Also available on Blu-ray

THIELEMANN CONDUCTS FAUST

Richard Wagner: A Faust Overture

Franz Liszt: A Faust Symphony, S108/R425
Endrik Wottrich, tenor
Dresden State Opera Chorus
Dresden Staatskapelle
Christian Thielemann, conductor

Recorded live from the Semperoper Dresden, 2011.

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.1
Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish, Korean, Chinese, Japanese
Running time: 90 mins
No. of DVDs: 1

R E V I E W:



LISZT A Faust Symphony. WAGNER A Faust Overture • Christian Thielemann, cond; Endrik Wottrich (ten); Dresden St Op Ch; Staatskapelle Dresden • C MAJOR 707708 (DVD: 90:00) Live: Semperoper, Dresden 02/21–22/2011


Now here’s a good release, entering an uncluttered field with repertoire that coincides neatly with an anniversary and that fits its performers like a glove. Where I recently argued that Christian Thielemann just about makes a (flawed) case for himself in the congested world of Beethoven symphonies, his credentials for Wagner and Liszt are far less controversial. A retro knight of big-boned, smoothly contoured orchestral playing, he is here heard to great effect in repertoire that is shamefully underrepresented. I also cannot fault the pairing of a young Wagner’s aborted attempt at a symphony with Liszt’s epic achievement on the same subject. Before Cosima, what linked Wagner and Liszt were their respective attempts to set Goethe’s Faust to music. Wagner intended this, written during his Paris years, to be merely the first movement of a Faust symphony, before Der fliegende Holländer and his Saxony post got in the way. So it remained an overture, and it was Liszt who would carry on some of Wagner’s initial intentions, such as a second movement based on the character of Gretchen. Liszt himself conducted Wagner’s piece in 1852, but despite a final revision in 1855 (the version given here) and a sketch for Gretchen’s theme, Wagner’s “symphony” remains a tantalizing what-if, giving clearance for the older composer to work on his vast set of Faustian character portraits. As Tobias Niederschlag’s admirable notes point out, Lizst’s late addition of tenor and chorus (always a bit of an afterthought in my view) to his tonal portraits can be seen as a nod to Beethoven’s Ninth, a sign of the massive ambition on display.


Given its fractious birth, Wagner’s A Faust Overture tends, not surprisingly, to be dismissed as a rather nothingy, juvenile work, but Thielemann and the Dresdeners really do make a fine case for it. Despite the full string textures and grandly played climaxes, Thielemann wisely doesn’t linger or pull things about for effect, as he sometimes does, and the Dresdeners’ dark, burnished sound helps underline the familiar traits of mature Wagner, without preventing it from being an intense, nimble account of a work that deserves to be better known. Yes, there are hangovers of Weber in the tuttis, and obvious foreshadows of the Holländer overture, but also there is a germ of Wagner’s later epic arches of texture and melodic development. The dying chords of Tristan und Isolde , for instance, can surely be heard in the finals bars of this piece.


With those mournful broken woodwind phrases in the “Nostalgia” opening, Wagner must have had Liszt’s symphony at the back of his mind during Tristan’s development. Although grotesque humor doesn’t feature in Wagner’s opera, both pieces share that introverted sense of Weltschmerz that naturally brings out the best from Thielemann. Faust’s feverish obsession is brilliantly conveyed in the frenzied string writing, but Thielemann doesn’t let the symphony as a whole become the empty showpiece that some of Liszt’s vast tapestries can become. The second movement (Gretchen) is, likewise, very well controlled, with the love theme played with sincerity, but no less heartfelt than many more drawn-out versions, and with much exquisite solo playing from the orchestra.


I still have the occasional feeling of extreme control-freakery, as on Thielemann’s recent Beethoven, but here his quirks and homogenized sound fit the repertoire brilliantly, and although as typically plush and molded an experience as I had predicted from this team, this DVD confounds a lot of my prejudices about him. Most surprising is how swift Thielemann is, with the Liszt falling roughly between young (Sony audio) and old (Euroarts DVD) Leonard Bernstein in basic length, and similar in scale to Barenboim’s audio version. Likewise I wouldn’t have predicted how well Thielemann creates a sense of fun on the podium; the ironisch comes out well in the opening of the grotesque Mesphisto episode, spritely in tone, in complete contrast to the opening two sections. I would almost say light and fleet-footed, but after some comparison with 1960s Bernstein, or a terrific YouTube clip of Dmitri Mitropoulos rehearsing the same section, Thielemann cannot yield all of his steeliness. Choral singing is excellent, although I can think of more alluring sounds than the rather pinched, clunky tones of tenor Endrik Wottrich, in rather tense form here. DVD competition is scarce, but Kenneth Riegel on Leonard Bernstein’s 1976 Boston DVD is better. For true vocal allure, if weird German, Plácido Domingo on Barenboim’s Warner CD is the obvious choice.


I do wish concert DVDs would come with the option of having an mp3 of the audio only. I, for one, would love the Wagner overture on my iPod. But C Major’s presentation is still very fine, with good booklet notes and logical DVD menuing. Pity that there are no extras (Thielemann’s Beethoven symphonies on the same label came with a 60-minute discussion of each work), but camerawork is unobtrusive and the sound is very clear and balanced, possibly at times allowing that Dresden acoustic to give quieter moments a rather cold demeanor. Perhaps, because of that last point, I find myself preferring the Bernstein DVD, boisterous and all-embracing despite much slower tempi throughout. But it is not a clear victory, especially considering modern picture, sound, and so fine a Faust Overture performance as a filler. So, yes, unlikely readers who only want one version: Get the Thielemann.


FANFARE: Barnaby Rayfield

Classical Music

Classical Music

The Danish King Frederik IX's preoccupation with music must be described as atypical, in fact, unique for a member of a royal house, since it is hardly possible to cite other examples of ruling monarchs whose favorite pastime was orchestral conducting. As a conductor Frederik IX, although self-taught, favored technically difficult challenges in the great symphonic repertoire, in particular music from Wagner's operas, gave the King's unusual musical activities a certain aura. This limited edition set celebrates two very unique King/orchestra relationship, namely King Frederik IX's close affiliation with the Royal Danish Orchestra and Danish National Symphony Orchestra.

At its première in June 1969 Shostakovich described his Symphony No. 14, in effect a symphonic song cycle, ‘a fight for the liberation of humanity…a great protest against death, a reminder to live one’s life honestly, decently, nobly…’ Originally intending to write an oratorio, Shostakovich set eleven poems on the theme of mortality, and in particular early or unjust death, for two solo singers accompanied by strings and percussion. This is the penultimate release in Vasily Petrenko’s internationally acclaimed symphonic cycle.

This British Music Society recording features several world premiere recordings by two composers whose vocal music is a relative rarity on disc. Benjamin’s is imbued with a sense of refinement and impeccable craftsmanship, as well as the rhythmic vitality and color expected from a virtuoso pianist. Bainton’s hallmarks also include sensitive and harmonically imaginative piano writing, his devotion to poetry resulting in settings with an outstanding artistic instinct for beauty. The English mezzo-soprano, Susan Bickley, studied music at the City University, London and at the Guildhall School where she won the Gold Medal for singers.

“…a lot of the time I play music from other worlds …. Welcome to My World” World premiere on the NEUE MEISTER label: International classical superstar NIGEL KENNEDY releases his first album of his own compositions, entitled “My World”. The first album by Nigel Kennedy in which he features his own compositions is at the same time the most intimate view yet of his world: a colourful kaleidoscope of sounds. He has written works inspired by his mentors Yehudi Menuhin, Isaac Stern and Stéphane Grappelli, and artists like Mark O’Connor and Jarek Smietana, while composing a whole new suite to Anton Chekhov’s play “Three Sisters”. On “My World”, Kennedy shows how well string orchestra, rock band and piano go together once you forget the stereotypes. Nigel Kennedy, who turns 60 on December 28, 2016, has been true to his vision throughout his career: making music that transcends all conventions. “My World” retraces how meeting his mentors shaped his musical understanding and changed his career path. Yehudi Menuhin probably had the most important influence on Kennedy: “I feel that Yehudi Menuhin gives me a direct route back to the music of Bach. Also Menuhin paid for my education at his school so without him I would probably not be playing classical music at all.” Next to Menuhin, meeting Stéphane Grappelli was a crucial moment: “I met Stéphane for the first time when he was playing to us kids in the Yehudi Menuhin School; I surprised him by jumping on the stage and joining him in his performance, which was the catalyst for a long musical relationship with him. He loved it that a 14-year-old kid was into his music and could also play it. From my point of view, it was invaluable to meet a musician who, when playing, proved that serious music doesn’t have to be depressing.” Listening to “My World” it becomes very clear how strong jazz music has influenced Kennedy. This is to be heard in the dedications to Polish jazz guitarist Jaroslaw Smietana or Nashville based country-jazz-blues violinist and composer Mark O’Connor and also represented in the band line-up. Orphy Robinson, who has already played with Don Cherry, Wynton Marsalis, David Murray and many famous jazz musicians, plays vibes and percussion alongside Adam Czerwinski on drums. Tomasz Kupiec on bass has to lay the groundwork for three guitarists: long-time touring guitarist Rolf Bussalb, young Julian Buschberger and Doug Boyle, who used to play with Robert Plant and is now assistant producer of Nigel’s album. Considering this line-up, “My World” sounds surprisingly calm and classical. The Oxford Philharmonic Orchestra has a permanent role throughout, while the band only plays some of the time. Overall Nigel demonstrates what a great soloist he is: virtuosic but never plays a note too many – just like his musical idols. He has written an album full of great melodies. “Three Sisters” is clear evidence of this. The inspiration for the suite comes from Nigel’s wife Agnieszka, who has produced the play by Anton Chekhov for the stage. Fascinated by the underlying psychological study of the play, Nigel started writing his own “Three Sisters” suite.“

Classical Music

The Iron Lady tells the compelling story of Margaret Thatcher (Meryl Streep), a woman who smashed through the barriers of gender and class to be heard in a male - dominated world. The story concerns power, the price that is paid for power, and is a surprising and intimate portrait of an extraordinary and complex woman. Directed by Phyllida Lloyd.

Best known for his many film scores, Thomas Newman is one of the more respected and recognized composers for modern film. He has scored over fifty feature films in a career which spans nearly three decades. Newman has received a total of ten Academy Award nominations on such diverse scores as Road To Perdition, Finding Nemo, Lemony Snicket’s A Series of Unfortunate Events and Steven Soderbergh’s The Good German. He has won two Grammy Awards, an Emmy and has been nominated for a Golden Globe.

Composer Christopher Roberts’s four serene yet deeply emotive pieces for solo qin (a Chinese zither-like instrument) are quiet, sparce, slightly eerie, almost Feldmanesque. Performed by the composer, who learned the qin while living and teaching for many years in Taiwan. This is a 30-minute CD EP/single. “So Confucius walks into a bar, just in time for Bill Evans’s last set, and after closing time pulls out his qin for a few solos … That’s the vibe that Christopher Roberts captures in these intimate nocturnal musings where crystalline harmonics dance among gutsy bass slides while elegant harmonies whisper their most private thoughts. A truly haunting recording.” [John Schneider, Host of KPFK’s Global Village] “The most Chinese of instruments, the qin has roots in the ancient literati tradition…. Having studied its classical tradition in Taiwan, the quixotic Roberts (also a double bassist) also brings his own traditions of jazz, blues, and solo improvisation to the table. While starting somewhere near its traditional core, Roberts bends his instrument in new directions entirely, turning it westwards even as he faces east.” [Gramophone magazine] “‘Exotic’ is a relative term. Gorecki's music is exotic compared to Lloyd Webber’s, Ligeti’s music is exotic compared to Gorecki’s, and Christopher Roberts’ music is exotic compared to nearly any music you are likely to think of.… Last Cicada Singing integrates Eastern and Western music so well, finding their common ground in calm reflection of natural sounds and processes. Sit back, relax, contemplate.” [Malcolm Tattersall, Music & Vision] “You-are-there-grade realism. The recording is Christopher Roberts’ hauntingly beautiful and stunningly well-recorded Last Cicada Singing [Absolute Sound magazine] “Mesmerizing sounds...quiet, sparse, serene music.” [Michael Barone, Minnesota Public Radio]

In the third installment in their acclaimed series, Harry Christophers and the Handel and Haydn Society present a new live recording devoted to the master of the symphony – Joseph Haydn. This release showcases Haydn’s Symphony No. 8 Le soir, which completes the trilogy written for Prince Paul Anton Esterházy. Also included is the later Symphony No. 84 which shows just how much Haydn’s symphonies had transformed from those early years. Not only is it an incredible fusion of grace, brilliance and warmth but it also contains one of the most striking wind band solos in all of his Paris symphonies. Completing the programme is the Violin Concerto in A major performed by H+H’s fiery and expressive Concertmaster, Aisslinn Nosky.

Jean-Claude Henriot (b. 1949) was born into a family of musicians. As a child, Henriot fixated his conception of great music upon Beethoven. His first great musical experience was of listening to a recording of the ‘Emperor’ Concerto. For this album Henriot has opted to venture outside of the frequently performed piano sonatas by programming Beethoven’s Bagatelles, Fantasia in G minor, Andante Favori, and 32 Variations in C minor. All of the works on this release were composed between 1803 and 1825, during the composer’s late period when the fullness of his potential had been reached.

“He was out to create something ‘unheard-of’,” observed conductor Nikolaus Harnoncourt beforehand. And true to form: What the conductor had to offer as he commenced his Mozart/Da Ponte cycle in the Theater an der Wien was something we “had never before heard like this” (Kurier). Nikolaus Harnoncourt, “master” of period performance practice, realized a project that had long been one of his dearest wishes: for the first time, he and his “original-sound orchestra” Concentus Musicus and his personal choice of singers were presenting the complete Mozart/Da Ponte cycle and harvesting the fruits of his Mozart research – an “enthusiastically acclaimed cycle!” (news.at). During an intensive phase of rehearsal and preparation, he was in search of a Mozart hermeneutic resting on historical sources and yet anchored in our own time, in order to stage the whole Da Ponte “trilogy” – Le nozze di Figaro, Don Giovanni and Così fan tutte – in a matter of a mere six weeks. “The culmination of Harnoncourt’s involvement with [Mozart’s Da Ponte operas] – A Mozart drawn from historical sources and yet anchored in our own time.” (Die Presse)

Also available on Blu-ray

Joni Mitchell’s work The Fiddle And The Drum delves into the artist’s long-held concerns about the human race’s blatant neglect of the environment and mankind’s war-hungry nature. The piece is a ballet which is performed to a soundtrack of her music. Joni has called this work “the best project of her career.” Combining three art forms- music, dance, and visual art- Joni creates an enthralling spectacle. Internationally recognized choreographer Jean Grand-Maitre of the Alberta Ballet Company has joined Joni for this production. The musical selections to which Jean Grand-Maitre has set his dance include works from Joni’s entire career such as For the Roses, Passion Play, Slouching Towards Bethlehem, The Beat of Black Wings, and of course The Fiddle and The Drum. Special bonus features on this release include behind the scenes, video installations form the set, image galleries, and interviews with the performers.

Picture Format: NTSC, 16:9
Sound Formats: PCM Stereo, DTS 5.1
Region Code: 0 (Worldwide)
Running Time: 55 mins (Ballet), 60 mins (Bonus)

V 42: MUSICA CLAROMONTANA

Classical Music

Classical Music

V 28: MUSICA CLAROMONTANA

This fabulous new album, co-produced with Bavarian Radio, presents top German piccolo virtuoso Natalie Schwaabe in an international program of recent works for ‘the screaming twig’ as the instrument is sometimes known in orchestral circles. No screaming here, though the instrument’s upper stratospheric registers are fully exploited – these works are modern and freely composed but will still be attractive to conservative listeners with elements of traditional tonality and jazz and utilizing the middle and lower ranges of the piccolo which can be ethereal and smooth. The range of pieces is wide, from the somber ‘Lachrymose’ for solo piccolo, to the bright and buzzy sonata by Gyöngyosi, and the new setting of The Pied Piper story by Kanefzky. Natalie Schwaabe was born in Tokyo, grew up in Hong Kong, studied in London and obtained her degree in Munich where she is now based, playing with the prestigious Bavarian Radio Symphony as well as enjoying a busy solo and chamber music career. Her regular partner Jan Philip Schulze is carving out a fine reputation in the new-music field with recordings for several labels, and is sought after to accompany many top vocalists.

Trio di Trieste was founded in 1933 when the members, Dario De Rosa, Renato Zanettovich, and Libero Lana, were only twelve years old. Later, Libero Lana was replaced by Amadeo Baldovino. Lana is heard on the Mozart recording, and Baldovino is heard on the Dvorak. The group has performed uninterrupted concert performances all across the world for more than sixty years- that’s more than 3,000 concerts. The Trio are members of the Roman Academy of St. Cecilia, and were awarded the prize of the President of the Italian Republic by the Grand Officer of Merit. They have regularly been invited to all of the major international festivals. This release focuses on radio recordings that the trio made in 1956 and 1964. The first work is Antonin Dvorak’s Trio in F minor for violin, cello and piano op. 65, followed by Mozart’s Trio in E major for violin, cello and piano.