Russia Cast Adrift Teasdale, Walt Whitman, Christina Rossetti and never to excess. Phrases are well articu- Dmitri Hvorostovsky and poet/wife Tara Wohlberg, require an lated and while the tempos are perhaps more Delos DE 1631 (delosmusic.com) elegant and sensitive touch, which he applies leisurely than the listener might be accus- with great care in order to enhance the essen- tomed to – particularly in the third move- ! e relationships tial meaning. ment – they never lag. e programmatic between composers e benefit of collaborating with Chatman, Sonata No.Ÿ¨ “Les Adieux” from ™š™ is one and their favourite who worked as co-producer of this recording, of Beethoven’s most challenging through the interpreters are clearly shows in the exquisite performance contrasts of emotions, but again, Kuerti easily responsible for by the MacMillan Singers led by Apfelstadt. meets the demands, delivering a polished and some of the best For pieces using piano, Laura Dodds-Eden elegant performance. vocal music ever provides a vibrant and robust accompani- e second disc is devoted entirely to the written. Sometimes ment. ere is also in these pieces beautiful Diabelli Variations, a simple tune that they are romantic writing for other instruments; for example, Beethoven fashioned into one of his most in nature, as in the case of Benjamin Britten poignant trumpet interludes played by famous compositions. Kuerti brings a special and Peter Pears. On many occasions, they are Anita McAlister in Reconciliation (from sensitivity to this performance, crafting each simply a meeting of two musical geniuses – Whitman’s Drum Taps), gorgeously pulsing one with particular care – a true study in both attuned to a secret chord within, as with harp and intoning cello provided by Angela contrasts. Gerald Finley and the late Finnish composer Schwarzkopf and Jenny Cheong in Dawn e variations Einojuhani Rautavaara. Georgy Sviridov of Night, and Clare Scholtz’s soaring oboe appear again as found his muse in Dmitri Hvorostovsky. ey in June Night and Dreams Offer Solace. the sole work on a met for the first time just four years before Recorded at Toronto’s Grace Church on-the- worthy companion the composer’s death in ™¡¡®. e occa- Hill, this recording must have truly been a to this set, a DVD sion was an auspicious one: Hvorostovsky labour of love for students and mentors alike. titled Profound was performing Russia Adrift, a “poem” for Dianne Wells Passion. e intro- voice and piano, immortalized in perform- duction states that ances by the redoubtable Elena Obraztsova. while this monu- Upon hearing Hvorostovsky’s version, the CLASSICAL AND BEYOND mental piece composer was enchanted and a beautiful has long held a friendship followed. In the remaining Beethoven particular fascina- years, Hvorostovsky became “the” voice for Anton Kuerti tion for Kuerti, its Sviridov’s music. Concertmasters AKR2017CD-1 length may prove too daunting for the average e one project the composer did not finish listener and, without a proper explanation, it before his death was an orchestral version Beethoven – Profound Passion: Diabelli may not receive the appreciation it deserves. of Russia Adrift. Here it is recorded by an Variations Hence, Kuerti provides an informal but lucid orchestra and folk-instrument ensemble, Anton Kuerti program guide prior to the performance, in a version completed by Evgeny Stetsyuk. Concertmasters AKR2017DVD-1 using various musical examples. Once again, e words of Sergei Yesenin, the once-black- (antonkuerti.com) the final performance is stellar – and for those listed Soviet poet from the ™¡‡s, are filled who enjoy watching a pianist’s hands, this with nostalgia for the Russia of yesteryear. ! An icon in the DVD is a treat. Given the present situation in that great world of Canadian Either singularly or together, these record- nation, those words acquire additional poign- classical music, ings are a fine tribute, both to an outstanding ancy. Hvorostovsky’s voice does not betray Anton Kuerti has Canadian artist and to music written by a any traces of the serious health crisis he has enjoyed a long composer at the height of his musical crea- been undergoing of late. e album closes and distinguished tivity. Highly recommended. with a spine-tingling song, e Virgin in the career, not only as Richard Haskell City, from the vocal poem Petersburg, written a performer and especially for him. pedagogue, but Mendelssohn – Symphonies 1-5 Robert Tomas also as a concert organizer, artistic director Chamber Orchestra of Europe; Yannick and social activist – a true Renaissance Nézet-Séguin Stephen Chatman – Dawn of Night man! Among his extensive recordings, the Deutsche Grammophon 00289 479 7337 University of Toronto MacMillan Singers; music of Beethoven has always been a focus Hilary Apfelstadt (he won a JUNO for three recordings of ! It is a genuine Centrediscs CMCCD 24617 Beethoven sonatas in ™¡¢¢), so perhaps it isn’t pleasure to take a (musiccentre.ca) surprising that he’d return to music by “the deep dive into these great mogul” in this two-disc set featuring remarkably diverse ! As a choral Piano Sonatas Ÿž, Ÿ¥ and Ÿ¨ in addition to the and interesting singer, I have famous Diabelli Variations. symphonies, espe- always enjoyed Sonata No.Ÿž, the Waldstein, from ™š®, cially when they are the works of is surely one of Beethoven’s most formid- played (and sung) Stephen Chatman. able, both in terms of technique and nuance. with such enthusi- Infusing soft- Not only is Kuerti’s impressive technique astic vigour and passion as they are here. ness of tone with clearly evident from the outset, but the sound Photos of Canada’s latest star, the charismatic luscious harmonies, he creates is warm and lyrical. e tranquil, Montrealer Yannick Nézet-Séguin, adorn the his music always gentle second movement gracefully merges cover and several of the inside pages of the sounds deceptively simple, yet, as both he into the expansive third movement Rondo, booklet; quotes from the maestro pepper and conductor Hilary Apfelstadt point out, where Kuerti gives full weight to the piano, the informative liner notes, such as “what I it requires a fair amount of preparation for a clearly allowing the music to speak for itself. always admire in Mendelssohn, over and over chorus to get it right. After all, the heartfelt e tempestuous mood of the Appassionata again, are his abilities as a melodist.” You texts Chatman chooses, such as those by Sara is artfully conveyed, but done so with dignity can’t argue with success and it’s clear that thewholenote.com October 2017 | 65