressing room. But within minutes of spreading the Catalogue d’oiseaux before us, we are perched on a chilly Alpine precipice – for Messiaen’s piano cycle of 1956-58 is as imbued with place and time as any opera or Lisztian tone poem. Not easy to come by, the scores are things of beauty in their own right: 13 pieces in seven volumes, each prefaced by a charcoal drawing of a bird in its native state. ‘Le chocard des alpes’ (The Alpine Chough) makes an austere opening to the cycle, in line with other severe curtain- raisers to the Quatuor pour la fin du temps, Turangalîla-symphonie and Saint François d’Assise. ‘Messiaen announces’, says Aimard, ‘that we’re going to speak of a serious subject.’ You don’t need to read the score’s indication of implacable et massif to hear bare unyielding rock in the stern progressions which set the scene of the song of the chough, which crosses (traverse) the precipice with ‘a tragic cry of solitude’, as Aimard notes. How on earth is ‘Terrifyingly exact’: Aimard began playing Messiaen’s Catalogue 40 years ago the pianist to convey this level of detail to the scoreless listener? ‘It’s a very interesting case,’ replies Aimard, ‘the bird crossing looking after a child was not one of his talents. This was the precipice. As listeners, we don’t perceive the alpine chough a terrible handicap for him. Then there is the love story with as such. We perceive Messiaen’s harmonies and gestures as Yvonne, which was marvellous in one way – she helped him to a solution for a possible transcription, but we don’t imagine live – but very hard for him in terms of his Catholic identity.’ it’s an exact transcription. As pianists, we have to work on At this point, birdsong had become a refuge for Messiaen: sound projection, maybe with the pedal, so that there is this ‘in my darkest hours,’ as he confessed, ‘when my uselessness feeling of space. Traverse – that means that it can’t be a block of is brutally revealed to me’. Later photographs have sound. Our task is to convey this tragic dimension – existential, imprinted on our minds the idea of the composer on his universal. The loneliness of the bird in this menacing landscape field trips – by a lake or in woodland, rapt in contemplation, is a symbolic projection of the composer, of mankind. How can pen and notebook to hand, the ever-faithful Yvonne at his we create that? We work subjectively, but with what we have. side; but Messiaen did much of his research for the Catalogue ‘We have this terrifying introduction,’ continues Aimard. at home, with the aid of birdsong LPs. ‘We can create the implacable – but what kind of ‘implacable’ Aimard wryly recalls the ‘very naughty reactions’ of critics feeling is it? From the power of nature, or the time it who complained of this music’s ‘stupid naivety’ when he represents, or creation which surrounds mankind? That’s an began playing it 40 years ago. So we look at the third piece, example of how we work with these pieces. We have to be ‘Le merle bleu’ (The Blue Rock Thrush), and he shows me terrifyingly exact – which was definitely Messiaen’s intention, how Messiaen transforms the song throughout the piece. because he was a man of exactitude in a very French, defined ‘The song is in the middle of the texture, and it’s surrounded way. If you play these pieces without that exactitude, you by written overtones that create an artificial timbre. Then ruin them. So we have to observe everything about tempo, when it’s repeated, the overtones are closer together: the articulation and rhythm more precisely than in almost any resonance and the song are mixed to create a poetic and other music. But this is only the first step! The metaphysical spatial heterophony. Later, the overtones are higher – the dimension is the most important of all.’ thrush is further away, so Messiaen has written the song in the There is a brilliance and a difficulty to the second piece, lower stave. Because the right hand is stronger, he wants you ‘Le loriot’ (The Golden Oriole), which pays surely more than to cross hands and play the overtones with the left, so that the punning tribute to the pianist for whom Messiaen conceived song itself is always the strongest element; you can feel that the Catalogue, Yvonne Loriod. During its composition, you are working on the colour, and it’s more delicate. Later Messiaen endured the worst personal crisis of his life, while on, the song becomes a rhythmical dance, and he changes the his wife Claire Delbos suffered irreversible cerebral atrophy in resonance overtones to imitate Balinese gongs. At the end, the a mental institution. ‘It was a terrible situation’, observes song of the thrush returns as a souvenir. It’s now homophonic, Aimard, ‘to lose someone mentally affected like that. in octaves, like a female choir far away. So Messiaen creates And as for the consequences on his daily life… He was left a perception of the bird in the environment through not only to bring up his son, Pascal. He had not expected to do that – dynamics but also harmony.’

68 GRAMOPHONE APRIL 2018 gramophone.co.uk THE MUSICIAN AND THE SCORE The fourth piece is ‘Le traquet stapazin’ (The Black-Eared Wheatear) – a favourite of the composer, and of the pianist too, and a good place for new listeners to begin. ‘This was the first one I learnt,’ remembers Aimard. ‘When I was 13, like every teenager who loves music, I listened to a lot. I had Loriod’s Erato recording and I listened to it every evening – for the charm of the landscape, and its force. The first and last third of the piece are, like many other pieces in the set, “This is indeed a conversation between singers, but the middle section is this music making sunrise’ – the kind of C major with added sixths that is the with a true sense most familiar Messiaen: the poet of love and joy of grandeur.” in Turangalîla-symphonie and Saint François d’Assise. Conversation, however, is the keynote of the Catalogue. – THE WHOLENOTE Whereas Aimard compares ‘La bouscarle’ (No 9: Cetti’s Warbler) to a Mozart opera (‘with so many participants, so vivid, harmonious, so fast in conversation, so alive, so positive’), he refers to the 11th piece, ‘La buse variable’ (The Common Buzzard), as being like a Verdi opera: ‘I think of Simon Boccanegra. It begins with this incredibly slow, stopped music, as the buzzard circles above – now near, now far.’ We note how the buzzard’s cry is first repeated nine times, then five, then three. The Trinitarian symbolism is mixed with Messiaen’s own belief in the divinity (that is, the indivisibility) BRUCKNER of prime numbers. After order, chaos: the buzzard gets into THE COMPLETE SYMPHONIES a bloody fight with some crows – ‘an example’, says Aimard, ‘of how a completely new idiom integrates the permanent need for drama in musical composition. Messiaen’s ability is to create YANNICK NÉZET-SÉGUIN human archetypes with new materials and new parameters.’ Orchestre Métropolitain de Montréal ‘Wehavetoobserveeverythingabout tempo, articulation and rhythm more precisely than in almost any other music’

A new study by Roderick Chadwick and Peter Hill (CUP: 2017) analyses Catalogue d’oiseaux as the pivot on which the composer’s career turned, from the avant-garde explorations of the Livre d’orgue (1951) into the syntheses and summations of technique and expression which came to yield La Transﬁguration de Notre Seigneur Jésus-Christ (1965-69).

‘Le merle de roche’ (No 10: The Rock Thrush) is ACD2 2451 rhythmically experimental in the style of Messiaen as teacher to Boulez and Stockhausen, but the cycle subsides into a tragic epilogue with the final piece, ‘Le courlis cendré’ (No 13: The Curlew), observed in deepest night off the coast of With the release of a sumptuous boxed set of 10 discs, the Orchestre Métropolitain Brittany, accompanied by the lapping of waves and the boom de Montréal directed by Yannick Nézet-Séguin of a lighthouse. We are as close here as anywhere in the cycle completes a 10 year project to record to real birdsong, ‘And that’s one reason why this piece speaks the complete symphonies of Anton Bruckner. to us so much,’ says Aimard. ‘At the centre of the movement are natural transformations,’ he says, ‘the play of water and fog at night, with undefined The First and Fifth Symphonies harmony and unpredictable movement.’ He points to the are being released for the first time score: ‘These chords disappear little by little – he’s as part of this set! announcing, in the late ’50s, pieces of mass movement and micropolyphony such as Ligeti’s Atmosphères. It’s prophetic. Notice that the lighthouse signal is the only non-natural phenomenon, the only man-made music, in the entire cycle. Perhaps it warns against “shipwrecks” in life as well as at sea? EUNU SONG EUNU But the piece ends with water: the silence absorbs the last Distributed in the UK and Ireland drops of nature. And the bar’s rest at the end – Messiaen by Proper Music Distribution finishes the entire cycle with nothing.’

PHOTOGRAPHY: For our review of Aimard’s recording of Catalogue d’oiseaux turn to page 86

gramophone.co.uk GRAMOPHONE APRIL 2018 69 Chamber

Andrew Mellor is intrigued by Andrew Farach-Colton admires Rautavaara’scello sonatas: theStradivariQuartet’sSchumann: ‘TheFirstSonataiscarpet-bombedbyﬁst- ‘TheStradivarineverfailtoproducearich, shapedpianoclustersbeforeitembarksona red-bloodedsound,eveninthemostferociously moving process of recovery’ REVIEW ON PAGE 75 diicult passages’ REVIEW ON PAGE 77

Bloch on this disc degenerate into a thunderous agitato is good-humouredly vigorous Violin Sonatasa – No 1; No 2, ‘Poème mystique’. wash of bass: in fact, the clarity and balance without finding the subtlety of tone that Piano Sonata throughout serve the music handsomely. makes the Znaider/Bronfman partnership aNurit Stark vn Cédric Pescia pf Richard Bratby so special. Harriet Smith Claves F 50-1705 (70’ • DDD) Selected comparisons: Brahms Dumay, Pires (3/93) (DG) 435 800-2GH Three Violin Sonatas de Vito, Fischer, Aprea (12/93) (TEST) SBT1024 Tasmin Little vn Piers Lane pf Znaider, Bronfman (7/07) (RCA) 88697 06106-2 Look on Ernest Chandos F CHAN10977 (71’ • DDD) Bloch’s reputation, Brahms . Dvořák ye mighty, and Brahms Piano Trio No 1, Op 8. Hungarian Dance, despair. In 1957 WoO1 No 6 (arr L Ries) Dvořák Piano Trio No 4, Bloch merited an entire chapter to himself In a sense it’s a ‘Dumky’, Op 90 B166 in Alec Robertson’s Chamber Music surprise that Tasmin The ZEN Trio (Shostakovich got a single paragraph and Little and Piers Lane DG F 481 6292 (71’ • DDD) Janá∂ek a grand total of three sentences). have only now got Now: well, if his violin sonatas aren’t round to the Brahms violin sonatas. entirely unknown on disc, they’re not Certainly their long familiarity with both exactly appearing at the same rate as, say, the music and each other’s approach to it The ZEN Trio play recordings of Enescu or Ysaÿe – composers pays dividends and from the off you know this pair of warhorses who inhabit a comparably fervent, virtuoso you’re in safe hands. These are essentially with the technical late-Romantic sound world. traditional-style performances, relishing assurance, musical Fervent is certainly the word for the the generosity of Brahms’s full textures conviction and stylistic unanimity of an way Nurit Stark and Cédric Pescia attack and not undertaking the kind of vibrato- ensemble that’s been together for many the ferocious ostinato that opens the First lite experimentation of some. years. In truth, however, pianist Zhang Sonata: you can hear steel gears whirring, Little relishes the many instances Zuo, violinist Esther Yoo and cellist every bit the work of the composer whose of Brahms’s writing in the violin’s alto Narek Hakhnazaryan met in 2015 on the self-portrait stares maniacally from the register and Lane is always responsive to BBC New Generation Artists scheme, and disc’s cover. Stark and Pescia aren’t afraid the violin’s colourings and shadings, fining this recording was made at Henry Wood to get their hands dirty, and Stark’s lower his sound right down whenever needed. Hall in London the following June. strings sometimes buzz against the Lane is sensitive in the piano introduction The first movement of Brahms’s B major fingerboard. But there’s fantasy here too, to the slow movement, too, though few can Trio conveys dynamism and breadth, and the pair have a remarkable knack for rival Bronfman in terms of sheer detailing making sense of both the Allegro con brio holding these elements in balance – and here. The changeability of the Second tempo designation and the music’s expansive finding exactly the right tone-colour at Sonata’s middle movement, on the other character. The ZEN are not afraid to take any given instant, whether Pescia’s metallic hand, is done with a gleeful aplomb, even chances, either – slowing slightly at 2'41" left-hand motor-rhythms or Stark’s throaty if I wanted a degree more sense of energy so the strings can lean into the yearning, harmonics in the central Molto quieto. in the same sonata’s finale, which here is espressivo melody. Indeed, throughout the These qualities really come into their a little plush compared to Gioconda entire work they move from passionate own in the single-movement Second de Vito and Tito Aprea or Augustin declaration to tender confessional in a Sonata, where Stark immediately finds a Dumay and Maria João Pires. manner that sounds utterly natural. sonority of concentrated sweetness. This To my mind it’s the Third Sonata that In Dvo∑ák’s Dumky Trio, the ZEN music breathes the same perfumed air as throws up the biggest reservations – the present a colourful cast of characters. They Szymanowski’s Mythes, but just as striking opening is less magically withdrawn than tear into the opening, like new widows as the quiet intimacy of Stark and Pescia’s some, while the hymnic Adagio doesn’t clawing at their clothing, then as Dvo∑ák dialogue is the masterful control with have the rapture of de Vito with Edwin shuffles the work’s seemingly incongruous which they pace the sonata’s 20-minute arc. Fischer or Dumay with Pires. Though dramatic elements – the lyrical, lamenting, Pescia’s command of both form and colour Lane is supple in his rendering of the playful, folksy and fantastical – they deftly also makes for a compelling account of the Scherzo, as a whole it lacks the sense of slip from one role to the next. And what Piano Sonata. It would have been easy for mischief found in such abundance in Pires’s a wealth of detail they survey. Note the Claves’s engineers to let the piano sound playing, while the Little/Lane final Presto tender spontaneity of the playing at the

70 GRAMOPHONE APRIL 2018 gramophone.co.uk CHAMBER REVIEWS

Concentrated sweetness: Nurit Stark and Cédric Pescia play Bloch with fervency and fantasy

beginning of the third movement, the and Apartment House, out of what could rapturous melancholy of the cello solo at simply be a ﬂat plane, render a vibrant 1'34" in the second and the husky vocal surface with all the activity of a Jackson quality of the violin solo at 1'45" in the That the dedicatee of Pollock. Thomas’s touch is nuanced and sixth. Zhang Zuo is marvellously sensitive John Cage’s Concert for various, a steady centre around which the to the variegated texture of the piano part Piano and Orchestra ensemble’s ephemeral voices appear. This from ﬁrst note to last. (1957-58) is Elaine de version is twice as long as the previous If only the ZEN paid greater attention Kooning (wife of the painter), and that some Wergo recording but the extended length to dynamic markings. Where’s the sense of of the piano part is exhibited at MOMA, allows one to enter in and out of the music. a whispered, amorous conversation at the indicates the aesthetic ambidexterity of The work is paired here with Resistance, start of the Adagio in Brahms’s Trio, for Cage’s artwork. Cage approaches the an Apartment House commission by Cage’s example? Although the ZEN’s phrasing is concerto form like a conceptual artist, erstwhile colleague Christian Wolff. beautifully sustained, they play what should rethinking the whole thing. Roughly the same length as the Cage, it be pianissimo as mezzo-forte, spoiling the There is no complete score, only parts, contains quotations of left-wing material effect. Perhaps the fault lies in part with the each performer free to decide what he or from Cornelius Cardew and Pete Seeger, recording, which is a bit close and brightly she wishes to play. The piano part has and is by turns sprightly and humane where lit, sometimes giving an unpleasant edge 84 different types of notation, varying the Cage is drifting and cosmic. It is an apt to the violin’s tone. It’s frustrating, in from the standard to the abstract. Cage pairing. Liam Cagney any case, given the outstanding quality determined the notated music by chance Cage – selected comparison: of the performances. operations and blemishes on his manuscript Kubera, SEM Ens, Kotík (12/93) (WERG) WER6216-2 Happily, there are no caveats regarding paper. The conductor indicates not tempo the encore: an arrangement of Brahms’s but a sort of variable metronome against Cresswell Sixth Hungarian Dance played with which the performers measure their Capricci. Kotetetete – 1st movt. contagious joie de vivre. Andrew Farach-Colton respective tempos. Needless to say, Ricercari. String Quartet recording the Concert for Piano and Red Note Ensemble Cage . Wolff Orchestra poses unique problems. Delphian F DCD34199 (61’ • DDD) Cage Concert for Piano and Orchestra The criticism often made of post- Wolff Resistance Webernian pointillism – that it struggles Philip Thomas pf Apartment House / Jack Sheen to sustain interest over large-scale forms – EVY OTTERMANS EVY Huddersfield Contemporary Records is also relevant here. Sounds that, at the Born in New Zealand MbHCR16CD (98’ • DDD) time, had a ‘wow factor’ of newness have though long resident Recorded live at Clothworkers Centenary since been naturalised. How, then, to in Edinburgh, Lyell

PHOTOGRAPHY: Concert Hall, University of Leeds, July 1, 2017 render their impact anew? Philip Thomas Cresswell (b1944) is

gramophone.co.uk GRAMOPHONE APRIL 2018 71 CHAMBER REVIEWS among those ‘well-respected if not widely Lachrimae, or Seaven Teares is much more So it’s a nice idea of the German sisters known’ composers whose work is both than just a set of variations. We may not Lea and Esther Birringer to make Liszt’s approachable and unpredictable. This new know how this cycle of consort works Two Elegies for violin and piano the disc of (mainly) string quartet music offers was originally performed (or even by what centrepiece of this recital, and the link a chance to find out why. instruments – the work is ‘set forth for the between the worlds of Grieg and Franck. A fine instance is Capricci (2014), its Lute, Viol or Violins’) but the recording The Liszt pieces are not exactly over- 10 short movements ranging widely and catalogue already offers us many possible recorded, and the pair approach them with imaginatively over traditional dance forms solutions, including superb accounts from style and the full-blooded commitment and rhythms. Highlights include the third, Fretwork, Phantasm and Jordi Savall. they bring to the entire disc. They sound a graceful ‘Siciliana’ informed by reticent While most ensembles frame the like instinctive, physical players, and humour; the sixth, an engaging play on Lachrimae with dances published in the they’re very evidently on the same Ligeti-like ostinato patterns that fully same 1604 collection, Les Voix Humaines wavelength as regards the music’s ebb and lives up to its ‘Sprocket’ title; and the and lutenist Nigel North look slightly flow. There’s a winning freshness about ninth, a ‘Brawl’ rendering its round-dance further afield for their additions. The the way they tackle the Grieg in particular, origins with graphic immediacy. At under slightly haphazard result sees the sequence bending into the sweep of a melody. 20 minutes these pieces are best heard in of Lachrimae movements interspersed with Violinist Lea has an enjoyably springy the context of the set overall, as also are dances and lute songs drawn more broadly way with a dance rhythm. Ricercari (2016). Among the nine miniatures from Dowland’s output. Lute solos from It’s fair to say though, that Lea’s for violin and cello, the odd-numbered the later A Pilgrim’s Solace and a duet from playing, with a wide vibrato but a slightly ones are variations on a ‘theme’ that the earlier Second Book of Songs or Ayres are wiry tone, sounds more beautiful on lower comes closest to being stated in the welcome, as is the decision to break up the than higher notes, and her intonation fifth, ‘Mesto’; themselves intercut by cycle of pavans, but neither feels fully occasionally distorts under pressure. an animated succession of scherzos and reasoned here. Esther, on piano, more than matches the caccias, the overall sequence is inspired The dances themselves often tend volatility of her sister’s playing; but while by the techniques of the Italian painter towards the earnest, both in pacing and they’re capable of generating a richly Maurizio Bottarelli (b1943). weight, diminishing the contrasts that poetic atmosphere in quieter passages Most substantial here is the String should animate a composer for whom (such as the opening exchange of the Quartet, completed in 1981 though revised ‘Semper Dowland, semper dolens’ is surely Franck), their emphatic manner can 18 years later so its original format of four more knowing joke than straight-faced sometimes weigh the music down: the movements in two parts was condensed truth. The Lachrimae themselves are more outer movements of the Franck feel heavy. down to three separate movements. Taking varied. The group’s blend is soft-woven And the recorded sound – which places its cue from the tradition of Gaelic psalm- and wonderfully fibrous, full of textural the piano at some distance, with a singing, where melodic lines are absorbed interest. Extensive ornamentation noticeable loss in clarity – doesn’t really into melisma, the work unfolds from heady throughout the disc and a rhetorical do any favours to these characterful, if accumulation then dispersal of such approach to line give the music a pleasing, idiosyncratic, artists. Richard Bratby ornaments, via a series of solos and duos, madrigal-like freedom, and bright flickers to an intense confrontation of ornamented of North’s lute catch the ear among so Haydn and linear writing prior to a decisive close. many musical shadows. But phrasing that Six String Quartets, Op 64 The initial ‘Mormorante’ from Kotetetete surges and tugs a little too forcibly keeps Doric Quartet (2011, its title Maori for ‘chattering’) this otherwise appealing account from Chandos Bb CHAN10971 (142’ • DDD) provides a capricious rounding-off. The rivalling the best already available. virtuosity of the Red Note Ensemble’s Alexandra Coghlan playing makes for a warm recommendation, not least for those still to encounter Franck . Grieg . Liszt As in earlier volumes Cresswell’s distinctive sound world. ‘Lifelines’ of their Haydn series, Richard Whitehouse Franck Violin Sonata Grieg Violin Sonata No 1, the Doric often dazzle, Op 8 Liszt Two Elegies – S130ter; S131bis occasionally frustrate, Dowland Lea Birringer vn Esther Birringer pf in these, the last works Haydn composed Lachrimae, or Seaven Teares. Captaine Piper his Rubicon F RCD1007 (61’ • DDD) before he decamped to London. With their Galiard. Coranto, ‘Were every thought an eye’. unusually fluid approach to tempo and wide Dowland’s Adew for Master Oliver Cromwell. spectrum of colour (including a blanched, The Earle of Essex Galiard. Galiard to Lachrimae. vibrato-less tone) and dynamics, they never M Henry Noell his Galiard. M George Whitehead If you’ve ever played let you take anything for granted. Which is his Almand. M John Langtons Pavan. Sir John a musical version as it should be. No 1 in C, on the surface Souch his Galiard of Six Degrees of the plainest, least distinctive work of the Nigel North lute Les Voix Humaines Separation, you’ll set, gains especially from the Doric’s ATMA Classique F ACD2 2761 (59’ • DDD) quickly have realised that there aren’t many restless imagination, whether in the timing 19th-century composers or performers who and colouring of the breathtaking shift to aren’t linked in some way to Franz Liszt. D flat in the recapitulation, the spectral Liszt commended the young César Franck C minor Trio, questioning the solid Seven meditations on and, two decades later, endorsed Grieg’s C major certainties of the Minuet, or the a shared theme, both First Violin Sonata in glowing terms: ‘a sheer variety of expression they bring to musical and emotional, strong, imaginative, creative, inventive the variation third movement. In the finale John Dowland’s and admirable talent’. they can snatch impetuously at the

72 GRAMOPHONE APRIL 2018 gramophone.co.uk CHAMBER REVIEWS rhythms; but such is their wide-eyed glee Doric distend and cosset it, enervatingly, Hoffmeister . Rossini here, right down to the sly, throwaway end and then outdo even themselves when it Hoffmeister Four Solo Quartetsa –No1;No2 (the Doric are good at endings), that returns at the end of the movement. Rossini Six String Sonatasb –No1;No2;No3 objections seem churlish. If they can underestimate the element Minna Pensola vn Antti Tikkanen bvn/ava While the Doric are incapable of a of robust directness in Haydn’s musical Tuomas Lehto vc Niek de Groot db dull or unconsidered phrase, their liberties persona – and in the process blur his BIS FÍ BIS2317 (69’ • DDD/DSD) with tempo and silence can be extreme. symmetries – the Doric are consistently A case in point is their faltering opening illuminating in the slow movements, of No 2, presumably to underline the which rival the Lindsays (ASV, A/01, 4/02) initial uncertainty of key (a suggestion in hushed, musing eloquence and surpass Hoffmeister and of D major brusquely contradicted by them in beauty of tone. Leader Alex Rossini appear, on B minor). But does Haydnesqe deception, Redington burns into his impassioned the face of it, to be here and elsewhere, need this kind of zingarese lament at the centre of No 6’s an odd couple indeed. underlining? The colours the Doric distil Andante with feverish abandon, while his Certainly I can locate no other disc that in this troubled, gawky movement are colleagues’ minute attention to the shaping pairs their music; perhaps the only time the typically vivid, from the raucous pizzicato and balance of the lower parts makes the two might otherwise appear together would twangs at the end of the exposition to the first-violin-dominated Adagios of Nos 2, 4 be if you like fizzy beer with your steak. mysteriously remote bare octaves in the and 5 far more than touching accompanied Nevertheless, they both composed sets of development. Yet, listening ‘blind’, few solos. And while there are moments where string quartets with double bass and so find would guess that Haydn marked the I wish the Doric would resist their urge to themselves rubbing shoulders here. movement Allegro spiritoso. For my taste question and deconstruct the music, Nos 5 Rossini needs no introduction but they also exaggerate the contrast between and 6 are profoundly satisfying throughout, Franz Anton Hoffmeister (1754-1812) the quasi-Mozartian elegance of the their first movements amply spacious, the might be best known for lending his name opening of No 3 and the zanily galloping minuets unpredictably and wittily timed, to a quartet by Mozart that he published in cello – I want to hear this absurd and the finales – high-class show-off music 1786. He was a prolific composer himself, incongruity ‘straight’, at least first time if ever there was – breathtaking in their active in opera and symphonic forms as round. Most extreme of all are the tempo mingled precision, delicacy and whooping well as writing an avalanche of chamber fluctuations in the first movement of No 4. high spirits. The recording, as in previous music. He was also a double bass player and The wholesome, Haydnesque tune on the issues, is in the demonstration class while accordingly his ‘Solo Quartets’ are led, as it violin’s G string at the end of the exposition Dean Sutcliffe’s notes, like the playing, are were, from the bottom, with violin, viola is a moment of necessary resolution after guaranteed to make you hear these quartets and cello accompaniment. The Dutch the previous harmonic instability. The with fresh ears. Richard Wigmore bassist Niek de Groot is heroic in his

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gramophone.co.uk GRAMOPHONE APRIL 2018 73 CHAMBER REVIEWS starring role, as virtuoso as you like and In the booklet note, Bolton remarks on again juxtaposing early, middle and late characterising admirably across a spectrum Marais’s exceptional sensitivity to both the works, fulfi ls every expectation. They play from melodic to gruff and serious to witty. ‘colour of sound’ and different tonalities: the two fragile early sonatas, composed De Groot retreats to his more usual job ‘His palette, fairly clear-cut in his first when the wunderkind was barely out of of providing bass underpinning for his books, moves in the last two towards more nappies, with charm, simplicity (no over- three Finnish colleagues (Antti Tikkanen blended tones, close in spirit to the tonality sophisticated infl ections) and – say, in swaps his viola for second violin) in three of the Fêtes galantes of Watteau.’ K11’s chuckling contredanse fi nale – an of the String Sonatas composed by the Lively tracks such as ‘Le jeu du volant’ impish sense of fun; and while Tiberghien 12-year-old Rossini. Not yet the operatic (shuttlecock), ‘Fête champêtres’, ‘La inevitably leads the show here, Ibragimova master – that would take a few more Biscayenne’ and ‘La Provençale’ conjure a judges to a nicety her little interpolations years – his unassuming chamber works spirit of the out-of-doors, while others – the and echoes. With their seemingly nevertheless show the lightness and hauntingly beautiful rondeaux in particular instinctive mutual understanding, the humour that would be evident in much of (tracks 4, 5, 9 and 16) evoke the nostalgic players constantly ensure that there is no his maturer music, as well as a distinct gift aspects of Watteau’s images. Among the whiff of routine in these ingenuous for melody (the wonky opening motif of many rarely heard delights are ‘La Paraza’ childhood works. No 1 in G, for example). There’s also (in which the player is given the opportunity Even Tiberghien and Ibragimova something more earnest and dramatic in to create his or her own version with a cannot quite convince me of the stylistically No 2 in A, perhaps the best of these works. series of options) and ‘Le Tact’, involving dubious posthumous arrangement of the They are all captured in focused but virtuoso alternation of left-hand pizzicato late B fl at Piano Sonata, K570. In the airy sound, giving a good sense of the and bowed notes, which is enchanting in Adagio and fi nale, especially, the added Schauman Hall in Jakobstad (Pietarsaari), spite of its technical wizardry. violin fi guration compromises the music’s Finland, some 450km north of Helsinki. Listeners will be transfixed by the lean, rarefi ed grace. The little-known set Expect no revelations from these pieces. sublime performances of the F sharp of variations on a popular French chanson, They are, nonetheless, entertaining, ‘Badinage’ and ‘La Rêveuse’, popularised in K359, can seem slight on the page. But, effortlessly enjoyable and beautifully the 1990s by Jordi Savall’s performances in true to form, Tiberghien and Ibragimova performed. David Threasher the film Tous les matins du monde. These new bring the music tinglingly alive, with new interpretations open our ears to astonishing timings and subtle changes of tone colour Marais . F Couperin aural landscapes, and even glimpses of the and emphasis on repeats. Mozart, a born F Couperin Les barricades mystérieuses. inner genius of Marin Marais. show-off, would surely have relished the Le Dodo ou L’amour au berceau If, alas, no mention of Marais and swashbuckling fl amboyance Tiberghien Marais Pièces de viole – selections. Couperin playing together survives, the brings to the pianistically brilliant Pièces à une et à trois violes – selections classical perfection of their music offers Variations 6 and 10. La Rêveuse ample evidence of shared values. Perrot’s As to the mature sonatas – each of them a Mirare F MIR386 (64’ • DDD) arrangements of two much-loved Couperin true democracy – it’s hard to imagine more pieces exquisitely point this up and make delightful or discerning performances. one wonder whether Marais might ever Ibragimova, with her astonishingly varied have entertained himself and his patrons tonal palette, and Tiberghien combine If you’re thinking ‘ah, with his own versions for the viol. the wisdom of long experience with a just another recording This exceptional recording will surely spontaneous joy in music that is so often of French viol pieces’, rank among my contenders for recording opera buffa by other means. Crucially, both think again. You of the year. Personally, I feel as though players understand the essentially vocal couldn’t be more wrong. This recording I’ve visited Marais’s studio and heard the nature of Mozart’s inspiration. If you don’t by Florence Bolton and theorbist Benjamin sounds from his window, and these are smile at the quickfi re banter in K526’s Perrot with members of their ensemble experiences I shall treasure. Julie Anne Sadie opening Allegro, amid ever-unpredictable La Rêveuse breaks new ground. The phrasing and shading, you haven’t been challenges of playing the seven-string Mozart listening. Grace, wit and delicacy coexist bass viol, and the French repertoire in ‘Violin Sonatas, Vol 5’ with a quasi-orchestral grandeur and particular, are well known, but Marais Violin Sonatas – No 6, K11; No 7, K12; boldness in the opening Allegro of K380 himself would have immediately recognised No 19, K302; No 28, K380; No 35, K526. while the Presto fi nale of K526 emerges, and appreciated Florence Bolton’s artistry Variations on ‘La bergère Célimène’, K359. rightly, as a coruscating double concerto and commitment to his music. These are Piano Sonata No 17, K570 without orchestra, each player vying with sublimely unfettered performances, Alina Ibragimova vn Cédric Tiberghien pf the other in virtuosity. Most memorable perfectly judged and yet remarkably Hyperion BbCDA68175 (121’ • DDD) of all are the slow movements: the wistful improvisatory in spirit. Her sense of timing Recorded live info G minor Andante con moto of K380, and the is ravishing, her close musical rapport with Andante of K526, music at once austere and Perrot and colleagues is magical and so it’s visionary. Keeping each movement fl owing, hardly surprising that the French Ministry Tiberghien and Ibragimova distil a quality of Culture has associated La Réveuse with If ever a Mozart of rapt inwardness, not least in the quietly this year’s Année européenne du recording were self- shocking harmonic progression that leads patrimoine culturel. recommending, this back to the main theme in K526. The choice of pièces from the fourth is it. The fi rst four Occasionally in these works – say, at (1717) and fifth (1725) books, both fresh volumes of the French-Russian duo’s the fermata in the gentle ‘walking’ fi nale and familiar, produces a coherent, complete sonata cycle came close to my of K302 (at 4'19") – the players resist cumulative impression of artistic maturity. Mozartian ideal. This fi nal instalment, Mozart’s invitation for a brief improvised

74 GRAMOPHONE APRIL 2018 gramophone.co.uk CHAMBER REVIEWS

In the zone: Tanja Tetzlaf and Gunilla Süssmann are superb advocates for Rautavaara’s Cello Sonatas

cadenza or a touch of added movement Cello Sonata No 1 is carpet- Yes, the Sonata is tricky. No, Tanja ornamentation. But, on disc at least, bombed by fist-shaped piano clusters Tetzlaff doesn’t make it sound so. She better too little than too much. The before it embarks on a moving process of can pack a punch, is always spacious, and recorded balance, as in previous issues, recovery. The Cello Sonata No 2, like the sometimes sacrifices accuracy of tuning at is spot-on, and Misha Donat’s detailed First, contains examples of the brutalist the altar of expression and line. Her partner notes, going far beyond the obvious, are symmetrical harmonies that were common Gunilla Süssmann is absolutely in the zone, doubly welcome given that Mozart’s violin in Sixties and Seventies Rautavaara. whether lowering chords into the piano sonatas are among the least written-about Both pieces were started in the early with her arms in the Sonata No 2 and Song areas of his output. ‘A set that will surely Seventies but finished far later. In the of my Heart – a refugee from the opera Aleksis become the modern reference recording’ First, completed in 2001, Rautavaara’s Kivi – or enlivening passages including the wrote David Threasher after Vol 4, a use of an almost runic melody that orbits deranged dance that is the Polska, a manic, claim I would enthusiastically endorse around the middle of three adjacent notes dual-personality polka in which Tetzlaff after this superlative final volume. is telling when considering his relationship duets with herself. Andrew Mellor Richard Wigmore to Sibelius. The Second, completed in 1991, grapples with bigger issues. It is Reich Rautavaara an attractively pessimistic piece in which Pulsea. Quartetb Cello Sonatas – No 1; No 2. Solo Cello Sonata. a remarkable central movement – a moto bColin Currie Group; Polska. Two Preludes and Fugues. Song of my perpetuo on the cello beneath which broad, aInternational Contepmorary Ensemble Heart shadowy chords born of an entirely Nonesuch F 7559 79324-3 (31’ • DDD) Tanja Tetzlaff vc Gunilla Süssmann pf different velocity are laid down by the Ondine F ODE1310-2 (68’ • DDD) piano (again, echoes of Sibelius) – prepares the way for the angry confessions of the finale. From the funky The neo-Baroque devices of the Solo maracas in Four Organs Rautavaara may Sonata (1969) offer Rautavaara the chance to the famous pulsing have moved away to hang melodies off a single ‘anchor’ note chords that are heard from avant-gardism in once more, and to explore ideas of one at the beginning of Music for 18 Musicians, favour of mystic neo- plane of sound restricting or controlling pulse (or, more accurately, the plural Romanticism but the works assembled another (pizzicato ‘pegs’ underneath broad ‘pulses’), has become one of the most CHRISTOPH FRANKE CHRISTOPH here show that he never entirely shunned double-stopped lyricism, for example). This distinguishing features of Steve Reich’s serialism or related techniques, thrusting fascinating piece builds on the lessons of music. Perhaps it’s surprising that he them into tonally well-behaved pieces long the Two Preludes and Fugues (1955) from took so long to compose a piece directly

PHOTOGRAPHY: into his career. The composer’s single- the composer’s student days. inspired by it.

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In fact, Pulse, composed in 2015 for a late 17th-century viola from the workshop winds, strings, piano and electric bass, is of Hendrick Willems. Not that it matters, as far removed from generic pulse-based really, for in terms of beauty of tone, purity Reich music as one could imagine. It begins of intonation and unanimity of ensemble, The main novelty not with a pulse but with an undulating this foursome does its namesake proud. here is Martin Butler’s melodic line in fl ute, clarinet and violins, Interpretatively, too, there’s much Barlow Dale: Four almost Copland-esque in its wide-open to admire. Schumann wrote this trio of Characteristic Pieces, intervals and subtle blending of major quartets as a birthday gift for his beloved written in 1977 when the composer was triads. This melody stretches out across wife Clara, composing at white heat – just 17. Inspired by the fictional adventures two octaves in its opening statement, all three were completed in a mere two of a feline detective – Barlow Dale, cushioned by soft chords in lower months during the summer of 1842. No something of a fusion of Sherlock Holmes, strings, before gradually reshaping wonder, then, that the passion in these Poirot and Dr Finlay – the pieces depict and regenerating itself in various ways scores often seems to blister on the music’s the eponymous hero, a slow-witted Police throughout the work’s 15-minute span. surface. The Stradivari, to their credit, Inspector, the elegant (Siamese) secretary Soon enough, pulsing patterns are never fail to produce a rich, red-blooded Miss Honeyflower, and dastardly villain introduced on piano followed by electric sound, even in the most ferociously diffi cult Asiam Rex. It is all light-hearted fun bass, and the bright opening becomes passages. Take the scampering fi nale of the but how nice to see such a trifle still increasingly darker and more intense First Quartet, for instance. They’re neither acknowledged and performed by its as the opening melody takes on more as breathtakingly fl eet of foot as the Doric creator in this premiere recording intense chromatic infl ections. The pulse nor as breathlessly vigorous as the four decades later. momentarily drops out of the electric bass Zehetmair (on their Gramophone Award- In the sonatas by Bax (1934) and for a brief middle section that moves to the winning disc), but their heartiness still Ireland (1943), Butler and clarinettist minor key before the introduction of a fi nal conveys a satisfying sense of joyousness. Nadia Wilson face some stiff competition. section, which sees a variation of the In the similarly boisterous fi nale of the The Bax remains popular on disc, if no opening melody heard in augmentation. Third Quartet, the Stradivari dig in with longer in the recital room, with Naxos Pulse exudes a restrained, valedictory gusto. Here the Doric’s quicksilver and Chandos having multiple versions quality that partly stems from the way approach brings Haydn to mind, while the available. Murray Khouri and Michael in which it briefl y journeys through the Stradivari make me think of Tchaikovsky, Collins (in his earlier recording, in an all- main elements of Reich’s language – and how much his quartet-writing owes Bax programme for Hyperion) remain pulse combined with interlocking and to Schumann. joint first choices. Wilson and Butler are interweaving patterns, melodies that I am utterly entranced by the Stradivari’s quicker by nearly a minute compared to kaleidoscopically refl ect each other ardour in the fi rst movement of the Second the Hyperion, as they are in Horovitz’s through canon and imitation, lines that Quartet; in their hands the intertwining delightful Sonatina (1981). As stretch and contract through augmentation melodic strands seem to glisten, sunlit. interpretations, there is not much to and diminution – yet remains at its core a Occasionally the sonorous splendour of choose between them but the main brilliantly conceived and organically self- their playing becomes a liability, as in the drawback of Prima Facie’s newcomer suffi cient work: Reich at his imperious best. densely contrapuntal development section is the flat acoustic and airless, two- The other work on this recording, of the First Quartet’s opening Allegro. dimensional sound. Quartet, for pairs of pianos and vibraphones, And, in general, I wish the Stradivari Much the same applies for Ireland’s composed in 2013, also looks back in its paid greater heed to Schumann’s dynamic Fantasy-Sonata, an imaginatively opening reference to the composer’s much markings. All too frequently they render constructed single movement with the earlier Violin Phase, but in all other respects soft passages as a robust mezzo-forte. Take gravitas of a rather larger work. Wilson is a very different composition to Pulse: the rapturous beginning of the Third and Butler perform it very nicely indeed rhythmically assertive, edgy and full of Quartet, for example: it’s heartfelt, yes, but but, again, this is not the prime sharp juxtapositions. Both performances – would be so much more affecting if played recommendation. Guy Rickards the former by ICE (International at a true piano, as the Zehetmair do. Bax, Horovitz, Ireland – selected comparison: Contemporary Ensemble), the latter by The Doric and Zehetmair recordings Khouri, Pettinger (6/92) (CONT) CCD1038 the Colin Currie Group – are excellent. are both essential, though similar in their Bax, Ireland – selected comparison: Pwyll ap Siôn verve. The Stradivari offer a somewhat Collins, McHale (6/12) (CHAN) CHAN10704 more gemütlich view, as do the Cherubini Johnson, Martineau (7/94) (ASV) CDDCA891 Schumann (EMI/Warner), Ysaÿe (Aeon/Ysaÿe, 4/04) Bax – selected comparison: Three String Quartets, Op 41 and Gringolts (Onyx, 1/12) Quartets – and, Collins, Brown (5/96) (HYPE) CDA66807 Stradivari Quartet honestly, I wouldn’t want to be without any Horovitz – selected comparison: RCA Red Seal F 88985 49264-2 (79’ • DDD) of them. Andrew Farach-Colton Collins, McHale (6/13) (CHAN) CHAN10758 Selected comparisons: Zehetmair Qt (6/03) (ECM) 472 169-2 ‘Home’ Doric Qt (12/11) (CHAN) CHAN10692 Schubert Arpeggione Sonata, D821. Not all the members Nacht und Träume, D827 Schumann Drei of the Zurich-based ‘Clarinet Fantasies’ Fantasiestücke, Op 73. Adagio and Allegro, Stradivari Quartet Bax Clarinet Sonata Butler Barlow Dale: Op 70. Du bist wie eine Blume, Op 25 No 24 play instruments made Four Characteristic Pieces Horovitz Sonatina Soltani Persian Fire Dance Vali Persian by the legendary luthier Antonio Stradivari. Ireland Fantasy-Sonata Folk Songs Sebastian Bohren uses a violin by Nadia Wilson cl Martin Butler pf Kian Soltani vc Aaron Pilsan pf Guadagnini, and Lech Antonio Uszynski Prima Facie F PFCD076 (50’ • DDD) DG F 479 8100GH (79’ • DDD) gramophone.co.uk GRAMOPHONE APRIL 2018 77 CHAMBER REVIEWS

the texture to quite such an extent. It’s Collector the nature of the beast – in an early 19th-century trio, a modern concert grand THREE’S COMPANY is always going to have a slightly unnatural Richard Bratby explores piano trios from the 18th century advantage, though it’s less of an issue to the 21st, and revels in the range of musical invention in Hecker and Helmchen’s thoughtful account of the Arpeggione Sonata. Warning: the track timings in the booklet are wildly incorrect. Leap forwards into the 21st century, and it’s clear that Cecilia McDowall grasps the nature of the piano trio as a modern medium, even if there’s something distinctly Romantic about her inspiration. Her single-movement trio Cavatina at Midnight (2008) imagines the cavatina of Beethoven’s Op 130 encountering the nightingale that duetted with the cellist Beatrice Harrison, and the piano creates an atmospheric haze of sound as the strings wheel and chirrup above. In the Japanese-inspired Colour of Blossoms, the piano’s jangling bass clusters become the echoing of gongs and temple bells. Trio Derazey find the core of stillness Sparkling performances: the Van Baerle Trio impress in Beethoven piano trios in the music as well as its fantasy, and the individual players are equally sympathetic hen Beethoven throws design principles and which – on the to McDowall’s imagination in shorter down an E flat major chord, evidence of this recording – rather works for smaller combinations, including Wsomething big is usually elegantly solves all the balance problems the Rilke-based Strange violin, are you about to happen – and inherent in a piano trio written before the following me? and The Night Trumpeter, we’re not just talking about an Eroica evolution of the modern concert grand. which adds woodwinds and a trumpet to or an Emperor. An E flat major crotchet The Van Baerles take its possibilities the trio for a fantasy on Rose Tremain’s followed by an exuberant upward flourish and run with them. These sparkling Music and Silence, with hints of both is how the 24-year-old composer opens performances are as acoustically well Stravinsky and Messiaen. The pieces in his Piano Trio, Op 1 No 1, of 1795: the balanced as they are inventive. this collection are perhaps more effective springboard into the greatest adventure It almost seems unfair, in fact, to heard individually than as a sequence – of all. So imagine the pressure, for an turn to an early Romantic trio recorded they tend towards the reflective – but interpreter, that hindsight brings to bear without that advantage – and it needs there are riches here that deserve to on those opening bars – the sublimated to be said straight off that the trio of be enjoyed beyond the closed world grandeur; the weight of expectation. And Marie-Elisabeth Hecker, Antje Weithaas of contemporary music. then, if you’re the Van Baerle Trio on and pianist Martin Helmchen approach And that goes double for the two piano this joyous new recording, forget all about Schubert’s mighty E flat Trio with trios of Russian-born Lera Auerbach, it. The overwhelming quality of this new seriousness and refinement. They have presented here in what, if they aren’t disc is a quite irresistible freshness: young the measure of Schubert’s proportions; premiere recordings (the booklet doesn’t man’s music, played with an inquisitive and from the opening gestures, with say, but it looks likely), are surely spirit, a spring-like clarity and (when Weithaas’s violin quavers buzzing quietly definitive accounts by the Delta Piano necessary) a daredevil verve. The finale away in the background as Helmchen Trio – another highly impressive Dutch of the C minor Op 1 No 3 has an almost and Hecker exchange thematic ideas, ensemble. If McDowall is understated, Hungarian flamboyance and fire. this is a reading that combines symphonic Auerbach is extrovert, eclectic and It sounds distinctly different, and scope with a deeply romantic sense unafraid to go large. Are we still allowed I initially checked the booklet to see of characterisation and emotional to use the term ‘postmodern’? What’s whether or not this young Dutch trio narrative. Imagine Winterreise and the intriguing about these two works – the was playing on period instruments. More Great C major Symphony combined, epigrammatic Trio No 1 (1994) and the fool me: the lucid, luminous but slightly in chamber music that’s anything but considerably larger Triptych (2012) – is clipped piano sound, which makes pianist small-scale. how, for all Auerbach’s gleeful musical Hannes Minnaar’s virtuoso flourishes But – and this isn’t a criticism, just bricolage (her language ranges from glint like pearls, has little in common with an observation – the two string players mock-baroque bustle to Prokofiev-like the attack of a fortepiano. No, apparently have such an attractive sound and there’s constructivist anarchy), there’s still an he’s playing on a straight-strung Chris such subtlety of shade in their playing unmistakable sense of this music fitting Maene concert grand, a new instrument that you do wish slightly that the tone into the Russian tradition of Shostakovich, that incorporates early 19th-century of Helmchen’s piano didn’t dominate whose Second Trio, in a vivid, wide-

78 GRAMOPHONE APRIL 2018 gramophone.co.uk CHAMBER REVIEWS

In Echo / Gawain Glenton cornett eyed performance, opens the disc. Delphian F DCD34206 (68’ • DDD) There’s definitely something serious going on beneath the surface here and You can tell a great the Delta Piano Trio manage to find deal about performance it – even while throwing themselves quality from one In Echo have wholeheartedly into Auerbach’s seagull crucial consideration: been assembled by cries, motorbike drones and wobbly timing. In the context of Schubert’s cornettist Gawain imitations of a musical saw. You’ll Arpeggione Sonata as played by Kian Glenton from need a sense of humour, but I found Soltani and Aaron Pilsan, it’s in the first mainstays of the English Cornett & it irresistible. movement. Listen to 2'58", an arpeggio Sackbut Ensemble, Florilegium, Fretwork, Shostakovich also features on 3x3 piano chord at the close of the exposition, the Taverner Players, I Fagiolini and the Live, the final release here – the single- then the pause before the repeated Bach Players. Their debut album explores movement Trio No 1 that he wrote opening – sheer perfection. No one on disc music associated with the Hanseatic in his teens, performed by the young judges it better. The overriding impression League of cities dotted around the North Russians Lukas Geniu≈as, Aylen Pritchin is of a watertight musical partnership, one’s Sea and the Baltic. Almost all works are and Alexander Buzlov, and recorded attention divided equally between cellist by little-known authors active in the 17th live at the Moscow Conservatory. An and pianist. Soltani was born in Bregenz in century, and the eclectic choices have been unhappy earlier encounter on disc with 1992 into a musical Persian family and has sequenced intelligently to cultivate a well- Geniu≈as and Pritchin had lowered my all the qualities needed to win consistent paced variety of textures, moods, styles and expectations. But here – as well as fiery critical acclaim, namely innate musicality, shifting combinations of instruments. intensity and an old school, wide-bore a yielding, svelte tone, an agile bowing arm A few pieces feature five or more players, Russian playing style that in the past has and a skilful deployment of varied vibrato. such as a beguiling sonata of sonorous occasionally tipped into coarseness – Listening to him is a great pleasure. depth by Antonio Bertali that highlights they bring a sense of intimacy and a The programme is especially well chosen. rapier-like interplay between Glenton, tremulous sweetness of sound that’s Schumann is represented by two works, the Emily White (sackbut) and Bojan Cˇ i∂ic´ actually highly affecting. Op 73 Fantasiestücke and the Op 70 Adagio (violin). Blink and you will miss a tiny And it’s not as if the main work on this and Allegro in A flat, music that illustrates sorrowful piece by Schütz’s younger Melodiya disc – Weinberg’s powerful not only the ‘Florestan’ and ‘Eusebius’ cousin Heinrich Albert, followed without Piano Trio of 1945 – is over-recorded, aspects of the composer’s own muse but pause by Johann Sommer’s pavan based either. The booklet notes are useless but parallel qualities in this particular musical on Lassus’s chanson ‘Susanne un jour’. this performance speaks for itself – taut, partnership, languid lyricism and fiery At the smaller end of the scale, Lübeck- ardent, characterful, and very much in attack. Both composers are additionally born Thomas Baltzar’s solo violin the epic manner. Their account of the represented by beautiful – and superbly variations on ‘John come kiss me now’ Ravel Trio came as a pleasant surprise played – song transcriptions, Schubert by is played with consummate skill by Cˇ i∂ic´. too: there’s a ritzy, café-trio swing to the ‘Nacht und Träume’, Schumann by ‘Du Glenton and White deliver impeccable opening paragraph that’s quite delicious. bist wie eine Blume’. divisions and a kaleidoscope of colours Plus Geniu≈as, on piano, really makes And then there’s the Persian element, in a substantial sonata by the itinerant those martial trumpets blast through Reza Vali’s seven Persian Folk Songs (‘Set Hamburger Dietrich Becker. Silas Ravel’s tempestuous finale. Emotion No 16 C’ as we’re told), love songs by ‘the Wollston provides a judicious account recalled in tranquillity? Hardly – it’s the Bartók of Iran’, as Soltani thinks of him, of a pavan by Melchior Schildt based on sound of a genre, and a tradition, in rude though I was put more in mind of Janá∂ek, Dowland’s famous tune from Lachrimae good health. certainly in the first piece, ‘Longing’. The (both musicians were employed at the third piece ends with a Tristan quote and court of Danish king Christian IV), THE RECORDINGS the programme as a whole concludes with which leads into Anthony Holborne’s Beethoven Cpte Piano Trios, Vol 1 Soltani’s own unaccompanied Persian Fire exquisite pavan The Image of Melancholly Van Baerle Trio Dance, which would do nicely in recital as a played beautifully by cornett and four- Challenge Classics FÍCC72765 follow-on from Kodály’s Solo Sonata, very part strings. much the same worlds and a work that with The inquisitive ensemble has also Schubert Pf Trio No 2, etc any luck Kian Soltani will offer us before commissioned Andrew Keeling’s new work Weithaas, Hecker, Helmchen too long. A beautiful programme, superbly Northern Soul, organised into four ‘walks’ Alpha F ALPHA284 recorded. Rob Cowan inspired by the composer’s rambles around McDowall ‘Colour of Blossoms’ the Lake District; the extraordinary Trio Derazey ‘Music in a Cold Climate’ timbres of a newly built reconstruction of Deux-Elles F DXL1171 ‘Sounds of Hansa Europe’ a rare English Renaissance organ emerge H Albert Das Leid ist hier Baltzar John come to the forefront and the cumulative effect Auerbach. Shostakovich Piano Trios kiss me now. A Prelude for the Violin D Becker seems as if slithers of Gabrieli, Messiaen Delta Pf Trio Sonata a 2 Bertali Sonata a 4 Brade Der heilig and King Crimson converge on a Odradek F ODRCD350 Berg. Peggie Bell. Ein Schottisch Tantz Holborne fairground ride. David Vickers MARCO BORGGREVE MARCO ‘3x3 Live’ Pavan, ‘The Image of Melancholly’ Keeling Pritchin, Buzlov, Geniušas Northern Soul Kempis Symphonia1a4Schildt Find your Paduana, ‘Lagrima’ Schop Lachrimae Pavaen Melodiya F MELCD100 2491 music on

PHOTOGRAPHY: Sommer Der 8. Psalm. Paduana, ‘Susanne un www.qobuz.com jour’ Staden Sonata 31 a 4

gramophone.co.uk GRAMOPHONE APRIL 2018 79 ICONS

Ginette Neveu Tully Potter recalls one of the greatest violinists to have emerged from France, a player whose career was cut short just as it was blossoming in a plane crash in the Azores

n the late 1940s and early 1950s, just as classical music and South America; and 1948 took her to Australia, the was recovering after the war, we suffered a number of United States and various European countries. A highlight Igrievous losses. None was more shattering than the death was the Beethoven Concerto with Herbert von Karajan of Ginette Neveu, aged 30, in a plane crash on October 28, and the Vienna Philharmonic. In 1949 she appeared at the 1949. In an international career effectively lasting only four Edinburgh Festival and she planned important recordings years and still approaching its and a South African tour. flood, she had won the hearts Her fine tone, well-schooled technique The catastrophe that wiped of critics, audiences and her out even destroyed record buyers. and beautiful portamento fitted her her violins, a 1730 ‘Magnificent’ is the Omobono Stradivari and a word that comes to mind naturally for Romantic music GB Guadagnini – only the when trying to define her scroll of the latter survived. musicianship: the tomboy who loved cycling and swimming The tragedy is that Neveu was playing so well in those few grew into a tall young woman with the physical and mental post-war years. Ida Haendel’s memory that her vibrato was strength to conquer the most challenging concertos. Her wider before the war is borne out by her 1938-39 recordings, fine tone, well-schooled technique and beautiful portamento where the vibrato often catches the microphone in a rather fitted her naturally for Romantic music, but she patiently fluttery way – the main work is the Richard Strauss Sonata, disciplined herself in the Classical and Baroque literature. nicely done but not with the poise of, say, Leonid Kogan. In Music ran in her family: her great-uncle was the organist the post-war recordings, the vibrato is more under control. Charles-Marie Widor, her father was an amateur string It is futile to dwell on might-have-beens, opportunities to player and her mother a record her which were violinist. Born in Paris defining moments missed, works central to on August 11, 1919, she her repertoire which went began violin lessons aged •1928 – Shows prodigous talent at the Paris Conservatoire undocumented. What five with her mother, After working with George Enescu, Neveu wins first prize at the Ecole we have is varied and of transferred to Line Talluel Supérieure de Musique and the City of Paris Prix d’honneur. In 1930 she excellent quality. The epic and at seven, made her enters Jules Boucherit’s Conservatoire class and nine months later takes 1945 Sibelius Concerto, début with the Colonne a first prize, aged 11, prompting comparisons with Henryk Wieniawski. completed in one long day Orchestra under Gabriel •1931 – Carl Flesch takes her under his wing which left Neveu with chin Pierné, playing Bruch’s In the Vienna International Competition she comes fourth. Carl Flesch and neck almost bleeding G minor Concerto. Her is so impressed by her playing that he oers a full scholarship. Neveu from the pressure of her further progress was cannot take it up for two years but studies with him for four years in violin, is often praised. attended by prizes, the Berlin and Belgium and continues to consult him. The outer movements, admiration of teachers •1935 – A triumph in Warsaw causes controversy well conducted by Jules Boucherit, George Neveu beats 26-year-old David Oistrakh into second place in the Susskind, are powerful, Enescu and Carl Flesch, Wieniawski Competition in Warsaw, creating a stir with Ravel’s Tzigane. while in the Adagio the and her first European Even French juror Gabriel Bouillon alleges anti-Semitism but Oistrakh tone is pure even under tours. In 1937 came her is magnanimous. Neveu tours Germany twice and visits the Soviet quite heavy bowing. New York recital debut. Union. Having studied The war held her composition with Nadia back, but in 1945 her •1940 – Parisian triumphs in war-torn Paris Boulanger, Neveu had a career opened up, with She refuses to tour Germany despite lucrative oers. In occupied Paris, well-developed feeling for a sensational London she plays Beethoven’s Concerto for the first time with Paul Paray in structure. Take the 1946 recital – elder brother 1941, premieres Poulenc’s Sonata, dedicated to her, with the composer in Brahms Concerto with Jean was now her piano 1943 and Federico Elizalde’s Concerto in 1944. Issay Dobrowen, where partner – and a British tour •1949 – A glorious career cut down in its prime her timing for the opening with Roger Désormière, En route to America with brother Jean, their plane crashes into the peak movement, up to the start followed by more successes of Algarvia, on San Miguel in the Azores. His body is never recovered, of the cadenza, is 16'42", here in 1946. Most of Ginette’s is misidentified and initially buried at Mulhouse, Alsace. comparing well with such 1947 was spent in North She is finally laid to rest in Paris’s Père Lachaise Cemetery. masters as Huberman,

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Busch, Szigeti and Heifetz – in live versions with Desormière Jean Neveu, a pupil of Yves Nat and a fine pianist, was and Schmidt-Isserstedt she adds about half a minute. Since less extrovert than she, yet he plays up to her manfully in a her day, slowcoaches have abounded in this concerto. It totally idiomatic Debussy Sonata and a splendid live Brahms seems to me that her interpretation of the Brahms had just D minor. He supports her sympathetically in Josef Suk’s Four about settled, whereas live recordings of the Beethoven Pieces and Ravel’s Tzigane, special favourites of hers, and with Rosbaud and Van Otterloo assorted encores which display indicate that she had not yet made the essential recording aspects of her technique. She final decisions on tempi or choice always worried about staccato, of cadenzas. In the Larghetto Brahms. Sibelius Violin and Elgar’s La Capricieuse was she is ethereal but without the Concertos Philharmonia among three pieces rejected and intensity of Busch or Kogan. Orchestra / Issay Dobrowen, destroyed, yet Dinicu’s Hora Another orchestral recording with Walter Susskind Staccato is among the best. THE TULLY POTTER COLLECTION Dobrowen, Chausson’s Poème, Warner Classics mono Yes, she was magnificent, and is wonderfully sustained, with a M 476 8302 everything she recorded has magical atmosphere and the kind of Recorded at Abbey Road something to tell us about the

PHOTOGRAPHY: portamento that is a lost art today. Studios, London, 1945-6 special qualities of the violin.

gramophone.co.uk GRAMOPHONE APRIL 2018 81 Instrumental

Harriet Smith welcomes Nikolai CharlotteGardnerenjoysasolo Lugansky’s Rachmaninov Preludes: disc from Michael Barenboim: ‘Hehastherequisitetechniqueinspades,and ‘Shimmering ﬁgures sound like little fractals mostimportantlyheisemotionallycompletely of sunlight catching the ﬂoating dust particles – attuned to this music’ REVIEW ON PAGE 89 it’s incredibly atmospheric’ REVIEW ON PAGE 90

JS Bach the music sound like an interior The Fantasia, BWV562, is given a English Suite No 1, BWV806 – Prelude. French monologue. By contrast, the juxtaposition certain regal flair through the searing Suites: No 1, BWV812 – Gigue; No 3, BWV814 – of Thomas’s incisive and ‘zoomed-in’ chorus reeds and Kelemen’s stately tempo, Menuet; No 5, BWV816 – Allemande; No 6, D major Partita’s Aria and D minor while the stand-alone Fugue, BWV575, BWV817 – Sarabande; Courante; Polonaise. French Suite’s Gigue performances reveal seems to try its hardest to sound more Keyboard Partitas: No 1, BWV825 – Gigue; No 2, these works as two sides of the same coin. solemn than it really is. For the Passacaglia BWV826 – Sinfonia; Sarabande; No 4, BWV828 – It makes no sense to evaluate Thomas’s and Fugue, Kelemen restricts himself to Aria; Allemande; No 5, BWV829 – Tempo di programmatic mixing and matching in a single registration, merely moving minuetto; No 6, BWV830 – Corrente the context of complete Partita and Suite from Hauptwerk to Oberwerk for a Fred Thomas pf recordings, except to say that the serious single episode (4'55"-6'02"). This, coupled Odradek F ODRCD357 (53’ • DDD) care and thought characterising his acoustic with an articulation which largely keeps choices happily extend into his pianism. the individual notes apart and cuts the As a consequence, Thomas’s concept lines up into unjoined-up dots of sound, transcends the gimmick. Jed Distler does nothing to endear this performance Given Fred Thomas’s to me. multifaceted talents JS Bach The two preludes on Allein Gott in as a genre- and Allein Gott in der Höh’ sei Ehr’, BWV717. der Höh’ sei Ehr’ add a welcome touch boundary-blurring Fantasy, BWV562. Fugue, BWV575. Concerto, of brightness and energy. The Ernst composer and improviser, one would BWV595 (after Johann Ernst). Die Kunst der Concerto transcription is doubly expect his fi rst all-Bach solo piano release Fuge, BWV1080 – Contrapunctus I. Passacaglia welcome for being in a major key and to embody a specific concept or angle, and Fugue, BWV582. Preludes and Fugues – focusing on the charming softer flute as indeed is the case. Thomas assembles BWV534; BWV546. Trio super Allein Gott in der stops of the 1737 Christoph Treutmann a selection of individual dance-based Höh’ sei Ehr’, BWV664. Valet will ich dir geben, organ of the Grauhof Klosterkirche. movements from Bach’s Partitas, English BWV736 A change of tonal centre for the F minor Suites and French Suites and puts them Joseph Kelemen org Prelude continues the emphasis on together in a running order with the Oehms F OC465 (70’ • DDD) lighter stops, with some delicate little ingenuity of a seasoned DJ. What is more, Played on the Christoph Treutmann organ of the flutes exposed in the final bars, but the Thomas enhances the character of each Klosterkirche Grauhof, Lower Saxony, Germany weight comes back on with a vengeance piece through various microphone in the Fugue. placements. For example, the C minor If you like your Bach chiselled from Partita’s Sinfonia and Sarabande and granite and magisterially seated on a B minor French Suite’s Minuet are This is solid, heavy, mighty pedestal, this disc is definitely for captured at a distance with ample room monumental Bach. you. Marc Rochester tone, whereas the E major French Suite’s The Hungarian Polonaise features the kind of close- organist Joseph Beethoven up focus typical of Glenn Gould’s Kelemen adds weight to this programme Diabelli Variations, Op 120 Bach recordings. of Bach works which are predominantly in Martin Helmchen pf To be sure, you don’t get acoustic C minor with registrations – fully detailed Alpha F ALPHA386 (55’ • DDD) changes within selections vis-à-vis in the booklet – which give a thorough Gould’s Sibelius and Scriabin ‘acoustic workout to the hefty 16ft Principal on orchestration’ experiments, yet the point the Hauptwerk, the chorus reeds and this is that ambience strongly factors into historic organ’s decidedly meaty pleno. No sooner does how one perceives a performance, much as This is an approach which works well Alpha release theatrical lighting enhances onstage drama enough for BWV546 with its massive, Filippo Gorini’s during individual scenes and transitions. colonnaded Prelude and its ominously solo debut CD The warm sonic patina surrounding plodding Fugue, although one tires of featuring Beethoven’s Diabelli Variations Thomas’s beautifully ruminative way with quite such a thick sound with the than the same label issues another set of the A major French Suite’s improvisatory inevitable 32ft pedal reed anchoring Diabellis in weirdly close proximity, this Prelude assiduously gives way to a down the final chords. There is also the time with Martin Helmchen. Talk mellower, more muted ambience in the occasional jarring of the organ’s Kellner/ about marketing amnesia! In any event, D major Partita’s Allemande that makes Bach tuning to contend with. Helmchen’s commanding pianism and

82 GRAMOPHONE APRIL 2018 gramophone.co.uk INSTRUMENTAL REVIEWS

Composer and improviser Fred Thomas brings serious care and thought to his unique programme of Bach dance movements

perceptive musicianship hold their own comic timing that I have not heard since in a competitive catalogue. Charles Rosen’s classic recording. While Helmchen follows his brisk and energetic Var 14 is on the slow side, Helmchen’s dispatch of Anton Diabelli’s waltz theme sustaining power and rapt concentration In a decade of with an opening march variation that take your breath away, as do his amazingly particularly ﬁne manages to be maestoso yet animated at lithe and supple repeated chords in the recordings of the the same time. He controls Var 2’s broken scherzando Var 15. To be sure, Helmchen Chopin Mazurkas, leggiermente chords with the utmost telegraphs the sudden tempo changes in Eugène Mursky’s set of 57 can more than precision, bringing the dissonances to the Var 21 that Gorini makes more abrupt, and hold its own. Imagination and reﬁnement, fore, and eloquently addresses the dolce why his fussy tapering with Var 22’s gruff aided by Hänssler’s lifelike sound, directive in Vars 3 and 4. Var 5’s repeated- tribute to Mozart’s Don Giovanni? The characterise this 10th volume of a series note phrases have a bouncy lightness that minore triumvarate Vars 29-31 stands out devoted to all of the music of Chopin, Gorini doesn’t quite match, although the for Helmchen’s long lines and classical begun in 2004. latter’s ferocity and grit in Vars 7 and 8 reserve, while his pinpoint contrapuntal A case could be made for the Mazurkas as differ from Helmchen’s cooler vantage clarity in the pentultimate fugue (Var 32) the ultimate test of the best Chopin-players point. In the lyrical Var 8, Helmchen’s is strikingly antipodal to Gorini’s faster and, of the myriad qualities required by shimmer and transparency contrast with pace and exultant abandon. that treasure trove of dances, rhythm is Gorini’s broader expressive gait. Helmchen In sum, the overall high distinction of certainly most crucial. The outstanding brilliantly sprints through Var 10’s rapid Helmchen’s Diabellis overrides my few characteristic of Mursky’s interpretations is staccato chords, while really making those quibbles. I look forward to Alpha’s next that, despite a wonderful, breathing rubato, few moments of legato articulation distinct. Diabelli Variations release in six months’ one can imagine each Mazurka danced. He generates riveting tension in Var 11 by time. Jed Distler Within this sure-footed kinaesthesic ever so slightly holding back at the ends of Selected comparison: realm, Mursky works his magic, lingering certain phrases, in contrast to Gorini’s Gorini (10/17) (ALPH) ALPHA296 at the end of a phrase just long enough to more generalised execution. capture its poetry before preparing the next MONIKA S.JAKUBOWSKA MONIKA Gorini is relatively heavy and plodding in Chopin gesture. Listening to the natural physicality the humorous Var 13, whereas Helmchen Complete Mazurkas of these readings, I kept recalling Makarova imbues the music’s question-and-answer Eugène Mursky pf and Baryshnikov’s exquisite realisation of

PHOTOGRAPHY: trajectory with a sense of surprise and Profil Fb PH16100 (142’ • DDD) the Mazurkas in Robbins’s Other Dances.

gramophone.co.uk GRAMOPHONE APRIL 2018 83 INSTRUMENTAL REVIEWS

Mursky also has a keen ear for the subtle waltzes which follow. The B flat minor Of particular interest are Couperin’s implications of Chopin’s rich harmony. Scherzo is a less cautious affair, a quasi-improvisatory unmeasured preludes, The plangent C sharp minor Mazurka performance with a compelling narrative a legacy of the Renaissance lutenists that (Op 50 No 3) achieves its eloquence and Gvetadze producing a warm, rounded would become a special province of the through the delicate foregrounding of tone in the middle register (albeit French clavecinistes. But it may be these intricate polyphony. The raucous bagpipe contrasted by an over-brilliant upper characteristic pieces, structurally and drones of the C major (Op 56 No 2) and treble at ff). texturally dependent on the rich overtones E major (Op 6 No 3), vividly characterised The Preludes are a mixed bag. No 2 of the loosely strung harpsichord, that in all their rusticity, are shown to be the in A minor is unusually slow (2'36") but sacrifice most when transferred to the foundation for the exotic dissonances that rather effective, as is No 20 in C minor; piano, with its taut steel strings and greatly transpire above. Mursky isn’t prone to No 3’s swirling left-hand semiquavers are reduced overtones. The unmeasured weepiness, even in the most poignantly over-pedalled; No 4 in E minor suffers preludes that open the D minor and lyrical of the Mazurkas. This degree of from exaggerated rubato. I turned to A major suites here come across more as reserve lends Chopin’s more tragic a trio of historic recordings to remind schematic diagrams of pitches than surges utterances a touching dignity. And if you myself how these pieces sound with of emotion, enhanced by the sympathetic share my soft spot for young Chopin, the playing of a more distinct personality. vibration of strings. selection of early Mazurkas that follows Cortot, for instance, in 1926 plays the The dances face similar impediments. the canonic set will delight you. G sharp minor Prélude at the prescribed Translating their precise, lean, sure-footed Listening to these bracing, charming presto throughout (there are no rits or ralls lines to the piano seems the equivalent and varied Mazurkas, each imbued with marked as Gvetadze has it); Moiseiwitsch, of attempting to reproduce a fine the spirit of the dance, one is struck by how recorded in 1948, keeps the ‘Raindrop’ 17th-century engraving using a felt-tip few collections of these may claim similar at a steady pace (4'53" compared to marker. Kolesnikov varies the tempos of attributes. Mursky’s readings can Gvetadze’s enervating 5'52"); while the dances. No one would mistake one of confidently be placed alongside other Robert Lortat gives us, among others, a his sarabandes for a gigue. But somehow distinctive performances of recent vintage, fabulous C sharp minor Prelude (No 10) the dances’ innate character remains including those of Pavel Kolesnikov in his underrated survey from 1928. That elusive. Importation, however subtle, (Hyperion, A/16), Janusz Olejniczak said, there is some lovely playing here and of the piano’s greater dynamic spectrum (Fryderyk Chopin Institute, 11/16) and Gvetadze is clearly a musician of taste and hinders rather than helps, obscuring more Dmitri Alexeev (FCI, 12/15). Patrick Rucker intelligence. Whether this recital amounts than it clarifies. to more than a calling card and will raise Very few pianists of Kolesnikov’s Chopin her profile must remain a moot point. generation share his abundance of ‘Ghosts’ Jeremy Nicholas intelligence, sensitivity, imagination and Étude, Op 10 No 6. Preludes, Op 28. Scherzo sheer instrumental mastery. I look forward No2,Op31.Waltzes–No3,Op34No2;No9, L Couperin to hearing him again, and soon, in Op 69 No 1; No 10, Op 69 No 2 ‘Dances from the Bauyn Manuscript’ repertory that allows his manifold gifts Nino Gvetadze pf Suites – in A; in D minor; in G minor. Allemande to blossom and take flight. Patrick Rucker Challenge Classics FÍ CC72768 Grave, M67. Chaconne, M78. Chaconne ou (67’ • DDD/DSD) Passacaille, M96. Tombeau de Mr de Debussy . Messiaen Blancrocher, M81. Pavanne, M120 Debussy Préludes, Book 2 Pavel Kolesnikov pf Messiaen Huit Préludes Hyperion F CDA68224 (79’ • DDD) Célimène Daudet pf Nino Gvetadze, a NoMadMusic F NMM046 (78’ • DDD) new name to me, is a Georgian pianist (b1981, Tbilisi) who For his latest makes her home in Amsterdam. Chopin Hyperion release, the Célimène Daudet is a recitals on disc are numberless and any immensely talented sensitive and evocative pianist faces stiff competition in a crowded Pavel Kolesnikov has French pianist, trained marketplace whatever the programme one taken up an extraordinarily daunting at the conservatoires chooses – and whatever one decides to call challenge. In his decision to record Louis of Aix-en-Provence, Lyon and Paris, with it. This one is called ‘Ghosts’ for reasons Couperin, he has chosen a corner of the a taste for multi-disciplinary projects. Her that escape me, but then I don’t share French 17th-century harpsichord literature latest release plausibly demonstrates the Gvetadze’s view that any of Chopin’s music perhaps least susceptible to translation deep connection she sees between French conjures up ‘a ghostly journey’ in which to other instruments. He has gone to music’s great iconoclast, Olivier Messiaen, ‘suddenly, the soul wakes up and waltzes considerable lengths to pull it off, including and his predecessor, Claude Debussy. into space’. the use of two separate actions of distinct Daudet’s performances of Messiaen’s Though the disc begins with the character in the Yamaha CFX concert Préludes, from the most extended, the Preludes, I elected to start with the E flat grand he plays. One certainly understands nearly nine-minute ‘Bells of Anguish and minor Étude, among the most sombre and the motivation. Louis, greatest of all the Tears of Farewell’, to the fleeting ‘The subdued of Opp 10 and 25. The frequent Couperins save for his nephew François, Light Number’, at barely two minutes, intakes of breath, the deliberate phrasing is a fascinating composer. What survives of impart the feeling of sensations grasped and general air of introspection betoken a his strikingly original and often dissonant from the air, sparkling and evanescent, carefully prepared studio recording. The music spans scarcely a decade of his all-too- which are tasted and savoured to the fullest, same is true of the sequence of three brief life. before being released again into the ether.

84 GRAMOPHONE APRIL 2018 gramophone.co.uk INSTRUMENTAL REVIEWS

Pavel Kolesnikov turns his attention to the fascinating music of Louis Couperin

Debussy’s Préludes, which may seem more composer’s keyboard idiom. In ‘De l’aube ‘The Mystical Circles of the Young Girls’, substantive due to their greater familiarity, à midi sur la mer’, for example, the initial van Raat generates a lovely give and take are equally flavourful. ‘La puerta del vino’ animated build-up (fig 2, around 1'09") between the luscious repeated chords and is given beautiful shape and narrative flow, evokes the gamelan-like polyrhythmic the rarely emphasised tune in the left hand. while ‘La terrasse des audiences du clair de layering in ‘Pagodes’ from Estampes. In other words, van Raat is giving you lune’ seems to emanate a silvery glow. The playful triplet motifs of ‘Jeux de the music behind the manifesto, while Despite the maturity and sophistication vagues’ relate to similarly scampering effortlessly dispatching the awesome of Daudet’s conceptions, it is difficult to passages in L’isle joyeuse, while the rapid demands of Vladimir Leyetchkiss’s escape the sense of still greater things in flourishes leaping from one register to the keyboard deployment, save for one or two store. I can’t wait. Patrick Rucker next throughout ‘Dialogue du vent et de la spots in ‘Dances of the Young Girls’ where mer’ are right out of the Préludes Book II you simply must slow down to grab the Debussy . Stravinsky playbook. Given Ralph van Raat’s notes. And speaking of notes, van Raat Debussy La mer (arr Lucien Garban) Stravinsky formidable reputation as a new music provides his own excellent and informative The Rite of Spring (arr Vladimir Leyetchkiss) champion, his ability to clarify foreground booklet commentary. Jed Distler Ralph van Raat pf and background vagaries and sharp Debussy – selected comparison: Naxos M 8 573576 (58’ • DDD) rhythmic precision do not surprise. That Jardon (ARRE) AR20011 said, I prefer the more distant yet stylishly resonant sound of Lydia Jardon’s recording Liszt (AR Ré-Sé), together with her more ‘Complete Piano Music, Vol 48’ Behold Debussy’s La animated tempos and suppler response Hungarian Rhapsodies, S242 – Nos 12-17 mer and Stravinsky’s to the composer’s sudden mood shifts. (original versions). Ungarische The Rite of Spring: two I suspect that The Rite of Spring is more Nationalmelodien, S243. Rapsodie hongroise, landmark 20th-century van Raat’s cup of tea. He brings plenty S244. Puszta Wehmut (A puszta keserve), S246 scores that changed the veneer of of motoric momentum to the table, Carlo Grante pf orchestration, each ‘de-orchestrated’, so to yet is always cognisant of the melodic Naxos M 8 573784 (59’ • DDD) speak, in the form of a virtuoso solo piano components superimposed upon repeating tour de force, in contrast to the composers’ rhythmic cells. This is particularly apparent respective, relatively utilitarian one-piano- in the Introduction’s chattery counterpoint S PERRY S four-hands arrangements. and in the pianist’s deft juggling of the First, some title Lucien Garban essentially transformed broken bass octaves, middle-register disambiguation. The La mer into a Debussy piano piece, making repeated notes and darting woodwind ‘original versions’ of

PHOTOGRAPHY: textural choices that are akin to the licks in ‘Dance of the Earth’. And in Hungarian Rhapsodies

gramophone.co.uk GRAMOPHONE APRIL 2018 85 INSTRUMENTAL REVIEWS

Nos 12-17 recorded here are six of the Seele, du mein Herz’ and ‘Überm Garten away at clichés, leaving only his authentic Magyar Dalok/Magyar Rapszódiák, published durch die Lüfte’ and Liszt’s own ‘O Lieb!’, individual voice. That’s provided you can in 1846. Liszt would revisit this material, are persuasive in their understated take his extraordinarily detailed evocations make substantial revisions and publish the earnestness, with melodies effortlessly of his beloved birds (all 77 of them) and results in 1851 and 1853 as the first 15 of articulated amid the elaborated their various habitats in France at various the Rapsodies hongroises, the form in which accompaniment figuration. Mikulska’s times of the day as serving his dazzling and they are most familiar today. Because Liszt imaginative realisation of the ubiquitous inexhaustible pianistic invention, rather also reordered the series, there is no direct sixth Soirée de Vienne sparkles with a than – as he himself would have wanted it – numerical correlation between the two sets. charming Viennese Schwung. the other way round. But how else to get No 12 of the earlier set recorded here Mikulska’s fundamentally serious and past the anthropomorphic descriptions that became the trio of Hungarian Rhapsody idiomatic approach to the Hungarian would make even a Scriabin blush? How, No 5, No 13 became No 15 in the final Rhapsodies precludes any hint of vulgarity, for instance, is the player supposed to make series, and so on. yet allows for stretches of light-hearted a bird sound ‘voluble’ or ‘nonchalant’, One of this CD’s attractions is the frolic, even coquetry, when called for. never mind ‘like the cry of an assassinated light it casts on Liszt’s creative process. These are original readings, devoid of child’? In fact the Catalogue enshrines It demonstrates Liszt’s ongoing practice hysteria, that will likely satisfy even the a central paradox: its concept is at the of distillation and refinement before his most discriminating Hungarian listeners. extreme end of programmaticism while material, already considerably developed, Something of the rhythmic acuity and its effect is just as extremely abstract. achieved what he considered to be its hauteur that inform her evocations of the Unsurprisingly, Pierre-Laurent Aimard’s definitive form. In one of his prefaces, Roma of the Carpathian basin enliven her interpretations are anything but tame. His Liszt compares this process to the common realisation of Liszt’s flamenco-inflected dynamic range is formidable, his voicing 19th-century practice of novelists releasing Iberian fantasy, the Rhapsodie espagnole. of chords scrupulously faithful, his clarity successive editions of their work. In Liszt’s Taken as a whole, these four rhapsodies unimpeachable. It’s hard to imagine the case, the final versions evidence combine idiomatic piquancy, rhythmic textures having greater impact or precision, extraordinary advances in both musical aplomb and precisely gauged colour with or the continuity and discontinuity being cohesion and technical accessibility. a dignity of presentation that is irresistible. projected with greater concentration. Carlo Grante copes manfully with the Technically speaking, microphone Opinions might vary with regard to his often unwieldy demands of these pieces. placement for the recording sessions last pianistic colours, on whether his fortissimos The alternative version of the Tenth year in the Leipzig Gewandhaus may have are unduly metallic, for instance. But the Hungarian Rhapsody, without the signature been a trifle close. But this is a minor extremes are written into the score, and glissandos, has an appealing dash. ‘Longing consideration compared to the vivid certainly not a single sound emerges for the Puszta’, an adaptation of a song by character and charm of Mikulska’s piano- with indifference. Gizycka to a Lenau text, revisits the trope playing. I look forward to hearing more Put a microscope on the playing and there of pining despair familiar from the lassán of her. Patrick Rucker are some passing oddities: long notes are sections of the minor-key Rhapsodies. regularly cut short in ‘L’Alouette lulu’ and Patrick Rucker Messiaen ‘Le Loriot’, for example, and the pedalling Catalogue d’oiseaux in ‘La Buse variable’ as the buzzard makes Liszt Pierre-Laurent Aimard pf its circles isn’t quite by the book. On the ‘Souvenirs’ Pentatone FcÍPTC5186 670 (153’ • DDD/DSD) other hand, the ‘interminable trill’ of the Frühlingsnacht, S568. Glanes de Woronince, grasshopper warbler in ‘La Rousserolle S249. Hungarian Rhapsodies, S244 – No 5; No 11; Effarvatte’ is given even slightly more No 12. La leggierezza, S144 No 3. Liebeslied, than its regulation 37 seconds, whereas S566. Liebestraum, S541 No 3. Rhapsodie Messiaen’s birds have, the otherwise hyper-faithful Yvonne Loriod espagnole, S254. Soirée de Vienne, S427 No 6 it seems, been tamed: is content with 22. Nor is the usually Aleksandra Mikulska pf at least to the extent scrupulous Peter Hill beyond reproach in Genuin F GEN18494 (83’ • DDD) that there are terms of metronomic accuracy: the opening something like a dozen versions of the of his ‘Rousserolle Effarvatte’ is a good Catalogue d’oiseaux obtainable on CD or 25 per cent under tempo. as downloads. Once upon a time such a Yes, this is no more than nitpicking. The young Polish plethora would have been hard to conceive, And, truth to tell, all these three are pianist Aleksandra given the extreme demands of the 13 pieces supreme Messiaen exponents. Is it a Mikulska has studied on the pianist’s physical and mental agility, dereliction of duty if I say I can’t fi nd a in Karlsruhe, at the plus the challenge for the listener of their way of ranking them? Loriod’s touch is if International Piano Academy of Imola and remorselessly forbidding textures and anything even more uncompromising than with Arie Vardi in Hanover. Her new obsessive cut-and-paste structures. Not Aimard’s; Hill isn’t quite so clamorous, but release assembles an attractive programme that his other great piano cycle, the Vingt his cushioned sound at quieter levels makes of Liszt pieces under the title ‘Souvenirs’. Regards sur l’Enfant-Jésus, is exactly a for a more plausible evocation of such It is a pleasure to hear the seldom- picnic; but at least its technical tours de things as the ‘rose and mauve’ sunrise encountered Gleanings of Woronince, force are more immediately connectable to in ‘La Rousserolle Effarvatte’. Liszt’s memento of the weeks he spent pianistic traditions (Liszt, Scriabin, Ravel) There are one or two external factors to with Carolyne zu Sayn-Wittgenstein at and its esoteric imagery easier for the consider. If you are allergic to grunting and her eponymous estate in the Ukraine, listener to relate to the music. sniffi ng, be warned that Aimard evidently given so sympathetic a reading. The song All this can be viewed positively, of isn’t. This is music that sensitises the ear to transcriptions, Schumann’s ‘Du meine course, as a result of Messiaen’s whittling tiny nuances of colour, and odd groans that

86 GRAMOPHONE APRIL 2018 gramophone.co.uk BENJAMIN ALARD JOHANN SEBASTIAN BACH THE COMPLETE WORKS FOR KEYBOARD VOL. 1 - THE YOUNG HEIR

Bach’s youth was a vast field of observation. From the years of © IGOR Studio Photo apprenticeship in Ohrdruf, where his precocious artistic sensibility was dazzlingly demonstrated, to his first major post as organist at Arnstadt, Bach constantly enriched his musical culture, underpinned by a strong family tradition and driven by iconic respect for the old masters, crucial affinities and unfailing curiosity. As the prelude to a complete recording of a new kind, the eloquence and vigilant intelligence of the admirable Benjamin Alard’s playing are the ideal medium to reveal the technical mastery of Bach’s early keyboard works and convey the essence of this young composer’s musical discourse at a time when he was already measuring himself

against the yardstick of predecessors and contemporaries alike. HMM 902450.52

3 CDs harmoniamundi.com Hazard Chase

International artist & project management

LLYR WILLIAMS CONDUCTORS Recorded live at Sylvain Cambreling Andrew Litton MUSIC DIRECTOR: STAATSOPER MUSIC DIRECTOR: NEW YORK CITY the Wigmore Hall STUTTGART / CHIEF CONDUCTOR: BALLET / PRINCIPAL GUEST over three years, HAMBURG SYMPHONY ORCHESTRA / CONDUCTOR: COLORADO SYMPHONY / one of the world’s PRINCIPAL CONDUCTOR: YOMIURI PRINCIPAL GUEST CONDUCTOR: NIPPON SYMPHONY ORCHESTRA / SINGAPORE SYMPHONY ORCHESTRA / inest exponents of PRINCIPAL GUEST CONDUCTOR: CONDUCTOR LAUREATE: Beethoven records the KLANGFORUM WIEN BOURNEMOUTH SYMPHONY ORCHESTRA / CONDUCTOR LAUREATE: composer’s complete Alpesh Chauhan BERGEN PHILHARMONIC ORCHESTRA piano sonatas alongside PRINCIPAL CONDUCTOR: FILARMONICA ARTURO TOSCANINI Grant Llewellyn other works, totalling MUSIC DIRECTOR: NORTH CAROLINA almost fourteen hours. Wolfram Christ SYMPHONY / MUSIC DIRECTOR: ORCHESTRE SYMPHONIQUE DE Andreas Delfs BRETAGNE SIGCD527 Karel Deseure Ville Matvejeff Paul Goodwin CHIEF CONDUCTOR: JYVÄSKYLÄ VLADIMIR ASHKENAZY ARTISTIC DIRECTOR: CARMEL BACH SINFONIA / PRINCIPAL GUEST & PHILHARMONIA FESTIVAL / PRINCIPAL GUEST CONDUCTOR AND MUSIC ADVISOR: CONDUCTOR: CAPPELLA AQUILEIA RIJEKA OPERA / ARTISTIC DIRECTOR: TURKU MUSIC FESTIVAL / ARTISTIC Conductor laureate Vladimir Matthew Halls DIRECTOR DESIGNATE: SAVONLINNA Ashkenazy again collaborates OPERA FESTIVAL Carlos Izcaray with Philharmonia for a MUSIC DIRECTOR: ALABAMA Lionel Meunier stellar live-performance of SYMPHONY ORCHESTRA / MUSIC ARTISTIC DIRECTOR: VOX LUMINIS DIRECTOR: AMERICAN YOUTH Rachmaninov’s ebullient SYMPHONY Christopher Moulds Symphony No.2, the second 6RÀ-HDQQLQ Tito Muñoz album in an ongoing series. MUSIC DIRECTOR: LE CHOEUR DE MUSIC DIRECTOR: THE PHOENIX SYMPHONY SIGCD530 RADIO FRANCE / MUSIC DIRECTOR: LA MAîTRISE DE RADIO FRANCE / Olli Mustonen CHIEF CONDUCTOR DESIGNATE: CHRISTOPHER GLYNN BBC SINGERS Pedro Neves & RODERICK WILLIAMS PRINCIPAL CONDUCTOR: ORQUESTRA Christian Kluxen CLÁSSICA DE ESPINHO / ASSOCIATE MUSIC DIRECTOR: VICTORIA he irst in a series of English CONDUCTOR: GULBENKIAN SYMPHONY ORCHESTRA ORCHESTRA language programmes of Stephen Layton Owain Park Schubert’s song cycles sees ARTISTIC DIRECTOR: HOLST ARTISTIC DIRECTOR: SINGERS / DIRECTOR: POLYPHONY / celebrated soloists Roderick THE GESUALDO SIX DIRECTOR OF MUSIC: TRINITY Wiliams and Christopher COLLEGE, CAMBRIDGE Clark Rundell Glynn perform a new English Alexander Liebreich translation of Winterreise. Tatsuya Shimono CHIEF CONDUCTOR AND ARTISTIC MUSIC DIRECTOR: HIROSHIMA DIRECTOR DESIGNATE: PRAGUE SYMPHONY ORCHESTRA SIGCD531 RADIO SYMPHONY ORCHESTRA / ARTISTIC DIRECTOR AND CHIEF Karl-Heinz Steffens HUGO TICCIATI & CONDUCTOR: POLISH NATIONAL MUSIC DIRECTOR: DEUTSCHE RADIO SYMPHONY ORCHESTRA / STAATSPHILHARMONIE O/MODERNT ARTISTIC DIRECTOR: KATOWICE RHEINLAND-PFALZ KULTURA NATURA FESTIVAL / Featuring artwork by Sir ARTISTIC DIRECTOR: RICHARD Masaaki Suzuki STRAUSS FESTIVAL FOUNDER AND MUSIC DIRECTOR: BACH Anthony Gormley, the debut COLLEGIUM JAPAN album for the O/Modernt Masato Suzuki Orchestra, led by Hugo Ticciati interweaves the Martin Yates sonic worlds of Pärt, Tavener, Vasks, he Beatles and India. Visit our website for full contact details and to SIGCD532 see current artist and project lists. www.hazardchase.co.uk

WWW.SIGNUMRECORDS.COM @hazardchaseltd Hazard Chase Limited Distributed by [PIAS] in the UK & Naxos of America in the USA INSTRUMENTAL REVIEWS

Clarity and elegance: Nikolai Lugansky revisits Rachmaninov’s Preludes

might be intensely involving in the Rachmaninov underline its Chopinesque qualities. concert hall can be equally distracting Complete Preludes Lugansky’s earlier account of the last of on disc. Mind you, the traffic noise that Nikolai Lugansky pf Op 23 now seems relatively foursquare impinges on Loriod’s recordings can also Harmonia Mundi F HMM90 2339 (82’ • DDD) compared to his more sinuous new be annoying if you let it. Otherwise all interpretation. three recordings are superb: kudos to the In the opening Prelude of Op 32, he piano technicians. lets rip in the faster writing to unfettered Nigel Simeone’s essay for Pentatone The name of Nikolai effect, even if Steven Osborne’s way is exceptionally informative on factual Lugansky has with the filigree is irresistibly delicate. background. The late Anthony Pople’s become inextricably Highlights are many: the bells of No 3 for Unicorn-Kanchana scores just as associated with the are suitably fulsome, while the G major highly for sensitive musical assessment. For music of Rachmaninov and it’s not difficult (No 5) is suitably airborne (though here Loriod the 18-disc set on Warner Classics to understand why. He has the requisite Lympany in her first recording is in a contained Messiaen’s own treasurable technique in spades, he has the dynamic class of her own). Lugansky’s is a set if highly idiosyncratic commentary but range and, most importantly, he is that balances strength and delicacy – this is not available with the current emotionally completely attuned to this Ashkenazy may find more biting brilliance download version. music. Such absorption means that though in Op 32 No 8 but Lugansky is altogether Perhaps the most curious thing about he is revisiting the Opp 3 and 23 from warmer-toned, contrasting with the Aimard’s venture is the absence of ‘La 2000, you won’t find radical rethinking intensity of resignation of his B minor Fauvette des jardins’, the wonderful half- going on here. Rather it’s about honing, (No 10). The last of the set has true hour pendant to Messiaen’s Catalogue, about refining and redefining. The grandeur – it’s steady compared to not to mention the 1961 ‘La Fauvette yearning of Op 23 No 6, for instance, is Osborne but Lugansky has the goods to passerinette’ rediscovered by Peter Hill and more nuanced than previously, while the back it up. An impressive addition to his recorded by him on Delphian. But maybe voicings of the inner section of Op 23 No 5 discography. Harriet Smith there are plans to add these at a later date. are even more subtly conveyed, contrasting Preludes – selected comparisons: Meanwhile I salute an outstanding with a drive of the outer sections that never Ashkenazy (11/85R) (DECC) 475 8238DOR CAROLINE DOUTRE/NAIVE CAROLINE achievement. David Fanning turns edgy. The Presto of Op 23 No 9 is a Osborne (6/09) (HYPE) CDA67700 Selected comparisons: little slower than previously – less viscerally Lympany, r1941-42 (10/17) (ELOQ) ELQ482 6266 Loriod (9/71R) (WARN) D 2564 62162-2 exciting – but in its place we have a clarity Opp3&23–selected comparisons: R R R PHOTOGRAPHY: Hill (5/88 , 9/89 , 8/90 ) (UNIC) UKCD300 of detail and elegant turns of phrase that Lugansky (A/01) (ERAT) 8573 85769-2

gramophone.co.uk GRAMOPHONE APRIL 2018 89 INSTRUMENTAL REVIEWS

Michael Barenboim Sequenza VIII at the programme’s core. but explodes in frustrated rage. Between Berio Sequenza VIII Paganini Caprices, Op 1 – Add Barenboim being on fire himself, them, the lovely E major (No 3) unfolds selection Sciarrino Six Capricci Tartini Violin technically and interpretationally, and it with the naturalness of sweet conversation. Sonata, ‘The Devil’s Trill’, B g5 all adds up to a fantastically engaging listen. The F major (No 7) and F minor (No 8) Michael Barenboim vn Charlotte Gardner Études take unfettered wing in a way Accentus F ACC30431 (73’ • DDD) that recalls the young Backhaus. In the ‘Four Pieces, Four Pianos’ sweep and grandeur of the C minor Chopin Études, Op 10 Liszt Réminiscences de (No 12), victory of the revolution is Don Juan, S418 Schubert Wanderer-Fantasie, a foregone conclusion. Recorded in Berlin’s D760 Stravinsky Three Movements from True to its title, Réminiscences de Don Jesus-Christus- Petrushka Juan emerges as though recalled from a Kirche, and with a Alexander Melnikov pf dream. Melnikov treats Liszt’s elaborately programme Harmonia Mundi F HMM90 2299 (80’ • DDD) florid cadenzas as the connective tissue out juxtaposing older with newer solo violin of which various scenes come into sharp repertoire, this latest recital disc from focus. Bösendorfers retained a vestigial Michael Barenboim has much in common differentiation of registers as late as the with the excellent Bach, Bartók and Boulez Alexander 1870s. This quality is front and centre in solo violin programme he released last year Melnikov’s new the ‘Là ci darem la mano’ variations, where (3/17). However, in other ways it’s taking a release of Schubert, Giovanni’s seduction of Zerlina is given very different and more emotionally potent Chopin, Liszt and almost palpably human dimension. Vivid exploratory tack, because whereas last Stravinsky is eloquent testimony to the character portrayal is also at the heart of year’s human-interest linking thread insights possible through the use of this sparkling Petrushka. I don’t know of came in the shape of Yehudi Menuhin, technologies the composers knew and an orchestral performance of the ballet this time Barenboim has paired a exploited so brilliantly. Nowadays, pianists that evokes the title character with greater musicological ‘history of Italian solo expecting to be taken seriously as sympathy and pathos than Melnikov violin literature’ theme with the universally interpreters of music from the 18th achieves in ‘Chez Petrouchka’. Nor can resonant idea of ‘Ecstasy and Abyss’. The through early 20th-centuries are at a I think of recorded performances of either result is a set of performances with not a distinct disadvantage without at least a Liszt’s or Stravinsky’s benchmark creations small amount of emotional kick to them. nodding acquaintance with historical more compelling than these. In fact, overall, this is a recital over which instruments. Among those whose Melnikov’s prevalent richness of detail, everything combines to fantastic affect. familiarity with early pianos informs their unforced but precise rhetoric and exquisite The Sciarrino Capricii of 1976 would be a performances on modern ones, few share sense of colour are skilfully captured by the striking way to open any disc, for instance, Melnikov’s keen discernment of the engineers. His interpretations warrant the but all the more so here within the Jesus- instruments’ evolving capacities, and fewer attention of professionals, even as they Christus-Kirche’s giant, characterful still his executive mastery. Here he plays promise enduring pleasure for lovers of acoustic; take the Vivace’s opening hail Schubert’s 1823 Wanderer-Fantasie on the best piano-playing. Patrick Rucker of little sound-arrows shooting off into a piano from c1828-35 by the Viennese its cavernous space to stunning effect, or maker Alois Graff, not to be confused with ‘Legacy’ the Andante, whose rippling, shimmering the more famous Conrad Graf. Chopin’s Beethoven Piano Sonata No 23, ‘Appassionata’, figures sound like little fractals of sunlight Op 10 Études, composed between 1829 Op 57 Brahms Intermezzo, Op 119 No 1. Waltz, catching the floating dust particles. It’s and 1832, are played on an 1837 Paris Op 39 No 15 Chopin Preludes, Op 28 – selection incredibly atmospheric stuff, even for those Érard. For Liszt’s Don Juan, published in Debussy Images – Reflets dans l’eau Ginastera readers whose tastes will lean more towards 1843 and revised in 1877, Melnikov plays Malambo, Op 7 Piazzolla Fuga y misterio the disc’s Tartini and Paganini offerings. an 1875 Bösendorfer, and for Stravinsky’s Prokofiev Ten Pieces from ‘Romeo and Juliet’, Plus, if you zip to the end of the Petrushka, a 2014 Steinway. Op 75 Villa-Lobos A prole do bebê, Book 1 programme for the non-consecutively This is a fully realised, robust Wanderer- Sergio Tiempo pf ordered selection of Paganini’s Op 1 Fantasie that sings, dances, proclaims and Avanti FÍ5414 706 1049-2 (74’ • DDD/DSD) Caprices, you’ll instantly hear in No 1’s cajoles in a veritable eruption of joy. Most Recorded live at the Studio Arsonic, Mons, scatter-hail of spiccato demisemiquaver striking are the tempos which, from all Belgium, October 13, 2016 figures a possible inspiration for that evidence in both Schubert’s score and Sciarrino Vivace. Liszt’s concerto transcription, seem apt These outer sets of works have, of and inevitable. The quick movements, fleet course, elements of both ‘ecstasy and as gazelles, lithe and pliant without being The latest release of abyss’ about them. However, part of the driven, surround and support a chill Sergio Tiempo, the programme’s brilliance is the way in which, Adagio alla breve, all the more desolate Caracas-born pianist after the Sciarrino, Barrenboim then uses for its context. of impeccable Tartini’s Devil’s Trill Sonata – appearing Melnikov’s Chopin Études are credentials, is titled ‘Legacy’. His personal here to brilliant effect without its usual distinctively characterised, with every programme, inspired by members of his accompaniment – to start us on a gradual interpretative choice scrupulously rooted family, was recorded live in Belgium in descent into an emotional ‘abyss’; initially in the text and refreshingly devoid of self- October 2016. imperceptibly, but after the concluding conscious exhibitionism. The industrious Tiempo is at his most irrepressibly Allegro assai’s long, angry bow strokes it’s intricacy of the A minor (No 2) hovers original in the Piazzolla and Ginastera no surprise to be pushed out of the frying ambivalently between the comic and the works, where his alternately impetuous pan and into the fire of Berio’s creepy, while the C sharp minor (No 4) all and relaxed pianism is given full rein. Both

90 GRAMOPHONE APRIL 2018 gramophone.co.uk INSTRUMENTAL REVIEWS

Perceptive and compelling: Joseph Nolan demonstrates his instinctive feel for the French Romantic organ repertory showcase his remarkably adroit repetitions ‘Midnight at elusive danse macabre quality of the central of both single notes and chords. Subtle St Etienne du Mont’ Sicilienne, and for him the final Toccata is touch and brightly coloured textures Briggs Le tombeau de Duruflé Duruflé Suite, no empty display of virtuosity but a frenzied characterise the piquantly atmospheric Op 5 Tournemire Improvisation sur le ‘Te Deum’ attempt to shake off the darkness of night selections from the first book of Villa- (transcr Duruflé) Vierne Fantômes, Op 54 No 4. and burst out into the blazing light of day. Lobos’s A prole do bebê. Symphonies: No 5, Op 47 – Final; No 6, Op 59 – Other works are related to Duruflé (if Of the European repertory, Debussy’s Scherzo not to St Etienne) by being by his teachers. ‘Reflets dans l’eau’ is most appealing. Joseph Nolan org Tournemire, as profligate with his creative Tiempo’s enormous resources of touch Signum F SIGCD470 (79’ • DDD) powers as Duruflé was sparing with his, create textures that seem truly liquid. His Played on the organ of St Etienne du Mont is represented by a typically expansive take on four pieces from Romeo and Juliet is plainsong-based improvisation, transcribed nothing if not imaginative. Yet a tendency by his erstwhile student. While Nolan to stretch the underlying rhythm in the delivers the Tournemire with unabashed interests of expressive lyricism can lapse For organists of a flair, he adds an undercurrent of aggression into a sentimentality that seems antithetical certain vintage the to the Vierne pieces. His take on the both to Prokofiev and to the pieces’ origin Parisian church of Scherzo from the Sixth Symphony is more in ballet. St Etienne du Mont is like the angry hurling of rocks than the Tiempo’s penchant for putting a personal indelibly associated with Maurice Duruflé, ‘tableau of cicadas chirping’ suggested by stamp on everything he plays occasionally its organiste titulaire from 1929 until his the colourful booklet notes. Nevertheless, crosses the border into self-indulgence. death in 1986. Appropriately Joseph Nolan ‘Fantômes’ inhabits a suitably eerie Despite their technical brilliance, the six places Duruflé’s most famous organ work, dimension and the finale from the Fifth Chopin Preludes are undermined by focus the Suite of 1931, at the centre of this Symphony effectively evokes the harsh on detail at the expense of cohesive stunningly recorded programme. clamour of a French carillon. individual entities. Something similar, Nolan, whose Widor recordings have English organist David Briggs specialises though on a larger scale, is at work in shown him to have an intelligent and in out-Frenching the French at plainsong- the Appassionata. Preoccupation with instinctive feel for the French Romantic based improvisations, and no fewer than immediate textures, abetted by the lack repertory, enhances that reputation here 11 plainchant themes crop up in Le tombeau of an inerrant rhythmic path, enervates with playing that is perceptive, compelling de Duruflé. This is a tremendous tour de and fragments the opening Allegro assai. and intensely musical. The Suite’s Prélude force for instrument and player, and both Curiously incongruous variations in the unfolds with tantalising slowness (although come up trumps here. slow movement followed by a freewheeling something goes a little awry around 3'46"), This disc makes a fitting tribute to an finale, replete with clipped note values and occasional flashes of virtuosity flaring up organist and composer who holds a special inconsistent articulation, do not add up to like candles before guttering away into the place in many hearts on either side of the convincing Beethoven. Patrick Rucker darkness. Nolan magically evokes the English Channel. Marc Rochester gramophone.co.uk GRAMOPHONE APRIL 2018 91 CONTEMPORARY COMPOSERS YorkHöller Richard Whitehouse reflects on the music of this influential German composer – which incorporates electronic timbres to vivid eect

or a German composer born near the end of the Second World War, the task of absorbing radical changes Fbrought about by previous generations while working towards a musical idiom relevant to its own time must have seemed daunting. Yet this is what York Höller has managed to accomplish and from a comparatively early stage in his evolution – aided by a notably inclusive attitude to music of the past as well as a judiciously attuned ear that has allowed him to combine diverse stylistic elements with great resource and sensitivity. In achieving this, Höller benefited from his years of study with Bernd Alois Zimmermann (the centenary of whose birth fell this March). Zimmermann’s concepts of the sphericity of time and plurality of musical thought, while they most likely caused him an existential crisis, have proved immensely fruitful for younger composers. These can be detected in several of Höller’s earliest acknowledged works, not least the Five Pieces (1964) for piano, which integrate diverse expressive of the piece in question, and can also be translated into gestures within their Webernian brevity, the equally gnomic durational terms to create a parallel rhythmic element. Three Pieces (1966) for string quartet and, most revealingly, Such thinking emerged from Höller’s studies of serial, Diaphonie (1965) for two pianos, in which he recalls the aleatoric (chance) and stochastic (random) procedures, combative interplay of Zimmermann’s Monologe (written though it is equally indebted to Indian raga and Arabian just a year before) but allied to greater rhythmic vitality maqam techniques, as well as Medieval isorhythm. In practical (hence its being an ‘Hommage à Béla Bartók’). terms, then, Klanggestalt affords the methodical and cohesive properties of serialism while making possible greater formal HisKlanggestaltisarguablyoneofthe flexibility and expressive variety. Along with Per Nørgård’s evolution of the ‘infinity series’, it is arguably the most vital most vital innovations in contemporary innovation in contemporary music in the past half-century. During the ensuing decade, Höller applied this thinking to music in the past half-century progressively more elaborate media: hence the vivid interplay The climax of this phase came with Topic (1967), casting wide of ensemble with electronics in Arcus (1978), or their poetic its stylistic net while making virtuoso use of orchestral forces, amalgam in Mythos (1979-80), the multilayered combining and the First Piano Sonata (1968), whose three movements of orchestral and electronic timbre in Résonance (1981) and underline Höller’s formidable abilities on this instrument. the sombre and translucent marriage of vocal and electronic Not long afterwards, Horizont (1971) was his first score for sounds with orchestra in Schwarze Halbinseln (1982). electronics – a medium Höller was soon to explore extensively, In Traumspiel (1983), Höller makes use (for the first time in whether as an adjunct to instrumental ensembles or voices, more than 15 years) of a text, with extracts from Strindberg’s or as a ‘fifth component’ to augment the standard orchestra in A Dream Play given to soprano and speaker (the latter on tape) what soon became the focus of Höller’s compositional activity. in music alternately ethereal and visceral in impact. The sheer Having created Horizont while working at the electronic plangency of the vocal line and, in the two interludes, the studio of West German Radio in Cologne, Höller pursued the rhetorical power of the orchestral writing amply suggested integration of acoustic and electronic means throughout the that Höller was more than capable of essaying an opera. early 1970s. A major breakthrough came with his First String Derived from the novel by Mikhail Bulgakov, Höller’s Quartet, Antiphon (1976) for string quartet and electronically opera Der Meister und Margarita (1984-89) was received transformed string quartet on tape. Here that integration enthusiastically at its Paris premiere in 1989 – testament to achieves a new-found seamlessness and finesse, yet even more the ambition of a work that tackles, head on, the sardonic wit significant is the composer’s establishment of a Klanggestalt and humane amorality of this fable of dissolution. Sizeable (sound shape) such as informs every aspect of this work’s forces are used with fastidious attention to detail, not least musical substance. an electronic component notably more pervasive than that The function of Klanggestalt is similar to that of the in Zimmermann’s Die Soldaten (premiered 24 years earlier). note row in serial music: a sequence of pitches (42 notes in Whereas the latter collapses under its own emotional this instance) generates all the melodic and harmonic material negativity, Höller’s opera exudes a belief in the resilience

92 GRAMOPHONE APRIL 2018 gramophone.co.uk CONTEMPORARY COMPOSERS

hller facts Ibn Scharaf, Georg Heym and Pablo Neruda which outline 1944 Born in Leverkusen, North a morning–noon–night trajectory given focus by the notion Rhine-Westphalia, on January 11 of the sun’s rising in the East then setting in the West. 1963-67 Studies piano A five-year gestation preceded the most expansive of Höller’s with Alfons Kontarsky and orchestral works. Sphären (2001-06) might seem unusual in composition with Bernd Alois consisting of six clearly defined sections, but the seamlessness Zimmermann with which these ‘sound images’ fold into each other (aided by 1971-72 Works at electronic electronics of extraordinary subtlety) en route to the climactic studio of WDR, Cologne ‘Sphärentrauer’ only compels admiration. It understandably 1977-91 Lecturer in analysis and received the 2010 Grawemeyer Award for composition, theory at Cologne University thereby confirming Höller’s stature within European of Music, returning in 1995 as new music. professor of composition Subsequent years have produced several more instrumental 1987 Awarded prize of Unesco works, including his Cello Concerto for Adrian Brendel, his international composers’ forum Third Piano Sonata (both 2010-11) and Crossing (2012-13), 1989 Premiere of opera with its renewed interplay of ensemble with electronics; and Der Meister und Margarita at his Viola Concerto (2016-17) is given its premiere next month Palais Garnier, Paris, on May 20 by Tabea Zimmermann. Meanwhile, the title of Höller’s 1991 Becomes member of most recent piece for orchestra, Voyage (2013-14), might also Academy of Arts, Berlin be taken as emblematic of a composer whose outlook has 1993-95 Professor of always, in the words of his favourite 20th-century author composition at Hanns Eisler Robert Musil, ‘that particular expression where, in one happy School of Music, Berlin moment, the goal of a movement is discovered before it is 1999 Premiere of Aufbruch at reached so the final stretch of the journey can be completed. Marktplatz, Bonn, on July 1 And this expression is always a bold one, unwarranted by the 2010 Receives Grawemeyer present state of things – a combination of the exact and Award for Music Composition inexact, of precision and passion.’ for Sphären 2013 Premiere of Cello Concerto of the human spirit in Hamburg, November 15 RECORDINGS OF HÖLLER as compulsive as it is 2018 Premiere of Viola Concerto Featuring some of his most significant works life-affirming. Sadly, in Cologne, May 6 this is likely to remain Der Meister und Margarita Höller’s only opera; one about Soloists; Cologne Opera Chorus; Gürzenich Orchestra, Caligula, commissioned by Vienna State Opera, was abandoned Cologne Philharmonic / Lothar Zagrosek owing to his deteriorating eyesight (successfully allayed but not Col Legno (1/01) before an enforced break from composition in the mid-1990s). Warmly received at its Paris premiere (and then in 1991 After this artistic high point, Höller might have been in Cologne, whence this recording is taken), what is likely to remain forgiven for retreating to ground already trod. In fact, Höller’s only opera renders the disquieting essence of Bulgakov’s creative momentum continued unabated with the scintillating novel (set against the backdrop of Stalin’s purges) in exhilarating concertante piece for trumpet Fanal (1989), the luminous terms. Zagrosek’s reading lacks nothing in theatrical immediacy. orchestral work Aura (1991-92) and, most impressively, Pensées This is one of the seminal operas from the past 50 years. (1990-93). Inward and speculative, this Second Piano Concerto Sphären. Der ewige Tag (very different from its capricious predecessor a decade earlier) WDR Radio Chorus and WDR Symphony Orchestra, makes innovative use of a MIDI grand piano which elides Cologne / Semyon Bychkov seamlessly into the electronic component – not least in the NEOS closing stages when sound becomes spatially diffused in This is a welcome coupling of two of Höller’s most music of quiet transcendence. Increasingly, the possibilities significant pieces from the first decade of this century. Der ewige of electronics were being incorporated directly into Höller’s Tag draws on poems by three writers from different times and instrumental writing – whether in the pithy vignettes of cultures, while Sphären is the most ambitious of its composer’s Tagträume (1994) for piano trio, the engaging play with orchestral works – its six movements connected through the subtle formal archetypes of Partita (1996) for two pianos or in the use of live electronics and a sense of fulfilment in the face of loss. Second String Quartet (1997), whose nominally classical four ‘Piano Works’ movements conceal their derivation from the Gregorian hymn Kristi Becker, Pi-hsien Chen, York Höller, Veni Creator Spiritus as well as a renewed involvement with Fabio Martino, Florian Müller, Tamara Stefanovich pfs expressive gestures typical of Berg and Bartók. EDA This drawing on the past in the process of moving towards Höller’s piano output stretches across the greater the future is most pronounced in the vehemence yet also part of his output, and this inclusive survey (also including the eloquence of Zwiegestalt (2007) for piano quintet, though music for two pianos and piano duet) offers ample evidence of its

PRIVATE COLLECTION; REPRODUCED BY PERMISSION BY REPRODUCED COLLECTION; PRIVATE before that came three of Höller’s most signiﬁcant works. composer’s innate understanding of the instrument. A formidable Composed to mark the German government’s departure line-up of pianists is featured, while a bonus track of Höller’s from Bonn, Aufbruch (1998-99) is his most immediate playing underlines his own credentials as a performer. orchestral piece; its symphonic sense of purpose is furthered

PHOTOGRAPHY: in the choral work Der ewige Tag (1998-2000) with settings of

gramophone.co.uk GRAMOPHONE APRIL 2018 93 Vo c a l FabriceFitchwelcomesadebut Alexandra Coghlan listens to disc from The Gesualdo Six: Shakespeare-inspired Polish music: ‘Asonehascometoexpectgivensucha ‘Thefolkenergyandprimalrhythmicthrustof pedigree, the vocal quality is very ﬁne, Bembinow’s Sonnet make a welcome contrast to not to say superb’ REVIEW ON PAGE 102 the contemplative responses’ REVIEW ON PAGE 104

JS Bach For all the technical prowess with which Mass in B minor, BWV232 he dispatches each of the great choruses, Katherine Watson sop Tim Mead counterten from the ‘Cum Sancto’ onwards, Christie Reinoud Van Mechelen ten André Morsch bass seems less creatively attentive – pressing Grete Pedersen Les Arts Florissants / William Christie the start button and just leaving them to and the Norwegian Harmonia Mundi Bb HAF890 5293/4 unfold. For this reason, the ‘Et resurrexit’, Soloists’ Choir have (105’ • DDD • T/t) and the litany of subsequent D major been well received Recorded live at the Philharmonie de Paris, choruses appear curiously generic, in these pages over the past decade for September 2016 uniformly fast and under-inflected. recordings ranging from Hildegard to The ‘Et in terra pax’ is not as shiningly Xenakis, so it is only natural that they expectant as, say, in the recording of his should get around to the Bach motets protégé Jonathan Cohen (Hyperion, eventually. One imagines they have The mystical 11/14), and like the ‘Qui tollis’ appears performed them many times, however, and ideal of waiting to to stew in its juices rather than draw the indeed these seem like well-settled accounts perform late, great listener towards a directional gravity of of music whose attractions never pale. art until well into enhanced supplication. Typically Nordic, the choir’s sound is pensionable age may apply to pianists The solos and duets are generally more clear, light and precise, with a sound that and conductors of yesteryear but hardly engaging, with some notable singing and finds a happy medium between choral to modern-day luminaries of period obbligato playing, and none more than blend and the expressive frisson that arises performance. The exception is William Timothy Mead’s alluring ‘Qui sedes’ or from occasionally being aware of individual Christie who, while not an especially a cultivated ‘Quoniam’ with the vibrant voices, and if they do not always hit us with noted Bachian, feels only now is the time André Morsch, accompanied by Anneke the strong dynamic contrasts and sudden right to set down his vision of the Mass Scott’s brilliantly and highly distinctive sculptural gestures of the Monteverdi in B minor. His rationale, expressed horn-playing, and a sensitively shaped Choir under John Eliot Gardiner, there lucidly in the booklet, contains no new ‘Incarnatus’ with Reinoud Van Mechelen. is beauty aplenty. historically informed approach or Mead and Katherine Watson are gloriously Thoughtfulness too: the opening of temptation to gimmickry. Simply, he compatible in ‘Et in unum’, though I wish Komm, Jesu, komm is tender and steady, regards the work as a panorama of Bach’s the care taken here had been applied to the choir’s flexibility of tone allowing a art and his federal European absorption Watson’s earlier duet (‘Dominus Deus’), hardening in the second ‘aria’ section; of sacred and, especially, secular style. where she is allowed to sit repeatedly Fürchte dich nicht shows a soft touch, with Christie’s observations on Bach under the note. the chorale melody delicately laid into its performance in the decades before Lapses in intonation are indeed texture rather than imposed on it; Der the zeitgeist of ‘authenticity’ are rather surprisingly frequent and production Geist hilft winds down nicely at its close; less convincing. values a touch disappointing: it wouldn’t and O Jesu Christ, meins Lebens Licht,its The sophisticated landscape of Les take much, for example, to correct the orchestral accompaniment making it more Arts Florissants is drawn expressly from wrong bass note at 2'26" in the ‘Et in like a cantata movement than a normal Christie’s ‘affirmation of humanism’, terra pax’ or a missed trumpet note in motet, benefits from a forceful bass-line as he puts it, and therefore the elegant, the ‘Cum Sancto’ at 1'00". There is a crescendo towards the end. abstract lines heard from the outset of sense that, for all Christie’s crowning If there are times in the more fragmented the Kyrie – supported by a gently sprung achievements in the worlds of Italian and sections of these pieces when the ensemble tactus – are of far greater interest to him French music especially, Bach is somehow is not perfectly tight, things certainly than an intensity born of the German- not quite his bag – despite moments of sharpen up in those places where doubling speaking rhetorical gesture of the cantata intermittent illumination. from the strings and winds of Ensemble world, a bitingly graphic ‘Crucifixus’ Jonathan Freeman-Attwood Allegria release the singers to give Lobet den aside. The phraseology of the second Herrn and (especially) Singet dem Herrn all ‘Kyrie’ is a case in point, as are the JS Bach the joyful exuberance they demand. All sumptuous textures of the ‘Et incarnatus’, Six Motets, BWV225-230. O Jesu Christ, these elements inevitably come together in where the courtly French motet lurks meins Lebens Licht, BWV118 the great Jesu, meine Freude, in whose outer ceremoniously in the wings. These are Norwegian Soloists’ Choir; sections the instruments add weight to the the movements in which you sense Ensemble Allegria / Grete Pedersen architecture while in between Pedersen’s Christie truly at the helm. BIS FÍ BIS2251 (68’ • DDD/DSD • T/t) firm concept of the work’s progress is

94 GRAMOPHONE APRIL 2018 gramophone.co.uk VOCAL REVIEWS

Clear, light and precise: the Norwegian Soloists’ Choir mix choral blend and expressive frisson in Bach’s motets exemplified by a bold but grounded ‘Trotz’ stand auf hohem Berge; No 28, Es reit ein Herr But the main enjoyment, for me at section that travels swiftly but smoothly und auch sein Knecht; No 32, So will ich frisch least, comes toward the middle of the from defiance to calm confidence – the und fröhlich sein; No 39, Schöner Augen programme, as the composer shows his latter being a term which might indeed be schöne Strahlen more intimate, ardent voice: in the two used as a general characterisation of these Benjamin Appl bar Graham Johnson pf lovely Serenades and the gently affecting charming and accomplished performances. Hyperion F CDJ33127 (78’ • DDD • T/t) ‘Eine gute, gute Nacht’. Appl’s way with Lindsay Kemp the final little phrase of ‘Nachtigall’ is Selected comparison: meltingly gorgeous, and ‘Mir ist ein Monteverdi Ch, Gardiner (8/12) (SDG) SDG716 schön’s braun’s Maidelein’ stands out For the latest in among the eight folk song arrangements Brahms Hyperion’s Brahms that conclude the disc. ‘The Complete Songs, Vol 7’ series, Benjamin Appl But while there’s no quibbling with the Sechs Lieder, Op3–No2,Liebe und is reunited with young baritone’s interpretations, or the Frühling I; No 3, Liebe und Frühling II. Graham Johnson, restoring a combination basic high quality of his voice, it seems Nachwirkung, Op 6 No 3. Acht Lieder und that proved so winning in their Schubert here to have lost some of its honeyed Romanzen, Op 14 – No 1, Vor dem Fenster; recital (Wigmore Hall Live, 6/16). Here, sweetness; the timbre sounds a little No 5, Trennung. Vier Lieder, Op 43 – No 3, Ich of course, it’s a composer somewhat more woodier than previously on record, schell mein Horn ins Jammertal; No 4, Das weighed down and world-weary, at least and melismas can feel a little laboured. Lied vom Herrn von Falkenstein. O liebliche as heard in this selection: it’s a programme Johnson’s piano-playing is impeccable Wangen, Op 47 No 4. In meiner Nächte short on hits, perhaps, but with no lack throughout, however: beautifully clear, Sehnen, Op 57 No 5. Acht Lieder, Op 58 – No 2, of gems. alive and responsive, capturing the Während des Regens; No 8, Serenade. Eine As before, what’s remarkable is Appl’s mellow Brahmsian lilt we hear in so many gute, gute Nacht, Op 59 No 6. Neun Lieder, sheer fluency as a Lieder singer, his ease of these numbers perfectly. He’s Op 63 – No 1, Frühlingstrost; No 2, Erinnerung; with the idiom and his naturalness of especially fine in the remarkable pitter- No 3, An ein Bild; No 4, An die Tauben. manner – words and line sit together just patter of ‘Während des Regens’ and the Serenade, Op 70 No 3. Nachtigall, Op 97 No 1. as they should. He proves an expert and tentative stop-start accompaniment to Verrat, Op 105 No 5. Deutsche Volkslieder, eloquent guide in the many quasi-chivalric the Schack Serenade. WoO33 – No 14, Maria ging aus wandern; numbers presented early on: in the faux Johnson’s notes offer the usual wealth No 17, Ach Gott, wie weh tut Scheiden; No 18, naivety of ‘Ich schell mein Horn ins of wisdom and wit, while Hyperion’s sound So wünsch ich ihr ein’ gute Nacht; No 24, Mir Jammertal’ or the slight knightly pomposity is immaculate – especially when heard as a ist ein schön’s braun’s Maidelein; No 27, Ich of ‘Das Lied vom Herrn von Falkenstein’. Studio Master download. Hugo Shirley gramophone.co.uk GRAMOPHONE APRIL 2018 95 *UDPRSKRQH&KRLFH5HFRUGLQJV 'LVF RI WKH PRQWK NEW ON CORO %HHWKRYHQ 'LDEHOOL 9DULDWLRQV 0DUWLQ +HOPFKHQ /LV]W 5,$6 9RO 7ZR 3LDQR &RQFHUWRV -RUJH %ROHW 0DKOHU 6\PSKRQ\1Rµ7LWDQ¶$)LVFKHU 0DUDLV 3LqFHVGHYLROH%ROWRQ3HUURW/D5rYHXVH 0HVVLDHQ &DWDORJXHG¶2LVHDX[ 6$&' 3LHUUH/DXUHQW$LPDUG 0R]DUW 9LROLQ6RQDWDV9RO,EUDJLPRYD7LEHUJKLHQ 5DFKPDQLQRY7KH%HOOV6\PSKRQLF'DQFHV-DQVRQV 9DXJKDQ:LOOLDPV6\PSKRQLHV1RV 5/320DQ]H ²²²²² )RXU3LHFHV)RXU3LDQRV$OH[DQGHU0HOQLNRY ²²²²² +RPH.LDQ6ROWDQL$DURQ3LOVDP ²²²²² /HV )XQpUDLOOHV 5R\DOHV GH /RXLV ;,9 '9' 3\JPDOLRQ ²²²²² 9HQH]LD 0LOOHQDULD 6$&'%22. 6DYDOO 5HFHQW5HFRPPHQGHG5HOHDVHV $OIYpQ 6\PSKRQ\ 1R 'UDSD %RURZLF] %DFHZLF] 7ZR 3LDQR 4XLQWHWV 6LOHVLDQ 4XDUWHW %HHWKRYHQ 0LVVD 6ROHPQLV 6$&' 6X]XNL &UXVHOO 7KH 7KUHH &ODULQHW &RQFHUWRV 6$&' &ROOLQV +D\GQ 3LDQR 6RQDWDV 3DXO /HZLV 0DKOHU 6\PSKRQLHV &' %5 ./$66,.

COR16160 5DFKPDQLQRY6\PSKRQ\ 1R /LYH $VKNHQD]\ 6WUDYLQVN\ 3HWUXVKND 7KH )LUHELUG /32 7HQQVWHGW 9LYDOGL *ORULD /H]KQHYD )DJLROL )DVROLV om|;;u7bĹ ;vv- - t-uo o1bĺĺĺ (oѴĺ :DOWRQ 9LROD &RQFHUWR 3DUWLWD (KQHV *DUGQHU The Sixteen | Harry Christophers ²²²²² 6LU 7KRPDV %HHFKDP 5LFKDUG ,WWHU &ROOHFWLRQ &' Following on from Volume I (released in 2016), )UHH 0RQWKO\1HZ5HOHDVH 6SHFLDO2IIHU/LVWLQJV :H DFFHSW SD\PHQW E\ &KHTXH 9LVD 0DVWHU&DUG |_bv -Ѵ0l bm1Ѵ7;v vol; o= |_; Cm;v| ouhv =uol 3RVWDO &KDU HV 8. )LUVW LWHP WKHQ SHU LWHP %R[ 6HWV om|;;u7bĽv;-uv-v7bu;1|ouo=lvb1-|"|-uhĽvbm 0D[LPXP8.SRVWDJHFKDUJH (XURSH)LUVWLWHP WKHQ SHULWHP%R[6HWVIURP Venice, published posthumously in 1650 as the Messa 2XWVLGH(XURSHDWFRVW3ULFHVYDOLGXQWLODQGLQFOXGH9$7DW 2IILFH+RXUV0RQGD\6DWXUGD\DPSP$QVZHUSKRQHRQ:HGQHVGD\V -t-uoo1b;|v-Ѳlb. Released 30 March 2018. 2UGHUV&ODVVLFV'LUHFW 1RUWK6WUHHW6XGEXU\6XIIRON&25)8.(PDLOVDOHV#FODVVLFVGLUHFWFRXN ‘As always with The Sixteen, we get superb tuning, balanced ZZZFODVVLFVGLUHFWFRXNWRYLHZRXUVSHFLDORIIHUOLVWLQJV ensemble work and a lively pace. ‘ BBC MUSIC MAGAZINE

Chetham’s International

COR16159 Summer School & Festival for Pianists 2018

COR16164 Artistic Director: Murray McLachlan The Part One: 17–23 August 2018 Friendliest "( Part Two: 23–29 August 2018 Featuring all the music from The Sixteen’s 2018 Piano Summer Choral Pilgrimage, "-1u;7 -m7uo=-m;includes Faculty to include: School in the Ronald Brautigam, Marcella Crudeli, lvb10ub;m-m7oumv_ĸ-=-v1bm-ঞm]lb|u; Christopher Elton, Margaret Fingerhut, World! o=|_;7;oঞom-Ѵ-m7ul0vঞovѴv;1Ѵ-uĺ Norma Fisher, Peter Frankl, Harry Harris, Leslie Howard, Eugen Indjic, Piers Lane, Leon McCawley, $_; 0Ѵ;u -u|;|presents Beethoven’s Opus 18. Pascal Nemirovski, Artur Pizarro, Martin Roscoe, Ory Shihor, ;;7bm] ѴbѴ; bm|uo71ঞomķ b| l-uhv ;;|_o;mĽv Claudius Tanski, Seta Tanyel, Tamás Ungár, Ashley Wass vru;l;Ѵ1omC7;m|Cuv|v|;rbm|o|-Ѵl-v|;uo=|_; With daily concerts, lectures, improvisation, jazz, composition, intensive one-to-one coaching, duets, organ and harpsichord Classical String Quartet. Booking opens 10 January 2018 w w thesixteen.com For further information, call +44 (0)1625 266899 or email [email protected] www.pianosummerschool.com VOCAL REVIEWS

Brahms rounds the proceedings off, meanwhile, developed in style, indeed marked by a ‘Song of Destiny’ with Brahms’s 1870 orchestral version of few fingerprints we may have assumed Begräbnisgesang, Op 13. Gesang der Parzen, nine of his Liebeslieder-Walzer, done with peculiar to Bruckner, are the 1830 Christus Op 89. Liebeslieder-Walzer: Op 52 – No 1, Rede great elegance and bags of charm, and factus est of Führer and especially a brief Mädchen, allzu liebes; No 2, Am Gesteine forming much-needed emotional relief and punchy Te Deum setting from 1844 by rauscht die Flut; No 4, Wie des Abends schöne after the dark meditations on fate, Gänsbacher (known at large, if at all, for his Röte; No 6, Ein kleiner, hübscher Vogel nahm; transience and mortality that precede contribution to Diabelli’s waltz project). No 8, Wenn so lindt dein Auge mir; No 9, Am them. Tim Ashley More speculative are the Tantum ergo and Donaustrande; No 11, Nein, es ist nicht Magnificat, apparently written by Bruckner auszukommen; Op 65 No 9, Nagen am Herzena. Bruckner . Eybler . in 1852 and completed by Cohrs from Nänie, Op 82. Schicksalslied, Op 54 Führer . Gänsbacher surviving parts, which give pleasure mainly aElin Skorup sop Eric Ericson Chamber Choir; Bruckner Missa solemnis. Magnificat. Tantum through the youthful-sounding team of Gävle Symphony Orchestra / Jaime Martín ergo Eybler Magna et mirabilia Führer Christus soloists and tightly disciplined singing of Ondine F ODE1301-2 (58’ • DDD • T/t) factus est Gänsbacher Te Deum, Op 45 the RIAS Kammerchor. Whether the Johanna Winkel sop Sophie Harmsen mez appeal of this short-measure recording Sebastian Kohlhepp ten Ludwig Mittelhammer bar reaches beyond Bruckner aficionados RIAS Chamber Choir; Akademie für Alte Musik remains to be seen, but the performances Jaime Martín turns Berlin / Łukasz Borowicz could hardly be more persuasive. to the shorter choral Accentus F ACC30429 (47’ • DDD) Peter Quantrill works for the second Missa solemnis – selected comparison: instalment of his Bamberg SO, Rickenbacher (12/91R) (PROF) PH16059 Brahms survey, launched last year with a recording of the Serenades that was much The key may be Debussy 3 admired in these pages (5/17). At its best, B flat minor but the Mandoline. Dans le jardin. Trois Mélodies de the new disc is comparably impressive, debt of Bruckner’s Verlaine. Trois Chansons de France. Fêtes with performances of great lucidity and opening gambit to galantes – série II. Le promenoir des deux refinement from the Gävle Symphony the D minor of Mozart’s Requiem is amants. Trois Ballades de François Villon. Trois Orchestra and Eric Ericson Chamber unmistakable. In fact the greater part of Poèmes de Stéphane Mallarmé. Noël des Choir. There’s not a trace of stolidity this Missa solemnis is cast in B flat major, enfants qui n’ont plus de maisons anywhere: clarity is paramount, which and thus it is renamed in the new edition Thierry Félix bass-bar Stany David Lasry pf in turn dictates the disc’s considerable by Benjamin-Gunnar Cohrs, but the music Arcana F A446 (49’ • DDD • T/t) strengths as well as its occasional is in substance the same as a previous Recorded 1995. From A44 weaknesses. Martín expertly teases out recording led by Karl Anton Rickenbacher. the orchestral textures, allowing us to The work of the industrious Cohrs appreciate the subtlety of Brahms’s includes a significant contribution to string- and woodwind-writing in Nänie and the completed finale of Bruckner’s Ninth, Thierry Félix’s Schicksalslied, and his striking deployment as recorded by Rattle in Berlin, and his Debussy recital was of the brass in Begräbnisgesang. The choral own version of Mozart’s Requiem. His recorded in 1995 but singing, meanwhile, is exceptional in its reconstruction takes care of the details seems largely to have control and balance, the counterpoint down to the relatively unfamiliar Credo I been overlooked on its first release a year wonderfully clear and vivid, even in the intonation (Rickenbacher uses the now- later. It’s a striking disc, however, carefully most complex polyphony. standard Credo III). programmed and, at its best, engagingly Martín is often at his best when Brahms Not least thanks to the pliant timbres done. Félix, who gave up his performing is at his most severe. Gesang der Parzen of the Akademie für Alte Musik Berlin career for the church some years ago and really hits home with its measured, (including a late-Mozartian trio of was ordained a deacon in 2013, gives us the oppressive tread and finely controlled trombones), the whole enterprise breathes late songs (from 1904 onwards) complete, dynamic shading. Begräbnisgesang, taken the cleansing air of Upper Austrian prefaced by ‘Mandoline’, ‘Dans le jardin’ faster than usual, is similarly relentless, landscape and churches. The 30-year-old and the Trois Mélodies de Verlaine from rivalling John Eliot Gardiner’s version Bruckner may not (yet) have been granted 1891. His lightish, agile bass-baritone (SDG, 10/08) in its fierce austerity. the sustained inspiration revealed by is attractive and his way with words Elsewhere, however, clarity sometimes Schubert at the same age in writing the consistently deft. The rapid shifts between comes at the price of intensity. Schicksalslied still-overlooked Mass in E flat, but family irony and sincerity in the Villon ballads are opens wonderfully well, with a real sense of resemblances extend beyond the intricate beautifully done, though he’s at his best loftiness as well as beauty in its evocation of fugues ending both Gloria and Credo to the in the Verlaine sets, with their imagery the ‘selige Genien’ indifferent to human spacious hush and noble, swinging melody of sexual and emotional regret: ‘Le son affairs. But the subsequent allegro, for all of the Sanctus. du cor s’afflige vers les bois’ from Trois its precision, isn’t quite as turbulent – and The rhetoric of late-ecclesiastical Mozart Mélodies sounds very desolate; ‘Colloque therefore not as disquieting – as it could be. pervades not only the Mass itself but also sentimentale’ which closes the second Nänie, very much shaded towards elegy, is the motets which were deployed at its Fêtes galantes, is marvellous in its the only work on the disc that arguably premiere in 1854. An 1828 offertory by melancholy bitterness. needs larger choral forces, particularly at Eybler does not suggest any significant Félix’s pianist Stany David Lasry, the climaxes: I prefer the greater sonic and advance in language from a man who had meanwhile, plays an 1874 Érard – the type emotional weight of Abbado (DG, 4/92) been the first to try and fail to complete of instrument that Debussy himself would and Sinopoli (DG, 5/93) here. Martín Mozart’s Requiem manuscript. More have used as a Conservatoire student and gramophone.co.uk GRAMOPHONE APRIL 2018 97 VOCAL REVIEWS for which many of his earlier piano works The soloists are very respectable, though ‘Reflets dans l’eau’ and the shifting would have been written. This in itself may one misses a certain Italianate brightness rhythmic figurations that accompany the recommend the disc to many, and there’s and warmth in the Slavonic line-up. Václav elusive ‘Danseuse’ of the final song. It’s a a wonderful clarity in the sound, which Luks conducts with evident affection and strong addition to the work’s discography. allows Lasry to emphasise countless points with a welcome alertness to both the drama As with the previous volumes, of detail, whether in the surging seascape of and the many telling details in Donizetti’s meanwhile, the remaining songs are ‘La mer est plus belle que les cathédrales’ orchestration – the lovely, sighing duet distributed between an impressive roster from the Mélodies de Verlaine or the flickers between solo violin and cello in the of singers, nine in all. Some are new to the of colour and ambiguous harmonies that ‘Ingemisco’, for example. series: Isobel Buchanan, who returned to underscore the Trois Poèmes de Stéphane The camera direction is perhaps a little performance in 2015 after an absence of Mallarmé. The downside is that the busy, and the lens on some shots stretches some 20 years, is fiercely dramatic in the recording, on occasion, places Lasry too far out the picture unnaturally. It’s also a moody 1870 Baudelaire setting ‘Chanson forwards and Félix too far back, which at shame that the release seems not to be d’automne’, which also finds Martineau at times threatens to unbalance things, the available on Blu-ray; the DVD retails at his most intense and incisive; Louise opening ‘Mandoline’ above all. Tim Ashley a relatively high price, though it does Kemény, her voice like a flash of silver, usefully include complete text and sounds beautiful in the ‘Ave Maria’ from Donizetti ◊ translation. Nevertheless, it’s an enjoyable 1895. Among the regular singers, John Messa da Requiem record of a satisfying performance of a Chest continues to impress and beguile, Natalia Rubiś sop Agnieszka Rehlis mez Jaroslav rewarding work. Hugo Shirley this time with the early Hugo setting Březina ten Jiří Brückler, Jan Martiník basses ‘Tristesse d’Olympio’, while Ann Murray is Collegium Vocale 1704; Collegium 1704 / Fauré at her most elegant in the familiar ‘Clair de Václav Luks ‘The Complete Songs, Vol 3’ lune’. Lorna Anderson gives us ‘Le parfum Fryderyk Chopin Institute F◊NIFCDVD006 Chant d’automne, Op 5 No 1a. Three Songs, impérissable’ along with Mélisande’s song (77’ • NTSC • 16:9 • DTS5.0 & PCM stereo • 0 • T/t/s) Op8–No1,Auborddel’eaub; No 3, Ici-basc. from the Pelléas incidental music, both Recorded live at the Basilica of the Holy Cross, Automne, Op 18 No 3a. Les roses d’Ispahan, hauntingly done: she sings the latter in Warsaw, August 19, 2016 Op 39 No 4d. Clair de lune, Op 46 No 2b. Four English, quietly reminding us that the Songs, Op 51 – No 1, Spleene;No4,Larose(Ode score was originally commissioned for anacreontique)e. Le parfum impérissable, Op 76 the London premiere of Maeterlinck’s No 1f. Chanson de Mélisande, Op 80f.Soir,Op83 play in 1898. There are a handful of When Vincenzo Bellini No 2f. Le don silencieux, Op 92e. Ave Maria, uncharacteristic slips, however, in the died in 1835 at just 34, Op 93g. Chanson, Op 94h. Mirages, Op 113i. accompanying booklet: printed texts Donizetti, four years his Sérénade du Bourgeois gentilhommee. Tristesse occasionally differ from what is being sung; junior, was determined d’Olympioj. Vocalise-étudee. Vocalisesf – 13; 24 Ann Murray is credited with performing to honour his memory. fLorna Anderson, aIsobel Buchanan, dJanis Kelly, ‘Spleen’, when it’s actually sung, with Such was the rough-and-tumble nature of gLouise Kemény sops hSarah Connolly, bAnn considerable power, by Thomas Oliemans. his career, though, that he had to abandon Murray mezs cIestyn Davies counterten jJohn But even so, this is another fine issue in his Requiem after just a month: what we Chest, iWilliam Dazeley, eThomas Oliemans bars what is proving to be a most admirable have, though substantial, is incomplete, Malcolm Martineau pf series. I look forward to the rest of it. with no Agnus Dei, Benedictus or Sanctus. Signum F SIGCD483 (59’ • DDD • T/t) Tim Ashley It wasn’t heard, so far as we know, until Mirages – selected comparison: 1870 and is only sparsely represented on Crebassa, Say (12/17) (ERAT) 9029 57689-7 disc. A recording featuring Pavarotti and Renato Bruson that appeared on Decca is Volume 3 of Malcolm Finn long deleted (4/81), leaving Miguel Angel Martineau’s Fauré Falsettos Gomez-Martinez’s Orfeo reading the main series closes with 2016 Broadway Cast recommendation (8/89). Even in its a performance by Ghostlight Mb 84509 (133’ • DDD) incomplete form, it’s an imposing score: William Dazeley of Mirages, Fauré’s serious, considered and audibly sitting on penultimate song-cycle, written in 1919 the spectrum between the Requiems of to texts by the Symbolist poet Renée de Mozart and Verdi. There’s plenty of Brimont. The cycle has been well served The two parts of melody, as one would expect, as well as on disc, most notably, of late, by Marianne William Finn and some fluent contrapuntal writing; while Crebassa and Fazıl Say on their ‘Secrets’ James Lapine’s there’s no shortage of drama, the composer album released last year. Dazeley brilliant urban opera never resorts to melodrama. and Martineau give us another fine Falsettos first came together in 1992 when This new release stands distinct from interpretation, however, darker in mood the horrendous human cost of the Aids previous recordings, of course, for being on than Crebassa and Say, if equally cogent epidemic was still incalculable. But March DVD, filmed at a concert that took place as and refined. The restrained insistence of of the Falsettos (1981) and Falsettoland part of Warsaw’s ‘Chopin and his Europe’ Dazeley’s singing proves persuasive in (1990) were each born in the thick of this Festival. It also features period instruments: music that balances ornate imagery with terrible scourge and each independently Collegium 1704’s raspy brass, mellow stripped-back simplicity of expression. served as a shared experience for those winds and reedy strings give the piece a Martineau, meanwhile, lets every note who were living or had lived through it. welcome freshness. The chorus make a tell with his customary subtlety: there’s I remember sitting in a Broadway good concentrated sound, too, with the exquisite detail in his treatment of the theatre back in 1992 and the emotional tenors standing out for their plangent tone. ripples that disturb the calm waters of involvement of that audience – most of

98 GRAMOPHONE APRIL 2018 gramophone.co.uk VOCAL REVIEWS

Powerfully intense: Neil Ferris conducts Sonoro in Frank Martin’s Mass for Double Choir, coupled with sacred music by James MacMillan – see review on page 100

whom will have suffered loss directly or if you like, an air of Finn as a Brecht/Weill hospital room – and everyone in Finn indirectly – was palpable. figure for the late 20th century with his and Lapine’s Teeny Tiny Band is there. Falsettos is now iconic, and undoubtedly ‘Teeny Tiny Band’ as much a reference to The implications and symbolism of that William Finn’s masterpiece, something he his and Lapine’s characters as his four-piece could hardly be more overwhelming both is unlikely to surpass – but what is really combo – keyboards, reeds, percussion – in and beyond the context of this show. startling listening now to this revival from retaining (in Michael Starobin’s To quote its final line: ‘Lovers come and 2016 is how fresh and prescient the piece orchestrations) a keen sense of period. lovers go / Lovers live and die fortissimo / still sounds, how the jokes still land and I love that the highly strung wife Trina This is where we take a stand / Welcome the heartache is still raw. The tone – has a number called ‘I’m breaking down’ to Falsettoland.’ Edward Seckerson certainly that of Act 1, March of the (well and truly nailed by Stephanie J Block) Falsettos – is edgy and satirical. Let’s face and that the line ‘the only thing that’s Gounod it, any show which kicks off with the nervy breaking up is my family’ is so obvious that ‘Cantatas and Sacred Music’ counterpoint of a number entitled ‘Four you almost don’t think of it. I love that the Marie Stuart et Rizzioa. Fernandb. La Vendettac. Jews in a room bitching’ isn’t about to pull bond of father and son at the close of Act 1 Messe vocale pour la fête de l’Annonciationd. its punches. is mirrored by the bond between that same Christus factus este. Hymne sacréef. Messe de There’s a lot in this creative pot: the four son and father’s lover in Act 2. These were Saint-Louis-des-Françaisg Jews: Marvin, married to Trina with a son bold ideas back in 1981 and 1990 – they aGabrielle Philiponet, cChantal Santon-Jeffery, Jason on the brink of his bar mitzvah; still are. As is the ravishing song ‘Unlikely befJudith Van Wanroij sops fgCaroline Meng mez Whizzer, Marvin’s gay lover; and Mendel, lovers’ where the male and female couples fgArtavazd Sargsyan, aSébastien Droy, Marvin’s psychiatrist who is now having an in our tale find such consoling kinship. bcYu Shao tens fAlexandre Duhamel bar affair with Trina, Marvin’s wife. OK? Oh, You can hear why this musical is so bNicolas Courjal bass fFrançois Saint-Yves org and let’s not forget the lesbians from next beloved. Marvin’s love song for Whizzer dfgFlemish Radio Choir; abcefg door. And as if these permutations and ‘What more can I say?’ – affectingly sung Brussels Philharmonic / Hervé Niquet their ramifications weren’t complicated by Christian Borle – is one of the most Ediciones Singulares Fb ES1030 enough, the Aids epidemic – ‘Something beautiful contemporary theatre songs (129’ • DDD • T/t) bad is happening’ – arrives in Act 2. I know, while the climactic duet for This is, in the broadest sense, an intimate Borle and Andrew Rannells, ‘What would epic in which the frictions and agitations of I do?’, is heartbreaking but also super- Act 1 – delivered as they are at the speed of uplifting. It does for me every time I hear ‘My sole aim’, Gounod NICK RUTTER NICK light in a sequence of sung-through scenes- it. Truly an eleven o’clock number with wrote of his Conservatoire cum-songs as scabrously funny as they a timeless reach. days in his Mémoires d’un are insidiously catchy – find repose and Jason’s bar mitzvah eventually takes artiste, ‘was the Grand Prix

PHOTOGRAPHY: reﬂection in the heartbreak of Act 2. It has, place in his father’s lover Whizzer’s de Rome, which I was

gramophone.co.uk GRAMOPHONE APRIL 2018 99 VOCAL REVIEWS determined to win, at all costs.’ He did, in upper register in some of the sacred work here is his extended setting of the fact, carry off the coveted prize on his third works; in La Vendetta, Chantal Santon- Miserere with its obvious nods towards attempt in 1839, and the latest volume in Jeffrey and Yu Shao sound too close in age Allegri’s setting of the same text. Once Palazzetto Bru Zane’s Prix de Rome series, to be mother and son. But there are fine again the choral sound is robust and the issued to mark his bicentenary, examines things elsewhere: Gabrielle Philiponet and delivery highly charged, with the chanted both the route he took to achieve it and Sébastien Droy are gripping as Mary Stuart sections exuding a lovely tranquillity. the immediate impact on his work of the and Rizzio; Judith Van Wanroij mesmerises The numerical thinness of the choir two years scholarship at the Villa Medici and touches as Zelmire in Fernand, and also works to the advantage of the shorter that it afforded. gets to sing the ravishing motet Christus pieces, notably the enchanting Hymn to Success did indeed come, it would seem, factus est, written in Vienna late in 1842. the Blessed Sacrament with its sinuously at the cost of reining in his enthusiasm and The choral singing has wonderful richness, intertwining parts for oboe and viola. originality. The first disc presents us with clarity and fervour, above all in the Messe Ferris moulds the performances to convey his second-round dramatic cantatas, written vocale, which is breathtaking. A tremendous that unique sense of mystery, tradition, to prescribed texts. Gounod won with set, it adds immeasurably to our folk-like openness of expression and exotic Fernand, an Orientalist three-hander set understanding of Gounod’s work. Very harmoniousness which characterises so during the siege of Granada, in which a highly recommended indeed. Tim Ashley much of MacMillan’s sacred music. Spanish nobleman risks both life and . Marc Rochester honour to reunite Zelmire, the Muslim MacMillan F Martin Martin – selected comparison: girl he adores, with Alamir, her lover in ‘Passion & Polyphony’ Westminster Cath Ch, O’Donnell the enemy ranks. Elegant and attractively MacMillan Bring us, O Lord God. Cecilia virgo. (3/98) (HYPE) CDA67017 orchestrated, it is by no means negligible, Data est mihi omnis potestas. Children are a but seems cautious, harmonically and heritage of the Lord. Hymn to the Blessed Pitts melodically, when placed beside its more Sacrament. Miserere. O Radiant Dawn Pitts Missa Unitatisa interspersed with Clemens adventurous predecessors. Marie Stuart F Martin Mass for Double Choir non Papa Ego flos campib Ešenvalds Spring, the et Rizzio (1837) is very much a young Sonoro / Neil Ferris with Emily Pailthorpe ob sweet springc Mouton Nesciens materb Muhly hothead’s work – a real roller coaster of Benjamin Roskams va Spiral Massd Poulenc Ave verum corpusc Verdi a piece, emotionally confrontative and Resonus F RES10208 (67’ • DDD • T/t) Laudi alla vergine Mariac Traditional Hemlig characterised by an almost Berliozian stod jagc recklessness of harmony and expression. abCappella Pratensis; adNetherlands Chamber La Vendetta (1838), set on Corsica and Choir / bStratton Bull, adStephen Layton; depicting a mother swearing her son to Twenty years ago the cNationaal Vrouwen Jeugkoor / Wilma ten Wolde avenge his murdered father, is more Gramophone Recording with dJames McVinnie org introverted: the tension and oppressive of the Year was a Challenge Classics F CC72711 (64’ • DDD • T/t) mood are unwaveringly sustained, though Hyperion disc by the Meyerbeerian closing duet is a bit stiff. Westminster Cathedral Choir under Gounod initially found Rome James O’Donnell. The centrepiece of disappointing: ‘Provincial, ordinary, that recording was Frank Martin’s As director of Tonus colourless and dirty almost everywhere’, unaccompanied Mass for Double Choir. Peregrinus, Antony he wrote. But his encounter with the city’s That remains by far and away the finest Pitts’s spiritually church music, Palestrina in particular, fired recorded performance of the work, this imbued sacred his imagination. The second disc surveys latest from Sonoro offering, I regret to settings have evolved hand in hand with his sacred works composed in Rome itself say, no serious competition. his vocal ensemble over the years, as and in Vienna, where be briefly lived after Neil Ferris has certainly taken the work heard on recordings such as ‘Alpha and his studies were complete. His Mass for to heart and his reading is nothing if not Omega’ (Hyperion) and the modern Rome’s French church, Saint-Louis-des- powerfully intense, but he drives his singers oratorio Jerusalem-Yerushalayim Français, strongly prefigures the St Cecilia hard and they respond with a performance (1equalmusic). However, running in Mass of 1855, in which Gounod reused over-burdened with drama and passion. parallel with his work with Tonus some of its material. The real revelation The choir is small – the booklet lists 20 but Peregrinus have been several projects here, though, is the unaccompanied Messe pictures of the recording sessions show just with other groups, including the Missa vocale of 1843, which shows how much he 17 voices – and they compensate for this by Unitatis (‘Mass of Unity’). learned from Palestrina without becoming expending much effort on creating a big This work’s origins go back to 2008, imitative. Each section is preceded by a sound. This is certainly robust singing and when Pitts was commissioned to write a chorale setting of a versicle associated with covers a huge dynamic and expressive range Mass setting for Stratton Bull’s vocal group the Virgin Mary, which then becomes a (vividly displayed in an astonishingly Cappella Pratensis. The composer soon cantus firmus in the movement proper. operatic delivery of the Sanctus), but it struck on the idea of creating a work that The polyphony is exquisite, and the overall overwhelms the deeply personal and could be performed either in whole or in effect is one of timelessness rather than introspective qualities which are at the part for single or double choir. archaism. It is a most beautiful work. core of Martin’s sublime Mass. The two-choir version heard here As with the previous volumes, Hervé Coupling Martin’s work with a number unites Cappella Pratensis with the Niquet conducts the Brussels Philharmonic of sacred pieces by James MacMillan makes Netherlands Chamber Choir under and Flemish Radio Choir in performances sense, although the contention in the Stephen Layton. The result is a that are for the most part exemplary. There booklet notes that both composers ‘have fascinating, multi-layered work that are minor cavils over some of the soloists: an affinity with Renaissance music’ is blends chant, polychoral elements and tenor Artavazd Sargsyan is pushed in his questionable. The principal MacMillan medieval and Renaissance polyphony

100 GRAMOPHONE APRIL 2018 gramophone.co.uk WILLIAM CHRISTIE LES ARTS FLORISSANTS

J. S. BACH

MASS IN B MINOR Szabo © Michel

One of the supreme monuments of western sacred music, the Mass in B minor has been constantly re-examined by successive generations of performers. he questions it raises for musicologists and conductors are many and varied; each of them strives to give his or her own reading with the necessary humility. It was in this frame of mind that William Christie tackled the work in the course of a memorable tour in 2016. hese discs enshrine the result. HAF 8905293.9

harmoniamundi.com VOCAL REVIEWS with techniques drawn from more recent audible and its rhetorical arc firmly yet (which make up the bulk of the music) a neo-tonal and minimalist styles. unobtrusively described. The other motets tendency for tempos to decelerate so that The opening Kyrie starts in relatively are treated with the same care, though for what began slowly finally verges on the straightforward fashion, with each choir sheer impact Lassus is hard to top. (His ponderous. This may be symptomatic of a alternating short modal statements in a influence is felt throughout the disc, not reverential attitude that extends not just to manner resembling a kind of medieval least in Praetorius’s compositions, which the most famous pieces (Byrd’s Ne irascaris, tuning meditation. Far more complex update his style somewhat, though not Domine and Tallis’s Suscipe quaeso) but to layers are overlaid in the Gloria, which ends markedly.) In the motet and Mass the programming. An anthology of English with the simultaneous combination of up to choir really let rip, while managing to motets needs little justification, but this has 16 individual lines using complex rhythmic project the text clearly in all but the most an air of ‘greatest hits’ about it – especially and metrical juxtapositions. A rhythmically contrapuntally intricate passages. The when the two outliers, Dunstable and charged Credo leads to more homophonic full-throated singing compensates for Tomkins, are each represented by one statements in the Sanctus and Benedictus, occasional longueurs in the Mass. In more very famous piece. The contrast of styles while the concluding Agnus Dei radiates lightly scored passages the intensity eases can at times jar, for example when Morley’s a quiet luminescence. off a touch and individual voices sound less frothy, canzonetta-like ‘motet’ follows My only criticism is that we don’t hear secure; but Patrick Allies’s firm grasp of Dunstable; more seriously, it’s a pity for this clearly on the recording. Pitts’s Mass pacing and architecture (demonstrated such a talented ensemble to introduce itself settings are dotted throughout and earlier on) serves both choir and music so conservatively. (Equally jarring is the interspersed with other music, ranging well. It has been said that the level of edit on the final chord of Byrd’s Vigilate.) from Jean Mouton and Clemens non musical craftsmanship was perhaps higher In short, I look forward to hearing them Papa to Nico Muhly’s excellent Spiral Mass. in the later Renaissance than at any time in a more focused recital. Fabrice Fitch This piecemeal presentation of Pitts’s Mass before or since, a thesis which this rather takes away from the sense of unity enjoyable disc fully supports. Fabrice Fitch ‘Les Funérailles Royales conveyed by the work’s title. That said, the de Louis XIV’ ◊Y combined forces of the Cappella Pratensis ‘English Motets’ Chein Dirige Domine. Ne recorderis Colin and Nederlands Kamerkoor impart plenty Byrd Miserere mei, Deus. Ne irascaris, Domine. De profundis Helfer Pie Jesu Lalande of zip and energy to these performances, Vigilate Cornysh Ave Maria, mater Dei De profundis. Dies irae. Fantaisie ou caprice que to which should also be added impressive Dunstable Veni Sancte Spiritus Gibbons O Lord, le Roy demandoit souvent Philidor Marche pour contributions by the Netherlands Female in thy wrath rebuke me not Morley Haec dies les Pompes funèbres des cérémonies Youth Choir in music by Poulenc, Verdi Parsons Deliver me from mine enemies extraordinaires and E¯ riks E≈envalds. Sheppard Libera nos, salva nos – I; II Tallis If ye Céline Scheen sop Lucile Richardot mez Pwyll ap Siôn love me. Loquebantur variis linguis. Suscipe Samuel Boden counterten Marc Mauillon, quaeso Domine Taverner Quemadmodum Christian Immler bars Pygmalion / Raphaël Pichon H Praetorius Tomkins When David heard White Christe, qui Video director Stéphane Vérité H Praetorius Missa Tulerunt Dominum meum. lux es et dies I Harmonia Mundi F (◊ + Y) HMD990 9056/7 O vos omnes. Surrexit pastor bonus. Tulerunt The Gesualdo Six / Owain Park (102’ • NTSC • 16:9 • PCM stereo • 0 • s) Dominum meum G Gabrieli Maria stabat ad Hyperion F CDA68256 (73’ • DDD • T/t) Recorded live at the Chapelle Royale, Versailles, monumentum Handl (Gallus) Filiae Jerusalem, November 2015 nolite Hassler Deus, Deus meus Lassus Tristis est anima mea Siglo de Oro / Patrick Allies The Gesualdo Six Delphian F DCD34208 (59’ • DDD • T/t) are the latest all-male, Prolonged exequies for one-to-a-part a cappella Louis XIV culminated at vocal ensemble to the abbey of Saint-Denis emerge from the English choral scene, on October 23, 1715, in The discography and this is their recording debut. They a funeral service that of Hieronymus sport not one but two countertenors, who involved both of the court’s principal Praetorius (apparently occasionally double up on the top line musical institutions – the Musique de la no relation of the in five-voice pieces; and unlike some of Chapelle and Musique de la Chambre – more famous and younger Michael) is small ensembles of its kind, the director, Owain performing from a gallery erected but distinguished, The Cardinall’s Musick Park, does not himself sing (at least not especially for the occasion. Music may have and Weser-Renaissance Bremen having here). As one has come to expect given been heard at various other stages during devoted anthologies to his motets. Issued such a pedigree, the vocal quality is very eight days of ceremonial rites but no in the run-up to Easter, this offering traces fine, not to say superb, and when the music reliable details are known. The recent the events of Passion Week through a calls for an extrovert approach (as do Byrd’s tercentenary of the Sun King’s exequies sequence of motets by his contemporaries Vigilate or, very differently, Dunstable’s was a perfect opportunity for a from Catholic German courts, culminating four-voice Veni Sancte Spiritus) the singers commemorative concert fi lmed at the in a polychoral Mass based on his own respond with an athleticism and a feel for Chapelle Royale in Versailles. In numerous motet for the Resurrection itself. pacing that isn’t perhaps so common. ways – not least the different location and These are accomplished performances, The close miking does justice to the speculative minutiae of the programme – confident, sonorous and full of character. contrapuntal details, maintaining clarity this is not a reconstruction but instead a Lassus’s Tristis est anima mea is hardly in all but the densest writing. quasi-liturgical presentation that places new to the catalogue but Siglo de Oro Promise in spades, then, but reservations two magnifi cent grands motets by Lalande do its pathos full justice, with every detail also. One notes in the more sombre pieces among plenty of plainchant sung from

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Amazon, the Amazon logo and Amazon.co.uk are registered trademarks of Amazon EU SARL or its af iliates. gramophone.co.uk GRAMOPHONE APRIL 2018 103 VOCAL REVIEWS different areas of the chapel (accompanied Opałka … lips to kiss … Pawlik Full many a ‘Songs of Vain Glory’ by a serpent, and occasionally sung as glorious morning have I seen Przybylski Ayer If I were the only girl Bridge Come to me in overly operatic solos), and also several A woman’s face with Nature’s own hand my dreams. ’Tis but a week Dibdin Tom Bowling brief, simple and small motets by lesser- painted Zieliński That Time of Year (arr Britten) Elgar Submarines Finzi At a Lunar known contemporaries. proMODERN Eclipse Gurney Most Holy Night Haydn Sailor’s Devised in collaboration with Warner Classics F 9029 57280-5 (78’ • DDD • T/t) Song Holst Journey’s End Ireland Spring sorrow musicologist Thomas Leconte, this Ives Tom sails away Lehmann When I am dead, conjectural fantasy affords creative licence my dearest Novello We’ll gather lilacs for Pygmalion and Raphaël Pichon to Somervell To Lucasta, on going to the wars create a beguilingly dolorous musical Founded in 2012, Stanford Homeward Bound. A soft day experience. There is no older-fashioned the Polish six- Traditional O the sight entrancing. Sweet Polly polyphonic Mass of the sort that was voice ensemble Oliver (both arr Britten) Warlock My own certainly sung during the funeral in 1715 proMODERN country Weston/Lee Goodbye-ee H Wood (Leconte acknowledges that Du Caurroy’s are a seriously exciting group. There are Roses of Picardy Missa pro defunctis or an obscure setting by obvious parallels with James Weeks’s Sophie Bevan sop Sebastian Wybrew pf Charles d’Helfer are the likeliest bets). The Exaudi or Paul Hillier’s Theatre of Voices Wigmore Hall Live M WHLIVE0090 (70’ • DDD • T) audience is immersed in darkness during but proMODERN’s sound is all their Recorded live, December 14, 2014 this theatrical representation; for what own – lean, sinewy and infinitely agile. seems like eternity tiny lamps attached to A collective of soloists with an enormous the choir’s music folders provide the only technical toy-box, the group is surely light in the chapel as they move silently a composer’s dream, offering limitless This collection of between stations for plainchants and small possibilities. English songs (in choral pieces. The architectural glory of Which makes the uniformity and lack this instance songs the building is revealed eventually when of musical ambition of these new settings in English, since it brighter stage lights illuminate the main of Shakespeare sonnets all the more contains two songs by Americans) is a live performance area for Lalande’s disappointing. Booklet notes explain little recording by the soprano Sophie Bevan De profundis – the only piece certainly about the genesis of the project but most and the pianist Sebastian Wybrew at the performed in 1715, and which bursts of the 18 settings (all by Polish composers Wigmore Hall on December 14, 2014 with thrilling modernity into the hitherto with the exception of Philip Lawson’s (replete with applause). Marking the archaic solemnity. Sonnet 104) stay within a very safe centenary of the beginning the First World Pygmalion’s elegantly sensual orchestral compass, both technically and stylistically. War, the programme of songs topically playing and choral singing are sensational There’s an anonymity to the writing, reflects on the futility and vaingloriousness from start to finish. Five soloists sing with smudgy with cluster-chords, structured of war (ominously prefaced by Finzi’s ‘At a impeccable gracefulness and fluency, such again and again around similar patterns Lunar Eclipse’), and those composers who as Samuel Boden, Marc Mauillon and of rhythmic repetition, and by the end were embroiled in the conflict in different Christian Immler’s sweetly plangent trio you’re left with only a generalised ways, whether in combat on land or sea, or (‘Lacrymosa’) in Lalande’s extraordinary impression of pieces that all bleed left at home to fret and pray. Dies irae. There is vitality in Pygmalion’s and drift into one another. The significance of the songs is further broadly emotive phrasing, thrilling And then there’s the issue of the enhanced by their groupings into differing harmonic tensions in choral climaxes, and Shakespeare itself. There’s a reason certain areas of sentiment including the popular a sculpted expression of refined catharsis. sonnets have been set again and again and songs of the day such as Ivor Novello’s English subtitles turn out to be merely a not others; denser and more verbally ‘We’ll gather lilacs’, Robert Weston’s transcript of the sung Latin texts, and there playful than the speeches or songs, these ‘Goodbye-ee’ and Nat Ayer’s ‘If I were is no documentary, so the DVD format knotty, often highly conceptual texts don’t the only girl’. Bevan and Wybrew perform offers nothing other than the opportunity lend themselves to easy musical evocation these with panache, charged as they are to watch fantastic music-making in action – or aural digestion, especially when diction with real nostalgia. The section ‘Call to but the concert on its own terms enables us is as occluded as here. Arms’ includes Somervell’s little-known to experience Lalande in a fresh creative But through the haze some works do ‘To Lucasta’, a beautifully languid context. David Vickers stand out. Pawel Łukaszewski’s two interpretation of Gurney’s ‘Most Holy settings (Sonnets 27 and 60) retain their Night’ (with plenty of rubato from Wybrew ‘Shakespired’ composer’s signature melodic richness and in the affecting coda) and the evocative ‘Sonnets by William Shakespeare’ harmonic fingerprint, and the folk energy ‘Roses of Picardy’ by Haydn Wood. Bembinow ShakeSpired – Th’ expense of spirit; and primal rhythmic thrust of Miłosz There is a nice spread of Britten folk song Love is too young; Two loves I have Borzym Jnr Bembinow’s Sonnet 129 make a welcome arrangements, which act as useful points Being your slave, what should I do but tend. contrast to the many more contemplative of contrast. The pathos of Dibdin’s ‘Tom No longer mourn for me when I am dead. responses, of which Krzesimir De˛bski’s Bowling’ in the group ‘At Sea’ is irresistible, Those pretty wrongs that liberty commits Sonnet 1 – an enchanting opener with as is Bevan’s rendering of Elgar’s darkly Dębski From fairest creatures we desire more than a hint of Vaughan Williams’s brooding ‘Submarines’, assisted by her increase. When forty winters shall besiege thy Shakespeare settings – is easily the pick beautifully controlled intonation and brow Herdzin If there be nothing new, but that of the bunch. careful phrasing. Gurney’s ‘The ship’ also which is. Let those who are in favour with their If you want to revisit Shakespeare’s has compelling fluidity in its ever-changing stars. Shall I compare thee to a summer’s day? sonnets you’d do better to pick up a copy harmonic background and a captivating P Lawson To me, fair friend Łukaszewski while listening to one of proMODERN’s yearning in its final postlude, which Like as the waves. Weary with toil other, superb recordings. Alexandra Coghlan Wybrew injects with delicious insight.

104 GRAMOPHONE APRIL 2018 gramophone.co.uk VOCAL REVIEWS

Ambition and imagination: Jordi Savall and Hespèrion XXI tell the history of Venice through 1000 years of music

In the group ‘Bereavement’, yearning is a ‘Venezia Millenaria’ is an extraordinary santur and qanun. The result is a conspicuous sentiment that haunts Ireland’s project – proof of what ambition, chronological musical mystery tour, setting of Rupert Brooke’s ‘Spring sorrow’, imagination and, yes, public subsidy can whose juxtapositions and collisions are Liza Lehmann’s ‘When I am dead, my achieve. From the gorgeous printed book often startling. Plunging from the primal dearest’ (she lost her elder son during the (an actual book, not a booklet) with its ululations of Byzantine or Russian war) and Frank Bridge’s moving ‘Come to abundance of historical images and essays Orthodox chant (whose shared musical me in my dreams’, a song of 1906 revised by John Julius Norwich and Judith Herrin roots are amply evident here) into the in 1918. Warlock’s comforting ‘My own among others, to the meticulously highly worked sinfonias of Gabrieli or country’ fi gures neatly in ‘After the researched and often newly arranged Vivaldi’s church music is disorienting Armistice’, particularly the reverie of its tracks, drawing together performers from but throws up shared points of reference last verse, and both performers excel in the many different traditions and nations, no too. The syncopated rhythms that pulse austere atmosphere of Holst’s ‘Journey’s expense is spared here in realising this through Willaert’s villanesca Vecchie End’ and the rich assurance of Stanford’s enormous idea in all its richness and letrose are echoed in the traditional masterly ‘Homeward Bound’. Jeremy Dibble variety: telling the history of Venice Ottoman dance that follows, and the stile from 700 to 1797 through music. concitato repetitions of Monteverdi’s ‘Venezia Millenaria’ Imagine walking through the streets of Combattimento (heard here in full – the Music connected with Venice from the Venice as centuries slip away around you. most substantial work on the recording) Byzantine Empire to the Napoleonic Wars Through an open window you might recall the thrumming insistence of the Hespèrion XXI; Ensemble Panagiotis Neochoritis; overhear a young noblewoman singing a Berber music that precedes it. La Capella Reial de Catalunya; Le Concert des fl irtatious song by Hasse; as you pass an The characterful instrumental playing Nations / Jordi Savall Orthodox church the sound of chanting, of Savall and his colleagues is refl ected Alia Vox F b Í AVSA9925 (156’ • DDD/DSD • T/t) ancient as the lagoon itself, leaks out; you throughout in the vocal numbers, where Recorded live at Fontfroide Abbey, Narbonne, pass through a curtained doorway into a colour and drama are prized above France, July 16, 2016; Collegiate Church, Salzburg, tavern where folk musicians from Greece beauty, singers captured as though July 26, 2016; Tivoli Vredenburg, Utrecht, and Armenia are playing their traditional overheard by an anthropologist rather October 2, 2016 dances. This is the disconcerting than engineered by a producer. The effect experience of listening to a recording is wonderfully immediate – a snapshot not whose eclecticism mirrors that of the just of a city but of a spirit of music- crossroads-city that is its inspiration. making that Savall has pioneered. Many Two discs, over Savall and his Hespèrion XXI and decades since he fi rst began, Savall may 50 performers and Le Concert des Nations are joined here have spawned a new generation of 1000 years of musical by La Capella Reial de Catalunya, imitators, but this musical original is history: even by Jordi an Orthodox choir and soloists on still showing us all how it is done. Savall’s standards, instruments including the oud, duduk, Alexandra Coghlan gramophone.co.uk GRAMOPHONE APRIL 2018 105 THE SPECIALIST’S GUIDE TO…

Compilation ballet scores Jeremy Nicholas chooses 10 essential recordings that best embody that curious early 20th-century phenomenon, the ballet score entirely comprising arrangements of works by earlier composers

he popularity of ballet soared of La fille mal gardée draws on the music of All the ballets opposite also have these during the course of the 19th numerous composers. The original version, elements in common: the original material Tcentury. So did the quality of a pastiche choreographed by Dauberval was out of copyright before it could ballet music, reaching its height with in 1789, was a patchwork of 55 popular be, as it were, recycled (composers and Tchaikovsky’s trio of masterpieces. Then French songs which was later added to publishers have to make a living); and, in the early 20th century a new fashion (and subtracted from) by Ferdinand Hérold more significantly, they rely on those emerged for what we might call the (1828), Peter Ludwig Hertel (1864) and three cornerstones of the Western classical compilation ballet – ballets with scores John Lanchbery (1960). tradition – melody, rhythm and tonality. consisting of arrangements of works by earlier composers. This Specialist’s Guide acts almost as a supplement to that in the October 2017 issue (a guide to piano works transcribed for orchestra): five of the 10 ballet scores listed here owe their existence to the piano. Eight are orchestrations of a selection of music from the oeuvre of a single composer, and only the score of Elite Syncopations uses music originally and specifically written as dance music (though hardly for the kind of dance movements that Joplin and his fellow ragtime composers could have envisaged). Bach cantatas, Scarlatti sonatas and Czerny études in their original guises are about as far from the world of ballet as Monteverdi is from Mahler. Two of the best-known compilation ballet scores are omitted deliberately: Les sylphides and La fille mal gardée. The former (in whatever form by whichever arrangers) is assembled from Chopin’s ready-made dance music THEATRE WELLS CENTRE/SADLER’S HISTORY LOCAL BARON/ISLINGTON of waltzes, polonaises and mazurkas (and it featured in

October’s guide). The score Pineapple Poll in its original 1951 staging at Sadler’s Wells, London, as part of the Festival of Britain PHOTOGRAPHY:

106 GRAMOPHONE APRIL 2018 gramophone.co.uk THE SPECIALIST’S GUIDE

Bach, arr Walton Pergolesi et al, Handel, arr Beecham The Wise Virgins – Suite arr Stravinsky The Great Elopement LPO / Bryden Thomson Pulcinella – Suite (Love in Bath) Chandos (4/91) Suisse Romande Orchestra / Ilse Hollweg sop RPO / The one-act ballet was danced Ernest Ansermet Thomas Beecham to Walton’s orchestrations of Bach cantatas and Naxos (4/57) Naxos (10/60) chorale preludes (the best-known section is Diaghilev conceived the notion of a ballet with Following The Gods Go A-Begging (for Diaghilev) ‘Sheep may safely graze’ from BWV208, a secular a commedia dell’arte libretto and unearthed and two others, Sir Thomas Beecham’s final ballet cantata). Frederick Ashton’s choreography various sonatas, orchestral works and opera arias culled from Handel’s oeuvre, The Great Elopement is based on the parable from the Gospel of by Pergolesi and others for Stravinsky, who (1945), is his most elaborate. It was written for St Matthew of the 10 wise and foolish virgins. retained the bass lines and melodies but changed Ballet Theatre, New York, to a story devised by Not currently available is Walton’s own recording the inner harmonies and rhythms to create Beecham. It has never been staged, but Beecham of the six-movement concert suite recorded a few something his own, but very different from the recorded selections of the 22 movements in 1945 months after the ballet premiere in 1940. Bryden earlier Rite of Spring. Ansermet conducted the and 1951 and the complete score in the late 1950s, Thomson’s is a more than adequate substitute. premiere in 1920 and recorded the suite in 1956. by which time it had been renamed Love in Bath.

Offenbach, arr Rosenthal Joplin et al D Scarlatti, arr Tommasini Gaîté parisienne Elite Syncopations The Good-Humoured Monte Carlo Philharmonic ROH Orch / Robert Clark Ladies – Suite Orchestra / Manuel Rosenthal Opus Arte Philharmonia Orchestra / Naxos (11/99) This popular one-act entertainment Igor Markevitch Once again, we are lucky to have an authentic was created by Kenneth MacMillan Testament (12/97) recording conducted by the composer and/or for the Royal Ballet in 1974 on the back of the Vincenzo Tommasini (1878-1950), a pupil of Bruch, premiere conductor. Manuel Rosenthal, however, revival of Joplin’s music via Joshua Rifkin’s 1970 was another beneficiary of Diaghilev’s largesse did not lead the first performance of this ballet disc of piano rags and the use of this music in the and entrepreneurial skill. This ballet is his single for the Ballet Russe de Monte Carlo (1938), owing 1973 film The Sting. In fact, seven other ragtime claim to fame – the choreography (for the Ballets to his poor relationship with the choreographer composers in addition to Joplin were called on for Russes, 1917) by Léonide Massine, the costumes Léonide Massine. Rosenthal, whose arrangements the ballet. Dancers Merle Park and Wayne Sleep by Léon Bakst, the story by Carlo Goldoni. The were made in collaboration with Offenbach’s were among the original cast. This DVD, recorded music is arranged from seven Scarlatti keyboard nephew Jacques Brindejont-Offenbach, made live at the Royal Opera House in 2010, features sonatas. This disc has superb versions of the this recording (his third and best) aged 92. Sarah Lamb, Valeri Hristov and Steven McRae. ballet suite and music from six other ballet scores.

Rossini, arr Respighi Liszt, arr Lanchbery Czerny, arr Riisager La boutique fantasque – Suite Mayerling Études RPO / Antal Dorati ROH Orch / Barry Wordsworth Danish National RSO / Decca (12/77) Opus Arte Gennady Rozhdestvensky This is a further creation of Kenneth MacMillan’s 1978 full- Chandos (7/97) Léonide Massine, who choreographed it and length ballet tells the true story of Danish composer Knudåge Riisager (1897-1974) is wrote the scenario with the artist André Derain. the suicide pact between Crown Prince Rudolf, best known for his collaborations with Harald The music is Respighi’s orchestration of some heir to the Austro-Hungarian throne, and his Lander. Their single-act Études (premiered by the of the piano pieces from Rossini’s Péchés de teenage mistress, Baroness Mary Vetsera. John Royal Danish Ballet, 1948), described as a ‘homage vieillesse. The ballet premiered in 1919, and Lanchbery’s masterly orchestrations of Liszt’s to classical ballet training’, begins with exercises Massine was still around to coach the Royal Ballet music took in symphonic poems, several of the at the barre and ends with a thrilling ensemble for its 1978 revival. Dorati – who conducts this Transcendental Studies, the First Mephisto Waltz display. Rozhdestvensky gives his Danish players spirited account of the suite – compiled and and some less familiar pieces for this dark and a similar workout in this breezy, brilliant account. arranged some ballet scores himself in the 1940s unsettling story. This DVD of a 2009 performance What would Czerny have made of this imaginative using music by Delius, Offenbach and Mussorgsky. stars Edward Watson and Mara Galeazzi. use of around 30 of his hundreds of piano studies? Sullivan, arr Mackerras Pineapple Poll – Suite LPO / Charles Mackerras Warner Classics

As a young oboist in his native Australia, Limited and The Grand Duke, arranged this Mackerras got to know the world of Gilbert and sparkling score in collaboration with the young Sullivan. As a repetiteur for a production of Gaîté choreographer John Cranko. It was premiered in parisienne, he became convinced that the music March 1951 at Sadler’s Wells, London, as part of of Sullivan would make a ballet and have the the Festival of Britain. Mackerras recorded the same appeal. He had to wait until 1950 when the complete ballet three times. This recording of music fell out of copyright and then, calling on the suite is coupled with his 1954 Verdi all the Gilbert and Sullivan operas except Utopia compilation ballet The Lady and the Fool. gramophone.co.uk GRAMOPHONE APRIL 2018 107 Opera Richard Wigmore hears a Porpora Mike Ashman welcomes rarity from Cencic and co: a Dutch Rosenkavalier: ‘Creakyactionandtwo-dimensional ‘Peter Rose’s Ochs is strong of both rustic characterisation would not have bothered accentandaristocraticmien,neveraclown Roman audiences one iota’ REVIEW ON PAGE 111 but pointedly funny’ REVIEW ON PAGE 115

Gasparini beautifully written cantata Andate o life with vivid musical contrasts, here ‘The Gasparini Album’ miei sospiri. Other highlights include the brilliantly realised and paced by Hervé Amleto – D’ire armato. Astianatte – Se la Grecia touching ‘Qui ti scrivo o nome amato’, Niquet and the disciplined chorus and s’armerà. Atalia – Ombre care. Bajazette –Par in which an obbligato theorbo mimics orchestra of Le Concert Spirituel; and che mi nasca in seno. Il Ciro – Nell’orror della the tracery of a knife carving a beloved’s second by plenty of character development, procella. Engelberta – Sinfonia. L’oracolo del name, the majestic ‘Qui dal porto d’ocean’, reflected in strong performances by Mercer Fato – Qui ti scrivo o nome amato; Se non canti and the enchanting soprano-recorder as the naive, well-intentioned Semele, più per me. Il Roderigo – Non ha incendio; Non songbirding of ‘Se non canti più per me’. Dahlin as Adraste (the victim of the piece), vo lasciarti più. Santa Eufrosina – Qui dal porto There are few sopranos one would Tauran shocking us with Dorine’s deceit d’ocean. Il Tamerlano – Cor di padre; Svena rather entrust with these pieces than and Thébault with Juno’s evil cunning. uccidi. Cantata, ‘Andate o miei sospiri’. Roberta Invernizzi, and with her The production team ensured that the Flute Concerto commanding voice and sturdy technique results were tightly edited into this two- Roberta Invernizzi sop Auser Musici / Carlo Ipata fl she does not disappoint, articulating the disc set, first issued in 2008. Glossa F GCD922905 (60’ • DDD) lyrical as effectively as she copes with Many artistic decisions separate us from Includes texts and translations demanding leaps and passagework. It is Marais’s original 1709 realisation. Marais a pity, then, that she is heard in a rangy fortunately supervised the publication of acoustic that effectively pushes her away a short score but the performance parts from us, blunts some of the energy of the are lost. This is illustrated by a quick In his booklet note, orchestra and causes headaches for the comparison with two admired recordings Carlo Ipata advises editor (hear the double note at 0'28" in of Sémélé’s instrumental music: those by that this is only ‘Ombre care’). An odd choice to make Montreal Baroque (ATMA Baroque, 2/07) ‘one of the many when so much else is so right. Lindsay Kemp and Les Ombres (Mirare, 5/15). Niquet possible’ portraits of Francesco Gasparini. and his team rely on the expertise of Even to baroque experts Gasparini is best Marais 3 scholars at the Centre de Musique Baroque known as the chap who, by leaving his job Sémélé de Versailles, who have recreated Marais’s as choirmaster at the Ospedale della Pietà, Shannon Mercer sop ...... Sémélé orchestration with great sensitivity. provided Vivaldi with his first opportunities Bénédicte Tauran sop...... Dorine The familiar theme of conflict of royal in sacred choral music; but he was an Jaël Azzaretti sop...La Grande Prêtresse de Bacchus duty over personal choice and the ensuing, important opera composer with numerous Hjördis Thébault sop...... Junon ultimately destructive power struggle successes in Venice and Rome in the first Anders J Dahlin ten...... Adraste between gods and humans was a path quarter of the 18th century, and one who in Thomas Dolié bar ...... Jupiter already well trod in opera. Marais recent years has often emerged with credit Lisandro Abadie bass-bar...... Mercure nevertheless ensured plenty of modern from mixed baroque recital discs. A few of Marc Labonnette bar touches. Shapely recitatives lead seamlessly his larger works have been recorded – ...... Cadmus/Le Grand Prêtre de Bacchus into enchanting airs, duos and dances. including the opera Il Bajazet conducted by Le Concert Spirituel / Hervé Niquet The dances include fashionable musettes Ipata (7/15) – but this album may well be Glossa FbGCD921631 (137’ • DDD) evoking the sound of a hurdy-gurdy, a the first release to make a wider scan of his Recorded 2007; from GCD921614 folk instrument coming into vogue among vocal art. Includes synopsis, French libretto and translation aristocratic amateurs, and a monumental Gasparini was a friend of Alessandro chaconne, strategically positioned in Act 2 Scarlatti, but while his arias can be similarly to crown Semele’s seduction by Jupiter. pithy (particularly in the two from the early Superbly crafted choruses are a legacy Il Roderigo), most here show a more What most strikes of Marais’s boyhood training as chorister Handelian scale and confidence. Indeed, one about Marais’s alongside Lalande. Gasparini is thought to have influenced Sémélé is the The known orchestral effects, too, were Handel not just directly with his settings of professional modern: the innovative use of solo trumpet the Tamerlano libretto but also more conception of this masterpiece of tragédie in the prologue (disc 1, tracks 5 and 8) and generally with his skill in accompanied lyrique. Marais and his librettist Houdar de the ethereal effect of two flutes in their recitative, affectingly demonstrated in the La Motte successfully contrived to keep the upper range, accompanied by four violins restless ‘Ombre care’. And yet, however listener on the edge of his seat from (tracks 9 and 23). Musical evocations of agitated, there is always grace and beginning to end, first by maintaining a subterranean rumbling (disc 2, track 6), composure in his writing, as shown in the high level of dramatic tension brought to an earthquake (track 31) and ultimate

108 GRAMOPHONE APRIL 2018 gramophone.co.uk OPERA REVIEWS

Powerfully afecting: Callum Thorpe and Magdalena Kožená star in Monteverdi’s Il ritorno d’Ulisse in patria

conflagration in the opera’s final scene Jean Teitgen bass ...... Nettuno Penelope. Arioso writing of a highly are summoned up by the lavish continuo Mathias Vidal ten...... Telemaco flexible and at times lyrical kind is forces, which often provide suitably Emiliano Gonzalez Toro ten...... Eurimaco prominent in the score, nowhere more forceful accompaniments to vocal numbers. Jörg Schneider ten...... Iro so than in ‘Di misera regina’, which in its And yet, in spite of lavishing all the Elodie Méchain contr...... Ericlea contours and effective use of dissonance is resources of the Académie Royale de Le Concert d’Astrée / Emmanuelle Haïm clearly in a direct line of descent from the Musique, Sémélé somehow failed to please. Stage director Mariame Clément Lamento d’Arianna. Although KoΩená’s Marais and his collaborators had clearly Video director François-René Martin dramatic and violently oscillating neither factored the implications of the Erato Fb◊9029 57381-2 (3h 17’ • NTSC • 16:9 • portrayal of a soul in torment is superbly recent failure of other productions nor DD5.1 & PCM stereo • 0 • s) characterised, expertly moulding words anticipated the terrible winter and famine Recorded live at the Théâtre des Champs-Élysées, and music into a highly charged vocal line, raging at the time. The failure signalled Paris, March 2017 purists may be uncomfortable with the style the end of Marais’s 40-year career at the of the accompaniment, with its rather busy Opéra, first as a continuo player, then as keyboard figuration. Le Concert d’Astrée a trusted batteur de mesure (conductor) and employs a sizeable continuo ensemble finally respected house composer. This Monteverdi would hardly (which includes strings, archlute, theorbo, reissue should serve to prompt another have returned to the harp, harpsichord and organ), while also much deserved revival. Julie Anne Sadie composition of works adding cornetts, sackbuts, recorders, for the theatre at such an dulcian and percussion to the already rich Monteverdi ◊ advanced age had it not texture, particularly in the sinfonias, which Il ritorno d’Ulisse in patria been for the talents of the acting troupes are enjoyably delivered with brio and crisp Rolando Villazón ten ...... Ulisse visiting Venice. As opera moved into the articulation. But it must be seriously Magdalena Kožená mez...... Penelope public arena, it became clear that audiences doubted whether any Venetian theatre, Katherine Watson sop...... Giunone were primarily interested in recognisable where impresarios concentrated their Krešimir Špicer ten...... Eumete human beings – recognisable both in their financial resources on fielding the finest Anne-Catherine Gillet sop...... Amore/Minerva actions and in their emotional response. In vocalists, would have had recourse to such Isabelle Druet mez...... La Fortuna/Melanto other words, the Venetians demanded stars. lush possibilities. VINCENT PONTET VINCENT Maarten Engeltjes counterten To some extent this recording, which As opera moved from the privacy of the ...... L’Umana Fragilità/Pisandro has evolved from staged performances, Renaissance court into the public realm of Callum Thorpe bass...... Il Tempo/Antinoo provides them, above all in Magdalena the commercial theatre, the number of

PHOTOGRAPHY: Lothar Odinius ten ...... Giove/Anfimono KoΩená’s powerfully affective reading of characters expanded. While Monteverdi’s

gramophone.co.uk GRAMOPHONE APRIL 2018 109 Azrieli Music Prizes Two prizes recognizing excellence in new Jewish music

“One of the finest acoustics I encountered in my 60 year career” Alfred Brendel

ARTISTS INCLUDE:

P L S O C T The Azrieli Foundation is pleased N E L W L P to announce that Avner Dorman is I C C M H the winner of the 2018 Azrieli Prize J G Q J D for Jewish Music. His composition T F A B S H A will be performed at the AMP Gala T A O Concert on October 15th, 2018 I  A  T H by the McGill Chamber Orchestra A M A T with Guest Conductor Yoav Talmi. Full online booking available www.campdenmusicfestival.co.uk [email protected] 01386 849018 azrielifoundation.org MUSIC FESTIVAL 12th – 26th May 2018 OPERA REVIEWS

Orfeo was given with just a few singers and new. From Don Giovanni to La traviata and Porpora considerable doubling of parts, particularly Salome to Lady Macbeth, much of the Germanico in Germania in order to form the chorus, Ulisse, standard repertoire seems to grapple, in Max Emanuel Cencic counterten ...... Germanico composed some 30 years later, requires one way or another, with the seemingly Julia Lezhneva sop ...... Ersinda 19 principal characters. Undoubtedly some inescapable friction between societal Mary-Ellen Nesi mez...... Arminio roles would have been doubled here as well; convention and sexual freedom. But, Juan Sancho ten...... Segeste but the decision to present no fewer than of course, those operas aren’t merely Dilyara Idrisova sop ...... Rosmonda 14 soloists pays musical dividends and it is about sex. Hasnaa Bennani sop ...... Cecina among the minor roles (rather than from To be fair, Three Way isn’t just about Capella Cracoviensis / Jan Tomasz Adamus Rolando Villazón’s rather disappointing sex, either. David Cote’s clever, literate, Decca Mc483 1523DHO3 (3h 38’ • DDD) and over-reaching performance) that some economical and often hilarious libretto Includes synopsis, Italian libretto and translation sharply chiselled characterisations emerge. hints at the role sex plays in our quest for Particularly notable are Jean Teitgen’s intimacy and fulfilment. Yet none of the authoritative Neptune and Jörg Schneider’s characters is developed to the point where nicely captured and colourful account of I felt any empathetic connection. The Nicola Porpora Iro. Rather less enthusiasm for the staging, trilogy comes across more like television- was long famous with its initially amusing but ultimately style entertainment tied up in a quasi- by association rather irritating mixture of Classical, Baroque philosophical bow, as is often done with than through his own and modern dress (the suitors in back tie, sitcoms, so that when the programme is music. In the early 1750s he was mentor Telemaco in jeans), set against backdrops over one doesn’t feel one’s time has been to the young Haydn, who for a time also of various vintages ranging from the entirely wasted. No, what’s missing, to be served as his valet. Three decades earlier ancient world to a rustic drinking den. blunt, is music that provides more than he had taught the castratos Farinelli and Iain Fenlon just a well-wrought soundtrack. Caffarelli, while his peripatetic operatic To his credit, Paterson knows how to set career included a spell as rival to Handel R Paterson a text to music so that the words are easily in London. The human voice was his Three Way understandable and flow naturally. And speciality. And it is is hardly surprising The Companion there are rare glimmers of real, thought- that the Neapolitan composer-cum- Danielle Pastin sop...... Maya provoking emotion. In The Companion, near teacher, at the height of his fame in the Samuel Levine ten...... Joe the end of Joe the android’s aria (‘7:05am: 1720s and ’30s, knew exactly how to display Wes Mason bar ...... Dax I made you breakfast in bed’), a touching his singers’ technical prowess to optimum strain of melancholy creeps into the music, effect. Germanico in Germania, the first Safe Word raising questions about what Joe might complete Porpora opera on disc, is an Eliza Bonet mez...... The Domme actually be capable of feeling. I felt a faint eloquent case in point. Matthew Treviño bass-bar...... The Client pang, too, for the bitter frustration of the Premiered in Rome in 1732, the opera Masquerade tech support guy Dax in his aria (‘I know centres on the conflict between Germanico, Courtney Ruckman sop ...... Jessie how it works’). But the music never really Roman commander in feudal Germania, Samuel Levine ten...... Marcus digs any deeper, and often relies on what’s and the proudly independent Germanic Danielle Pastin sop...... Connie obvious and predictable. Safe Word is chieftain Arminio. Further complications Wes Mason bar...... Larry coloured by film noir harmonies (so arise from the Roman allegiance of the Jordan Rutter counterten...... Kyle many diminished chords!) and the two chieftain Segeste, whose elder daughter Melisa Bonetti mez ...... Tyler protagonists slip into bluesy, sleazy, strip- Rosmonda is Arminio’s wife. Predictably, Matthew Treviño bass-bar...... Bruce DeBridge clubby song. Masquerade in some ways all comes right in the end, with a 12th-hour Eliza Bonet mez...... Jillian DeBridge offers the richest opportunities for more reconciliation (dealt with in two minutes Nashville Opera Orchestra / Dean Williamson nuanced characterisation but fails to of secco recitative) and a final ensemble American Modern Recordings Fb AMR1048 deliver. It all sounds rehashed: macho hymning the future union of the Rhine and (117’ • DDD) Larry’s tango about erectile dysfunction, the Tiber. That the action can be creaky Includes synopsis and English libretto for instance, and the Sondheim-esque and the characterisation two-dimensional trio ‘Watching, apart’ – except that would not have bothered Porpora’s Roman Sondheim’s music always puts his audiences one iota. What they came to see, characters’ emotions into sharp focus. and got in abundance, was a celebration Three Way is a trio Three Way was well received at both its of vocal virtuosity from an all-male cast of one-act operas by 2017 Nashville Opera premiere and later (women being banned by papal edict) composer Robert performances at the Brooklyn Academy of featuring two of the leading castratos of Paterson and librettist Music. This recording features the original the day: Domenico Annibali in the title- David Cote. In The Companion, a woman cast, whose singing is admirable for its role (he would later sing the title-role in develops a surprisingly complicated textual clarity and less so for its vocal Handel’s Arminio) and, as his antagonist relationship with Joe, her biomorphic allure. The standouts are Eliza Bonet and Arminio, Caffarelli, who even by castrato android housekeeper/lover. Safe Word Matthew Treviño – the dominatrix and her standards was something of a colleague- is set in a sex dungeon where a power client in Safe Word – who attack their roles from-hell. struggle develops between a dominatrix with aptly unnerving ferocity. The dry While bravura brilliance can occasionally and her client. Masquerade finds four acoustic of the studio recording flatters become an end in itself, and some of the couples swapping partners at a suburban neither the cast nor the dozen members arias sound too jolly and/or mellifluous for swingers’ party. Operas dealing explicitly of the Nashville Opera Orchestra. the situation, Porpora’s invention rises well with sex and sexuality are certainly nothing Andrew Farach-Colton above Italian Baroque routine. Reflecting gramophone.co.uk GRAMOPHONE APRIL 2018 111 The Finale!

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Cancellation penalties and conditions apply. OPERA REVIEWS the singers’ star billing in 1732, Germanico Álvaro Zambrano ten...... Prunier 2017-18 season). He elicits playing that is and Arminio have some of the finest, Evelin Novak sop ...... Lisette idiomatic and seductive, although the big certainly the fieriest, music. This recording Stephanie Lauricella mez...... Suzy/Lolette waltz in Act 2 (disc 1, track 14, from 4'25") was planned in part as a showcase for Jan-Hendrik Rootering bass-bar ...... Rambaldo arguably feels a bit more beer hall than the countertenor Max Emanuel Cencic, Bavarian Radio Chorus; Munich Radio Orchestra / Moulin Rouge, and he can’t match the who tosses off Germanico’s seething ‘rage’ Ivan Repušić flexibility and sheer luxuriousness we get aria ‘Qual turbine’ with devil-may-care CPO FbCPO555 075-2 (100’ • DDD) from Pappano. virtuosity and reveals the full beauty and Recorded live at the Prinzregententheater, CPO’s sound, too, sounds hard-edged depth of his tone in the introspective Munich, October 9-11, 2015 when compared to the sumptuous yield ‘Nasce da valle impura’, one of the opera’s Includes synopsis and Italian libretto and depth of that earlier recording. And few slow arias. Mary-Ellen Nesi is his equal be warned: though the booklet contains the in swaggering brilliance, using the bright libretto, the only translation we get is into blade in her mezzo to thrilling effect in German. Hugo Shirley Arminio’s vehement denunciations of Puccini’s wartime Selected comparison: Germanico – and never mind the odd attempt to emulate Pappano (5/97) (EMI/WARN) 640748-2 moment when her singing teeters on the the success of edge of wildness. Invariably expressive Lehár has always Rossini with words, Nesi effectively softens her been the dark sheep of his output. But Ricciardo e Zoraide tone for the touching aria of parting in La rondine is arguably his most tender, Maxim Mironov ten...... Ricciardo Act 2, one of the score’s jewels. open-hearted and charming work: Alessandra Marianelli sop...... Zoraide The other singers are all up to the eschewing grand passion, it is brief, Randall Bills ten ...... Agorante composer’s virtuoso demands, though packed with melody, disarmingly Nahuel Di Pierro bass ...... Ircano neither the impressive soprano Dilyara beautiful, and quietly and modestly tragic. Silvia Beltrami mez...... Zomira Idrisova as Rosmonda nor Julia Lezhneva There are echoes of La traviata, of course, Artavaszd Sargsyan ten...... Ernesto as her younger sister Ersinda entirely avoid but it might usefully be understood to Diana Mian sop ...... Fatima the trap of making their coloratura sound have a similar relationship to La bohème as Anna Brull mez...... Elmira like a mechanical vocalise. More distinct Strauss’s Arabella does to Der Rosenkavalier: Bartosz Żołubak ten...... Zamorre words from both would have helped. In her an oft-misunderstood, ill-starred return to Camerata Bach Choir, Poznań; Virtuosi Brunensis defence, Idrisova’s despairing accompanied the site of previous triumph. / José Miguel Pérez-Sierra recitative and aria with obbligato horn at This is also reflected in the catalogue, Naxos Mc8 660419/21 (166’ • DDD) the end of Act 1 are superbly vivid. The with previous high-profile recordings Recorded live at the Trinkhalle, Bad Wildbad, bell-like soprano Hasnaa Bennani spread out across the decades and existing Germany, July 15-20, 2013 (dazzlingly agile in another horn-fuelled primarily as vehicles for their prime donne: Includes synopsis; Italian libretto available from aria) makes her mark as Cecina, the Roman Anna Moffo in the 1960s, Kiri Te Kanawa naxos.com captain in love with Ersinda, and Juan (with Domingo) in the early 1980s. In Sancho brings a clean, no-nonsense tenor the following decade, Angela Gheorghiu and plenty of temperament to Segeste’s and Roberto Alagna (under the young combustible arias. Antonio Pappano) burst on to the scene Ricciardo e Zoraide was Jan Tomasz Adamus’s direction of with the work on EMI – a set that was written for the Teatro the Kraków period orchestra (including crowned Gramophone’s Recording of the San Carlo in Naples in raucous, high-testosterone horns) is Year in 1997. 1818, midway through stronger on energy than subtlety, That recording is quite an act to follow, Rossini’s seven-year residency in the city. though the players are not ideally not least for Elena Mo∞uc, a Romanian A tale of love, jealousy and honour served by a rather dry, close acoustic. like Gheorghiu. She does a good job in involving a Nubian tyrant, a lovelorn Some of the tempos, not least in presenting a fully fledged character as Paladin, an Asian princess and a put-upon Ersinda’s joyful reunion aria ‘Sorge Magda, though, especially as matters get royal spouse, its libretto was mined from dall’onde’, sound remorselessly driven, more serious in the third act. Earlier on, an early 18th-century mock-heroic epic and the singers’ ornamentation can go where a cleanly soaring upper range is at by the poet Niccolò Forteguerri. The way over the top. But you could argue a premium, the voice too often takes on a Neapolitans enjoyed it rather more than that this is all in keeping with an art slightly acid tang and swoops around – they had enjoyed Otello, Rossini’s previous form predicated on excess. Performed a major drawback, alas, in this role. piece with a black protagonist. with such virtuoso aplomb, above all There’s much to enjoy in the rest of the The opera held the stage until 1846, by Cencic and Nesi, Germanico in cast, though, especially from Yosep Kang’s then vanished until its revival at the 1990 Germania well justifies the booklet’s ardent and Italianate Ruggero: to my mind, Pesaro Rossini Festival, when Riccardo billing as ‘a veritable feast of this elegant tenor can stand comparison Chailly conducted a newly completed vocal delights ripe for resurrection’. with any other performer of the role in the Critical Edition. The production lost Richard Wigmore catalogue. Álvaro Zambrano is a suave and both its lead tenors before it opened. Chris sweet-voiced Prunier, though not quite as Merritt (the Nubian Agorante) fell out Puccini flexible as Pappano’s William Matteuzzi. with the management and Rockwell Blake La rondine Evelin Novak sparkles as Lisette, and the (the Paladin Ricciardo) was indisposed. Elena Moşuc sop...... Magda de Civry rest of the smaller roles are very well taken. But it’s an ill wind. Their talented Siobhan Stagg sop...... Yvette/Georgette Ivan Repu≈ic´does a good job with his replacements, Bruce Ford and William Elbenita Kajtazi sop...... Bianca/Gabriella new Munich orchestra (he began as their Matteuzzi, made their international Yosep Kang ten ...... Ruggero principal conductor at the start of the reputations with the production. gramophone.co.uk GRAMOPHONE APRIL 2018 113 OPERA REVIEWS

a gentle flutter of vibrato, though much Focus less prominent than in his early days, it has an old-school quality of a Björling or HISANDHERVERDI Di Stefano, which is high praise indeed. Mark Pullinger listens to two opera stars singing Verdi roles The honeyed ease with which he floats they have not yet performed on stage, with mixed results phrases in Don Alvaro’s aria from La forza del destino is winning and he makes Radamès’ paean to ‘Celeste Aida’ beautifully eloquent. In interview, Calleja has pointed out that you don’t need a barnstorming tenor to sing Manrico; there’s poetry in the phrasing of ‘Ah, sì ben mio’ followed by a spirited ‘Di quella pira’ cabaletta. Decca’s disc is intelligently programmed, with a selection of duets to offer more rounded character portraits, with around 25 minutes of music from Otello to close. Vittorio Vitelli, a serviceable baritone if a bit pedestrian, partners Calleja in the glorious Friendship Duet from Don Carlo along with the final Alvaro-Carlo encounter from Forza where Alvaro is goaded into a duel, and ‘Sì, per ciel marmorio giuro’ once Iago has planted the seeds of jealousy into Otello’s fragile mind. Calleja is lyrical and Sunshine beaming through the voice: Joseph Calleja excels in his selection of Verdi arias tender in the Otello love duet opposite the Desdemona of Angela Gheorghiu, Verdi who is more affecting here than in her Aida – Se quel guerrier io fossi! … Celeste Aida. blowsy, overwrought contribution to Don Carlo – Dio, che nell’alma infonderea. ‘Di quella pira’. La forza del destino – Invano, Alvaroa; La vita ‘Dio mi potevi’ is scrupulously sung è inferno all’infelice! … Oh, tu che in seno agli but it’s here that you detect the tell-tale angeli. Otello – Dio! mi potevi scagliar; Già sign that Otello is a role Calleja’s yet nella notte densab; Niun mi tema; Oh’ to perform on stage. Despite beautifully mostruosa colpa! Sì, per ciel marmoreo giuro!a. What is the purpose of a disc of observed dynamics, it’s the same with Il trovatore – Ah! sì, ben moib; Di quella pira arias from operas the singer has never ‘Niun mi tema’. Only with stage Joseph Calleja ten with Angela Gheorghiu sop performed? An audition tape? Trying on experience will Calleja start to get under Vittorio Vitelli bar Orquestra de la Comunitat the role for size? Sometimes they can be the Moor’s skin. Ramón Tebar and the Valenciana / Ramón Tebar a great success and there are notable Orquestra de la Comunitat Valenciana Decca F 483 1539DH (65’ • DDD) examples of singers recording complete offer solid support, although the great Includes texts and translations operas they never sang on stage (Maria clarinet solo from Forza –anariain Callas, for example, never performed itself – lacks a little silk. Verdi La bohème or Carmen). While Joseph Yoncheva has often impressed me ‘The Verdi Album’ Calleja’s new disc of Verdi arias is an enormously. Her Violetta at Covent Attila – Liberamente or piangi … Oh! nel exciting signal of intention, the tenor Garden had me weeping buckets and her fuggente nuvolo. Don Carlo – Tu che la seeming entirely comfortable even Norma, which she learnt at pretty short vanità … Francia, nobile suol. La forza del in roles as daunting as Otello, Sonya notice, was incredibly accomplished. destino – Pace! pace, mio Dio!. Luisa Miller – Yoncheva does not yet sound the right But a lot of the repertoire here is on Tu puniscimi, o Signore. Nabucco – Anch’io scale for some of the lirico-spinto the lirico-spinto side of the repertoire – dischiuso un giorno … Salgo già del trono repertoire on her Verdi album. The which is probably where her voice is aurato. Otello – Ave Maria, piena di grazia. latter is an example of a singer ‘jumping heading, but it’s not quite there yet. Simon Boccanegra – Come in quest’ora bruna. the gun’ in committing interpretations to The creaminess which seduced me in Stiffelio –Tostoeidisse!…Ateascenda, o Dio disc where they’ve barely begun to scratch her ‘Paris, mon amour’ (6/15) disc is less clemente. Il trovatore – Tacea la notte the surface. evident here, replaced by a steely glint. placida … Di tale amor che dirsi Calleja is not a clarion trumpeter but The one role on the disc that she Sonya Yoncheva soprano his tenor is tinted with soft golden hues, had performed by the time of Sony’s Munich Radio Orchestra / Massimo Zanetti sunshine beaming through the voice recording (in April 2017) was Desdemona Sony Classical F 88985 41798-2 (55’ • DDD) much the same way as it did with in Otello at the Metropolitan Opera the Includes texts and translations Luciano Pavarotti. Coloured with previous autumn, which she reprises next

114 GRAMOPHONE APRIL 2018 gramophone.co.uk OPERA REVIEWS

Five years later, Ford and Matteuzzi Challenge Classics FcÍ CC72741 season. We’re deprived the Willow Song recorded the work for Opera Rara with (3h 13’ • DDD/DSD) (alas) but her ‘Ave Maria’ is beautifully a cast that included Nelly Miricioiu as Recorded live at the Dutch National Opera, heartfelt and poised, aside from a less Zoraide, Della Jones as Agorante’s scorned Amsterdam, September 16, 19, 24 & 27, 2015 than secure A flat before her final wife Zomira and Alastair Miles powerful Includes synopsis ‘amen’. She recently sang her first in the role of Ircano, Zoraide’s father Elisabeth de Valois in a starrily-cast and pretender to the Nubian throne. Paris production of the original French The set still sounds well and its scholarly version of Don Carlos. Here, we have the programme book, complete with full I would like to have Italian revision, and Elisabetta’s ‘Tu che text and English translation, remains seen on DVD the le vanità’ pushes Yoncheva to the limit an important selling-point. Dutch company’s of her resources. At times the voice The new set – cheaper but less lavishly 50th-anniversary sounds fragile, although her phrasing provisioned – derives from a concert production of no fewer than four is always sensitive. Another upcoming performance recorded at the 2013 Rossini performances from which this new release role is Luisa Miller and she attacks in Wildbad Festival. The star of the was drawn. For once the stage director Jan ‘Tu puniscimi, o Signore’ with occasion is the Russian coloratura tenor Phillip Gloger went the whole hog and admirable spirit. Maxim Mironov. His Ricciardo matches updated the action to the present day. Its Of the other roles, I cannot imagine Matteuzzi’s in virtuosity while surpassing effect on what we hear seems to have been her wanting to take on Odabella (Attila) it in tonal beauty. Conversely, it would be wholly beneficial, encouraging a cast which or Abigaille (Nabucco), which require a idle to pretend that Randall Bills is Ford’s in Rosenkavalier terms is quite young – and more fearless blade that can shred lighter equal. Ford’s command of line is in a might still be called promising – to pay voices. However, she enjoys Odabella’s different league, as is his ability to deal especial attention to the text. more lyrical moments, coping with with the darkened vocal colours – notorious Peter Rose’s Ochs is strong of both rustic coloratura runs gracefully. Of the roles low As and A flats – with which Rossini accent and aristocratic mien, never a clown that will suit her – in time – her Amelia characterises the Nubian king. but pointedly funny in his fear after he is (Simon Boccanegra) is attractively sung and On the distaff side, Wildbad fields a wounded by Octavian. In that latter role there’s admirable agility in her cabaletta first-rate Zomira, Silvia Beltrami. Their Paula Murrihy continues a distinct Irish from Act 1 of Il trovatore. Another Zoraide, Alessandra Marianelli, is a tradition (Murray, Erraught) encompassing Leonora – from La forza del destino – sympathetic presence but she is no match both aristocratic lover and the false fits Yoncheva to perfection, the final for Opera Rara’s Nelly Miricioiu, who ‘Mariandel’ with aplomb and precision in ‘malediziones’ in the aria ‘Pace, pace is better able to husband her vocal ensemble. Hanna-Elisabeth Müller’s mio Dio!’ incisively driven. resources in moments of crisis and is the Sophie floats the high notes that Strauss I was sometimes reminded of Angela superior technician in the exquisite Act 2 indulgently but mercilessly gave her in Gheorghiu’s early ‘Verdi Heroines’ canon quartet. Act 2 with almost insolent ease. And disc (Decca, 7/00), which also contained The conductor José Miguel Pérez-Sierra Camilla Nylund’s Marschallin, in pure a lot of roles she never went on to takes a sympathetic view of the music but, voice, has special colours and sadnesses perform (Elisabetta was a big loss when unlike Opera Rara’s David Parry, is too to bring to the character’s confusion and she withdrew from Nicholas Hytner’s much inclined merely to follow the singers. disappointment in the Act 1 clocks Royal Opera production). Gheorghiu’s There is also a degree of belligerence about monologue and when confronting the voice had more luscious weight then Parry’s direction of the end-of-act finales Octavian/Sophie relationship. than Yoncheva’s (as yet) although that prevents the drama slipping off piste The whole is welded together by the some of her lower notes also had into opera buffa territory. forthright leadership of Marc Albrecht, now an unattractive vampish quality. The live concert recording deals on his third recorded major Strauss opera. Gheorghiu enjoyed the support of effectively with the opera’s innovatory This is not a dreamy indulgent Rosenkavalier Riccardo Chailly and his La Verdi spatial effects. (This is the work in which but a sparky up-tempo one which is orchestra and they’re more naturally the onstage banda first becomes part of not afraid (like the old George Szell suited to this rep than the Munich Radio Italian opera’s batterie de cuisine.) There performance) to remind listeners that, for Orchestra under Massimo Zanetti for is, however, a problem with the recording all its Gemütlichkeit, this was the work that Yoncheva. Just listen to the introduction of the tenors’ great Act 2 duet of immediately followed Elektra: the quite to ‘Come in quest’ora bruna’ from ‘reconciliation’, where a poorly positioned modern sounds that Strauss evoked for the Boccanegra: with Chailly, the dawn comes Mironov appears to be standing behind Lerchenau servants disturbing the Faninal to vivid life, the birds chirrup and swirl his antagonist. Richard Osborne household are positively encouraged. There above the Grimaldi palace and there Comparative version: are some traditional minor snips but no is a gentle ebb-and-flow rubato to the Parry (4/97) (OPRA) ORC14 worry (go for the studio Erich Kleiber or main aria; in Munich, it’s a little more Solti if you want every bar). The recording plodding and unimaginative. R Strauss is both clear and lifelike and I hope the Texts and translations are included Der Rosenkavalier Netherlands Philharmonic get the attention in both discs but contexts are clumsily Camilla Nylund sop ...... Die Feldmarschallin they deserve for a virtuoso reading on pit contained in Sony’s dreadfully written Paula Murrihy mez ...... Octavian duty of this lengthy and complex score. SIMON FOWLER/DECCA SIMON booklet note, with empty sentences like Peter Rose bass...... Baron Ochs Rosenkavalier on disc is a field of big, big ‘The communication between men and Hanna-Elisabeth Müller sop...... Sophie names (the Kleibers, Karajans and the old women is a powerful engine of Verdi’s Martin Gantner bar...... Faninal Busch perhaps dominant) – not to mention

PHOTOGRAPHY: dramas’. Tsk. Chorus of Dutch National Opera; Netherlands the DVDs – but this new issue is a bright Philharmonic Orchestra / Marc Albrecht competitor. Mike Ashman

gramophone.co.uk GRAMOPHONE APRIL 2018 115 JAZZ & WORLD MUSIC REVIEWS The Editors of Gramophone’s sister music magazines, Jazzwise and Songlines, recommend some of their favourite recordings from the past month

Jazz Brought to you by Kurt Elling Gabriel’s ‘Washing of the Water’, Carla musicianship to the stars or else shake it to The Questions Bley’s ‘Lawns’, ‘Lonely Town’ and ‘Skylark’, pieces, can’t be contained by this band’s OKeh Records F 8898 549283-2 the sense of zoning in on the emotional actual strictures. A Humdrum Star, though, essence of the song is paramount, with makes me grateful for what GoGo Penguin With an eclectic song list Elling’s immaculate legato squeezing the are. The reliance on minimalist, looping that ranges from Bob emotion out of every note. Whether riffs existing on the cusp of Philip Glass and Dylan and Paul Simon to reinventing classic protest songs or Goldie is less marked on this fourth album. standards and originals, appending new lyrical flights of fancy to As its predecessor Man Made Object’s title The Questions presents existing compositions, this is a collection indicated, compositions are again sometimes Kurt Elling’s musical response to our that resonates powerfully in the memory. begun electronically by drummer Rob troubled times. His take on Dylan’s end of Peter Quinn Turner, then performed as acoustically as days epic, album opener ‘A Hard Rain’s possible, pushing self-imposed restrictions A-Gonna Fall’, is a coup de théâtre, the singer GoGo Penguin to the limit à la rock’s analogue maverick declaiming the apocalyptic verses with the A Humdrum Star Jack White. With ‘fourth GoGo’ Brendan potency of an Old Testament prophet. Blue Note F 6716431 Williams’ production aid, this is an album of Previously recorded on 1619 Broadway: The textures more than riffs. Chris Illingworth’s Brill Building Project, Elling revisits Simon’s Interviewing piano glistens in sharp, summer brightness ‘American Tune’ as a sorrowing chorale, GoGoPenguin has on ‘Bardo’; Turner’s choppy churn falls with lines such as “Still when I think of the sometimes left me away from Nick Blacka’s acoustic road we’re travelling on, I wonder what’s disappointed that their contemplation. The nirvana GoGo Penguin gone wrong?” reverberating especially ideas’ boundless ambition, sometimes seek beyond the dancehall is strongly. In beautiful arrangements of Peter the sense that they’d like to take jazz nearer here. Nick Hasted

World Music Brought to you by Afrika Mamas complexities of modern South Africa. Hardanger fiddler arrives at the Iphupho: A Cappella from South Africa ‘Ulwabishi’, meaning rubbish, tells of a culmination point of all of his work ARC Music F EUCD2771 man who doesn’t support his family and over the past three years. The contents still expects food on the table. Led by of this album itself are varied, although Afrika Mamas’ fourth Sindisiwe Khumalo, it’s a surprisingly springing from the individualist palette of album, Iphupho (New playful song that embodies the power of the leader, alongside Stephan Meidell Dreams), beautifully women standing together. Raw traces of (baritone acoustic guitar) and Øyvind encapsulates the magic blues, R&B and jazz can be heard Hegg-Lunde (drums and percussion). The of sisterhood and the throughout the album, but ultimately traditional and the synthetic are married in central role that community plays in Iphupho is a moving and honest tribute to a deep cave of melancholic melody, with traditional Zulu culture. This inspiring traditional Zulu music. Franki Black ‘Tundra’ sounding like Ry Cooder group of six a capella singers paint vivid transposed to the northern wastelands; the pictures through song of everyday life in Erlend Apneseth Trio trio’s instruments are expertly and closely KwaZulu-Natal. All are mothers and, Åra woven. Sometimes it’s difficult to place the originally inspired by Ladysmith Black Hubro F HUBROCD2584 sound sources; indeed, the eerie ‘Saga’ Mambazo, the singers have performed features a mystery archive recording of a together for 20 years, dazzling audiences Erlend Apneseth is on the musical saw, its player unknown. Åra has a around the world with their wide range of move again. His previous remarkable range of moods and textures, vocal tones and seamless harmonies. Most albums have investigated a the pieces growing from single-voice compelling about this album is the mix more purist Norwegian melodies (invariably courtesy of Apneseth), between lively, call-and-response songs and folk and electro-acoustic and always negotiated with a calm deep themes that illuminate the improvisation, here the Norwegian authority. Martin Longley

Gramophone, Jazzwise and Songlines are published by MA Music, Leisure & Travel, home to the world’s best specialist music magazines. To ﬁnd out more, visit gramophone.co.uk, jazzwisemagazine.com and songlines.co.uk

116 GRAMOPHONE APRIL 2018 gramophone.co.uk MUSICAL CONNECTIONS James Jolly takes us on two listening journeys inspired by this month’s cover story

Brahms and Variations Brahms as symphonist is this month’s SCO and Mackerras issuefocus,buthereweexplorehis This first listening journeys prompted fascination with variation form, and take Brahms from Robin Ticciati with the by this month’s Brahms from the astrollthroughSirCharles Mackerras’s Scottish Chamber Orchestra inevitably Scottish Chamber Orchestra takes in six rich SCO discography stirs up memories of Sir Charles sets of Brahms’s variations, a form that Mackerras’s Brahms recordings from fascinated him throughout his composing 1997, but rather than choose part of life, ranging from his Op 1 (the First that set, I suggest Sir Charles’s 1998 Piano Sonata with its second-movement SCO recording of the First Serenade, set of variations) to his Op 120 (the one that emerged with glowing Second Clarinet Sonata’s finale). His colours from Andrew Farach-Colton’s first exploration of the form for piano Gramophone Collection last May. It was is the Variations on a Hungarian Song Mackerras – who enjoyed a long and from 1835. It draws great energy from fruitful relationship with the SCO – the alternating 3/4 and 4/4 bars, allied who instilled into the orchestra a style to a robustness that, surprisingly, offers of playing that was truly ‘historically considerable scope for elaboration (try aware’. The earliest repertoire they Julius Katchen from his classic Decca recorded together was the music of set). The next set, the Variations on a Handel, and, joined by Bryn Terfel, they theme by Schumann, Op 19, is a much produced a collection of remarkable stronger work, drawing on the fourth subtlety from players and singer alike. of Schumann’s Op 99 Bunte Blätter. But Brahms starts our two journeys this month The music of Mozart seemed to draw Schumann does more than provide the from Mackerras a very special quality of theme; his spirit seems to infuse Brahms’s work, even offering insight and expression, and he and the SCO recorded a lot of a dual identity (echoing the elder composer’s Florestan and Mozart together, including many of the operas, the Requiem, Eusebius). András Schiff is a poetic guide. The Hungarian concertos and symphonies. Of the operas that came off the Song’s twin, the Variations on an Original Theme (Op 21 No 1), page beautifully were Idomeneo and Le nozze di Figaro. The probably came next – a work of wonderful poise and emotional EMI recording of Idomeneo featured Ian Bostridge in the depth which, interestingly, draws its variation potential from title-role, admirable supported by a cast that included Lorraine the theme’s harmonic rather than melodic or rhythmic promise Hunt Lieberson, Lisa Milne, Barbara Frittoli and Anthony (though it has a lovely hymn-like aura all of its own). Barry Rolfe Johnson. It was a recording that led Stanley Sadie to Douglas, in his fine Chandos piano survey, does it proud. superlatives: ‘this new set, enshrining Mackerras’s profound Brahms’s next set of variations started life as chamber work and mature understanding of the music, is the most moving (the second movement of the First String Sextet) but Clara performance of the opera, perhaps of any opera, that I have Schumann pleaded for a piano version, and the composer heard on records, and I urge readers to buy it.’ The Telarc complied with the lovely Theme and Variations in D minor as a Figaro, with a strong cast of Alastair Miles, Nuccia Focile, birthday present. It’s a gorgeous piece with remarkable breadth Alessandro Corbelli, Carol Vaness and Susanne Mentzer is a and allusion (Bach is hovering somewhere in the background real ensemble production, strongly cast and, interestingly (and much of the time). In 1861, Brahms wrote one of his greatest authentically) with a vocally lower-lying Figaro than Count. sets of piano variations, Variations and Fugue on a Theme Mackerras keeps everything fizzing and never neglects the by Handel, drawing the theme from one of the harpsichord darker elements of the rich piece. As SS wrote at the time: ‘if suites. It’s a magnificent achievement, displaying consummate this isn’t the most polished or most beautifully sung Figaro to be craftsmanship for the instrument and a powerful dynamism had, it is undoubtedly one of the liveliest and most dramatic and that hurls the work at the final fugue. Murray Perahia’s I cannot imagine anyone listening to it without coming away recording won him a Gramophone Award. The Variations on uplifted in spirit’. Equally rewarding, and still with Mozart, a Theme of Paganini, in two books (each with 14 variations), were the piano concertos Mackerras recorded with Alfred is a virtuoso masterpiece of invention and imagination, and Brendel. In K271 and K503, and K466 and 491, these two great needs a pianist of Yuja Wang’s fearless technique Mozartians dig deep, bringing out so much to make light of the work’s staggering demands. character in this infinitely rewarding music. She doesn’t fail us! Brahms Serenade No 1 SCO / Mackerras Telarc Variations on a Hungarian Song Katchen Decca Handel Arias Terfel; SCO / Mackerras DG Variations on a theme by Schumann A Schif Decca To explore these playlists via Mozart Idomeneo SCO / Mackerras Warner Classics Variations on an Original Theme Douglas Chandos a streaming service, or to Mozart Le nozze di Figaro SCO / Mackerras Telarc THE TULLY POTTER COLLECTION POTTER TULLY THE Theme and Variations in D minor Lupu Decca create your own, we suggest Mozart Piano Concertos, K271 & 503 Brendel; SCO / Variations and Fugue on a Theme by Handel qobuz.com. You can listen to Mackerras Decca Perahia Sony Classical these particular playlists at Mozart Piano Concertos, K466 & 491 Brendel; SCO /

PHOTOGRAPHY: Variations on a Theme of Paganini Wang DG gramophone.co.uk/playlists Mackerras Decca

gramophone.co.uk GRAMOPHONE APRIL 2018 117 REISSUES &ARCHIVE Ourmonthlyguidetothemostexcitingcataloguereleases,historicissuesandbox-sets BOX-SET ROUND-UP PAGE 123 ROB COWAN’S REPLAY PAGE 124 CLASSICS RECONSIDERED PAGE 126

How complete is ‘complete’? Two major anniversary box-sets explore Debussy’s music in great depth – Rob Cowan unpacks them o posit a claim of ‘completeness’ only performance), piano selections with shared between the two sets, with Warner is tantamount to throwing down Michelangeli (Images and Children’s Corner), providing a tiny additional fragment Ta very conspicuous gauntlet. Friedrich Gulda, Monique Haas, Claudio featuring an intense Mary Garden (who Invariably there’s something that someone Arrau and Sviatoslav Richter, as well as sang in the world premiere) with Debussy somewhere will complain hasn’t been the LaSalle Quartet deploying maximum himself at the piano. They also perform included. Here, we have two neatly intelligence in the String Quartet, all of three of the Ariettes oubliées. Warner offers packaged sets, both carrying the impressive them deeply memorable performances, us a fine 1979 recording of the complete legend ‘The Complete Works’. DG comes and, most interestingly, orchestrated work with the Monte-Carlo National clean by stating that its Edition ‘contains songs with Souzay conducted by Edouard Opera Orchestra under Armin Jordan again at least one version of all the composer’s Lindenberg and L’Enfant prodigue under with van Dam, this time as an especially music published in his lifetime as well Debussy’s friend and expert interpreter tortured Golaud as well as Eric Tappy as as some posthumously issued juvenilia Désiré-Emile Inghelbrecht. Pelléas and Rachel Yakar as Mélisande, and fragmentary works’. By comparison, whose fragile, animated singing fits the role Warner announces a rather more ambitious Thinkofthetwo to a T. And yet Maria Ewing on Claudio project, claiming: ‘the Complete Edition collectionsasgenerously Abbado’s 1991 Vienna Philharmonic brings together all Debussy’s known recording for DG seems to me to penetrate works,’ then go on to excuse the exclusion filled Debussy hobbyist the emotional heart of the role more of a currently unavailable 1882 orchestral ‘tool boxes’ comprehensively and she is also very well Intermezzo, though its set does include a supported by François Le Roux as Pelléas piano duet version of the piece. Rigorous Surprisingly both sets include the same and, again, van Dam is Golaud, perhaps indeed: Warner’s enterprise is truly a 2009 recordings of L’Enfant prodigue even more gripping under Abbado than he labour of both love and scholarship. and Le Gladiateur under Hervé Niquet, was under Jordan. Each conductor homes A comparative disc count gives some clue the latter work previously unknown to in on contrasting aspects of the score: as to who offers the most comprehensive me but musically rewarding. And this is Jordan on its myriad shades and shifting deal. DG’s set runs to 22 CDs, three not the only duplicated material, though moods, Abbado on its linear aspect and of which are devoted to an ‘historical it’s the most substantial. A pity though extraordinary level of harmonic invention. bonus’ (‘historical’ in a chronologically that only Warner includes the attractive Which brings me to DG’s DVDs of modern sense), though the main body of orchestral version of the First Suite for Peter Stein’s Welsh National Opera the collection includes other memorable Orchestra (with François-Xavier Roth production where Pierre Boulez conducts. sessions that fall into roughly the same and Les Siècles). Even more impressive Alison Hagley vividly acts the role of category – Gérard Souzay’s 1961 Debussy than Le Gladiateur is the opera Rodrigue at Mélisande and sings very affectingly, song recital, for example, Tamás Vasáry Chimène (1890-1893) composed en route Neill Archer is a highly credible Pelléas, playing selected piano works and a version to Pelléas with which it shares many salient Donald Maxwell is deeply troubled and of Le Martyre de saint Sébastien under features, music that impressed Dukas for vocally impressive as Golaud and the Ernest Ansermet with Suzanne Danco but its exquisiteness and harmonic subtlety stooped, grey-bearded and barely mobile without the narration. Warner on the other and that is presented by Warner in an Kenneth Cox is a dark-voiced Arkel. hand includes André Cluytens’ roughly arrangement by Richard Langham Smith, Much of the conducting and orchestral contemporaneous narrated set with soloists imaginatively orchestrated by Edison playing is extremely sensitive and so is Rita Gorr, Solange Michel and Martha Denisov. As to the music’s style, think the production, excepting the way certain Angelici that has already appeared in the of Debussy chancing upon Mussorgsky, interludes are visually presented with admirable André Cluytens box but is no whose music he loved. Only Warner pages of full score. A bit of a cop-out, this: less welcome in the present context. lays claim to this significant scoop. The if ever there was a music drama where DG’s historic trawl also includes Karajan’s conductor is Kent Nagano and the star of the notes need to be invisible (except 1961 Berlin La mer, David Oistrakh and the cast is unquestionably José van Dam maybe to students and critics), it’s Pelléas. Frieda Bauer in the Violin Sonata (Warner who sings the role of Don Diège. Furthermore, the opening scene is austere opts for the rougher-edged Menuhin/ As to Pélléas itself, three versions of this rather than darkly mysterious, though Act 5 Jacques Février version as the work’s rapturously beautiful ‘drame lyrique’ are is very moving, both musically and visually.

118 GRAMOPHONE APRIL 2018 gramophone.co.uk REISSUES

f elléas is one of the crowning glories Galantes, or recordings by Claire Croiza, in Debussy’s output, La mer is certainly Pierre Bernac or Charles Panzéra not to another. DG offers us a relatively broad mention Roger Désormière’s benchmark and keenly articulated 1989 Roman Pelléas (with Irène Joachim and Jacques version under Bernstein and Karajan’s Debussy: the subject of two anniversary tribute sets Jansen) or, on the purely orchestral front, sleek, heavily spotlit 1961 Berlin recording Toscanini’s BBC SO La mer, Victor de whereas Warner opts for Carlo Maria Jean-Pierre Armengaud. We’re additionally Sabata’s Jeux or the crucial early Debussy Giulini’s more weathered Philharmonia given Debussy’s transcriptions of the works recordings of Piero Coppola. That said, I performance from the following year and of other composers, including Saint-Saëns’ was delighted to encounter Jacques Février two keyboard alternatives, one for piano Second Symphony, and some piano rolls of and the French Radio National Orchestra four-hands prepared by Debussy himself his own playing, performances that seem in the Fantaisie for piano and orchestra and the other – far preferable in my view – to reflect the composer’s ideal of a piano and the Six Epigraphes antiques played by for two pianos arranged by André Caplet. ‘without hammers’. the pianists Geneviève Joy and Jacqueline The former includes the brass fanfare- DG offers the orchestral Images under Robin-Bonneau, a truly delightful recording like figures in the stormy finale, as does Bernstein, very atmospheric, and an EMI from 1963. Karajan in Berlin though neither Bernstein recording of the saxophone Rhapsody As for making a final choice, think of nor Giulini takes that option. There’s with Jean-Marie Londeix with the ORTF the two collections as generously filled a theory abroad that the ‘tune’ for the National Orchestra under Jean Martinon Debussy hobbyist ‘tool boxes’, with many fanfares (which was in the original score) whereas Warner chooses John Harle with more tools between them than I’ve had resembled a popular song of the day and the Academy of St Martin in the Fields the space to mention. Warner (listed for drew titters from contemporary audiences under Sir Neville Marriner conducting, a far about £68) offers more ways to access the whenever the work was performed, mellower alternative. There are numerous music, with, as I’ve already suggested, which is why Debussy took it out. This shorter pieces under the likes of Eduard previously unrecorded repertoire, notion seems to me to be substantiated van Beinum and Bernard Haitink whose unpublished versions, unfamiliar piano by the fanfares’ inclusion in Debussy’s Gramophone Award-winning account of reductions, arrangements and rare own essentially domestic – and therefore Nocturnes would surely have made a more fragments. DG’s set (£49), although non-provocative – duet version. I hope to appropriate choice than Daniel Barenboim’s admirably comprehensive when taken deal with this issue in more detail when more heavily etched Paris alternative. on its own terms, is more for the I cover La mer for a future Gramophone Still, we do at least have Pierre Dervaux’s general collector who wants to avoid a Collection article. wonderful ‘Fêtes’ and ‘Ibéria’, dazzling dazzling array of esoterica. Both sets are Warner includes various items taken performances with the Colonne Orchestra thoughtfully annotated, the Warner box by from Jean Martinon’s ORTF set of the in crude if vivid stereo sound (and please Debussy expert and Director of Research at orchestral works, and of special interest mind the edits). Debussy’s wonderful the Institut de recherché sur le patrimoine are numerous world-premiere recordings, mélodies and other vocal works proliferate musical en France Denis Herlin, and DG not least the beginning of La Chute de la throughout both sets, with such featured by French music experts Roger Nichols maison Usher ‘as it was when Debussy set singers as Véronique Gens, Françoix le and Nigel Simeone. Only the DG set offers the work in 1916’ and, most fascinatingly, Roux, Gérard Souzay, Barbara Hendricks, printed texts and translations for the vocal Debussy’s own piano transcription of Jeux, Philippe Jaroussky, Alison Hagley, Mady works, which is a major plus in its favour. which sheds shards of fresh light onto this Mesplé and Elly Ameling (Warner) and remarkable work’s structure and design. Suzanne Danco, Hagley, Pierette Alarie, THE RECORDINGS So much more besides, not least piano Véronique Dietschy, Christine Schäfer, Debussy Complete Works music shared among the likes of Samson and Ameling (DG). But I was surprised Various artists CHRONICLE/ALAMY STOCK PHOTO STOCK CHRONICLE/ALAMY François, Yuri Egorov (magnificent that Warner, who, unlike DG, does not DG S (22 discs) + 2 ◊ 479 8642 recordings of both books of Préludes), Aldo have a designated ‘historical’ area, failed to Debussy: The Complete Works Ciccolini, Pierre-Laurent Aimard (who include such indelible gramophone classics Various artists

PHOTOGRAPHY: also plays the Préludes in the DG set), and as the Maggie Teyte/Alfred Cortot Fêtes Warner Classics S (33 discs) 9029 57367-5

gramophone.co.uk GRAMOPHONE APRIL 2018 119 “But if angels and geniuses spoke to CULTURA DISCOGRAFICA each other, they would speak like you!” ROBERT SCHUMANN, DIARY II

TUDOR CD 7501 TUDOR CD 7199 TUDOR CD 1620 4CD-BOX

SONATAS • VARIATIONS • FANTASIES PIANO PIECES • FRAGMENTS GERMAN DANCES • WALTZES

12 CD IN SLEEVES BOOKLET 88 PAGES LINER NOTES IN ENGLISH DIGIBOX TUDOR 1640 TUDOR CD 7186 TUDOR CD 7185 TUDOR CD 7198

Music to hear in Steven Select Music Distribution Ltd. Spielberg’s movie “The BFG” Unit 8, Salbrook Industrial Estate Salbrook Road, Salfords, Redhill, RH1 5GJ www.tudor.ch T: +44 (0) 1737 645 600 [email protected] E: [email protected] REISSUES Celebratingtheartofagreatmezzo Mike Ashman enjoys timely tributes from DG and Warner Classics to Christa Ludwig’s legacy

hrista Ludwig – whose three men Ludwig calls ‘meine 90th birthday fell on Dirigenten’ – Karajan (Wagner, CMarch 16 – was born Puccini, Richard Strauss’s Dyer’s literally in the business, the child Wife and Beethoven), Karl Böhm of two singers (they later became (from Decca’s early Vienna a theatre administrator and a Mozarts, the live Tristan and a voice teacher) who worked with Salzburg Marschallin), Bernstein Herbert von Karajan at the pre- (from Candide). Refreshingly clear war Aachen Opera. She also spent interviews with Thomas Voigt much of her childhood preparing (on CD as well as translated in for another part of her future career the booklet) and James Jolly spell by teaching herself Lieder at the out her particular relationship home piano. with each conductor. There’s It was once suggested that a frank but unemotional account Jessye Norman, as a singer of of Karajan ruining her mother generous voice in multiple styles, Eugenie Besalla’s voice by having would be capable of taking up a her sing Elektra and then Ulrica and range of diverse roles in Wagner’s Azucena – but Ludwig insists that Ring cycle. This fantasy was Christa Ludwig’s 90th birthday is celebrated in style by DG and Warner one could always say ‘no’ to him, as something that Christa Ludwig she did with Brünnhilde. Her fire actually achieved. Her Fricka and a cleverly varied programme stretching for Bernstein burns especially bright; we Waltraute were officially recorded several from Schubert to Ravel and Rachmaninov. hear her in extracts also from his (later) times (both are represented on the In addition to Gervase de Peyer’s clarinet Mahler Second and Third and Bernstein’s DG anniversary set) and her career also on the title track, Amaryllis Fleming is the own Jeremiah Symphony – which she encompassed a Rhinemaiden, the Siegfried cellist matching Ludwig in the Chansons championed after his death. Erda (for Leonard Bernstein in Vienna), madécasses. There’s also Mahler, early on There are some less interesting items learning and rehearsing the Siegfried record (1958/59), with both piano (Moore) in this DG set. Although Ludwig’s singing Brünnhilde for Karajan and several and orchestra (Adrian Boult, André maintains its laser-like focus, advances of performances of the Götterdämmerung Vandernoot and Otto Klemperer – the time and scholarship have passed some of Immolation scene. still classic Das Lied von der Erde, although the Bach (including Karajan’s St Matthew Ludwig now says she knew little about the Passion and B minor Mass) by. The disc ChristaLudwigdescribed meaning of ‘Der Abschied’ in this work of ‘Great Songs and Arias with Various until doing it with Bernstein). Conductors’ allows too tiny peeps into aLiedas‘anopera in Warner provides the original covers Ludwig’s wider non-German repertoire. one minute’ for the discs. These, and the successively Less and longer would have meant more, updating photos of the singer in the although it’s instructive and exciting to These two new anniversary boxes booklet, parallel the change of styles in be reminded of her Elektra Klytämnestra fortunately contain a contrasting range Lieder interpretation at the time and and Judith in Bartók’s Bluebeard’s Castle. of material, and not just because of the as a part of Ludwig’s own career. Her Lastly, a challenging work with repertoire available to each company. Schubert, for example, matures from the which she chose to make several of her The Warner Classics box (subtitled The straightforward, pretty and innocent in farewells: Winterreise recorded with James Complete Recitals) focuses almost entirely her 1957 work in London with Moore Levine and, fittingly, in the Brahms- on Lieder in their original recorded to a more interventionist and dramatic Saal of the Vienna Musikverein. A case format with bonuses. These include first approach in her 1969 Brahms recital with of opera in 74 minutes. As with Lieder appearances for some substantial Schubert Geoffrey Parsons. Then there’s the risk- throughout her discography its story is and Brahms (with Gerald Moore and taking of the live 1972 Vienna Brahms never over-dramatised but clearly and Geoffrey Parsons) and some Reger and concert, including the Zigeunerlieder, compellingly told within well-absorbed Berg under Charles Mackerras. The with Bernstein (borrowed from Sony musical boundaries. Ludwig’s legacy has unmissable ‘A Most Unusual Song Recital’ Classical) with a more daring use of been collected before but these new boxes from 1965 in tandem with Moore and colour altogether. Fittingly the maestro’s showcase, on the whole, great samples Ludwig’s first husband Walter Berry taps accompaniment, less clean than that of the of great singing, and the interviews add essentially comic songs (Rossini’s ‘Cats’ contemporary London-based repetiteurs, a special detail. Duet’, Wolf’s ‘Zur Warnung’ and so goes all out for atmosphere, absolutely like on), goes Baroque (a duet on ‘Sound the Ludwig’s description of a Lied as ‘an opera THE RECORDINGS trumpet!’) and ends with a rather kitsch in one minute’. It contributes an audible The Christa Ludwig Edition SIEGFRIED LAUTERWASSER/DG SIEGFRIED ‘Stille Nacht, heilige Nacht’ with orchestra dialogue in progress with the voice. DG Sl479 8707 and children’s chorus. ‘The Shepherd Opera enters the picture for real in Christa Ludwig – The Complete Recitals on the Rock and Other Songs with the imposing-looking DG set. Here on Warner Classics

PHOTOGRAPHY: Instrumental Accompaniment’ remains are selected performances under the Warner Classics Sk9029 56902-0

gramophone.co.uk GRAMOPHONE APRIL 2018 121 REISSUES Awelcomereminderofageniuspianist Bryce Morrison welcomes an RCA set devoted to the unconventional André Tchaikowsky

ndré Tchaikowsky (1935- Then there is Ravel’s Gaspard 82) was a pianist who de la nuit and an ‘Ondine’ more Ascorned convention and fiercely insistent than seductively decorum and, with breathtaking whispered, though with a audacity, went his own way, never magically distant recitative before less than true to his conflicted the final burst of manic laughter. and extraordinary nature. His His beat and chime in ‘Le gibet’ death at the age of 46 robbed are remorseless and his ‘Scarbo’ the world of a mercurial genius is of a pace and brilliance that in the sense that his gifts went have you by the throat. Detailing beyond comprehension, his may be cavalier yet you can endlessly enquiring mind imagine even Horowitz’s raised and imagination backed by eye brows as he listened to music a phenomenal command. At the he once played to Joseph Szigeti same time he was in every sense and which that great violinist an ‘angry young man’ capable of described as among the most antagonising many who crossed diabolic musical experiences of his path. Indeed, it was those his life. In Prokofiev’s Visions most sympathetic to his cause Fugitives you will not see a who suffered the whiplash of his ‘changing play of rainbow hues’, rudeness and contempt (as Arthur as the composer put it at the head Rubinstein, no less, found to his of the score, but an edge and cost). And listening to this four- diablerie that explode into life, disc issue of his complete RCA most notably in Nos 4 and 14. recordings it is hard to think of This leaves me with him listening to playbacks (like Tchaikowsky’s Mozart and the Artur Schnabel, Myra Hess and C major Piano Concerto, K503 Radu Lupu he disliked studio where he is superbly partnered conditions and the recording by the Chicago Symphony process) and easier to think Orchestra and Fritz Reiner. of him coming close to blows Once more his focus and energy with producers anxious to curb are memorable and even when what they saw as his wildness Unconventional and audacious: André Tchaikowsky compared with recordings by and excess. Blisteringly intense, Martha Argerich and, most though capable of sudden retreats into perhaps I should say, ‘re-feel’, such is recently, Piotr Anderszewski his quality is repose and serenity, his unique personality his idiosyncrasy. What dark and swirling unforgettable, his entirely distinctive way could engulf and ignite everything in its glitter he achieves in No 8, what soaring with Mozart’s ‘Emperor’ including his own path. Geniuses rarely win competitions rhetoric in No 24. He is better behaved, lengthy and intricate cadenza. Again, few and so his third prize, coming after as it were, in the Barcarolle and even if performances of the C minor Fantasia and Vladimir Ashkenazy and John Browning you hear Dinu Lipatti – most courteous Sonata (K457) make you so aware of the at the 1956 Queen Elizabeth Competition inseparable nature of Mozart’s operatic and in Brussels is perhaps understandable, Every gesture reminds you instrumental inspiration. And every gesture though with the compensation of a superior that Tchaikowsky was also reminds you that Tchaikowsky was also a placing to Cécile Ousset and Lazar composer, such is the combined sense of Berman. a composer, such is the creative and re-creative genius. And so to the actual playing and The set, finely recorded, includes a a constant sense of provocation and combinedsenseofcreative sympathetic essay by Anastasia Belina revelation. Tchaikowsky, who was born and re-creative genius and photos of Tchaikowsky, one of which Robert Andrzej Krauthammer, later captures a frightening and wild-eyed look. changed to Czajowski and still later to of critics as well as a transcendental In conclusion, I can’t thank RCA enough Tchaikowsky, was for long imprisoned in pianist – gently chiding Tchaikowsky for for issuing this unforgettable reminder of a the Warsaw Ghetto and narrowly escaped exaggeration, he would surely have been pianist beyond compare, one who, had he the Holocaust. His mother was not so among the first to celebrate his greatness. lived beyond his tragically short life, would lucky, perishing at Treblinka, and it is not Again, Tchaikowsky may offer a gale rather never have compromised his nature. hard to see in his volatile nature an inner than a breeze in the central section of what THE TULLY POTTER COLLECTION POTTER TULLY THE turmoil reflecting his circumstances. How was once described to me as the cornfields THE RECORDINGS else to explain his way in his selection of Poland in the B major Mazurka, Op 56, André Tchaikowsky: The Complete of the Chopin Preludes of his radical yet again his reading is more mesmeric RCA Collection

re-think of No 14 in E ﬂat minor, or than arguable. RCA Red Seal Sd 8898 547014-2 PHOTOGRAPHY:

122 GRAMOPHONE APRIL 2018 gramophone.co.uk BOX-SETRoundup Rob Cowan launches a monthly page covering some unmissable CD bargains

o fl ippantly paraphrase one of history’s giants, Tnever in the fi eld of recorded music has so much been available for so little. Which is the whole point of this new column. For example, my fi ery baptism into the world of Bruckner’s symphonies, the ‘standard’ cycle of Nos 1-9 that is, was DG’s set with Eugen Jochum, a 12-LP ‘special’ that early in 1973 was available for £15.50. complete mass for the dead (performed on accounts of Debussy’s La mer and Prélude So, taking infl ation into consideration, it’s the anniversary of Mozart’s death), though à l’après-midi d’un faune are wonderfully downright miraculous that Sony Classical’s the musical performances sound identical. evocative and although the Paris version of 11-CD set of Symphonies Nos 0-9 with Jochum offers romantically ethereal Ravel’s Boléro climaxes to obliterating snare the Bruckner Orchestra Linz under readings of Bach’s major choral works drums and La valse’s coda slows to a virtual Dennis Russell Davies retails for less than (including both Passions and the B minor halt, at least initially, Alborada del gracioso’s £20 or thereabouts. Not that price is of Mass), Haydn’s Creation and St Cecilia contrasting moods are vividly captured. the essence. These are exceptionally fi ne Mass, as well as Beethoven’s Missa solemnis, If Karajan’s full-on conducting style performances, especially No 6 where which I found marginally less compelling. drains your emotions then light musical Davies negotiates the fi rst movement’s The featured operas are Così fan tutte relief with a virtuoso twist is on hand from oscillating tempos with the skill of a master (especially memorable), Die Entführung, Scribendum and their neat four-CD set oarsman. Furthermore, like Michael Gielen Der Freischütz, Lohengrin, Die Meistersinger The Art of Leroy Anderson, recordings made on his SWR set (SWR Music), he opts as well as Orff’s complete Trionfi (with two between 1952 and 1962, including the for the fi rst versions of the Fourth and versions of each of ‘Carmina Burana’ and 1958 original cast recording of Goldilocks Eighth Symphonies (1874 and 1887) which ‘Catulli Carmina’) featuring Elaine Stritch with Lehman for those who are as yet unfamiliar with Engel conducting. The stereo tapes still Bruckner’s fi rst thoughts include much Davies negotiates the fi rst sound exceptionally well and the mono music that was later discarded. I personally movement’s oscillating sessions have been nicely mastered, with fi nd both fascinating, especially the Fourth’s individual suites of carols for strings, winds third movement, which is quite different tempos with the skill of and brass. The Irish Suite is a particular to the ‘Hunting’ Scherzo we all know a master oarsman joy, opening as it does with ‘The Irish and love. Following on the heels of Hans Washerwoman’, a gorgeous fiddle solo Rosbaud (see Replay, page 124) Davies Nothing could be more stylistically in ‘The Last Rose of Summer’ (Louis offers an extremely fi ne account of the removed from Jochum’s lean, sinewy Kaufmann, perhaps?) and an ingenious Fifth whereas the playing of the Bruckner conducting style than the sumptuous version of ‘The Minstrel Boy’ that’s Orchestra Linz is excellent. Davies’s productions that Herbert von Karajan plainly based on ‘The Pilgrim’s March’ conducting is consistently compelling so if drew from the Berlin Philharmonic and from Berlioz’s Harold in Italy. Anderson’s you’re after a persuasive, digitally recorded Orchestre de Paris for EMI in the 1970s. band is truly top-notch, Bugler’s Holiday entree into this repertoire you could hardly A fair sampling of them turns up on the is superbly played and there are such do better. three-CD set The Sound of Herbert von well-loved perennials as Belle of the Ball, Writing of Eugen Jochum just now Karajan, at its most invasive at the start Fiddle-Faddle, The Syncopated Clock and prompts reference to the second of DG’s of Tchaikovsky’s First Piano Concerto many, many more. If you’re a fan of Eric two sets devoted to the conductor’s work. when Alexis Weissenberg brings out the Coates’s similarly chipper mono recordings The fi rst (479 6314, on 42 CDs), which big guns with Karajan and his Berliners of his own works then you’ll find these covered the orchestral works and concertos, providing a velvet-textured backdrop. irresistible. I certainly did. was released back in September 2016 and Rachmaninov’s Second Concerto with the includes the Bruckner symphony cycle same team occasionally sounds muddled THE RECORDINGS mentioned above whereas Vol 2 offers when everyone is playing fl at out although Bruckner Symphonies Nos 0-9 Davies us Jochum’s recordings, using various with artists of this calibre magical episodes Sony Classical S k 8898 548337-2 forces, of choral and operatic repertoire. are inevitable. Dvo∑ák Symphonies Nos 8 Eugen Jochum: Complete recordings on Bruckner is again writ large, with the and 9 are again weighty and supercharged Deutsche Grammophon, Vol 2 three Masses, key shorter works and two (the brass positively screams at you), and DG S (38 discs) 479 8237 versions of the Te Deum, the earlier of the I wasn’t too sure about the explosive close The Sound of Herbert von Karajan two (1950) being the more exciting. We to No 8’s Adagio or the lush portamentos Warner Classics S c 9029 572090-2 have the Mozart Requiem twice, once with in its allegretto, although there is plenty The Art of Leroy Anderson and once without the ritual trappings of a that’s impressive elsewhere. The Berlin Scribendum S d SC811

gramophone.co.uk GRAMOPHONE APRIL 2018 123 REPLAY Rob Cowan’s monthly survey of historic reissues and archive recordings

Masters of Bruckner

n case you didn’t catch them first time more wholly awe-inspiring than its stereo though there are two performances listed round, Scribendum’s two ‘The Art of successor. Try the glowing coda of the in John F Berky’s Bruckner discography at IKonwitschny’ boxes – SC504 (Leipzig first movement (from 16'59") – the way it abruckner.com/discography (December 27 Gewandhaus Orchestra stereo recordings, gains momentum, the attack of timps when and 30) with no distinction as to which 1959-62) and SC505 (mono recordings the opening motif returns, or the massive one is which. Some are in stereo, including with various orchestras, 1950-59) – have ritardando at the end of the movement. versions previously available on Vox. now been amalgamated into a single 20- In the finale, bass Hans Krämer declaims A small point in the context of CD set. Collectors with good memories his ‘O Freunde’ recitative magnificently; performances that are remarkable for their and keen ears will gratefully recall the and at Konwitschny’s slow tempo, come drama, sincerity, cogency, and total lack German conductor’s stereo cycles of the his big marching solo, tenor Rolf Apreck of affectation. Not for Rosbaud double- Beethoven and Schumann symphonies, the is able to sing his heart out. glazed ‘cathedrals in sound’, but forthright, former notable for its generosity when it But great as these performances are – clear-sighted representation based on comes to the matter of repeats. In fact, I and I think they are great, especially the the principles of symphonic argument, can’t recall any other ‘old-style’ (in other Eroica’s ‘funeral march’ – it’s the 1951 which allows the slow movement of the words, fairly marmoreal) Eroica that does performance of Bruckner’s Second (1877 Sixth to cry from the heart (inner string include it’s first-movement exposition version, ed Haas) with the Berlin Radio lines are especially expressive) and the repeat. Also played are the Seventh Symphony Orchestra that really marks Eighth’s Adagio to rise fearlessly to an Symphony’s first-movement repeat and Konwitschny out as way and above the overwhelming climax. Note too the speed the repeat in the finale of the Fifth. norm for his day. Conceived on the of the Scherzo’s trio, swift and agile with Schumann’s symphonies, plus his Overture, grandest scale possible, with stormy no chance to meander, which is a danger climaxes and an overpowering depth of under so many other conductors. The This sounds like the tone, this abundantly lyrical performance rhythmic impetus that underlies the Third sounds like the Bruckner Second that Symphony’s first movement – especially Bruckner Second that Furtwängler never recorded. It is in the opening and closing pages – is well Furtwängler never recorded my view among the most remarkable projected and if you want to sample recordings that this work has ever had, Rosbaud’s ear for textural clarity try the Scherzo and Finale, Konzertstück Op 86 and and on its own well worth the set’s opening of the Fourth’s Scherzo. That Manfred and Genoveva overtures, have modest asking price. The more familiar cogency I referred to is at its most telling an engaging solidity about them, which (Supraphon) Czech Philharmonic version in the Fifth Symphony, especially in the isn’t to say that tempos are consistently of the Fourth is notably transparent finale (the double fugue quite different to leisurely. They’re not: in fact, Franz while the stereo Leipzig Fifth, a reading Konwitschny’s but just as effective) and in Konwitschny’s approach is often both notable for its architectural good sense, the Ninth the solemn march towards the affectionate and dramatic. concludes with a monumental account of Adagio’s screaming climactic chord could The Beethoven cycle is supplemented the finale, the closing minutes massive in hardly be more heart-wrenching. The with some remarkable mono recordings, their impact. Also included are a broadly SWR responds faithfully to Rosbaud’s performances that with their Dionysian stated Mendelssohn Scottish Symphony, an musical demands, showing a deep sweep remind us of Konwitschny’s years often impressive Brahms’s First, viscerally understanding of what he was about, and as a Gewandhaus Orchestra viola player exciting accounts of Shostakovich’s offers a series of performances that is above under Furtwängler (both conductors Tenth and Eleventh, monumental all profoundly consistent. disliked ‘the exact beat’). It’s true that the statements of Beethoven’s Grosse fuge and 1955 Eroica and the 1950 Fifth lack the Mozart’s Adagio and fugue and various THE RECORDINGS later versions’ aforementioned repeats, but Beethoven overtures. ‘The Art of Konwitschny’ the way that the Fifth’s first movement, Any release featuring Hans Rosbaud has Scribendum S (20 discs) beyond its stately opening, flies into action to be an event worth celebrating but a SC809 hardly compares with Konwitschny’s more collection of Bruckner symphonies Nos 2-9 Klempererian approach later on. This is on SWR Classic is of special significance. electric music-making, make no mistake. As far as I can ascertain only the Sixth and Bruckner Symphonies Nos 2-9 The mono Fourth Symphony is almost as Ninth symphony performances are entirely Southwest German RSO/ good, though something weird happens new to CD, with the Fourth a comparative Rosbaud at 5'48" into the Adagio (possibly a faulty rarity (only one other CD edition is listed) SWR Classic Sh SWR19043CD edit). The mono Choral Symphony is again and the Seventh, by far the most familiar –

124 GRAMOPHONE APRIL 2018 gramophone.co.uk REPLAY

generally first-rate. I would be surprised Rediscovering Sanderling Alexander Borovsky if listening to this set doesn’t prove Unlike Konwitschny, Kurt Sanderling’s Two of the few vinyl sets that I still something of a revelation. presence on the British musical scene treasure feature recordings from the extended to many live performances, 1950s of Bach’s English and French Suites THE RECORDING principally with the Philharmonia. with the pianist Alexander Borovsky. I Bach Well-tempered Clavier Hänssler Profil’s ‘Kurt Sanderling Edition’ bought these years ago from ‘Discurio’ Books One and Two covers the years 1948 to 1963 and involves in London’s Shepherd’s Market where Borovsky the Leningrad Philharmonic, the USSR the proprietor described the playing as available from: Radio Symphony, Vienna Symphony having a Rubinstein-like ease of manner alexanderkborovsky. and Leipzig Gewandhaus Orchestra. and warmth of tone. And he wasn’t blogspot.co.uk There are jewels and curios galore, Maria wrong: here was Bach playing where Yudina’s account of Beethoven’s Fourth elegance, tasteful phrasing and unforced Concerto being both at the same time, liveliness guaranteed hours of pleasure. Commemorating erras principally because of the presence of So imagine my delight when Borovsky- First came ‘L’Art de Christian Ferras’ Brahms’s massive first-movement cadenza, pupil William Jones announced the (DG/Discovery 480 6655) though much an extravagant foray into the musical discovery and organised the CD release of the duo-sonata repertoire included future, magisterially played, that quite of a complete Well-tempered Clavier that there with pianist Pierre Barbizet had transforms the nature of the piece. Yudina his teacher taped in 1955, a veritable vade already appeared as part of a three-CD is equally forceful in Bach’s First Concerto mecum that serves as a trusty guide to the set on Brilliant Classics. Now Warner whereas it falls to Maria Grinberg’s musical essence of these timeless pieces. Classics are celebrating Ferras with commanding presence to make sizeable Jones’s four-CD set includes Borovsky’s their own Icon set, the partnership with music of Beethoven’s First and Third own extensive notes on the music and the Barbizet especially strong in a complete Concertos. There are two versions of blog alexanderkborovsky.blogspot.co.uk cycle of Beethoven violin sonatas where Brahms’s own Second Piano Concerto, one will offer you a dazzlingly comprehensive the Spring Sonata is repeated (an earlier by Sviatoslav Richter from 1951, which introduction to the man, his life, career and Teldec version from 1953). Aside from his is both propulsive and impulsive, and ideas. Borovsky won the Anton Rubinstein seductively sweet tone – very much along the other Yakov Zak from 1949, the first competition in 1912 and thereafter the lines of Ferras’s teacher Enescu – the movement broader than Richter’s by over his appearances were showered with main properties of Ferras’s style are a keen a minute, a craggy, thunderous rendition, plaudits. He left Russia after the October musical intelligence and an alertness to profoundly Brahmsian in tone and Revolution, started touring in Europe and what’s going on around him though in musical approach. I loved it. Zak is equally eventually made his American debut in the case of Beethoven’s Violin Concerto impressive in Prokofiev’s Second Piano Carnegie Hall in 1923. Borovsky became I much prefer the version with Karajan Concerto (1959) whereas Richter returns a US national in 1941 and a professor at and the Berlin Philharmonic (DG) to on imperious form with Beethoven’s First Boston University in 1956. Aside from his the rather foursquare rendition under and Third Concertos (1963 and 1952), frequent concerts in Europe he appeared Sargent included in the current set. In the Choral Fantasy (1952), the B flat as soloist in more than 30 concertos with Mozart’s Fifth Violin Concerto under Rondo WoO 6 (1962) and Schumann’s the Boston Symphony Orchestra under André Vandernoot (the Fourth is also Introduction and Allegro Appassionato (1951). Koussevitzky. His recordings include the included) there’s an alarming problem with Emil Gilels offers us all five Beethoven first 15 of Liszt’s Hungarian Rhapsodies the sound. Listen at one minute into the concertos (1957-8), rather softer-grained and other Bach works (reissued as a two- slow movement of the D major work and than Richter’s but no less engaging, CD set by Pearl). But this 48 is perhaps it sounds for all the world as if a whistling and there’s a striking if poorly recorded Borovsky’s crowning achievement on disc, ondes martinot is playing alongside Ferras account of Ravel’s Piano Concerto for albeit posthumous, with utterly natural and the orchestra. Elsewhere the sound is the Left Hand (1952), granitic, relentless playing that can parade a melting legato, a pretty good, certainly in the Berg concert and delicate where needs be. As to the tiptoeing staccato, subtle but often striking under Georges Prêtre where at the point violin, Leonid Kogan is on masterly form badinage among inner voices, considerable where the Bach chorale enters after one in Mozart’s Third Concerto (1959) and freedom in respect to tempo and the way of the score’s nastiest episodes (c7'00"), David Oistrakh offers two especially chords are chimed (sometimes subtly the inward quality of Ferras’s playing is fine performances, Szymanowski’s First desynchronized) and a welcome absence remarkably moving. Add key sonatas by Concerto and Taneyev’s Concert Suite of percussive ‘banging’. Just try the gently Franck, Fauré (both sonatas), Brahms (both from 1960). There’s more of course, arpeggiated chords in the fourth Prelude (Third Sonata) and Debussy, and concertos all captured in sound quality that, whether from Book One, the easeful rubato, or by Tchaikovsky, Mendelssohn, Bruch (First ‘live’ or ‘studio’, ranges from tolerable the commanding opening of the Second Concerto) and Lalo (the four-movement to perfectly acceptable, and never less Book’s first Prelude, the Fugue positively version of the Symphonie espagnole), and than up to the task of reporting some pre-Gouldian in its keenness of attack. But you have a musically nourishing collection remarkable performances. what impresses more than anything is the featuring a truly great violinist. sense that Borovsky’s Bach-playing is an act THE RECORDING of joyful homage, something he simply had THE RECORDING ‘Kurt Sanderling Edition’ to do at that particular moment. Among Christian Ferras Hänssler Profil Sm PH17018 the set’s vintage piano rivals I would rate The Complete HMV & Borovsky alongside Edwin Fischer, Rosalyn Telefunken Recordings Tureck, Jorg Demus, Glenn Gould and Warner Classics Sm Walter Gieseking, while the transfers are 9029 576308-4 gramophone.co.uk GRAMOPHONE APRIL 2018 125 Classics RECONSIDERED

Andrew Farach-Colton and David Gutman lock horns over the pros and cons of Kleiber’s recording of Beethoven’s Seventh with the Vienna Philharmonic

Beethoven Not an ounce of excess tone is left on the unnuanced in the violin line (as marked), Symphony No 7 Vienna Philharmonic sound. Gone is the which makes Kleiber’s reading considerably Vienna Philharmonic Orchestra / Carlos Kleiber distinctive, middle-European texturing of less expressive at this point than either DG Schmidt-Isserstedt’s beautifully played (and Toscanini’s or Erich Kleiber’s. But then how Kleiber’s Seventh Symphony is much more superbly grammatical) Decca reading. Even lyrical should the Seventh be? It is, as Kleiber obviously controversial than his Fifth, the recording seems self-consciously spare rightly divines, a spare, athletic work; but is it destined, I suspect, to divide opinion on both and monochromatic. The finale, admittedly, not vibrant too, a partially lyrical celebration sides of the Channel. As an interpretation is a tour de force. Only one thing strikes me as of the spirit of Dionysus? … This is it is closely modelled on his father’s being incongruous here and that is Kleiber’s a Seventh to be acquired and argued over. fine reading. (There is even the same odd slackening of the tension whenever the You may not find it wholly agreeable, or controversial pizzicato end to the Allegretto, woodwinds pick up the skipping second wholly convincing, but it does at times bring rather limply done here.) In general style subject. The Scherzo is also extremely us unnervingly close to the essential spirit of and voltage, though, the performance compelling, the whole thing taken very this great work, a rare enough phenomenon emulates the classic Toscanini set of 1936. quickly though with a slowish Trio, in all conscience. Richard Osborne (9/76)

Andrew Farach-Colton Richard Osborne that some of his reservations – and maybe to some degree the ‘spare, athletic’ qualities was quite bowled over by Carlos Kleiber’s yours – derive from the oddly focused RO talked about in 1976. DG recording of Beethoven’s Fifth (multimiked but rather ‘dusty’) sonics of Symphony (6/75) – and rightly so. Indeed, the original recording: RO seemed more AF-C I’m sure you’re right, David. But does David, you and I defended RO’s assessment enthusiastic about the CD release in tandem this sonic refinement significantly illuminate and the recording’s now-legendary status with that indubitably iconic Fifth (5/95). the interpretation? I rather doubt it. I’m in this very magazine back in April 2005, If I have problems marshalling my own also doubtful that RO’s reaction reflected while Rob Cowan voiced reservations. thoughts, it’s because the waters have been a ‘shock of the new’. Even in 1976, Kleiber’s Now, sans Rob, we’re reappraising muddied by the arrival of so many interpretation was not so unorthodox. Kleiber’s account of the Seventh. competing Kleiber versions, some ‘pirated’. RO notes that its streamlined athleticism is RO was considerably less enthused with The Seventh remained a speciality to the ‘closely modelled’ on the Decca recording this recording, and again I find myself very end, the last work this reluctant by Kleiber’s father, Erich, as well as in agreement. I admire the energy and maestro programmed officially – though not Toscanini’s magnificent 1936 account for muscularity of Kleiber’s interpretation, quite the last piece he conducted. Perhaps RCA. And, of course, Toscanini’s recording certainly, but it’s oddly monumental. you prefer his Concertgebouw DVD? was intended for AM broadcast, yet conveys Hans Schmidt-Isserstedt’s (referenced by abundant joy and wonder – so engineering RO) is slower and grander, while teeming AF-C Well, first off, I agree about the isn’t the issue. The sound on Kleiber’s with incident and character. The way ‘dusty’ sound quality. I’ve been listening via Concertgebouw DVD is also lacklustre, Kleiber plays it, the first movement Vivace the 1995 DG Originals remastering you but that performance is more emotionally might as well be Allegro. Isn’t vivace as just mentioned, and even that is strikingly involving, and so is his performance with much an indication of mood as of tempo? colourless, as if the engineers intended the Bavarian State Orchestra on Orfeo. it to be heard on AM radio. I love how, with the Bavarians, Kleiber David Gutman Where to start? That’s explodes out of that first fortissimo fermata not quite the opening salvo I expected, DG More recent high-end revamps on in the Vivace, as if he’s impatient to dive and I can’t go along with such a downbeat SACD and Blu-ray have continued to back in; with the VPO it sounds routine. assessment. I sense the shock of the ‘new’ freshen the sound. I’m guessing that the behind some of RO’s responses (period CD layer of my SACD sounds better than DG I don’t hear the DG version as remotely performance came later). I suspect too the incarnation you’ve got there, refining routine but I can just about see what you’re

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quality. If anything, it’s the old-fashioned breadth of the trio that has me puzzled. Toscanini was far more innovative and ‘modern’ in his refusal to linger. Kleiber’s DVD version is ﬂeeter, too.

AF-C Those scrunched grace notes in the Allegretto do bother me, yes; they’re more twitches than lyrical emphases. And I also don’t care for the pizzicato ending with the strings tiptoeing off into the dark night. It’s so clearly not what Beethoven wanted or he wouldn’t have written forte in their last bar. I ﬁnd Kleiber’s doggedness most convincing in the ﬁnale. Ideally, I’d like more chiaroscuro and playfulness, but it’s compelling nonetheless – and the coda’s euphonious roar is absolutely exhilarating.

DG I don’t think anyone since Toscanini has so successfully conveyed that sense of elation. Acceleration can come across as a loss of control but here nothing is gabbled, not even the horns. It’s this combination of control and abandon that works for so many. Maybe not for you, though?

AF-C Coming back to this performance after many years, I was surprised by how little it delighted me. It is a ‘classic’, but perhaps its reputation has been enhanced by its coupling? Kleiber’s performance of the One of two Beethoven symphony recordings made in Vienna for DG, both worthy of classic status Fifth is stupendous; talk about balancing control and abandon – his Fifth is at once getting at. Kleiber takes the long view. length. It still doesn’t move me. I rather like thrilling and monumental. He takes The main body of his first movement certain details: how he surreptitiously slips a similar approach to the Seventh, but this becomes an exercise in militantly into the proto-Schubertian maggiore section work demands something different. Kleiber maintained rhythm rather than Wagner’s at 2'56", for example. Even here, though, gets closer to the music’s essence in his dance apotheosis, so other readings may the dolce markings for the woodwind are paid concert recordings, despite the overlooked offer more incidental pleasures. And his short shrift, and there’s insufficient respite repeats and relative lack of orchestral polish. not-so-slow slow movement (with elements from the rhythmic and psychic relentlessness plainly inherited from Erich Kleiber) of the opening. I’d argue that the ‘militantly DG Well, you’re not alone in having doubts. feels deliberately bleak and abstracted. maintained rhythm’ you hear in the first When in 1981 Kleiber led LSO renditions But doesn’t that throw the excitement of movement is really an idée fixe throughout in London and Milan, British commentators the scherzo and finale into greater relief? the entire work. Yes, the third movement is were mostly hostile. Writing in The I haven’t heard anything from Erich that played as a true Presto, but it’s driven so hard Guardian, Gramophone’s Edward Greenfield generates comparable momentum. I’d also that it’s not so much exciting as harrowing. skewered the ‘aggressive exaggerations and contend that the combination of a stripped- idiosyncrasies’ of ‘a conductor determined down string sound with antiphonally placed DG No performance is beyond criticism at all costs to do things differently’. Kleiber, violins was indeed unusual, possibly unique and Kleiber certainly doesn’t prioritise mortified, made the BBC wipe its tape and for the period. The recording is (just over) charm. Were you bothered by the never directed another orchestral concert 40 years old now – as old as Toscanini’s scrunched treatment of the grace notes in in the UK. Personally, I’d not want to be would have been then. Taking the first the Allegretto? I would certainly query the without Bernstein – repeat friendly as early movement exposition repeat was scarcely final bars where, like his father before him, as 1964. His New Yorkers are less poised the norm either. The Amsterdam DVD and like Klemperer, Kleiber insists on and transparent than Kleiber’s Viennese, makes compromises on all those points. pizzicato strings to the very end. I’d have the tonal conflicts dramatised and humour been happier with the traditional bowed broader as befits a performance cued from AF-C I’ll take emotional involvement over reading plus apocryphal ritardando. a score on which Bernstein had scrawled textual completeness, but I think I know But then Kleiber is not trying to make us ‘The Surprise Symphony’. I’m sure we can what you mean when you say Kleiber takes comfortable, ending rather in mid-air. agree that blandness is the enemy of great SIEGFRIED LAUTERWASSER/DG SIEGFRIED ‘the long view’. In the Allegretto,for In the scherzo the quality of articulation Beethoven. And Carlos Kleiber, differently example, I sense he’s aiming for a kind of and range of dynamic he gets from an egocentric, is certainly never that. For me, noble stoicism – acknowledging there’s ensemble inclined to coast seem to me his DG Seventh is as ‘classic’ – and

PHOTOGRAPHY: pain in the music while keeping it at arm’s pretty remarkable. I love that splenetic ‘Classical’ – as they come!

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RichardBratbyreadsamonograph PatrickRuckeronanilluminating on Beethoven’s cello sonatas: studyofLiszt’ssymphonicpoems: ‘These ﬁve experimental works resemble ‘The more we learn about Weimar’s less aseriesofgeologicalsamplesfromcrucial than ideal conditions, Liszt’s tenacity points in Beethoven’s creative development’ seems all the more remarkable’

Beethoven’s Cello composer, dazzling the court of the cello- revolutionary aspect is its attempt to place Five Revolutionary Sonatas and Their World playing King Frederick William II of two performers on truly equal terms. By Marc D Moskovitz and R Larry Todd Prussia. The expansive Op 69, written in The authors are less surefooted when Boydell Press, HB, 274pp, £29.95 1808, represents the master at the peak of they move away from the musical world, ISBN 978-1-7832-7237-2 his symphonic game. And then there’s that and there are a couple of howlers: the final pair, Op 102 (1817), two profoundly Jacobites were not defeated by the ‘Duke imaginative and sophisticated explorations of Culloden’, and Anna Maria von Erdo˝dy in texture and musical form in which, as was not Romanian in any historically Steven Isserlis points out in his Foreword, meaningful sense. A pity, because Beethoven’s cello sonatas ‘we are ushered into another sphere Moskovitz and Todd have an eye for an Op 102 (or, as he termed entirely: the mystical, radiant, uncharted anecdote. Many of the juiciest are tucked them, sonatas for piano world of late Beethoven’. That ‘scarecrow’ away in the footnotes (the rumour, current and cello) baffled his fugue? It was ‘in effect, Beethoven’s in the 1820s, that Beethoven was the contemporaries. ‘These two sonatas are prototype for the final visions of his illegitimate son of the King of Prussia, surely amongst the most remarkable and transcendent late style’, write Moskovitz was new to me). But taken overall, it’s strange piano works written in a long time, and Todd: a powerful claim for a still- hard to envision a more comprehensive not only in this form but altogether for undervalued work. single-volume introduction to Beethoven the pianoforte’, wrote the Allgemeine That’s their main argument, and they and the cello, and performers, listeners musikalische Zeitung in 1818. ‘Everything approach it with a thoroughness worthy and researchers will all find something here is different, very different from what of an academic thesis. They go far beyond to engage them here, even if the different we have received up to now, even from the five numbered sonatas to consider perspectives don’t always blend entirely this master.’ A generation later, in 1854, practically everything that Beethoven comfortably. What’s clear throughout is they were still scratching their heads. wrote for solo cello. There are chapters that Moskovitz and Todd genuinely love Beethoven’s Russian-born biographer devoted to the sets of variations for cello this music, and send you back to it with Wilhelm von Lenz dismissed Op 102 and piano (with a useful reminder that, renewed enthusiasm: ‘a voyage’, they No 2’s final fugue as ‘unplayable – it contrary to modern fashion, Beethoven conclude, ‘for the mind, the soul, and is a perfect scarecrow’. rated Handel above Bach), to the cello the human spirit’. Richard Bratby So it’s not just me, then. Most of us carry transcriptions of the Horn Sonata and the scars of at least one unhappy musical the Op 3 Trio, and to the Triple Concerto Liszt and the Symphonic Poem encounter in our youth. As a teenage (a cello concerto manqué): even the short By Joanne Cormac cellist, mine was an unsuccessful assault on cello solos in Beethoven’s choral works Cambridge University Press, HB, 378pp, £90 the five Beethoven sonatas, naively (though get attention. ISBN 978-1-1071-8141-0 unavoidably) attempted without a piano. Each piece receives an in-depth analysis. One of the many incidental insights of Clearly and perceptively written, and this new book by the cellist and scholar illustrated with music examples and Marc D Moskovitz and the pianist (and diagrams, these will probably prove of Mendelssohn biographer) R Larry Todd is most interest to scholars. When Moskovitz As he approached his 36th that the virtuoso cellists of the 19th century and Todd argue that the dotted rhythms birthday, Liszt surprised tended to avoid the Beethoven sonatas. in the slow introduction of Op 5 No 1 musical Europe by Instead, it took pianists like Henry Litolff signify ‘an elevated, typically “royal” type declaring the end of his and Hans von Bülow to propel them into of music’ they don’t expect you to take it public career as a pianist following a recital the repertoire. ‘It is not enough to have on trust. Half a page of examples follows. in Ukraine. Few could have guessed the a good cellist – the situation also demands But the historical context is endlessly direction his career would take over the a refined individual’, noted Bülow, to which fascinating. Personalities such as the next dozen years. Accepting a longstanding I can only nod in rueful agreement. cellists Duport and Linke, and Beethoven’s invitation from the Grand Duke of Saxe- And yet as a cycle these five experimental various patrons, are vividly sketched Weimar, Liszt settled in the little town, works – no two alike in style or form – (who knew that Prince Lichnowsky took up the baton in earnest and started resemble a series of geological samples was such a notorious rake?) and there are to transform his new home into a hub of from crucial points in Beethoven’s creative entire chapters devoted to the cellos and modern music. He presented premieres development. The two Op 5 sonatas (1796) pianos that Beethoven actually owned – and important revivals, most notably works embody the extrovert young pianist- especially relevant to music whose most by Berlioz, Schumann and Wagner, both

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at court concerts and in the theatre. Along the way, Liszt himself emerged as one of the most influential orchestral composers of the 1850s, with works like the two symphonies, the Lenau Episodes, the first two Funeral Odes, a number of occasional pieces and transcriptions, and the first 12 symphonic poems. But if Liszt’s achievements in Weimar are well documented, what Weimar provided him in terms of artistic stimuli and challenges is less understood. Enter Joanne Cormac of the University of Nottingham. She contends that studies in recent decades have largely focused on demonstrating Liszt’s continuity with the Beethovenian symphonic tradition. Meanwhile, his more radical innovations and reforms as both conductor and composer, often shaped by direct experience in the Weimar theatre, have been neglected. Cormac sets out to address this imbalance by mapping the symphonic poems against Liszt’s own evolving artistic aims, his response to circumstances specific to Weimar, and the prevalent theatrical mores in mid-19th-century Germany. The result is a richly detailed interdisciplinary study that provides context for the symphonic poems’ evolution, as well as a synthesis of Liszt’s multifarious activities between February 1848 and August 1861. At the Weimar court theatre Liszt encountered the first long-term professional theatrical milieu of his career. Despite his closeness to the Grand Ducal family, he was expected to function within the theatre’s administrative structure. As ‘Kapellmeister’, Liszt was co-equal to Lisztemergedasaninfluentialorchestralcomposer inthe1850swithhisseriesofsymphonicpoems the theatre’s Artistic Director, who had responsibility for spoken drama and other after the Barber demonstration, he definitive form there. Cormac traces the non-musical activities. Both positions continued to conduct concerts at court often complex genesis of each before reported to the theatre Intendant, or until the summer of 1861, when he left focusing on five with the closest General Director, who in turn was for Rome. connections to the Weimar theatre: responsible to the court. The more we learn about Weimar’s Tasso, Prometheus, Orpheus, Festklänge Opera, concerts and drama all used the less than ideal conditions, Liszt’s tenacity and Hamlet. Incidentally, she challenges same orchestra and most performances, seems all the more remarkable. Cormac several longstanding assumptions, among save the occasional concert at the Grand points out his innovations as a conductor, them the idea Festklänge was conceived in Ducal palace or the Town Hall, were most obviously in shaping the canon by anticipation of Liszt’s marriage to Carolyne held in Weimar’s only theatre. Because the works he chose to produce. But he zu Sayn-Wittgenstein and that Hamlet was the theatre was entirely underwritten by also improved standards of performance inspired by seeing Bogumil Dawison in the court, competition for scant resources through the careful preparation of singers the role. More importantly, Cormac was fierce. Liszt worked under a series of in piano rehearsals and by insisting on demonstrates that, despite Liszt’s use of Intendants. One of them, Baron Ziegesar, sectional rehearsals for the orchestra, sonata procedures in many of the pieces, proved a sympathetic and energetic both novelties at the time. And he was as he progressed through the series his colleague, working closely with Liszt motivated to present performances that move away from sonata form was on the productions of Tannhäuser and would, so far as possible, realise the considered and deliberate. Lohengrin. Another, Franz Dingelstedt, wishes of the composer. This is evident The trenchant scholarship of Liszt who actually obtained his position not only in his correspondence with the and the Symphonic Poem is leavened with through Liszt’s influence, organised the exiled Wagner, but with Berlioz and 77 music examples, reproductions of NORTH WIND PICTURE ARCHIVES/ALAMY STOCK PHOTO STOCK ARCHIVES/ALAMY PICTURE WIND NORTH claque which disrupted the 1858 premiere Schumann as well. playbills and 11 helpful tables that detail, of Peter Cornelius’s Barber of Baghdad and If the ideas for a number of the first among other things, the evolution of provoked Liszt’s resignation. Though 12 symphonic poems long pre-date Liszt’s individual symphonic poems as well Patrick Rucker PHOTOGRAPHY: Liszt removed himself from the theatre arrival in Weimar, they all attained their as formal analyses.

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Handel’s Saul

This oratorio is rich in characterisation, psychological insight and colour, but the fact that it is often subjected to gratuitous alterations makes its recorded history somewhat chequered, finds Richard Wigmore

hile Handel’s operatic fortunes The carillon, unfurled in the Act 1 were faltering, the biblical Sinfonia before the women’s chorus of Woratorios Deborah and Athalia, welcome, was not the only ‘maggot’. premiered in 1733, seemed to point the Jennens also noted, with faint disapproval, way forward. But the composer was not so Handel’s purchase of ‘an organ of £500 easily weaned from the London stage. The price which (because he is overstock’d with tide only began to turn after the failure of Money) he has bespoke of one Moss of Serse at the King’s Theatre early in 1738. Barnet’. The custom-built instrument has For the following season Handel kept a starring role at several points in Saul, his options open, creating two oratorios, whose lavish instrumentation also includes Saul and Israel in Egypt, and drafting flutes, oboes, bassoons, two trumpets, three a new opera, Imeneo, the penultimate work trombones (novelties in London), harp, in a genre he would abandon in 1741. theorbo and a second organ, plus a pair of Although the future looked uncertain, giant military kettledrums – which Handel Handel’s creative energy and sheer borrowed from the Tower of London. willpower remained as indomitable as ever. Saul was Handel’s first collaboration with PREMIERE AND RECEPTION the prickly, eccentric Leicestershire squire On its premiere at the King’s Theatre on Charles Jennens, future compiler of the January 16, 1739, Saul was ‘met with general text of Messiah. The Old Testament story Applause by a numerous and splendid of David’s victory over Goliath and Saul’s Audience’ (London Daily Post). As well it madness was popular in the 17th and 18th might have been. With its Shakespearean centuries, and once he had resolved to set variety of character and incident, Jennens’s libretto, skilfully compiled from psychological insight and opulence of Collection caption of baseline style the book of Samuel and Abraham Cowley’s orchestral colouring, the oratorio is one of unfinished epic Davideis, Handel threw Handel’s supreme achievements. Although himself into the project with wholehearted, Saul himself has no full-blown aria, his the corrosive power of jealousy, Saul also even reckless, enthusiasm. From the outset outsize, brooding presence, culminating in enshrines personal concerns of Jennens, he planned a work on the grandest possible his terrible final lucidity at Endor, gives the a devout Protestant but also a Nonjuror scale, with the largest orchestra yet heard work a tragic power Handel never surpassed. loyal to the deposed Stuarts. Saul, the in a London theatre. After visiting Handel Counterpointing Saul’s decline, with its Lord’s anointed, had disobeyed God in September 1738, Jennens wrote to echoes of Othello and Lear, is the rise of when he spared ‘the curst Amalekite’. a cousin: ‘Mr Handel’s head is more full of the young man of the people, David, a role His replacement by David, unimpeachably maggots than ever. I found yesterday in taken in 1739 by a countertenor (or virtuous yet not in the direct line of his room a very queer instrument which possibly tenor) by the name of Russell (his succession, was theologically necessary and he calls carillon … ’Tis played with keys first name remains unknown). crucial for the survival of the nation. For like a Harpsichord and with this Cyclopean Beyond its explorations of friendship, the contemporary audiences, Saul’s fate would instrument he designs to make poor Saul romantic love between David and Saul’s have resonated with that of the deposed stark mad.’ younger daughter, Michal, and, above all, Catholic James II half a century earlier.

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‘Saul versus David’: a painting from 1646 by Giovanni Francesco Barbieri, known as Guercino (1591-1666):

EARLY RECORDINGS Although it now sounds its age, the Wagnerian bass-baritone, makes an For revivals of Saul, Handel cut, rewrote virtually complete recording from imposing Saul, and James Bowman is and transposed arias to match the forces at Sir Charles Mackerras, based on a 1972 a full-voiced David, moving in the Elegy his disposal. The part of David was at Leeds Festival performance, has far more for Saul and Jonathan. Best of all is Sheila various times taken by voices ranging from to commend it. Tempos that seemed lively Armstrong, dulcet in ‘Fell rage and black sopranos to the bass William Savage, and enough nearly half a century ago can now despair’ and conﬁrming Michal’s new- was even shared between two singers. sound stately, with heavily weighted found spiritual strength in ‘No, no, let the After the ﬁrst run of his oratorios, Handel orchestral bass lines. The large amateur guilty tremble’. could be cavalier over dramatic coherence. chorus is lusty but unwieldy, the soloists Provisos apart, Mackerras has a stronger ARTEXPLORER/ALAMY STOCK PHOTO STOCK ARTEXPLORER/ALAMY But that’s no reason for us to accept good, if stylistically variable. Margaret feel for Saul’s dramatic architecture than wholesale cuts, as in the earliest version Price, gorgeous of tone as Saul’s elder does Sir Philip Ledger on a recording made of Saul on disc, stodgily conducted by daughter, Merab, is statuesque and in King’s College Chapel, Cambridge.

PHOTOGRAPHY: Mogens Wöldike in the early 1960s. word-shy. Donald McIntyre, a dark, Evidently, 1979-80 was not a vintage year

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Barrie Kosky’s ‘violently excessive, Hogarth-meets-Shakespeare take’ on Saul, with Christopher Purves ‘vocally and visually mesmerising’ in the title-role for the King’s boys. The altos are weak, moral commentators in a Greek-style traumatised reaction of the populace in the trebles unblended. Ledger’s direction is drama, is eccentrically fast and flustered. ‘O fatal consequence of rage’. Gardiner competent but bland (rarely can Handel’s Dietrich Fischer-Dieskau’s mastery of feels the dance rhythms underlying many evocation of the ‘monster atheist’ Goliath colour brings dividends in the Endor scene; of the arias, and builds each of the great have sounded more decorous). Even when elsewhere, he tends to bark and jab. choruses magnificently (the ‘Envy’ chorus tempos seem right, there is no lift to the The fiery Julia Varady never lets you forget distils an Aeschylean terribilità). Derek Lee rhythms. Redemption comes from the that Merab is of royal blood, though Ragin tends to fuss at David’s music, but soloists, above all Paul Esswood’s liquid- her words are barely decipherable, and the other singers are superb: the teak- toned David and Thomas Allen’s Saul, Elizabeth Gale’s appealing Michal voiced Alastair Miles as the tormented king profoundly moving in the Endor scene. sounds too fluttery to 21st-century ears. (immaculate in the coloratura of ‘A serpent, The finest singing comes from two in my bosom warm’d’), Lynne Dawson FIRST PERIOD RECORDINGS seasoned Handelians: Esswood, again, radiant yet mettlesome as Michal, and You could never accuse as David, and Anthony Rolfe Johnson, John Mark Ainsley, youthful of tone, Nikolaus Harnoncourt of under- both mellifluous and virile as Jonathan. graceful in phrasing, as Jonathan. characterisation. His is the earliest On Sir John Eliot Gardiner’s recording from period-instrument Saul, recorded at the Göttingen International Handel Festival MADE IN GERMANY a concert in Vienna’s Musikvereinsaal in 1989, his Monteverdi Choir outstrips Nearly a decade later, Naxos brought out in 1985. But right from the overture, all the competition to date in precision, an absolutely complete Saul conducted by this performance is hamstrung by cuts, virtuosity and dynamic range. With crisp, Joachim Carlos Martini which even includes, most grievously in ‘O fatal consequence vital playing from the English Baroque uniquely, two numbers that Handel of rage’, the chorus of appalled Israelites Soloists, Saul emerges as an unstaged suppressed: David’s jaunty ‘Fly, fly, that closes Act 2. Harnoncourt’s direction opera, whether in the sisterly spats in Act 1 malicious spirit, fly’ and Abner’s jolly aria is typically idiosyncratic. ‘Envy, eldest or the scene between Jonathan and the just before the final chorus. Martini directs born of hell’, where the chorus become deranged Saul, culminating in the hushed, a neat, stylistically aware performance, with

A CLOSE-RUN THING CONTINENTAL CHOICE DVD CHOICE Gabrieli Consort and Players / McCreesh RIAS Chamber Choir, Concerto Köln / Jacobs Glyndebourne Chorus, OAE / Bolton Archiv Fc474 510-2AH3 Harmonia Mundi SbHMY292 1877/8 Opus Arte F◊OA1216D With classy choral singing and superb If you can accept Jacobs’s trademark Don’t be looking to the Bolton-Kosky soloists, including Andreas Scholl at his idiosyncracies, among them a hyperactive Glyndebourne collaboration most dulcet, this is continuo and for stylistic elegance. self-recommending, Frenchified cadences, But Christopher Purves though McCreesh this is a Saul of gives yet another favours briskness thrilling theatricality, towering performance in COOPER BILL over tragic weight in the with each singer a production fusing riotous great framing choruses urgently ‘living’ extravagance with profound

of Act 2. his or her role. psychological truth. PHOTOGRAPHY:

132 GRAMOPHONE APRIL 2018 gramophone.co.uk THE GRAMOPHONE COLLECTION

assured contributions from the chorus and small – arguably too small – period orchestra. But the monastery acoustic envelops the choral lines in an aural fog. Barbara Schlick, with her distinctive bittersweet tone as Michal, and Claron McFadden, superbly haughty in Merab’s first two arias, are excellent, the men good (David Cordier’s firmly sung David) to just about adequate. Stephan MacLeod, as Saul, has a plaintive quaver in his tone, and sings the least threatening ‘A serpent’ on disc. A resonant ecclesiastical acoustic afflicts another 1997 ‘live’ recording, also made in Germany, directed by Peter Neumann. The chorus (with notably fresh-toned sopranos) sounds dramatically involved, and Neumann Saul premiered in 1739 at the King’s Theatre; the libretto was by Leicestershire squire Charles Jennens paces the work sensibly. The pronunciation of the largely German cast can be Daniel Taylor as David, luminous of tone, despair’. Anna Prohaska is the outraged speculative, though that wouldn’t have unfailingly eloquent in his phrasing and social snob in ‘What abject thoughts’, and worried Handel. Simone Kermes, always ornamentation. But his performance brings an intensity to the lamenting ‘From a soprano with attitude, tears into Merab’s can’t redeem an otherwise missable set. this unhappy day’ that goes beyond pathos. ‘What abject thoughts a prince can have’. In a performance directed by Vasiljka Jezov≈ek’s pure-toned Michal is Hans-Christoph Rademann the following CREAM OF THE CROP especially moving in the Elegy. As Saul, year, the spirited Dresden Chamber Choir Paul McCreesh’s 2002 recording with his Gregory Reinhart can be rough, but he suffers from the swimmy acoustic of the Gabrieli Consort and Players was the first has the right bass depth for the role, and city’s Frauenkirche. A pity, as Rademann’s Saul on disc to offer a serious challenge to powerfully inhabits the king’s fury and conducting has dramatic urgency (though Gardiner. For many, one of the main draws despair. The weak link in an otherwise the ‘Dead March’ and the chorus ‘Mourn, will be the David of Andreas Scholl in his worthwhile performance is countertenor Israel, mourn’ are implausibly slow), and absolute prime. His caressing sweetness Matthias Koch’s dry, hooty David. each of the soloists ‘lives’ their character. in ‘O Lord, whose mercies numberless’ A recording made at concerts Tim Mead’s David rivals Taylor’s in vocal almost vindicates McCreesh’s ultra-slow in Maulbronn Monastery, Baden- beauty and eloquence, Yorck Felix Speer’s tempo. Neal Davies’s Saul is more Württemberg in 2002 has some fine black-voiced Saul exudes a craggy grandeur, contained in anger than some, but he sings soloists, including Stephen Varcoe as a and tenor Maximilian Schmitt, sappier with clean, incisive tone, and rises to the lyrical, very human Saul, and Laurie Reviol of tone than his English counterparts, tragic grandeur of the Endor scene. and the chaste-toned Nancy Argenta as dispatches Jonathan’s ‘But sooner Jordan’s Argenta, again as Michal, and Susan Gritton the sisters. Michael Chance’s David is too stream’ with a mingled elegance and (whose intensely inward ‘Author of peace’ languid for my taste, with ‘O Lord, whose bravado unmatched on disc. The sisters is a highlight) are well-nigh ideal as Saul’s mercies numberless’ emerging as a reverie are excellent, too, though as in Budday’s daughters, and Mark Padmore’s Jonathan is rather than a fervent prayer. Jürgen Budday and Rilling’s recordings, a solo violin lyrically elegant and vividly projected. directs his youthful-sounding choir and inexplicably replaces Handel’s prescribed McCreesh favours a more direct, less small (again, arguably too small) period flute in Michal’s ‘Fell rage and black moulded style of phrasing than Gardiner’s. band with fair style, though in his evident determination to avoid ponderousness his SELECTED DISCOGRAPHY performance too often seems lightweight. You would never guess the momentous RECORDING DATE / ARTISTS RECORD COMPANY (REVIEW DATE) issues at stake in ‘Envy’ or in the too-easily 1962 HemsleyS, WattsD; Vienna SO / Wöldike Brilliant Classics S (65 discs) 95050; Vanguard/Bach Guild FD(11/65R) flowing final chorus of Act 2. Other 1972 McIntyreS, BowmanD; ECO / Mackerras Archiv Mc447 696-2AX3 (11/73R) drawbacks include several cuts and 1979-80 AllenS, EsswoodD; ECO / Ledger Warner Classics Si083559-2 a skimpy booklet-note in German only. 1985 Fischer-DieskauS, EsswoodD; Concentus Musicus Wien / Harnoncourt Any performance of Saul that excises Warner Classics Sb2564 68698-3; Sf2564 69567-7; Si9029 59751-1 (8/86R) Michal’s ‘In sweetest harmony they lived’, 1989 MilesS, RaginD;EBS/Gardiner Philips Si475 6897DB9; FcD426 265-2PH3 (8/91); McD475 8256POR3 as Helmuth Rilling’s does in 2007, has to be 1997 MacLeodS, CordierD; Frankfurt Baroque Orch / Martini Naxos Bc8 554361/3 (6/99) a non-starter. There are damaging cuts 1997 ReinhartS, KochD; Collegium Cartusianum / P Neumann MDG McMDG332 0801-2 (9/98) elsewhere, too, plus gratuitous alterations 2002 VarcoeS, ChanceD; Hanover Hofkapelle / Budday K&K FbKUK83 to Handel’s carefully calibrated scoring 2002 N DaviesS, SchollD; Gabrieli Consort & Players / McCreesh Archiv Fc474 510-2AH3 (6/04) (for example, flutes tootling an octave above 2004 SaksS, ZazzoD; Conc Köln / Jacobs Harmonia Mundi SbHMY292 1877/8 (11/05R) the oboes in the opening chorus). Rilling’s 2007 EicheS, TaylorD; Bach-Collegium Stuttgart / Rilling Hänssler Classic FbCD98 280 direction of the choruses and arias is lively, 2008 SpeerS,MeadD; Dresden Baroque Orch / Rademann Carus FcÍCARUS83 243 PAUL FEARN/ALAMY STOCK PHOTO, ART COLLECTION/ALAMY STOCK PHOTO STOCK COLLECTION/ALAMY ART PHOTO, STOCK FEARN/ALAMY PAUL sometimes hard-driven. Conversely, the 2012 PurvesS, ConnollyD; The Sixteen / Christophers Coro McCOR16103 (10/12) recitatives are lugubriously drawn out, 2015 PurvesS, I DaviesD; OAE / Bolton in the bad old Teutonic style. The standout Opus Arte F ◊ OA1216D; Be◊OA1225BD; FY OABD7205D; M d Y OABD7211BD Key: SSaul DDavid PHOTOGRAPHY: among a fair-to-good team of soloists is

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The most obvious contrasts come While I wouldn’t be without in the choral climaxes of the first Jacobs (an invigorating non- two acts. Whereas Gardiner treats English take on Saul), Gardiner ‘Preserve him for the glory of or McCreesh, Christophers’s thy name’ as a hushed prayer, performance, more than any McCreesh makes it an urgent other, marries consistently fine exhortation; and while Gardiner’s Handel singing with a thrilling chorus opens ‘O fatal consequence command of the oratorio’s of rage’ in a state of numb shock, grand narrative sweep. There McCreesh’s singers react with stark are no quirks, and no casting immediacy. Each is convincing, weaknesses that can rankle though Gardiner’s broader tempo on repeated hearings. ‘Magnificent at the groping chromatic fugue in every way that matters most’, conveys a deeper sense was David Vickers’s verdict in of impending tragedy. his original review. Exactly so. René Jacobs’s 2004 recording has I’d urge you to complement an obvious advantage over its rivals Christophers on CD with the in fitting on two discs, mainly DVD of Barrie Kosky’s because Jacobs takes some Glyndebourne production of Saul, movements daringly – but never conducted by Ivor Bolton, likewise breathlessly – fast. This is an with Purves as Saul. Purves here operatic, viscerally exciting Saul. presents a vocally and visually Recitatives, creatively adorned by mesmerising portrayal of (in the harpsichord, have an edge-of- Kosky’s concept) an epileptic seat tension. One number tumbles Christophers’s version: ‘superbly performed, sympathetically shaped’ who descends by stages from into the next, though the Elegy has extravagant buffoonery into all the tragic nobility you could wish for. might have been surprised at Christophers’s broken, childish helplessness, with echoes of The celebratory choruses are unrivalled in tempo – broader even than Gardiner’s – in Lear on the heath. At Endor, Saul is suckled brassy boldness – and never mind the added ‘Preserve him’, underlining the music’s by John Graham-Hall’s maternal parody of trombones in ‘Along the monster atheist stile antico origins. I find the effect a Witch in one of many moments in Kosky’s strode’. In choruses and solos alike, spellbinding. The mighty framing choruses production that blur grotesquerie and Jacobs goes for dramatic truth over smooth of Act 2, unerringly built to their climaxes, pathos. The High Priest (Benjamin Hulett) vocal finish: ‘Preserve him’ is a desperate have a comparable gravitas. here becomes a malign, physically repugnant communal cri de coeur, and only the If Christophers’s chorus is second to court jester. Merab (Lucy Crowe) over-inflected ‘Envy’ chorus strikes me none, it is his soloists who clinch my choice remains neurotically disturbed to the end. as mannered. for a Saul on CD. Taking his cue from Even David (the superlative Iestyn Davies) Gidon Saks, a Verdian bass, is the most fragmentary indications that Handel cuts a passive, ambivalent figure. Only the sheerly dangerous Saul on disc, though originally conceived the part of David for Cordelia-like Michal (tenderly sung by his uneven voice production is exposed a female mezzo, Christophers casts Sarah Sophie Bevan), cradling Saul’s head during in the dissembling ‘As great Jehovah lives’. Connolly. Her even, glowing timbre and ‘In sweetest harmony they lived’, suggests Emma Bell (Merab), with a glint of metal verbal sensitivity make for a glorious a deeper humanity. Kosky’s violently in her tone, and the more sensuous ‘O Lord, whose mercies numberless’. excessive, Hogarth-meets-Shakespeare take Rosemary Joshua (Michal) are beautifully In Act 3 her reserves of power mean that on a dysfunctional family and doomed cast as the sisters, and Jeremy Ovenden’s she can denounce the poor Amalekite with society, powerfully realised by chorus, Jonathan emerges as more heroic than unforced venom, where countertenors are soloists and the Orchestra of the Age of usual. Lawrence Zazzo’s countertenor, apt to sound petulant or flustered. Joélle Enlightenment, is one of the great darker than Scholl’s, has an uncommonly Harvey sings the most tenderly assuaging Handel oratorio productions: as disturbingly strong low register; and from the dramatic ‘Fell rage and black despair’ on disc, and compelling in its theatrical momentum and central section of David’s opening aria he Elizabeth Atherton relishes the sneering psychological insights as Peter Sellars’s makes you believe that the Orphic singer contempt of Merab’s opening arias and Glyndebourne Theodora – and I can’t praise is also a warrior. finds an aptly veiled tone for ‘Author of more highly than that. peace’. Christopher Purves’s Saul is a huge CRÈME DE LA CRÈME presence whose range encompasses blind TOP CHOICE The most recent Saul on CD (2012), fury (his ‘With rage I shall burst his praises The Sixteen / Christophers from Harry Christophers and The Sixteen, to hear!’ rivals Saks’s in terror), honeyed Coro McCOR16103 may not match Jacobs’s high-octane suavity and the agony of self-knowledge Christophers and his elite forces unerringly theatricality, yet this performance – at Endor. On almost all other recordings catch both the ceremonial splendour and the superbly played and sung, unfussily yet either the Witch of Endor (so often Old Testament gravitas sympathetically shaped – is hardly less hammed) or the Ghost of Samuel (wobbly of Saul. Christoper exhilarating, and at least as moving. The and/or underpowered) is a handicap. Not Purves gives the most ARNAUD STEPHENSON ARNAUD impact of the 18-strong choir belies its here. Jeremy Budd’s Witch is rightly done complete and disturbing numbers, and words invariably tell, not least straight (Handel’s eerie, lopsided music performance of the in an ‘Along the monster atheist strode’ that provides the necessary frisson), and Stuart troubled monarch

PHOTOGRAPHY: outdoes all comers in grotesquerie. Handel Young sings with grave nobility as Samuel. on disc.

gramophone.co.uk GRAMOPHONE APRIL 2018 135 PERFORMANCES & EVENTS Presenting live concert and opera performances from around the world, and reviews of archived music-making available online to stream where you want, when you want

Royal College of Music, London & BBC Four headed up by Željko Lučić as Macbeth, being a brand-new concerto for cor anglais BBCYoungMusicianoftheYear Anna Netrebko as Lady Macbeth alongside and double bass by jazz bassist and composer Exact broadcast details for the BBC Young Ildebrando D’Arcangelo as Banquo and Yusif Lars Danielsson, who takes one of the solo Musician weren’t confirmed as we went to Eyvazov (aka Mr Netrebko) as Macduf. spots himself, alongside the cor anglais player press, but what we can tell you is that the BBC roh.org.uk/showings Björn Bohlin for whom he wrote the piece. launches its coverage of the competition in Sitting either side of the concerto are Ives’s April. Open to string, percussion, woodwind, Orchestra Hall, Detroit & online Three Places in New England and Hindemith’s brass and keyboard players under the age Leonard Slatkin conducts Strauss, Wagner Mathis der Maler, and all of this will be under of 18, the winner of which receives a cash andBartók,April7 the guest baton of just the person you’d want prize of £3000. Each finalist also receives the This live-streamed concert from the for such a programme, new-music champion support of a two-year aftercare scheme paid Detroit Symphony Orchestra under their André de Ridder. for by the BBC and run by the Young Classical Music Director Leonard Slatkin ofers up a gso.se/en/gsoplay/video/makela/ Artist Trust (YCAT). The 2016 edition of this particularly nice balance of the well-known major biennial BBC competition was won by and the diferent. In the first category are Geneva École Internationale, Conservatoire the cellist Sheku Kanneh-Mason, following in Wagner’s Siegfried Idyll and Richard Strauss’s de musique Genève, Victoria Hall the footsteps of luminaries such as the pianist Till Eulenspiegel’s Merry Pranks. Novelty is Menuhin Competition, April 12-22 Benjamin Grosvenor and the violinists Jennifer ticked firstly by way of the world premiere For violinists this biennial competition is one of Pike and Nicola Benedetti. So we’ll be watching of a new work by Steven Bryant. Then, the the real biggies, with previous winners whose this year’s competitors with interest … soloist for Bartók’s Violin Concerto No 2 will careers it has launched including Tasmin bbc.co.uk be an unfamiliar name – at least to European Little (1985) and Ray Chen (2008). This year audiences – because it’s none other than it’s Geneva’s turn to host, following on from Royal Opera House, Covent Garden & the Detroit’s Concertmaster since 2012, London in 2016, and the 44 violinists from 16 cinemas worldwide Yoonshin Song. countries have been selected from a record- NetrebkostarsinVerdi’sMacbeth,April4 dso.org breaking number of applications. To give you Phillida Lloyd’s 2002 production of Verdi’s some interesting trivia, there’s been a drop in Shakespearean masterpiece depicts the The Gothenburg Concert Hall & online at the average age of participants this year, with Macbeths’ childlessness as the root of their GSOplay the youngest competitor now just 10, and the terrible deeds, set against Anthony Ward’s Lars Danielsson World Premiere, April 12 oldest 21. A very healthy proportion of the 10 black, red and gold staging with its ever- This live-streamed concert from the days of music making will be live streamed present scarlet-turbaned witches. Sir Antonio Gothenburg Symphony is a far from run-of- too, both on the competition website and Pappano conducts this revival, with a cast the-mill classical ofering, its headline event on Arte.TV: both the Junior and Senior first

ONLINE CONCERT REVIEW Duncan Ward directs Ensemble Intercontemporain in Jonathan Harvey’s Bhakti for 15 players and tape

Harvey as ‘devotion to god as a means of Few pieces speak more clearly salvation’). The use of timbre as of Jonathan Harvey’s quest to a controlling force is one of the ‘see through the delusions of piece’s most remarkable qualities but conventional reality and experience it takes some realisation in practise; liberation’ than Bhakti. The here we can feel the effect the composer’s 12-part work for 15 electronic elements have on the players and tape spreads outwards colour choices and blend of the from a single note into a joyous act acoustic instruments. Simple, of spectral devotion that appears remote camerawork underlines the to celebrate the capabilities of sense of meditation and in some the human mind as much as long passages for tape alone many drill into them. It is meditative a players’ eyes are fastened shut even at its most ferocious. The in communion. Duncan Ward’s score, written in 1982, graced the direction is both forensic and joyful ﬁ rst-ever issue from the NMC while never trespassing on that label and topped Liam Cagney’s state of transcendence – quite ‘Specialist’s Guide to IRCAM’ in last Intercontemporain reminds us that Harvey some achievement. Andrew Mellor September’s Gramophone. was a composer of huge discipline but Available to stream for free at This performance from Ensemble also deep spirituality (Bhakti translates ensembleinter.com

136 GRAMOPHONE APRIL 2018 gramophone.co.uk ONLINE OPERA REVIEW

Fabio Biondi directs a rare concert performance of Gluck’s Le Cinesi from Valencia

Gluck of passion and parody very well, and Like Orfeo ed Euridice, Le Cinesi (‘The the others are no less accomplished: Chinese Ladies’) is an azione teatrale. Ann Hallenberg is particularly It was ﬁ rst staged in 1754 before the engaging in Tangia’s commentary Empress Maria Theresa and her family, on Parisian manners. the libretto provided by Metastasio. Fabio Biondi directs the modern- That production was extravagantly instrument orchestra from his violin, designed by Giovanni Maria Quaglio; this duetting eloquently with Désirée performance from Valencia is a simple Rancatore in Sivene’s aria. After the concert, the four singers ranged behind European manners and indulge in some Sinfonia there’s an hour of singing: one the small orchestra. acting. Each sings an aria in turn, after third of this consists of secco recitative, but There’s no plot to speak of. Lisinga, which they unite in a quartet. Lisinga the performers’ lively delivery – and the Sivene and Tangia are wondering how to goes ﬁ rst, with an accompanied recitative subtitles – will hold your attention. alleviate their boredom. When Silango and aria expressing Andromache’s despair Richard Lawrence appears – he’s the brother of Lisinga and at Pyrrhus’s threat to kill her son. Silvia Available to watch for free until May 23, 2018 at lover of Sivene – they decide to adopt Tro Santafé manages the combination operavision.eu rounds, semi-finals and finals, plus the day of Carnegie Hall masterclasses with star mezzo carnegiehall.org/Events/Season-Highlights/ masterclasses at the Geneva Conservatoire. If Joyce DiDonato, to which opera singers aged WQXR-Broadcasts you’re in Switzerland then you’ll want to know between 18 and 25 were able to apply. In that the Junior finals are being filmed for later other words, the four selected singers you Salle Garnier, Opera de Monte Carlo & transmission on Radio Télévision Suisse. can watch across these three days have been European Union Radio menuhincompetition.org, arte.tv chosen as much for their thoughts and overall Premiere of new cello concerto from Bruno musicianship as for their voices, which should Mantovani, April 29 Wigmore Hall & online add further to what’s already guaranteed to This year’s Festival Printemps des Arts Monte Wigmore Hall International String Quartet be a fascinating fly-on-the-wall experience for Carlo, themed around Mozart and Ives, has Competition semi-finals and finals, April 14-15 anyone interested in the development of the been running since mid-March, and continues This triennial competition was won in 2015 by young operatic voice. The classes take place until the end of the month. Unusually for the Van Kuijk Quartet. This year’s line-up is an Carnegie Hall’s Resnick Education Wing, and in a festival, you can actually enjoy it from interesting-looking spread of quartets from addition to the actual masterclasses there are the comfort of your own home (much as the US, Europe (including the UK’s current City sessions on breathing, movement and career we rather fancy the idea of a trip to Monte Music Foundation Artists, the Gildas Quartet) development. Carlo) because nearly every single concert is and Japan, and they’re competing for a top carnegiehall.org, medici.tv being broadcast internationally on European prize which includes £10,000, a concert tour Union Radio. If you speak French then you of the UK and residencies at venues such Stern Auditorium/Perelman Stage, Carnegie might also be interested in the festival’s 24/7 as Canada’s Banf Centre. The jury chaired Hall, New York & online at WQXR radio programme covering the concerts and by the Wigmore’s Director John Gilhooly is Kremerata Baltica and Daniil Trifonov, April 25 repertoire, and featuring artist interviews; you a heavyweight one too, including the viola This WQXR radio/online broadcast is going can find this either on the festival website player Nobuko Imai, the cellist András Fejér to be of special interest to UK-based readers, or on the festival’s new app. Here, though, from the Takács Quartet, and the violinist because Kremerata Baltica isn’t regularly to we draw your attention though the world Heime Müller formerly of the Artemis Quartet. be seen on UK concert platforms (despite premiere of a new cello concerto by Bruno Preliminary Rounds are held at the Royal appearances last year in Scotland). Founded in Mantovani. Marc Coppey is the cello soloist Academy of Music, then the armchair viewing 1997 by the Latvian violinist Gidon Kremer as a with the Orchestre Symphonique de Monte possibilities begin with the Semi-Finals and 50th-birthday present to himself, the ensemble Carlo, conducted by Pacal Rophé. Finals, which take place at Wigmore Hall while is comprised of 23 young musicians drawn printempsdesarts.mc also being streamed live on its website. If you from Latvia, Lithuania and Estonia, and this happen to be in London over the period then concert sees them join forces with the pianist Foyles, London & online at Facebook Live you’ll also be interested in the competition’s Daniil Trifonov in an all-Chopin programme Ian Page in Conversation, May 2 surrounding programme, which consists both that forms part of his ‘Perspectives’ series for Classical Opera and The Mozartists’ Director of concerts from the competing quartets, and Carnegie Hall. On the bill are works to be found Ian Page talks to Gramophone’s James Jolly from established former prizewinners such as on Trifonov’s recent ‘Evocations’ recording about his Mozart 250 series and Mozart’s visit the Belcea and Artemis quartets. with the Mahler Chamber Orchestra – the to London in 1764 and ’65. The conversation, wigmore-hall.org.uk/string-quartet- Variations on ‘Là ci darem la mano’ (arranged and a performance by the soprano Eleanor competition by Andrei Pushkarev), and the First Piano Dennis, will be streamed live, so keep an eye Concerto (arranged by Yevgeny Sharlat) – plus on Gramophone’s Facebook page. Tickets Carnegie Hall, New York the Mazurka in A minor, Op 17 No 4 (arranged are £8 or (to include the brand-new two-CD Masterclass with Joyce DiDonato, April 21-23 by Victor Kissine), and the Piano Trio in G Signum set ‘Mozart in London’) £22. ‘Why do you sing?’ was the thought-provoking minor, Op 8 for which Trifonov joins Kremer foyles.co.uk, facebook.com/ question on the application form for these and the cellist Giedrė Dirvanauskaitė. gramophonemagazine gramophone.co.uk GRAMOPHONE APRIL 2018 137 THU19SUN21APR2018

GuestofHonour:Sir homas Allen Artistic Director: Joseph Middleton Artiststoinclude: Carolyn Sampson • Daniel Kidane Louise Alder • Julian Prégardien Matthew Rose • Malcolm Martineau Robert Holl • Graham Johnson Joseph Middleton Sir homas Allen Kathryn Rudge • John Mark Ainsley Masterclasses • Study Events • Lieder for Little’uns • Bring & Sing! • Pop-up Poetry and more! Carolyn Sampson he Venue, Leeds College of Music, Leeds, LS2 7PD Tickets: www.lcm.ac.uk / 0113 222 3434 www.leedslieder.org.uk Daniel Kidane @LeedsLieder #LLF18 HIGH FIDELITY THE TECHNOLOGY THAT MAKES THE MOST OF YOUR MUSIC

APRIL TEST DISCS THIS MONTH A top-notch network player from Pioneer, This Bach disc for Benefiting from the extra a complete multiroom system keyboard and violin may resolution of 96kHz/24-bit from Norway and why what not please purists – piano, recording, this reading hasn’t stayed in Vegas is not harpsichord – but it is of Paganini’s Caprices is coming to Europe a typically clean, detailed beautifully captured by Andrew Everard, Audio Editor and expressive ECM set. Warner Classics No new hi-fi? Far from it … Far from giving in to smartphones and Bluetooth speakers, the industry continues to innovate and entice

132 he word Hot on from the the heels of its Tannual Poly streaming CES in module (reviewed Las Vegas at the 4 last month), 5 beginning of the year was that designed for use with the hi-fi was (even) thinner on the pocket-size Mojo DAC/ ground, although there’s little headphone amp, Chord sign that the industry as a whole Electronics has announced is ready to put up the shutters. the Qutest 4 , claimed to be From high-quality amplifiers ‘the world’s most advanced to innovative network music players, four-pin XLRs, and has both a built-in compact DAC’. Selling for £1195, it’s there’s plenty to keep us interested. phono stage for turntables and a DAC based on the company’s Hugo 2 DAC For those seeking great sound in a able to handle files at up to 192kHz/24-bit but reduces the price by removing that compact form, Astell & Kern – best known and DSD64. There are also four digital model’s headphone amplifier, battery for its range of portable players – has inputs – two optical and two coaxial – operation and crossfeed facility. Using the launched the striking-looking ACRO alongside a USB socket for computer FPGA architecture designed by Chord’s L1000 1 , a combined DAC/amplifier connection, and two analogue inputs. Rob Watts, the Qutest can handle files designed to drive either headphones or Both fixed- and variable-level outputs up to 768kHz/32-bit and DSD512, and speakers in a desktop or other compact are provided, allowing the XM HP to features user selectable filters to shape system. Using the same AK4490 DACs act as an external DAC for conventional the sound. Housed in all-new aluminium as in the company’s high-end pocket amplification or to be used straight into a casework, it has a galvanically isolated players, the £799 ACRO L1000 has a USB power amp or active speakers. It’s available USB-B ‘computer audio’ input along with input and can handle PCM-based audio in black and silver finishes. optical and coaxial ins and special 768kHz- up to 384kHz/32-bit and DSD in native Another British company, ATC, has capable dual-data inputs for use with other form up to 11.2MHz. It has outputs for announced a ‘re-engineered’ version of Chord devices. The analogue output is on conventional headphones via 3.5mm and its CDA 2 CD player/DAC/pre-amp. RCA phonos. 6.3mm outputs, and balanced designs on The £2950 CDA 2 Mk2 3 has gained a Finally this month, a product designed 2.5mm and XLR connections. In addition, USB digital input compatible with files at as a complete digital hub for a wide it has a set of speaker binding posts on up to 384kHz/32-bit and DSD256, and range of sources. The £1099 Marantz the rear of its wedge-shaped aluminium has a new TEAC-sourced CD transport ND8006 5 is a CD/network player with housing, able to deliver 15W per channel, with lower mechanical noise, better error DAC functionality, able to play music and features optional high-gain and bass correction and faster seek/play operations. from a computer or NAS via a home boost to make the most of the sound. The digital-to-analogue conversion is now network, connect directly to a computer Volume control is via the substantial in the hands of a premium DAC from for ultra-hi-res playback up to 11.2Mhz knurled wheel atop the unit. AKM and the analogue circuitry has been quad-DSD and 384kHz/32-bit PCM or Also designed to drive headphones is the extensively reworked, with input buffering stream internet radio and music services. new Exposure XM HP 2 , at £1299 the and a differential output, designed with Bluetooth and AirPlay are included for latest addition to the UK-based company’s parallel positive and negative sections. wireless connection to portable devices. compact XM series. A remarkably flexible There’s also a reworked headphone The ND8006 uses the company’s Marantz device, it can drive two pairs of headphones amp, designed to handle a wide range Musical Mastering upconversion and a using twin 6.3mm sockets and a pair of of impedances. high-quality ESS9016 Sabre DAC.

gramophone.co.uk GRAMOPHONE APRIL 2018 139 REVIEW PRODUCT OF THE MONTH Pioneer N-70AE An all-in-one network player/DAC with upmarket aspirations could take on the established high-end streaming rivals PIONEER N-70AE Type Network music player/DAC nce, the streaming arena was audio-focused player, all about delivering Price £1199 very simple. On one hand you the best possible sound from digital music. Formats played MP3/WMA/AAC to Ohad the high-end network Pioneer has been developing its network 320kbps plus VBR, FLAC/WAV/AIFF/ALAC audio solutions from the likes audio offering for some time and its to 384kHz/32-bit, DSD to 11.2MHz/DSD256 of Linn and Naim, best considered as current range includes the model we have (depending on input) dealer-installation propositions but capable here as well as the less expensive N-50AE, Inputs Two USB Type A, asynchronous of striking performance; on the other offering a similar range of facilities but USB Type B, optical/coaxial digital, AirPlay, were simple mini-systems from the big simpler audio engineering. Both models Chromecast, DLNA network audio mass-audio brands, able to do the basics support both hi-res FLAC/WAV/ Networking Ethernet, dual-band Wi-Fi of music from a network server, computer AIFF/ALAC, the N-70AE extending its Audio outputs RCA, balanced XLR, or internet radio and designed for the compatibility up to 384kHz/32-bit, and headphones, optical/coaxial digital casual listener. can also handle DSD up to 11.2MHZ/ Services supported Spotify Connect, As the market has matured, however, DSD256, meaning they cover all the Tidal, Deezer the two have moved closer together and formats currently available, even the Accessories supplied Remote handset, the major names of audio – as opposed to super-hi-res fi les offered by the likes analogue audio and power cables, two the high-end – have launched ever more of 2L and NativeDSD. Wi-Fi antennae upmarket offerings, providing wide- Finishes Black or silver ranging compatibility with both different Despite its flexibility, this Dimensions (WxHxD) 43.5x12.1x36.4cm fi le formats and a range of streaming is a purist audio-focused pioneer-audiovisual.eu services. The player we have here, Pioneer’s £1199 N-70AE, is typical of this player, all about delivering new breed, along with the new Marantz the best possible sound added or deleted. That asynchronous ND8006, which hit the shops recently. from digital music Type B lets the N-70AE operate as a The concept of both models is the same: soundcard with a computer, with drivers to act as a complete ‘hub’ for all a user’s available on the Pioneer website for both digital audio needs, including streaming The N-70AE also supports Spotify PC and Mac computers, and the player from a home server or internet sources, and Connect, Deezer and Tidal streaming can even interface with multiroom audio playing high-resolution music straight from services, has Chromecast built in to systems via Chromecast, FlareConnect or a computer via a USB link. It’s a trend allow audio to be played from other DTS Play-Fi. we’re also seeing in network AV receivers apps, receives internet radio and provides Of course, all this fl exibility is one thing from the likes of Pioneer and its stablemate Apple AirPlay for streaming wirelessly but the vital part is the audio section of Onkyo, Denon/Marantz and Yamaha. from iOS devices and computers running any such device, and the Pioneer has that However while those home cinema iTunes. There’s also a pair of USB sorted very well, too. The digital-to- behemoths are even more multifunctional Type A sockets – one on the front, one analogue conversion is based round the devices, including hi-res video switching to the rear – to which memory devices respected ESS Sabre ES 90165 DAC, and the ability to drive an ever-growing containing music can be connected for the player using two of these converters number of channels for the latest playback. This memory can be accessed in dual differential mode for accuracy surround-sound formats, what we have over a home network to which the and low noise, and the N-70AE offers here is – despite its fl exibility – a purist N-70AE is connected, so fi les can be a direct mode for the simplest signal

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140 GRAMOPHONE APRIL 2018 gramophone.co.uk HIGH FIDELITY

ROTEL RA-1572 BOWERS & WILKINS SUGGESTED 704 S2 PARTNERS With balanced inputs to match the Pioneer’s The Bowers & Wilkins The Pioneer is a high-quality outputs, Rotel’s RA-1572 704 S2 speakers combine network player with a integrated amplifier has weight and refinement winning sound. These will the power and finesse to in a sleek, relatively make the most of it … deliver fine music. compact design. path or a range of digital processing demonstrating fi ne bass weight and speed Or you could try… options. Incoming signals are upsampled allied to an airy openness that really brings to 384kHz and processed at ‘Hi-bit 32’ out the atmosphere of the performance, Network music players come in many for the best resolution, there’s a three- operatic in-jokes included, and the forms, from simple units such as the step digital fi lter selection and the lock reactions of the audience. Similarly, with Google Chromecast Audio unit at just range of the conversion can be narrowed Det Norske Jentokor’s lovely ‘Folketoner’ £30, designed to play music from your for optimal sound or widened with album, an exemplary 2L recording in phone or tablet, to high-end units with sources giving drop-outs. In addition, DSD256, the sheer amount of information prices well into five figures. the digital outputs can be turned off for the Pioneer delivers adds to the experience optimal sound quality, there’s a choice of of the music rather than distracting Chord Mojo/Poly conventional single-ended RCA phono from it. The delicate choral textures are You can have your network outputs or balanced output on XLRs and strikingly revealed, as is the reverberation player built into a mini- the front-panel headphone socket has its of the church acoustic, to create an almost system, in an AV receiver own dedicated amplifi er. ethereal effect. The music seems to hang in or even in a pocketable player, such as the The build of the unit is impressively space in the room, free from the speakers, Chord Mojo/Poly package reviewed last solid. The internal layout is partitioned and the ambience of the venue is conjured month. Selling for £898 together, the two to avoid interference between the power up in a seemingly magical manner. give not just network streaming but also a supply, digital and analogue audio sections, And even large-scale orchestral works DAC/headphone amplifier, and can even play and twin transformers are used to keep are handled with total ease, as is clear music stored on memory cards. More details apart the power supplies for the digital and when listening to Stravinsky’s Firebird from chordelectronics.co.uk. analogue parts of the player. The internal suite under Jansons (RCO Live, 9/08) in partitions also have the effect of stiffening DSD64. The NA-70AE has speed, deftness Cambridge Audio CXN(V2) the whole construction. and dynamic ability, plus a full, rich but Cambridge tightly controlled bass, ensuring the lyrical Audio’s PERFORMANCE passages of the work are as thrilling as CXN(V2) sells The N-70AE can be operated using no the more obviously dramatic moments. for around £800 and of ers streaming more than the front-panel display and the It’s that combination of the delineation capability up to DSD64, as well as remote handset supplied but operation is of the fi nest detail in a recording allied compatibility with radio streams up to smoother and more intuitive with Pioneer’s to the slam required to deliver realistic 320kbps. See cambridgeaudio.com. Remote App running on an Android or iOS orchestral impact that sets this player apart handheld device via a network connection. from lesser offerings, creating a sound that Bluesound Node 2 On which subject, the Pioneer can be satisfi es on both hi-fi considerations and on Bluesound’s Node 2 connected to the home network using purely musical terms. takes streaming even its dual-band Wi-Fi, the twin antennae What’s more, the music is delivered in further – it’s designed to making it work well even with less-than- a totally unforced manner but the sound become part of a multiroom system capable ideal signal strength; but if you’re thinking is a forceful as one might wish when that’s of streaming music all round the house, of streaming anything much beyond CD what’s required. It may seem strange to working with other BluOS components and quality I’d suggest the use of the wired be talking about power and weight when selected NAD hi-fi components. It sells for Ethernet connection for ultimate stability. describing a source component, as some £499. See bluesound.com for more. It’s very much worth exploring all of this might consider such factors to be traits of player’s capabilities, from simple things fi ne amplifi cation and speakers, but the Marantz ND8006 such as internet radio – perhaps helped excellent audio engineering within this The £1099 by the effect of the Auto Sound Retriever hefty player – it tips the scales at some Marantz ND8006 facility provided here and the standard, 11.4kg – is what gives the rest of a system is the latest in an ‘Sharp’ digital fi lter setting – all the way something substantial to get its teeth into. impressive line of network players from one through to high sampling rate/bit depth This Pioneer player is a serious of the leading names in hi-fi and is designed or DSD fi les. contender in the high-end network music as a complete digital music hub. Not only will The N-70AE sounds detailed and wide arena and does a fi ne job of offering it play music from your computer or NAS, open, delivering excellent resolution of everything the serious ‘computer audio’ internet radio or services such as Spotify instrumental timbres and the expression of listener could want, while remaining easy and Tidal, it also acts as a computer audio performers. With the busy live recording to use. This is a player more than good DAC able to handle files all the way up to of Heggie’s Great Scott (Erato, 2/18), where enough to be used with very high-quality 384kHz/32-bit and DSD256 – and even has a the breakneck libretto can blur on some amplifi cation and speakers – which is just built-in CD player and can integrate with the players, the 96kHz/24-bit fi les sound clean what you should consider if you’re to hear HEOS multiroom system. See marantz.co.uk. and detailed via the Pioneer, as well as all it can do. gramophone.co.uk GRAMOPHONE APRIL 2018 141 HIGH FIDELITY

REVIEW ELECTROCOMPANIET TANA AND RENA SPECIFICATION TANA SL-1/L-1 Type Streaming speaker/ Persuasive Norwegian multiroom add-on active speaker Price £665/£556 The high-end company has gone it alone in developing Inputs (SL-1) Ethernet, its own EC Living range of multiroom audio products Wi-Fi, optical/coaxial digital, USB-A, (SL-1/L-1) 96kHz/24-bit veryone’s doing it – going digital inputs and a USB port allow direct wireless network multiroom, that is. From a couple playback options. Using 192kHz/24-bit Streaming services of brands offering whole-house digital-to-analogue conversion and 32-bit (SL-1) DLNA, AirPlay, Qobuz, Eaudio a few years ago, now it fl oating-point digital signal processing, Spotify Connect, Tidal seems almost every company either has, they can handle hi-res audio all the way File formats PCM-based to 192kHz/24-bit, or is planning, systems to spread your up to DSD128, as well as all the common DSD to 5.6MHz music round the home. Investing in data-reduced formats. Amplifier 150W Class AB such technology is a major move for any Finishes Silver, black, copper company, so it’s perhaps surprising to see PERFORMANCE Dimensions (HxWxD) 24.9x17.7x17.7cm a relatively specialist manufacturer like The Tana speakers may be compact, at Electrocompaniet moving into this arena. just 25cm tall and a little under 18cm wide SPECIFICATION RENA SA-1/S-1 Previously best known for its high-end, and deep, but they still pack plenty of Type Streaming somewhat purist products, the company has power, with a 150W Class AB amplifi er amplifier/client been in business for around 40 years from driving separate tweeter and woofer, Price £610/£582 its base in Stavanger, and what we have mounted in a rigid aluminium enclosure Inputs Ethernet, Wi-Fi, here are two line-ups of products as part of with bass refl ex loading. Set-up and optical/coaxial digital, USB-A, 96kHz/24-bit a new EC Living line. control of the units is possible using wireless network While neither offers anything we haven’t the EC Remote app for either Android Outputs coaxial digital, variable line seen before from other brands – there’s or Apple iOS devices, or it’s possible analogue, (SA-1) speakers an all-in-one streaming speaker plus an to access them from a computer on the Streaming services DLNA, AirPlay, Qobuz, add-on to give stereo, a pre-amp-level same network via a browser interface. Spotify Connect, Tidal adaptor to connect existing amplification The PC interface is slightly fi ddlier, as File formats PCM-based to 192kHz/24-bit, to streaming networks and a similar you have to work out the IP address your DSD to 5.6MHz ‘just add speakers’ version with built-in router has assigned to the device, while Amplifier (SA-1) 75Wpc Class D amplification – the Tana and Rena lines on Macs connection involves little more Finishes Silver, black, copper bring to bear all of the company’s extensive than inputting the last four digits of the Dimensions (WxHxD) 18x4.7x18cm experience in high-end audio. What’s product’s serial number. ecliving.eu more, they’re among the most affordable Electrocompaniet products, and there are This little unit reveals a level moves to integrate the existing range – of communication and Add a second speaker and things now called the Classic line – with these really open up, to the point where for multiroom-capable devices. involvement sufficient to make some listeners a Tana SL-1/L-1 system, Affordable? Well, the Tana SL-1, which me forget about mono, let plus computer stored music or access to is the all-in-one streaming speaker, is £665 alone the compact dimensions streaming services, could be all that’s really and can be used alone under control from needed. And the app makes adding on that the inevitable app or with the add-on L-1 That done, you can access various extra speaker simple: it’s little more than speaker (£556), which is wireless but lacks EC Living products around the home, or a ‘drag and drop’ process. I used the Rena the streaming capability, to give stereo indeed combine Tana and Rena models SA-1 both as an add-on to my existing and to fill larger spaces with music. The into zones, to which the same music will be system and to make an extra zone, the basic Rena unit is the £582 S-1, which is a played. The process is simple and intuitive, speaker outputs driving my compact Neat streaming device designed to be used with and it didn’t take me long to have the Iota Alpha speakers in a very convincing existing amplifiers or systems, connecting entire ‘goody box’ of samples supplied by manner, both in terms of delivering via either analogue or digital hook-ups, the company, comprising both speakers exciting dynamics and also in the focus while the SA-1 adds 75 watts per channel plus the SA-1 network amplifi er, set and detail on offer. of amplification, enabling it to be used with up and communicating. Even without all the rest the EC Living conventional passive speakers. You can The immediate impression, even system can offer, the S-1 would offer even adjust the tonal balance of the output just using a single SL-1 speaker, is that an excellent way of adding streaming of these Rena devices to suit the speakers this is a very superior ‘convenience capability to an existing system, while in use, and the SA 1 sells for just £28 more audio’ system. Playing a range of music either the SL-1/L1 or an SA-1 and a pair than the S-1, at £610. through this little unit reveals a level of of conventional speakers would make a As well as playing music stored on a communication and involvement suffi cient very attractive standalone streaming set- home network, for example on a computer to make this listener forget about mono, let up. Electrocompaniet has clearly put a lot or NAS device, all the units are compatible alone the compact dimensions, with good into developing this system and the work with internet radio and streaming services instrumental timbres and even a persuasive has paid off. This is a fl exible, easy to use including Spotify Connect, Tidal and sense of scale with orchestral, choral and and rather superior-sounding network/ Qobuz. AirPlay is also supported, while operatic recordings. multiroom set-up.

142 GRAMOPHONE APRIL 2018 gramophone.co.uk life stress A mental health support line and moneyy service for the anxiety music industry. pressuresp Call 0808 802 8008 depressionp 24 hours a day relationshipsp 7 days a week illness or injury Email [email protected] unexpected changes

Help Musicians UK is the working name of the Musicians Benevolent Fund 7-11 Britannia Street, London WC1X 9JS | Registered Charity No. 228089 Scan to listen to Tyni’s FighterWKHR̲FLDOWKHPH song for #MusicMindsMatter musicmindsmatter.org.uk | helpmusicians.org.uk | @HelpMusiciansUK HIGH FIDELITY ESSAY Hi-fihasafuture–ifonlywecanworkoutwhatitis After a year of takeovers and consolidations, the mood in some sectors of the audio industry seems somewhat bleak – but adapting to change is only part of the solution

Scenes from the shows: two views of CES in Las Vegas; the Munich High End Show; Bristol Sound & Vision

riting this as the massive CES like, and in fact the world’s first direct-drive in little ghettos within their portfolios, 2018 consumer electronics turntable when it first appeared in 1970. while mining them for what technology event recedes into memory, Available as motor unit alone, to which and brand equity they have – there’s no Wand before the European an arm needs to be added, the SP-10R – shortage of innovation going on on a hi-fi show calendar really kicks into gear, the ‘R’ is for Reference – is clearly aimed smaller scale. You only need to look at it’s hard not to feel that specialist audio – very high, as a price estimated at around some of the products featured in these and in particular high-end audio – is at $10,000 confirms. And there’s an even more pages in recent months, from Chord’s something of a crossroads. Certainly the expensive version, the SL-1000R, which at Mojo/Poly to Electrocompaniet’s feedback from the show in Las Vegas least adds an arm and plinth. EC Living range, or indeed have a read was mixed, to say the least: there were So not much hi-fi at CES, and most of of the news page at the beginning of this still the massive stands from the major it riding on the coat tails of much larger section, to see that in action. players in consumer electronics, such as displays by huge parent companies – as the There are shows that present these LG, Panasonic, Samsung and Sony, but announcement of some new Arcam models products to both enthusiasts and a wider also a lot more attention being grabbed by did on the presence of owner Harman, and range of consumers: many of those I’ve large displays and events from the likes of in turn its owner, Samsung. And what there heard saying they have done their last Ford, Hyundai, Toyota, Renault/Nissan/ was generally carried eye-watering pricing, CES are instead planning to attend the Mitsubishi and so on. way beyond the means of even most well- Munich High End show in May – yes, Meanwhile the specialist audio heeled audiophiles. including many of those US-based companies – which some years back filled journalists, manufacturers and distributors – not only their own hotel but also spilled out The challenge is to lure the which is already reporting it will have into a large ‘outboard’ show, then moved to ‘lost generation’ to these over 500 brands represented in almost occupying several floors of one of the huge 140 rooms for its 37th show. Meanwhile, casino hotels – now occupied a number of events to experience how on a slightly smaller scale, the famous rooms on just one floor, with only a couple good their music can sound Bristol Sound and Vision show at the end of the massive suites previously packed with of February was, at the time of going to demonstrations in use this year. A bit grim all round? Well, a German press, reporting a sell-out of its exhibition Yes, there was a high-end audio exhibit colleague of mine sums it up thus: ‘These space, with 131 brands signed up for its 31st on the main showfloor but again the focus days, the stars of these shows are either staging. And not a drone or an internet- was very much on portable and personal cheap “does it all” plastic which is hardly connected personal grooming aid in sight! devices, and those colleagues who attended joyful, or extremely expensive devices Now, of course, the challenge is to find the show with a brief to cover ‘specialty designed to keep the revenues up as the ways to lure the ‘lost generation’ – those audio’, as it tends to be termed in CES- numbers diminish. In some cases the latest who think audio begins with a phone and world, came away disappointed. And it thing is no better than its predecessor, ends with a £50 Bluetooth speaker – into must be noted that the numbers attending but costs a lot more. It seems mainstream attending these events and experiencing with such a brief were greatly diminished customers are satisfied with Bluetooth how good their music can sound. The same this year, both among the international from their phone or digital radio with data applies to specialist hi-fi retailers, who need press and even the domestic US media – rates far below FM quality, meaning that to bring in just such customers if they’re to there were a lot of ‘why I won’t be going those coming back after years to see what succeed. But that’s probably another essay to CES’ articles written before the show, happened since they bought their (really for another time. and more than a few ‘why I won’t be going good) systems are shocked.’ For now, I don’t regret missing what again’ pieces afterwards. If the mainstream consumer electronics seemed like a fairly dispiriting few days in Mind, there were the odd items of majors seem to a great extent to have the desert for those of us interested in great interest, such as more turntables from moved on from hi-fi and into ever bigger music played to a very high standard. But the revived Technics brand – this time, a and thinner TV screens, car infotainment as I write this I have my trips to Bristol re-engineering of the SP-10 direct-drive systems and the like – or at least to have and Munich booked, and I’m feeling pretty model widely used in radio studios and the acquired hi-fi brands and placed them upbeat about the future of hi-fi.

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www.gramophone.co.uk GRAMOPHONE APRIL 2018 147 NOTES & LETTERS Teodor Currentzis’s Tchaikovsky • Klemperer’s Don Giovanni• Celebrating the Järvi family Write to us at Gramophone, Mark Allen Group, St Jude’s Church, Dulwich Road, London SE24 0PB or [email protected] Currentzis’s Tchaikovsky … Peter Quantrill’s characteristically thoughtful review (January, page 30) Letter of theMonth of Teodor Currentzis’s recording of Tchaikovsky’s Pathétique Symphony prompted me not only to hear it for myself, but also to recall the 1991 Virgin Classics account (which I produced) by Mikhail Pletnev and his newly formed Russian National Orchestra, a recording which PQ also admires in his review. They were memorable sessions, a landmark ‘ﬁ rst’ by a new ensemble created against the background of Gorbachev’s glasnost. The astonishing balance of intense preparation and high- octane execution threatened to dislodge loose plaster from the ceiling of South London’s Blackheath Hall, shabby before imminent renovation and thick (in the Threeconductorsinonefamily:takingtheleadfromNeeme,achampionofsomanycomposers foyer at least) with the smoke of potent Russian cigarettes. I also recall that not all The Järvi family and recorded music of the brass players were yet in possession of ﬁ rst-class instruments, arriving at the I wanted to say that I thoroughly There have been many recordings sessions from shopping at a renowned enjoyed the interview with the three of Beethoven, Brahms, Tchaikovsky central London brass emporium. I don’t Järvis, Neeme, Paavo and Kristjan, in over the years but not many of remember my being ‘prepared to do your January issue (page 14). It gave Tubin, Gade, Stenhammar, Halvorsen, things differently’, as PQ remarks in his me some insight as to how they convey Alfvén – all composers who, without review, but it was a while ago, and my ideas and how conductors connect such a conductor out there to champion colleague Mike Hatch (who engineered) with the different orchestras they them, might not have received such and I certainly felt challenged to do our work with, particularly Neeme, a truly wonderful performances. best in sessions which even at that stage remarkable musician. I remember Paavo Järvi from his seemed destined to be ‘historic’. The I became a classical music listener early days, seeing him conduct the credit for their happening at all must be in the early 1980s. Since then, I have Albany Symphony – truly an excellent laid at the door of Simon Foster, founder collected many CDs from various conductor. I am really enjoying his of Virgin Classics and latterly co-director composers, in large part thanks to current Bruckner symphony cycle of Avie Records. There aren’t many of Neeme Järvi and recording companies with the Frankfurt RSO on RCA. Simon’s ilk left in our profession these like BIS, Orfeo and Chandos, willing His and Kristjan’s take on the different days – still fewer since his retirement to go beyond the usual repertoire. His orchestras and conducting was very this year. We all wish him long and recordings of the Glazunov and Dvo∑ák insightful as well. Great interview. happy decades ahead while the label symphonies, back then the only ones Richard Buchwalter continues to thrive under his partner available on CD, I still enjoy hearing. Liverpool, NY, USA

Melanne Mueller. And we await his prestoclassical.co.uk is a website that speaks your language, ‘underpinned by an evident love of music and the world memoirs with impatience. of recordings’ (Gramophone). No other site selling classical CDs and DVDs is arranged in such a logical and accessible format, where you can easily find lists of composers’ works, compare different options, view recommendations and Andrew Keener read reviews. We believe you will find it one of the most user-friendly classical music sites on the internet. The Letter of New Malden, London the Month receives £50 of Presto Classical gift vouchers. Gramophone reserves the right to edit letters for publication

… needs more music? less familiar works such as The Tempest or (March, page 106), I was astonished I have to disagree with Martin Hamlet, or even Voyevoda. If one does not to ﬁ nd not even a passing reference to Cullingford’s view (January Editorial, want to listen to the whole disc, use the Otto Klemperer. The opera had been page 3) that he thinks the performance of off button. a constant preoccupation for Klemperer the new Tchaikovsky Sixth conducted by Mike Morfey from his earliest days as a conductor, Teodor Currentzis would be diminished Streatham Vale, London and throughout his life he performed by including another item on the CD. it wherever and whenever he could. At 46 minutes it is poor value and when Klemperer’s Don Giovanni His 1948 performance from Budapest a CD can accommodate up to 80 minutes Reading Richard Lawrence’s survey of has been preserved on CD (in the form of music, we could have had one of the recordings of Mozart’s Don Giovanni of highlights, sung in Hungarian, on

148 GRAMOPHONE APRIL 2018 gramophone.co.uk NOTES & LETTERS

Hungaraton), and is remarkable for It should not be overlooked by anyone NEXT MONTH the relentless ferocity of its speeds. who loves this opera. Klemperer’s ill health and, in particular, his Keith Pearce MAY 2018 bi-polar condition, could play havoc with Penzance, Cornwall his temperament and with performance. His 1955 live version from Cologne (on More from Manze? Testament) is slower than that of 1948, In your article about Andrew Manze but highly dramatic. The famed Giulini (March) he says that he would love is indeed a very fine recording, but, as to record the major orchestral works Richard Osborne has pointed out, it came of Stenhammar. In 2011 Mr Manze about by default, in that Klemperer was recorded, for CPO, Volume 1 of the scheduled to record it in 1959, but three orchestral works of another Swedish days into the sessions, he had to withdraw composer Lars-Erik Larssen. Why have with a severe attack of pericarditis. no subsequent volumes yet appeared? Klemperer’s view of Mozart was Anthony Ogden elemental, spacious and, arguably, realised Weybridge, Surrey through a Beethovenian perspective. Undeterred by the misfortune of Editorial notes relinquishing the 1959 recording, and Regarding ‘In the Studio’ (March, page undeterred by the rapturous reception 10), it was Yeol Eum Son who recorded it received, Klemperer returned to Don Mozart’s Piano Concerto No 21 for Onyx. Giovanni in 1966 in a monumental and In the review of New College, exhilarating recording with some of Oxford’s Evensongs (March, page 128) it his favourite singers at their very best: was described as the first choir of its kind Nicolai Ghiaurov, Franz Crass, Nicolai to webcast its services; St Thomas’s, New Gedda, Christa Ludwig, Walter Berry and York were actually the pioneers, while Mirella Freni. It remains one of his finest St John’s, Cambridge were first in the UK. recordings, and captured him at a stage in The titling for our Bruckner/Strauss his late career when tempi, structure and review (March, page 29) should have been Birgit Nilsson, energy were completely within his grasp. Bruckner: Symphony No 2 (not No 3). 100 years on Mike Ashman celebrates OBITUARY the enduring legacy of the A fine British bass-baritone who recorded extensively Swedish soprano –and you can too, courtesy of a free CD RAIMUND HERINCX singing Wagner: Wotan and Hagen in previewing an anniversary box set Bass-baritone the Reginald Goodall Ring at English Born August 23, 1927 National Opera, Pogner (Meistersinger) due from Sony Classical and the Died February 10, 2018 and Fafner (Ring) for Karajan in Salzburg. Birgit Nilsson Foundation. Born in London, He made his Met debut in 1977 in though trained in Meyerbeer’s Le Prophète, and regularly Belgium and Milan, appeared in Seattle and San Francisco. Roderick Williams: Raimund Herincx A champion of contemporary music, was an admired he created roles in operas by Malcolm a unique Winterreise singer on the UK Williamson, Peter Maxwell Davies, The British baritone is and international Hans Werner Henze and Michael on a mission with his new, musical scene for Tippett (Faber in The Knot Garden, 1970). nearly four decades. Known for his After he retired, Herincx taught at English-language Schubert crystal-clear diction, firm bass-baritone the Royal Academy of Music, Trinity voice and commanding stage presence, he College of Music, and the Universities made his stage debut in 1950 (as Figaro in of Cardiff, Aberdeen, Washington and Andrew Nethsingha Mozart’s opera at Welsh National Opera) California (UCLA). on Vaughan Williams and by the end of the decade was singing Herincx recorded extensively including Count Almaviva, to great acclaim, at as Aeneas opposite Janet Baker in The Director of Music at Sadler’s Wells. Purcell’s opera (Anthony Lewis for St John’s, Cambridge talks about From the late 1950s onwards he was Decca), Tippett’s A Midsummer Marriage his choir’s new recording project a frequent member of Sadler’s Wells’ casts (Colin Davis/Lyrita), Berlioz’s Les Troyens, and sang over 40 different parts including Benvenuto Cellini and L’Enfance du Christ Nick Shadow in Stravinsky’s The Rake’s (Colin Davis/Philips), Handel’s Messiah KAUPO KIKKAS, THE TULLY POTTER COLLECTION, NEWYORK ARCHIVE OPERA METROPOLITAN Progress and many Italian roles. At (Mackerras/EMI) and Gluck’s Armide Covent Garden he was seen as Escamillo (Hickox/EMI). (Carmen), Alfio (Cavalleria rusticana) He was married to the mezzo ON SALE APRIL 25

PHOTOGRAPHY: and as Macbeth. By the 1970s he was Astra Blair who survives him. DON’T MISS IT!

gramophone.co.uk GRAMOPHONE APRIL 2018 149 NEW RELEASES INDEX The latest releases on CD, SACD, DVD, Blu-ray and download

Key: F Full price £10 and over M Medium price £7.76 – £9·99 B Budget price £6.25 – £7·75 S Super-budget price up to £6·24 3 Reissue 1 Historic Í SACD ◊ DVD Y Blu-ray 6 LP

CD & SACD BONGIOVANNI bongiovanni70.com ELOQUENCE www Catalani Edmea. Sols/GiglioTh, Lucca/De Bernart. Various Cpsrs Bel canto Vn, Vol 1. Campoli/Malcolm. BbGB2093/4 BbELQ482 5175 2L 2l.no Rossi Ebreo Jewish Cpsr in 17th Century Italy. Ens La Dafne/ Various Cpsrs Bel canto Vn, Vol 2. Campoli. BbELQ482 5171 Beethoven. Grieg. Lund Appassionata – Pf Wks. Nilssen, TM. Rossi. F GB5638 Various Cpsrs Bel canto Vn, Vol 3. Campoli/Malcolm/Gritton. F 2L142 BRILLIANT CLASSICS brilliantclassics.com BbELQ482 5159 ABC CLASSICS abc.net.au Brahms Vc Transcrs. Dillon/Torquati. B 95415 Various Cpsrs Bel canto Vn, Vol 4. Campoli. BbELQ482 5151 Bach, JS Solo Vc Stes Nos 4-6, arr for Gtr. Grigoryan. Cazzati Amor profano, Amor sacro. Eridanus. Sb95586 Various Cpsrs Bel canto Vn, Vol 5. Campoli. BbELQ482 5143 F ABC481 6472 Dussek Cpte Pf Sons, Vol 1. Oort. B 95599 Various Cpsrs Bel canto Vn, Vol 6. Campoli/Ibbott/Wada. Sj Bb Kats-Chernin Collection. Various artists. ABC481 6430 Dvořák Cpte Sacred Chor Wks. Various artists. Sg95609 ELQ482 5135 F Van Eyck Line Drawings. Lacey. ABC481 6480 Ferrari Kybd Wks. Neonato. B 95646 ETCETERA etcetera-records.com ADDERWELL MUSIC adderwellmusic.com Holborne. Johnson, J Orpheus anglorum – Lute Wks. Genov. Janáček Stg Qt No 2 Schubert Stg Qt No 15. Taurus Qt. Inzani Bea. Spindle Ens. F ADDMU111 B 95551 F KTC1604 Smetana. Shostakovich Pf Trios. Ensembl’Arenski. F KTC1606 ALBANY albanyrecords.com Monteverdi Madrigals, Books 5 & 6. Nuove Musiche/Koetsveld. Sb Sleeper Einstein’s Inconsistency. Sols/Bruno Philh/Sleeper. 95659 FESTIVO festivo.nl F TROY1551 Monteverdi. Gabrieli Easter Celebration at St Mark’s, Venice, Tournemire Org Wks. Etienne. F FES6962412 1600. Ens San Felice/Bardazzi. B Torke Three Manhattan Bridges. Winter’s Tale. Albers/Yang/ 95747 FRYDERYK CHOPIN INSTITUTE nifc.pl B Albany SO/Miller. F TROY1643 Various Cpsrs Bach Circle – Org Wks. Cardi. 95649 Chopin Pf Conc No 1 Paderewski Pf Conc. Son, DT/Philh Orch/ Walker SymNo5.Sols/Sinf Varsovia/Hobson. F TROY1707 Various Cpsrs Delight in Musicke. Veldhoven/Seldom Sene. Ashkenazy. F NIFCCD051 B 95654 ALPHA outhere-music.com/alpha Chopin Pf Conc No 2. Pf Wks (pp1960). Block. Various Cpsrs Romantic Serenades for Stgs. Various artists. Bach, JS Inspiration – Wks for Fl. Hurel/Surprises/Bestion. Mb1NIFCCD629 Se95655 F ALPHA358 GEGA NEW english.geganew.com Various Cpsrs Russian Pf Concs. Various artists. So95520 Beethoven Syms. Ovs. Anima Eterna/Immerseel. Vodenitcharov Snow Woman. Ens l’Itineraire/Abe. SfALPHA380 C-AVI MUSIC avi-music.de FbGD401/2 Brahms Pf Conc No 2 (pp2009). Goerner/NHK SO/Otaka. Mahler SymNo1.Düsseldorf SO/Fischer, A. F AVI8553390 GENUIN genuin.de F ALPHA395 CHALLENGE CLASSICS challenge.nl Enescu. Franck. Liszt Transcendence – Pf Wks. Ritivoiu. Debussy Pf Wks. Goerner. F ALPHA404 Bach, JS Solo Vc Stes. Hekkema. MbCC72769 F GEN18601 Elgar Vc Conc. Pf Qnt. Hecker/Antwerp SO/de Waart. Rademakers Stagioni. Rademakers. F CC72772 Various Cpsrs Debussy et ses amis – Wks for Fl & Pf. F ALPHA283 Duo Mattick Huth. F GEN18600 CLAVES claves.ch ANALEKTA Various Cpsrs gedankenverloren – Wks for Sop, Cl & Pf. analekta.com Bloch Vn Sons. Stark/Pescia. F 50-1705 Konradi/Lipp/Huber. F GEN18490 Beethoven Septet Strauss, R Till Eulenspiegel einmal anders!. Fritz. Scherrer. Schwindl Genève au siècle des lumières. F OSM Chbr Sols. AN2 8788 Hem-Genève Baroque Orch/Malgoire, F. Fb50-1610/11 GOD RECORDS godrec.com Clarke. Ravel End of Flowers – Pf Trios. Gryphon Trio. Shostakovich Vn Son. Pf Trios. Gringolts/Haefliger, D/Vonsattel. Jeck Vinyl Coda III-IV. Jeck. F b 6 GOD48 F AN2 9520 F 50-1817 GRAMOLA gramola.at Pal Into the Wonder. Starling. Gryphon Trio/Thunder Bay SO/ CYBELE cybele.de Bruckner Sym No 5 (pp2017). Altomonte Orch/Ballot. Post. F AN2 9521 Adams American Berserk. Neagu-Gruber/Hess/Brockmann. BbÍ99162 ANTARCTICA antarctica-records.eu FÍCF003 Vivaldi Gloria. Stabat mater. Scholl/Salzburg Bach Ch/Bach Coppens. Shostakovich. Wamper Portraits. Mosa Trio. Consort, Vienna/Dubrovsky. F 99165 DABRINGHAUS UND GRIMM mdg.de F AR006CD Various Cpsrs Sisi Poems: Lieder der Kaiserin Elisabeth. Brahms Kybd Vars. Schoener. FÍMDG949 2051-6 ARCANA outhere-music.com/en/labels/arcana Bernsteiner/Bushakevitz. F 99164 Goldberg Hpd Concs. Ratkowska/Goldberg Baroque Ens. Pergolesi Mass. Dignas laudes resonemus. Petersen/Fumagalli/ FÍMDG901 2061-6 GRAND PIANO www Ghislieri Chor & Orch/Prandi. F A444 F Onslow Qnt, Op 81. Sextet, Op 30. Ma’alot Qnt/Becker/Shehata. Antoniou CptePfWks.Destounis. GP779 Various Cpsrs Suite Case: Vn Duos from Vivaldi to Sollima. FÍMDG903 2012-6 Bach, JS Brandenburg Concs (arr Bindman for Pf Duet). Zanisi/Barneschi. F A448 Fb Rosetti Syms & Concs, Vols 1 & 2. Hamburg SO/Moesus. Bindman/Lin. GP777/8 AUDAX audax-records.fr F MDG601 2056-2 Various Cpsrs Paganini at the Piano. Filipec. F GP769 Various Cpsrs French Sons for Hpd & Vn. Pramsohler/Grisvard. DELPHIAN delphianrecords.co.uk GRAPPA grappa.no F ADX13710 Praetorius Missa Tulerunt Dominum meum. Siglo de Oro/Allies. Various Cpsrs Kornstad+Kork Live (pp2017). Norwegian AUDITE audite.de F DCD34208 Rad Orch. F GRCD4568 Various Cpsrs Cavaillé-Coll Org, Saint-Omer. Rétaux. Various Cpsrs Calen-O: Songs from the North of Ireland. GUILD guildmusic.com F AUDITE97 739 Dobbin/Burnside. F DCD34187 Agricola. Hassl. Steiner Funiculus triplex: Rediscovered AVIE avie-records.com DOCUMENTS www ‘Style galant’ for Chbr & Ch. L’Arcadia/Hofbauer. F GMCD7806 Gál Vc Concertino. Solo Vc Wks. Sharp/English SO/Woods. Mahler Syms. Songs. Scherchen. Sj1600452 Various Cpsrs Elegy – Wks for Cor anglais, Vol 2. Frutiger/ F Mihneva. F GMCD7810 AV2380 Prokofiev Milestones of a Legend. Various artists. Ruehr Six Stg Qts. Cypress Qt/Borromeo Qt. MbAV2379 Sj1600463 HÄNSSLER CLASSIC haenssler-classic.de BERLIN CLASSICS edel.com Various Cpsrs Milestones of a Legend. Příhoda. Brahms Stg Qts, Qnts & Sextets. Verdi Qt. Sd HC16084 Bach, JS St John Passion (pp2017). Chbr Ch & Ens of the Sj1600455 HELICON www Frauenkirche Dresden/Grünert. Mb0300995BC Various Cpsrs Milestones of a Legend. Szeryng. Sj600451 Mahler Sym No 3 (pp2016). Fujimura/Israel PO/Mehta. Debussy Pf Wks. Baranova. F 0301014BC DUX dux.pl FbHEL029680 BMOP/SOUND bmop.org Palmeri Magnificat. Sols/Astrolabium Ch/Capella Tchaikovsky Queen of Spades (pp2012). Sols incl Leiferkus/ Del Tredici Child Alice. Boston Modern Orch Project/Rose. Bydgostiensis CO/Litowska. F DUX1343 Israel PO/Jurowski. McHEL029672 FbBMOP1056 Penderecki Vc Wks. Spahn. F DUX1244 HERALD heraldav.co.uk Gill Before the Wresting Tides. Boston Modern Orch Project/ Schnittke Requiem. Rzeszów Ch & PO/Stasiowska-Chrobak. Various Cpsrs Beatific Vision. Leicester Cath Chbr Ch/Headley/ Rose. F BMOP1055 F DUX1407 Ouvry-Johns. F HAVPCD402 Moravec Blizzard Voices. Boston Modern Orch Project/Rose. Various Cpsrs Forgotten Polish Pf Wks for Four Hands. Various Cpsrs Unfading Splendour. Chapel Ch of Worcester F BMOP1054 Górska-Kołodziejska/Liszewska. F DUX1433 Coll, Oxford/Allery. F HAVPCD403

150 GRAMOPHONE APRIL 2018 gramophone.co.uk NEW RELEASES INDEX

HYPERION hyperion-records.co.uk OEHMS oehmsclassics.de SHEVA COLLECTION shevacollection.it Brahms Cpte Songs, Vol 7. Appl/Johnson. F CDJ33127 Meyerbeer Prophète. Sols incl Osborn, Cornetti & Tapia/ Various Cpsrs Dedications: New Wks for Solo Vn. Bologni. Fc Couperin, L Dances from the Bauyn Manuscript. Kolesnikov. Essen PO/Carella. OC971 F SH184 F CDA68224 Schumann Fantasie. Vn Son No 2. Widjaja/DSO Berlin/ SOLO MUSICA www Eschenbach. F OC1885 Mozart Vn Sons, K302, 380 & 526. Ibragimova/Tiberghien. Beethoven Cpte Syms. Taschenphilh/Stangel. Sf3ETP010 Various Cpsrs Süddeutsche Orgelmeister. Kelemen, J. BbCDA68175 Bragato. Piazzolla. Satie Danza de la vida – Wks for Vc & Pf. SfOC018 Various Cpsrs English Motets. Gesualdo Six/Park. Eichenberger/Kagawa. F SM278 ONDINE ondine.net F CDA68256 SOLSTICE solstice-music.com Beethoven Pf Concs Nos 2 & 4. Vogt/Royal Northern Sinf. KLANGLOGO klanglogo.de F ODE1311-2 Bartók Pf Wks. Otaki. F SOCD350 Beethoven Rarities. Huangci/Brandenburg St Orch, Frankfurt/ Cochereau Deux Improvisations en forme de suites (r1977/83). ORCHID orchidclassics.com Griffiths. F KL1521 Cochereau. F SOCD349 Glière. Rachmaninov Eastern Woodwind – Wks for Vc & Pf. Korngold. Schulhoff. Ullmann Breaking the Silence – Stg Qts. Bogdanovic/Belooussova. F ORC100078 SOMM somm-recordings.com Clarion Qt. F KL1415 Various Cpsrs Through the Lens of Time – Wks for Vn & Orch. Mozart Concs on One, Two & Three Pfs. Tryon/Donohoe/ LAWO lawo.no Fullana/Fung/CBSO/Izcaray. F ORC100080 Momen/RPO/van Steen/Brott. F SOMMCD268-2 Dørumsgaard. Kielland Songs. Kielland/Mortensen. F LWC1145 Various Cpsrs Wks for Cl & Pf. Kjøller/Crawford-Phillips. Various Cpsrs Gluepot Connection. Londinium Chbr Ch/ Fauré Mirages – Songs. Smith, B/Nelleke. F LWC1146 F ORC100077 Griffiths, A. F SOMMCD0180 Franck Org Wks. Boysen. BbLWC1147 ORFEO orfeo-international.de STERLING sterlingcd.com Lully. Strauss, R Bourgeois gentilhomme. Norwegian CO/ von Einem Orch Wks. VPO/Welser-Möst. F C929 181A Various Cpsrs Art of Singing. Björling, L. MbCDA1822 Tønnesen. F LWC1143 OSJ ALIVE www STONE RECORDS stonerecords.co.uk LINN linnrecords.com Handel Messiah. Sols/OSJ Voices/Orch of St John’s/Lubbock. Various Cpsrs Baby Mine: Classic Film Lullabies. Flavin/ BbOSJCD03 Brahms Syms. SCO/Ticciati. FbCKD601 RTÉ Nat SO/Gooch. F 5060192 780802 PAVLÍK pavlikrecords.sk Various Cpsrs Gabrieli for Brass. RAM & Juilliard School Brass/ SUPRAPHON supraphon.com Friedrich. F CKD581 Bernath. Domansky. Schumann Songs. Dernerova/Pazicky. Mahler Lied von der Erde. Pecková/Samek/Schoenberg CO/ F PA0157-2-131 Altrichter. F SU4242-2 LPO lpo.co.uk Various Cpsrs Wks for Brass. Brass Concept. F PA0161-2-731 Shostakovich Sym No 7 (pp2003). LPO/Masur. M LPO0103 SWR CLASSIC swrmusic.com PENTATONE pentatonemusic.com Beethoven. Brahms Pf Concs. Pf Wks (pp1953-62). Backhaus. MELODIYA melody.su Messiaen Catalogue d’oiseaux. Aimard. Mc1SWR19057CD Mozart Pf Duets (r1980/81). Bakhchiev/Sorokina. FcÍPTC5186 670 Haydn Syms & Concs (r1952-62). SWF Orch, Baden-Baden/ F MELCD100 2252 Mozart Divertimento, K563. Bach Arrs. Crow/McNabney/ Rosbaud. S g 1 SWR19056CD Various Cpsrs Anthology of Russian and Soviet Sym Wks, Vol 3: Haimovitz. FÍPTC5186 714 TACET tacet.de Oratorios & Cantatas. Various artists. SkMELCD100 2482 Schubert Aus der Ferne. Signum Qt. FÍPTC5186 673 Mussorgsky Pictures at an Exhibition (r2005). Schirmer, M. Various Cpsrs #Austriantime – Chbr Wks. New Moscow Ens. Various Cpsrs Cantata – yet I can hear …. Mehta, B/AAM Berlin. F6TACET1321 F MELCD100 2511 FÍPTC5186 669 Various Cpsrs Music in Medieval Denmark. Ens Peregrina. MEYER MEDIA PHAEDRA phaedracd.com meyer-media.com F TACET243 Beethoven Pf Sons, Vol 7. Biss. F MM18037 Mortelmans Children of the Sea. Württemburg Philh, Reutungen/Vermeulen. F PH92097 TACTUS tactus.it MN RECORDS mnrecords.com PIANO CLASSICS piano-classics.com Bottini. Rolla Concs. Pieri/Bicchierini/Valenti/Orch of the Nyman StgQtsNos5&4.Smith Qt. F MNRCD141 Boccherini Inst, Lucca/Mazzoli. F Bortkiewicz PfConcsNos2&3.Doniga/Janáček PO/Porcelijn. TC800008 MSR CLASSICS msrcd.com F PCL10146 Various Cpsrs Gloriosus Franciscus. Anonima Frottolisti. Beethoven Pf Sons, Vol 5. Brawn. F MS1469 Brahms Pf Son No 3. Pf Pieces, Opp 116-19. Kopachevsky. F TC250001 Franck Souvenance – Songs. Pfrimmer/Kientz. F MS1638 FbPCL10141 TOCCATA CLASSICS toccataclassics.com Haydn. Liszt. Rachmaninov Pf Wks. Kim, J. F MS1636 Ogdon Original Pf Wks. Hay. F PCL10132 Cardoso Missa secundi toni. Ch of Girton Coll, Cambridge/ F Rossé Métissage – Wks for Sax & Pf. Estes/Johnston. F MS1644 PRIMA FACIE primafacie.ascrecords.com Historic Brass of the RAM/Wilson. TOCC0476 F Shishido CptePfWks.Yura. F MS1639 Heyes No Man’s Land. Heyes. F PFCD073 Dotzauer Fl&ObQts.Ens Pyramide. TOCC0421 F Rosner Orch Wks, Vol 2. LPO/Palmer. F TOCC0465 Various Cpsrs In the Weeds – Wks for Wind Qnt. Ventus Various Cpsrs Cl Fantasies. Wilson/Butler. PFCD078 Machina. F MS1633 Various Cpsrs Far Away – Songs. Poole/Harris. F PFCD062 Saxton Pf Wks. Hammond. F TOCC0458

MUSIQUE EN WALLONIE musiwall.ulg.ac.be PROFIL haensslerprofil.de URANIA www Various Cpsrs All Time Favourites – Wks for Fl & Gtr. Meininger/ Rogister Oeuvres de la Grand Guerre. Gong Qt/Pécs SO/ Tosti 1916: The Last Songs. Scandaletti/Piacentini. M LDV14033 Höh. F PH17062 Trautmann/Walloon Royal CO/Dessy. F MEW1787 VARÈSESARABANDE varesesarabande.com PRO MUSICA www NEOS neos-music.com Baños Commuter. OST. F 302 067 557-8 Iberg Life Music. Norwegian CO. F PPC9073 Brass Wks for Cls & Stgs. Zelinsky/Smeyers/Minguet Qt. Burwell Three Billboards Outside Ebbing, Missouri. OST. QUARTZ F NEOS11704 quartzmusic.com F6 302 067 536-1 Various Cpsrs Segreti accenti: Italian Renaissance Wks. Balbesi/ Flammer Wks for Ens, Vol 1. Ens Aventure. F NEOS11706 WERGO wergo.de Marin. F QTZ2125 Kubík Voc Wks. Various artists. F NEOS11703 Nemtsov Amplified Imagination. Ens Adapter/EnsMosaik/ RAMÉE outhere-music.com/ramee F Wesselmann Solo Wks, Vol 1. Various artists. F NEOS11709 Sonar Qt. WER7366-2 F Sterkel Vn Sons. Biesemans/Lüthi. RAM1701 Various Cpsrs Kreuzungen. Ens Musikfabrik. F WER6866-2 Wohlhauser Vocis Imago. Ens Polysono. F NEOS11719 REGENT regent-records.co.uk Various Cpsrs Donaueschinger Musiktage 2016. Various artists. WILLOWHAYNE willowhaynerecords.com Tchaikovsky Org Wks. Vaughn. F REGCD494 F b Í NEOS11716/17 Glinka. Mozart. Strauss, R Transcrs for Ob & Pf. RESONUS resonusclassics.com Tanner-Williams/Williams. F WHR052 NIMBUS wyastone.co.uk MacMillan. Martin, F Passion & Polyphony – Sacred Chor Wks. Various Cpsrs Debut – Wks for Hn & Pf. Goldscheider/Hill. Quilter Songs, Vol 2. Vale/Farmer. F NI5969 Sonoro/Ferris. F RES10208 F WHR045 Schubert SymNo8.OrchWks.Hanover Band/Goodman. Pizzetti Sera d’inverno – Songs. Hipp/Abbate. F RES10209 F3NI7098 RETROSPECT OPERA www Tchaikovsky Syms Nos 5 & 6. LSO/Butt, Y. BbNI7104 Smyth Boatswain’s Mate. Sols/Lontano/Martinez. MbRO001 NMC nmcrec.co.uk Solomon Pickwick. Sols incl Butteriss/Higgins. F RO002 DVD&BLU-RAY Ferneyhough Terre est un homme. BBC SO/Brabbins. RICERCAR outhere-music.com/ricercar OPUS ARTE F NMCD231 Various Cpsrs In seculum viellatoris: The Medieval Vielle. Mozart Così fan tutte. Sols incl Winters, Brower & Behle/ Venables, P Below the Belt. Maxwell/London Sinfonietta. Romain/Miroir de Musique. F RIC388 Royal Op/Bychkov. F◊OA1260D; FYOABD7237D F NMCD238 ROMEO romeorecords.com Mozart Nozze di Figaro. Così fan tutte. Entführung aus dem NONESUCH nonesuch.com Franck. Griffes. Scriabin Pf Wks. Tetzloff. F 7323 Serail. Sols/Glyndebourne Op. Mehldau After Bach. Mehldau. F 7559 79318-0 Haydn PfSons.PfWks.Reisenberg. Bb7324/5 Se ◊3 OA1245BD; F c Y 3 OABD7242BD ODRADEK odradek-records.com Various Cpsrs Songs. Amots-Avramson/Zak. F 7321 SFM www Various Cpsrs Liepāja Concs, Vol 1. Liepāja SO/Lakstigala. SEPIA www Various Cpsrs Grandes interprètes. Yepes. Bb ODRCD362 Various Cpsrs Poetry & Passion. Lanza. B3 SEPIA1319 M b ◊ SFMDVD223 gramophone.co.uk GRAMOPHONE APRIL 2018 151 REVIEWS INDEX A Berg Violin Sonata No 3 125 Debussy Finzi Violin Concerto 125 Waltz, Op 39 No 15 Í 90 Dans le jardin 97 At a Lunar Eclipse 104 Albéniz Berio Bridge Fêtes galantes – série II 97 Franck Cantos de España – Cordoba 56 Images – Reflets dans l’eau Í 90 Sequenza VIII 90 Come to me in my dreams 104 Violin Sonata 72, 125 Albert, H La mer (arr Lucien Garban) 85 Bertali ’Tis but a week 104 Führer Das Leid ist hier 79 Mandoline 97 Sonata a 4 79 Briggs Y◊ Christus factus est 97 Auerbach La mer 66 Bloch Le tombeau de Duruflé 91 Noël des enfants qui n’ont plus de Piano Trio No 1 78 G Piano Sonata 70 Bruch maisons 97 Triptych 78 Gabrieli, G Violin Sonatas – No 1; No 2, Violin Concerto No 1 125 Prélude à L’après-midi d’un faune Ayer ‘Poème mystique’ 70 Y◊66 Maria stabat ad monumentum 102 Bruckner If I were the only girl 104 Préludes, Book 2 84 Galliano Borzym Jnr Missa solemnis 97 Le promenoir des deux amants 97 Accordion Concerto, ‘Opale’ 56 B Being your slave, what should Magnificat 97 I do but tend 104 Trois Ballades de François Villon 97 Symphony No 2, ed Haas 124 Gänsbacher Bach, JS No longer mourn for me when Trois Chansons de France 97 Symphony No 4, ‘Romantic’, 1878/80 Te Deum, Op 45 97 Allein Gott in der Höh’ sei Ehr’, I am dead 104 Trois Mélodies de Verlaine 97 version, ed Nowak 55 BWV717 82 Those pretty wrongs that Trois Poèmes de Stéphane Mallarmé Gasparini Symphonies – Nos 2-9 124 ‘Chromatic’ Fantasy and Fugue, liberty commits 104 97 Amleto – D’ire armato 108 BWV903 56 Tantum ergo 97 Violin Sonata 125 Astianatte – Se la Grecia s’armerà 108 Brade Concerto, BWV595 (after Johann Butler Atalia – Ombre care 108 Der heilig Berg 79 Dibdin Ernst) 82 Barlow Dale: Four Characteristic Bajazette – Par che mi nasca in seno Peggie Bell 79 Tom Bowling (arr Britten) 104 English Suite 125 Pieces 77 108 79 Donizetti English Suite No 1, BWV806 – Ein Schottisch Tantz Cantata, ‘Andate o miei sospiri’ 108 Byrd ◊ 98 Prelude 82 Brahms Messa da Requiem Engelberta – Sinfonia 108 Miserere mei, Deus 102 Fantasy, BWV562 82 Acht Lieder und Romanzen, Op 14 – Dowland Flute Concerto 108 Ne irascaris, Domine 102 French Suite 125 No 1, Vor dem Fenster; No 5, Captaine Piper his Galiard 72 Il Ciro – Nell’orror della procella 108 Vigilate 102 French Suites: No 1, BWV812 – Trennung 95 Coranto, ‘Were every thought an eye’ Il Roderigo – Non ha incendio; Non Gigue; No 3, BWV814 – Menuet; Acht Lieder, Op 58 – No 2, Während C 72 vo lasciarti più 108 No 5, BWV816 – Allemande; des Regens; No 8, Serenade 95 Dowland’s Adew for Master Oliver Il Tamerlano – Cor di padre; No 6, BWV817 – Sarabande; Begräbnisgesang, Op 13 97 Cage Cromwell 72 Svena uccidi 108 Courante; Polonaise 82 Deutsche Volkslieder, WoO33 – Concert for Piano and Orchestra 71 Galiard to Lachrimae 72 L’oracolo del Fato – Qui ti scrivo o Fugue, BWV575 82 No 14, Maria ging aus wandern; Chein Lachrimae, or Seaven Teares 72 nome amato; Se non canti più Keyboard Concerto No 1 in D minor, No 17, Ach Gott, wie weh tut 72 per me 108 Dirige Domine Y◊102 M George Whitehead his Almand BWV1052 125 Scheiden; No 18, So wünsch ich M Henry Noell his Galiard 72 Santa Eufrosina – Qui dal porto ihr ein’ gute Nacht; No 24, Mir ist Ne recorderis Y◊102 Keyboard Partitas: No 1, BWV825 – M John Langtons Pavan 72 d’ocean 108 Gigue; No 2, BWV826 – Sinfonia; ein schön’s braun’s Maidelein; Chopin Sir John Souch his Galiard 72 No 27, Ich stand auf hohem Gibbons Sarabande; No 4, BWV828 – Aria; Complete Mazurkas 83 72 Berge; No 28, Es reit ein Herr The Earle of Essex Galiard O Lord, in thy wrath rebuke me not Allemande; No 5, BWV829 – Étude, Op 10 No 6 Í 84 Tempo di minuetto; No 6, und auch sein Knecht; No 32, So Dunstable 102 Études, Op 10 90 BWV830 – Corrente 82 will ich frisch und fröhlich sein; Veni Sancte Spiritus 102 Ginastera Piano Concerto No 1 56 Die Kunst der Fuge, BWV1080 – No 39, Schöner Augen schöne Malambo, Op 7 Í 90 Í 84 Duruflé Contrapunctus I 82 Strahlen 95 Preludes, Op 28 Í 90 Suite, Op 5 91 Gounod Mass in B minor 94 Eine gute, gute Nacht, Op 59 No 6 Preludes, Op 28 – selection Í Christus factus est 99 O Jesu Christ, meins Lebens Licht, 95 Scherzo No 2, Op 31 84 Dvořák Fernand 99 BWV118 Í94 Gesang der Parzen, Op 89 97 Waltzes – No 3, Op 34 No 2; Piano Trio No 4, ‘Dumky’, Op 90 70 Hymne sacrée 99 Partita No 6, BWV830 56 Hungarian Dance, WoO1 No 6 No 9, Op 69 No 1; No 10, B166 Í 84 La Vendetta 99 Passacaglia and Fugue, BWV582 82 (arr L Ries) 70 Op 69 No 2 E Marie Stuart et Rizzio 99 Preludes and Fugues – BWV534; In meiner Nächte Sehnen, Clemens non Papa 95 Messe de Saint-Louis-des-Français 99 BWV546 82 Op 57 No 5 Ego flos campi 100 Elgar Í Messe vocale pour la fête de Six Motets, BWV225-230 Í94 Intermezzo, Op 119 No 1 90 Submarines 104 Liebeslieder-Walzer: Op 52 – No 1, Colin l’Annonciation 99 The Well-Tempered Clavier 125 Y◊ Ešenvalds Rede Mädchen, allzu liebes; No 2, De profundis 102 Granados Trio super Allein Gott in der Höh’ Spring, the sweet spring 100 sei Ehr’, BWV664 82 Am Gesteine rauscht die Flut; Cornysh Danse espagnole No 5 56 No 4, Wie des Abends schöne Eybler Valet will ich dir geben, BWV736 82 Ave Maria, mater Dei 102 Grieg Röte; No 6, Ein kleiner, hübscher Magna et mirabilia 97 Violin Concertos – BWV1041; Vogel nahm; No 8, Wenn so lindt Couperin, F Violin Sonata No 1, Op 8 72 BWV1042; BWV1052; BWV1060 52 dein Auge mir; No 9, Am Les barricades mystérieuses 74 F Gurney Baltzar 74 Donaustrande; No 11, Nein, es ist Le Dodo ou L’amour au berceau Fauré Most Holy Night 104 John come kiss me now 79 nicht auszukommen; Op 65 No 9, Couperin, L Automne, Op 18 No 3 98 A Prelude for the Violin 79 Nagen am Herzena 97 Allemande Grave, M67 84 Ave Maria, Op 93 98 H Nachtigall, Op 97 No 1 95 Bartók Chaconne ou Passacaille, M96 84 Chanson de Mélisande, Op 80 98 Handl (Gallus) Nachwirkung, Op 6 No 3 95 Violin Concertos – Nos 1 & 2 52 Chaconne, M78 84 Chanson, Op 94 98 Filiae Jerusalem, nolite 102 Nänie, Op 82 97 Pavanne, M120 84 98 Bax Neun Lieder, Op 63 – No 1, Chant d’automne, Op 5 No 1 Hassler Clarinet Sonata 77 Frühlingstrost; No 2, Erinnerung; Suites – in A; in D minor; in G minor Clair de lune, Op 46 No 2 98 Deus, Deus meus 102 84 Le don silencieux, Op 92 98 Becker, D No 3, An ein Bild; No 4, An die Haydn Tauben. 95 Tombeau de Mr de Blancrocher, M81 Four Songs, Op 51 – No 1, Spleen; Sonata a 2 79 L’isola disabitata – Sinfonia Í 57 O liebliche Wangen, Op 47 No 4 95 84 No 4, La rose (Ode Beethoven 98 Music for Musical Clocks Í 57 Piano Concerto No 2 125 Cresens anacreontique) Grosse Fuge, Op 133 124 Mirages, Op 113 98 Symphonies – No 26, ‘Lamentatione’; Piano Concertos – Nos1&2 53 Nobody Likes an Angry Bunny 56 Overtures – selection 124 Le parfum impérissable, Op 76 No 1 No 86 56 Piano Trio No 1, Op 8 70 La noche anterior 56 Piano Concertos – Nos 1-5 125 98 Symphonies: No 6, ‘Le matin’ – Schicksalslied, Op 54 97 Minuet; No 45, ‘Farewell’ – Choral Fantasy, Op 80 125 Cresswell Les roses d’Ispahan, Op 39 No 4 98 Sechs Lieder, Op3–No2,Liebe und Finale; No 46 – Finale; No 60, Diabelli Variations, Op 120 82 Capricci 71 Sérénade du Bourgeois gentilhomme Frühling I; No 3, Liebe und ‘Il Distratto’ – Finale; No 64, Piano Sonata No 23, ‘Appassionata’ Kotetetete – 1st movt 71 98 Frühling II 95 ‘Tempora mutantur’ – Largo; Í90 Ricercari 71 Soir, Op 83 No 2 98 Serenade, Op 70 No 3 95 No 90 – Finale Í 57 Í78 71 Three Songs, Op8–No1,Aubord Piano Trios – selection Symphony No 1 124 String Quartet The Creation – Representation 125 de l’eau; No 3, Ici-bas 98 Rondo in B flat major, WoO 6 Symphonies – Nos 1-4 55 of Chaos Í 57 125 D Tristesse d’Olympio 98 Violin Sonatas – complete Three Violin Sonatas 70 Sailor’s Song 104 125 Violin Sonatas – Nos1&2 125 Violin Concerto Verrat, Op 105 No 5 95 Dębski The Seasons – Introduction to Winter Vocalise-étude 98 Bembinow Vier Lieder, Op 43 – No 3, Ich schell From fairest creatures we desire Í 57 Vocalises – 13; 24 98 ShakeSpired – Th’ expense of spirit; mein Horn ins Jammertal; No 4, increase 104 The Seven Last Words – The Love is too young; Two loves Das Lied vom Herrn von When forty winters shall besiege Finn Earthquake Í 57 I have 104 Falkenstein 95 thy brow 104 Falsettos 98 Six String Quartets, Op 64 72

152 GRAMOPHONE APRIL 2018 gramophone.co.uk REVIEWS INDEX

Helfer Tannhäuser-Ouvertüre (Wagner), Pawlik Fughetta, Op 32 No 4 58 Il trovatore – Tacea la notte placida … Pie Jesu Y◊102 S442 59 Full many a glorious morning Genoveva Overture, Op 81 124 Di tale amor che dirsi 114 Herdzin Three Petrarch Sonnets, S161 Nos 4-6 have I seen 104 Introduction and Allegro Appassionato, La forza del destino – Invano, Alvaroa; 59 125 If there be nothing new, but Philidor Op 92 La vita è inferno all’infelice! … 72 114 that which is 104 Two Elegies – S130ter; S131bis Marche pour les Pompes funèbres des Konzertstück, Op 86 124 Oh, tu che in seno agli angeli Let those who are in favour with Ungarische Nationalmelodien, S243 cérémonies extraordinaires Manfred Overture, Op 115 124 La forza del destino – Pace! pace, their stars 104 85 Y◊102 Overture, Scherzo and Finale, Op 52 mio Dio! 114 124 Shall I compare thee to a Łukaszewski Piazzolla Laudi alla vergine Maria 100 Symphonies – complete 124 summer’s day? 104 Like as the waves 104 Bandoneón Concerto, ‘Aconcagua’ 56 Luisa Miller – Tu puniscimi, o Signore Three String Quartets, Op 41 77 Hoffmeister Weary with toil 104 Fuga y misterio Í 90 114 Four Solo Quartets – No 1; No 2 Oblivion (arr Cresens) 56 Sciarrino Nabucco – Anch’io dischiuso un Í 73 M Pedro y Pedro 56 Six Capricci 90 giorno … Salgo già del trono aurato 114 Holborne McDowall, C Pitts Sheppard Otello – Ave Maria, piena di grazia 114 Pavan, ‘The Image of Melancholly’ 79 Cavatina at Midnight 78 Missa Unitatis 100 Libera nos, salva nos – I; II 102 Otello – Dio! mi potevi scagliar; Già Colour of Blossoms 78 Shostakovich Holst Porpora nella notte densa; Niun mi tema; The Night Trumpeter 78 Journey’s End 104 Germanico in Germania 111 Piano Trio No 1 79 Oh’ mostruosa colpa! Sì, per ciel Strange violin, are you following me? Piano Trio No 2 78 Horovitz 78 Poulenc marmoreo giuro! 114 Symphony No 6 D 66 Sonatina 77 Ave verum corpus 100 Simon Boccanegra – Come in MacMillan Symphonies – Nos 10 & 11 124 Praetorius, H quest’ora bruna 114 I Bring us, O Lord God 100 Soltani Missa Tulerunt Dominum meum 102 Stiffelio – Tosto ei disse! … A te Cecilia virgo 100 77 Ireland O vos omnes 102 Persian Fire Dance ascenda, o Dio clemente 114 Children are a heritage of the Lord 77 Somervell Fantasy-Sonata 100 Surrexit pastor bonus 102 Vierne Spring sorrow 104 Tulerunt Dominum meum 102 To Lucasta, on going to the wars 104 Data est mihi omnis potestas 100 Fantômes, Op 54 No 4 91 Ives Hymn to the Blessed Sacrament 100 Prokofiev Sommer Symphonies: No 5, Op 47 – Final; Tom sails away 104 Miserere 100 Cinderella, Op 87 – Suite 62 Der 8 79 No 6, Op 59 – Scherzo 91 O Radiant Dawn 100 Piano Concerto No 2 Í 62 Psalm 79 Villa-Lobos K Piano Concerto No 2 125 Paduana, ‘Susanne un jour’ 79 Mahler A prole do bebê, Book 1 Í 90 Kabalevsky Romeo and Juliet, Op 64 – Suite 62 Symphony No 1 61 Staden Cello Concerto No 1 57 Ten Pieces from ‘Romeo and Juliet’, W Symphony No 3 61 Sonata 31 a 4 79 57 Op 75 Í 90 Fantasy (after Schubert, D940) Stanford Wagner Marais Przybylski Keeling Homeward Bound 104 Lohengrin – Prelude 55 Pièces à une et à trois violes – A woman’s face with Nature’s own Northern Soul 79 A soft day 104 selections 74 hand painted 104 Warlock Kempis Pièces de viole – selections 74 Strauss, R Puccini My own country 104 Symphonia1a4 79 Sémélé 108 Der Rosenkavalier Í 115 La rondine 113 Weinberg Kernis Martin, F Stravinsky Piano Trio 79 Concerto with Echoes 58 Y Mass for Double Choir 100 R The Rite of Spring 66 Violin Concerto, Op 67 57 Dreamsongs 58 The Rite of Spring Y◊66 Mendelssohn Rachmaninov Weston/Lee Viola Concerto 58 The Rite of Spring (arr Vladimir Symphony No 3, ‘Scottish’ 124 The Bells, Op 35 50 Leyetchkiss) 85 Goodbye-ee 104 Kodály Violin Concerto in E minor 125 Complete Preludes 89 Symphony of Psalms D 66 Dances of Galánta 58 Piano Concerto No 2 Í 62 White Messiaen Three Movements from Petrushka 90 Dances of Marosszék 58 Piano Concertos – Nos 2 & 3 Í 63 Christe, qui lux es et dies I 102 Catalogue d’oiseaux Í 86 Variations on a Hungarian Folk Song, 50 Szymanowski 84 Symphonic Dances, Op 45 Wolff ‘The Peacock’ 58 Huit Préludes Rautavaara Violin Concerto No 1 125 Resistance 71 Monteverdi Koffler Cello Sonatas – No 1; No 2 75 ◊ 109 T Wood, H Piano Concerto, Op 13 59 Il ritorno d’Ulisse in patria 75 Polska Roses of Picardy 104 Quatre Poèmes, Op 22 59 Morley Solo Cello Sonata 75 Tallis String Quartet No 2, ‘Ukrainian Haec dies 102 Song of my Heart 75 If ye love me 102 Z 59 Sketches’, Op 27 Mouton Two Preludes and Fugues 75 Loquebantur variis linguis 102 Symphony No 2 59 Suscipe quaeso Domine 102 Zieliński Nesciens mater 100 Ravel Two Songs, Op 1 59 That Time of Year 104 Mozart Piano Concerto for the Left Hand 125 Taneyev Concert Suite, Op 28 125 L Adagio and Fugue in C minor, K546 Piano Trio 79 Collections 124 Tartini Lalande Reich Michael Barenboim – ‘Michael Piano Sonata No 17 74 75 Violin Sonata, ‘The Devil’s Trill’, B.g5 90 De profundis Y◊102 Pulse Barenboim’ Variations on ‘La bergère Célimène’, 75 90 Dies irae Y◊102 Quartet La Capella Reial de Catalunya – K359 74 Í Fantaisie ou caprice que le Roy Respighi Taverner ‘Venezia Millenaria’ 105 56, 125 demandoit souvent Y◊102 Violin Concerto No 3 Il tramonto Í 65 Quemadmodum 102 Trio Derazey – ‘Colour of Blossoms’ Violin Concerto No 5 125 Í 79 Lalo Trittico botticelliano 65 Tchaikovsky Violin Sonatas – No 6, K11; No 7, Í Christian Ferras – ‘Christian Ferras – Symphonie espagnole (four- Vetrate di chiesa 65 Violin Concerto 125 K12; No 19, K302; No 28, K380; The Complete HMV & movement version) 125 Rossini Tomkins No 35, K526 74 Telefunken Recordings’ 125 Lassus Ricciardo e Zoraide 113 When David heard 102 Muhly The Gesualdo Six – ‘English Motets’ Tristis est anima mea 102 Six String Sonatas – No 1; No 2; No 3 Tournemire Howards End – original series Í 73 102 Lawson, P soundtrack 62 Improvisation sur le ‘Te Deum’ In Echo – ‘Music in a Cold Climate’ To me, fair friend 104 Spiral Mass 100 S (transcr Duruflé) 91 79 Lehmann Schildt V Franz Konwitschny – ‘The Art of N Konwitschny’ 124 When I am dead, my dearest 104 Paduana, ‘Lagrima’ 79 Novello Vali Alexander Melnikov – ‘Four Pieces, Liszt Schmitt 77 We’ll gather lilacs 104 Persian Folk Songs Four Pianos’ 90 Frühlingsnacht, S568 86 Antoine et Cléopâtre, Op 69 – Varèse Joseph Nolan – ‘Midnight at St Glanes de Woronince, S249 86 Two Orchestral Suites Í 65 O Amériques D 66 Etienne de Mont’ 91 Hungarian Rhapsodies, S242 – Symphony No 2 Í 65 85 Opałka Vaughan Williams Aylen Pritchin – ‘3x3 Live’ 79 Nos 12-17 (original versions) Schop 104 67 proMODERN – ‘Shakespired’ 104 Hungarian Rhapsodies, S244 – … lips to kiss … 79 Symphonies – Nos5&6 Lachrimae Pavaen Roses of Picardy – ‘Songs of Vain No 5; No 11; No 12 86 Verdi 86 P Schubert Glory’ 104 La leggierezza, S144 No 3 Aida – Se quel guerrier io fossi! … Arpeggione Sonata, D821 77, 78 Kurt Sanderling – ‘Kurt Sanderling Liebeslied, S566 86 Paganini Celeste Aida 114 Nacht und Träume, D827 77 Edition’ 125 Liebestraum, S541 No 3 86 Caprices, Op 1 – selection 90 Attila – Liberamente or piangi … Piano Trio No 2 78 Piano Concertos – Nos1&2 59 Oh! nel fuggente nuvolo 114 Céline Scheen – ‘Les Funérailles Parsons Symphony No 9, ‘Great’ Í 65 Puszta Wehmut (A puszta keserve), Don Carlo – Dio, che nell’alma Royales de Louis XIV’ Deliver me from mine enemies 102 Y◊ S246 85 Schumann infondere 114 102 Rapsodie hongroise, S244 85 Paterson, R Adagio and Allegro, Op 70 77 Don Carlo – Tu che la vanità … Kian Soltani – ‘Home’ 77 Réminiscences de Don Juan, S418 90 Masquerade 111 Drei Fantasiestücke, Op 73 77 Francia, nobile suol 114 Sergio Tiempo – ‘Legacy’ 90 Rhapsodie espagnole, S254 86 Safe Word 111 Du bist wie eine Blume, Il trovatore – Ah! sì, ben moi; Nadia Wilson; Martin Butler – Soirée de Vienne, S427 No 6 86 Three Way 111 Op 25 No 24 77 Di quella pira 114 ‘Clarinet Fantasies’ 77

GRAMOPHONE 153 gramophone.co.uk APRIL 2018 MY MUSIC Akram Khan The renowned dancer and choreographer on how his background as an Indian classical dancer has helped to shape him as a musician

When you train as an Indian classical dancer, you normally learn two disciplines side by side: how to dance and how to play the tabla [a pair of drums used in traditional Indian music]. But my teacher wanted me to learn tabla ﬁrst and, since there were always people performing at my parents’ house, it wasn’t long before I was accompanying them. I was only a child then, but I’d be playing well into the night.

I didn’t just listen to Indian classical music though. I loved Michael Jackson, rap, hip hop … My mother was studying at university and also working at Decca in the evenings, and she would bring home scratched records of Tom Jones, Cliff Richards and Abba. But my dad liked watching these Bollywood films on VHS, and if my mother started playing one of her records, my father would turn up the volume of his film! This clash of cultures made perfect sense to me – if you listen to something enough, I suppose it seems normal. THE RECORD I COULDN’T LIVE WITHOUT I really only started getting into Western classical music in Pärt Spiegel im Spiegel the last five to 10 years, probably after meeting and working Tasmin Little vn Martin Roscoe pf with the French ballerina Sylvie Guillem, but now I enjoy Warner Classics listening to Bach, Mozart, Beethoven, Wagner … I love The complexity required for beautiful simplicity is contemporary classical composers like Max Richter, Johann challenging, but Pärt is a master at achieving this. Jóhannsson and Arvo Pärt, and of course I’ve worked with Nitin Sawhney many times. I love his mind as much as his signal there, and being isolated like that allowed the work craft – he’s a great thinker. I’m drawn to composers whose to manifest itself in a sense of loneliness that tied in with the music has movement and energy but is also emotionally driven. theme of the piece; there was a feeling of being disconnected from the world, which these Indian soldiers – fighting a war When I worked on Giselle for English Ballet, I was reminded that didn’t belong to them – would surely have identified with. of the similarities between Indian classical dance and classical ballet. Both are concerned with rigour, form, precision and When I work on something new, I want everyone – the perfection. You can approach a classical art form with the composer, the musicians, the dancers, the designers – to intention of preserving it or by allowing it to be relevant be the authors of what we’re creating. Allowing your craft today. I try to work with artists who are so confident in their to be judged by others is a fragile but necessary process. For classical style that they have the desire to pierce holes in it and Xenos, we have five musicians playing live – a South Indian see what comes through. Creating pores in the classical ‘bubble’ percussionist, a vocalist, a violinist, a singing double bassist and allowing the present atmosphere to enter is what drives me. and a saxophonist. They don’t just play melodies – Vincenzo always wants to use instruments in unconventional ways. I was very moved by ENB’s commitment as a company. Three weeks before Giselle opened, it became clear that it In the West, you have dance – and you have music. But as wasn’t working with the composer we’d chosen, and we felt an Indian concept, the two elements are always linked. I’m a we had everything to gain by bringing in Vincenzo Lamagna. dancer but I think like a musician. If you play the tabla, you’re I had worked with him before – he’s just starting his career, first and foremost a musician because you have to conduct but he’s super-talented – and I thought, ‘Let’s go for it’. The what’s happening on stage. And if you’re an Indian classical Music Director Gavin Sutherland was really supportive, and dancer, you’re also a musician because you’re creating rhythms the three of us came together to create this marriage between with your feet. So for me it’s simple. When I see dance, electronics and live orchestra – an intimate yet epic soundscape. I hear music. And when I hear music, I see movement.

Vincenzo has also composed the music for my latest work, ‘Xenos’, in which Akram Khan makes his ﬁnal performance as BANNISTER PHILIP Xenos, about the experience of colonial soldiers during the a dancer in a full-length piece, is at Sadler’s Wells, May 29 – June 9 First World War. We created it at The Grange in Hampshire, (visit sadlerswells.com); the inaugural DANCE@THEGRANGE

which was a positive experience. There’s no Wi-Fi or phone is on June 7 & 10 (visit thegrangefestival.co.uk) ILLUSTRATION:

154 GRAMOPHONE APRIL 2018 gramophone.co.uk Europe and the world a symphony of cultures

Berio Cage Golijov Ligeti Messiaen Nono Obukhov Ohana Scelsi Stockhausen

16–29 April 2018

A two-week festival Organised with Supported by celebrating musical connections past, present and future PIANIST: Z XAVIER

Traditions. Transcends. Ti e.