REVIEW:

We are told that Luis Carlos Figueroa is one of the senior and much esteemed figures in Colombian music. As such this disc is very welcome as to most intents and purposes it serve as an initiation into the man’s music. Given his dates we might perhaps have expected a thornier style but it is warm and welcoming. This is attractive music that is well worth your ear-time.

-- MusicWeb International

This program presents a comprehensive overview of works by contemporary Italian composers played on the harpsichord, collected by Luca Quintavalle. Included are pieces for harpsichord already composed but not yet recorded (Morricone, Fedele, Solbiati, Nova, Galante, Cacciatore, Maestri, Di Cecca), arrangements for harpsichord by the artist, with the consent of the composer (Vacchi, Francesconi, Filidei, Lanza, Solbiati, Gervasoni) and completely new pieces written for the artist (Vacchi, Colombo Taccani, Palumbo, Baboni, Schilingi, Montalti, Capogrosso). It is fascinating to witness the experiments of contemporary composers when writing for the harpsichord, this “ancient” instrument, nowadays mostly used for Renaissance/Baroque music, but proving to be an endless source of unheard-of sounds and timbres, affects and sonorities. Luca Quintavalle is one of the most remarkable keyboard players of the moment. He has collaborated as a soloist with orchestras such as Concerto Köln, Les Talens Lyriques, Balthasar-Neumann-Ensemble, Cappella Gabetta, Il Canto d’Orfeo, Harmonie Universelle, Divino Sospiro, Il Pomo d’Oro, Capella Augustina, La Folia Barockorchester, Kölner Kammerorchester, Orchestre de la Suisse Romande and WDR Sinfonieorchester. His first solo recording of Jean-Baptiste Barrie`re’s and Bernard de Bury's harpsichord music by the label Brilliant Classics was chosen as “Recording of the month” from MusicWeb International and got really positive reviews (“a great deal of excellent playing by Luca Quintavalle; enjoyable listening, which may be unreservedly recommended.” Early Music-Oxford Journal; “I don't expect this recording to be surpassed” American Record Guide. Recently he recorded the Piano Sonatas by Anton Eberl for Brilliant Classics, to great critical acclaim.

Classical Music

John Ernst Galliard (Celle, 1687 - London, 1747) was a German composer, oboist, flutist and keyboardist active in England in the first half of the 18th century. The son of Jean Galliard, a French wigmaker, he learned to play the flute and oboe from Pierre Maréchal, a French member of Celle's court orchestra. He himself joined the orchestra in 1698 and, shortly afterwards, studied composition in nearby Hanover with Agostino Steffani and Jean Baptiste Farinelli. In 1706 Galliard went to London (like his compatriot Georg Friedrich Händel), where he became court musician to Prince George of Denmark, consort of Queen Anne of Great Britain, and later also chapel master at Somerset House. Galliard enjoyed an excellent reputation as an oboist, and so joined the orchestra of the Queen's Theatre, playing in various performances of works by Handel, who wrote oboe parts especially for him. The Six Sonatas for Recorder and Harpsichord were published in London in 1711. In this collection there is an elegant and smooth fusion of styles: from the orderly counterpoint of the youth in Hannover to the virtuosity and brio of the Italian baroque, from the flavor of the English tradition that only occasionally transpires to the nuances of French taste that are evident in several movements. Played by Fabio Martignago, who learned his art with specialists like Dan Laurin, Kees Boeke, Han Tol, Stefano Bagliano, Lorenzo Cavasanti, Manuel Staropoli and Alfredo Bernardini. Angelica Selmo studied with Luca Guglielmo and followed master classes with Pierre Hantaï, Roberto Loreggian, Skip Sempé and Bart van Oort.

Georg Philipp Telemann (1681-1767) composed two sets of “Seven times seven plus one Menuet’, resulting in the total of a hundred Menuets. It is not certain what Telemann meant with this numerical title, most likely the biblical holy number 7 plays an important part in it. Telemann’s menuets are well-crafted miniatures of sixteen to forty measures; those of the second collection are generally briefer than those of the first. In both collections, the keys are arranged alphabetically. With few exceptions, the dances are unvarying in their two-reprise structure and four-measure phrasing. Andrea Coen is an organist, harpsichordist, and fortepianist, who has studied with such distinguished artists as Ton Koopman and Alan Curtis, and has collaborated with such figures as Christopher Hogwood and Monica Huggett. His recordings of Baroque and early-Classical keyboard repertoire for Brilliant Classics have attracted glowing reviews. Coen recorded the “Kleine Kammermusik” and made the first complete recording of Telemann’s Fantasias (94228). According to MusicWeb International: ‘Coen, an experienced, insightful instrumentalist with a profound knowledge of historical performance practice and a sackfull of important recordings under his belt, could make Telemann sound special even on a typewriter.’ Andrea Coen about these 100 Menuets: “The most exciting thing, in this journey of a hundred stages, was to find in each individual minuet a unique and unrepeatable sense of originality: a hundred miniatures that compose a kaleidoscope as rich and coherent as was ever heard”.

A student of Rimsky-Korsakov and the teacher of Rachmaninov and Scriabin, Anton Arensky holds a distinguished place in the history of Russian music as both an academic and a composer. For his 1900 ballet Egyptian Nights, based on Pushkin, he chose an exotic theme – the dangerous love of the handsome Amoun for Queen Cleopatra – and sought authentic melodic material in scholarly texts. With his gift for orchestration and color, Arensky fashioned a sensuous and vivid score, featuring a brilliantly conceived series of dances. This was a world premiere recording on its initial release on Marco Polo 8.225028, recorded in1996. Gramophone wrote: ‘The playing is suitably colorful, the recording responsive to that’, as did Fanfare: ‘The Moscow Symphony Orchestra clearly revels in this repertoire, and it plays with spirit and enjoyment.’

REVIEW:

The present disc is one of many recordings originally on Marco Polo that have been re-released on Naxos. Acoustically, Egyptian Nights could use an up-to-date recording, but one cannot cavil about Dmitri Yablonsky’s powerful performance, which derives the maximum excitement from the score. The Moscow Symphony Orchestra plays equally well and the whole production is a feast for any fan of Russian music of the time.

– MusicWeb International

Classical Music

In comic operas there are stock figures. One of these is the bass, often conceited and self-important, silly or evil – or both – who often ends up being ridiculed, humiliated and has to humble himself. We first meet him in Uberto in Pergolesi’s La serva padrona, then in Il barbiere di Siviglia – Paisiello’s as well as Rossini’s – as Doctor Bartolo. Mustafa in L’Italiana in Algeri is a close relative, as is Don Magnifico in La Cenerentola. The eponymous anti-hero in Don Pasquale is also a pitiable character – the slimy Dulcamara in L’Elisir d’amore less so. Later in history Sir John in Verdi’s Falstaff is possibly the most complex character in this mould, thanks to Boito’s masterly condensation of Shakespeare’s portraits and Verdi’s music. He has predecessors: Salieri wrote a Falstaff before Verdi was even born. On German ground Otto Nicolai created a rather likeable character in Die lustigen Weiber von Windsor. In operas by Lortzing and Flotow we encounter similar second cousins. We shouldn’t forget Osmin in Die Entführung aus dem Serail either. A lesser known but well delineated relative within the German sphere is Abul Hassan Ali Ebn Bekar, the larger-than-life barber in Peter Cornelius’s Der Barbier von Bagdad. He isn’t an evil person, quite the contrary, but he is a big braggart and manages to make a mess of things. The plot goes back to a story from ‘The Arabian Nights’ and a condensed version goes something like this:

The young and rich Nureddin is deeply in love with Margiana, the daughter of the Cadi. His childhood friend, Bostana, arranges a meeting and Nureddin sends for Abul Hassan Ali Ebn Bekar, the best barber in town, to make him presentable. The barber is more interested in talking about his knowledge of art and science and Nureddin asks his servants to throw him out. The Barber turns furious and chases the servants, knife in hand, but some tactical flatteries makes him calm down and do his job. When Nureddin tells him about his approaching meeting, the barber gets so excited that he offers to accompany Nureddin. In the second act the two lovers meet but are disturbed by the sudden return of the Cadi. Nureddin hides and when the barber hears cries from a slave being punished he believes it is Nureddin and rushes into the house. Believing Nureddin to have been murdered he sends for the Caliph, who arrives. Nureddin is found and pressurised by the Caliph. The Cadi accepts that the young couple should be married. The verbose barber makes such an impression on the Caliph that he is invited to work for him.

Not one of literature’s masterworks, maybe, but much thinner and more incomprehensible librettos have been successfully set to music. Cornelius’s opera was not a success at the premiere on 15 December 1858 at Hoftheater in Weimar. The composer describes the disaster as follows:

‘My work had drawn a full house. The performance filled the evening and was excellent, splendid, considering the difficulties the work presents. Right from the start, the applause was accompanied by persistent hissing from a hired, well-organized and expediently distributed group that was unprecedented in the annals of Weimar … At the end there was a fight lasting ten minutes.’

The reason for the debacle was decidedly not the quality of the music or the play. This was a protest against the conductor of the evening, Franz Liszt, whose radical ideas were not to everybody’s liking – and it was successful. The production was taken off the repertoire and Liszt resigned and left Weimar for good. But the one who suffered the most was Cornelius, who never saw his opera staged again during his lifetime. It was revived about twenty years later, again with no success. In 1884 in Karlsruhe, Felix Mottl – who orchestrated Wagner’s Wesendonck-Lieder – presented it, but in truncated and altered form. It was not until 1904 that it was staged in its original shape. After that it was regarded as one of the best German comic operas – next to Die Meistersinger von Nürnberg according to some judges.

I hadn’t heard the opera before, although there exist two studio recordings. Columbia set it down in London in 1956 with Erich Leinsdorf conducting and a starry cast including Elisabeth Schwarzkopf, Nicolai Gedda, Hermann Prey and with Oskar Czerwenka as the barber. In the early 1970s Heinrich Hollreiser recorded it with Sylvia Geszty, Adalbert Kraus, Bernd Weikl and with Karl Ridderbusch as the barber. There also seems to have been an even older, Vienna-based recording, from 1952.

What I knew from as far back as the early 1960s was the overture, which appeared now and then in recordings and on concerts. I remembered it as something quite different from the usual potpourri of melodies from the subsequent opera. This piece, with a playing time of over seven minutes, is symphonically constructed – a kind of symphonic poem in fact. It is artfully orchestrated with a lot of woodwind solos and an orchestral texture that is transparent and airy - more Mozartean than Wagnerian. What is more: the whole opera is permeated by this artfulness with impressive ensembles and powerful but still translucent choruses with some contrapuntal writing. On top of all this there is an atmospheric entr’acte opening act two, thematically built on the muezzin’s proclamation of prayer. It is the only music in the score with an oriental touch.

The proceedings are dominated by Nureddin and Abul Hassan Ali Ebn Bekar, the barber. Both singers are excellent. Horst R. Laubenthal, then at the beginning of a great international career – was born in 1939 and made his debut in 1967. He has a mellifluous lyric tenor, ideally suited to Mozart and the lyric German tenor roles. He is also a vivid actor. The fine love duet in act two is one of the high-spots in the opera. There he is especially winning, partnered by Helen Donath, who here manages to soften her voice a little – elsewhere she can be irritatingly acidulous. There is nothing sour about Hans Sotin’s impressive barber, however. This must be a dream role for a fruity bass and Sotin revels in the opportunities to make a show. His is a large, sonorous, warm and evenly produced voice of exceptional beauty. The very lowest notes – and he is required to sing quite a few of them – are somewhat sketchy but otherwise he is admirable. He produces ringing top notes that many a baritone should envy.

The rest of the cast are more or less comprimarios, but the young Dale Duesing – he was only 26 at the time – is a fine Caliph. Veteran Fritz Peter is a Cadi full of character and Marga Schiml – also still in her twenties – does what she can with Bostana’s role. The versatile Ferdinand Leitner, who had a special affinity with Mozart, obviously enjoys the score. He is well supported by the Cologne Radio forces. The male chorus has a field day in the riveting Hinaus aus Hof und Haus (CD 1 tr. 7), where they are ordered to throw the cackling barber out of the house.

The sound is what is to be expected from a 35-year-old radio recording: not very spectacular but well balanced. I wouldn’t have minded some more cue-points and a libretto should have been included. Not many listeners will be familiar with the work and the brief synopsis is no substitute.

Whether Der Barbier von Bagdad will ever be a standard work again is hard to prophesy – this kind of story has probably lost its attraction to latter-day generations. It is nevertheless rather amusing and the music definitely deserves a better fate than oblivion.

-- Göran Forsling, MusicWeb International

Classical Music

Classical Music

Gioachino Rossini’s remarkable life and career is well known: the opera composer who, with the world at his feet, appeared to retire at the age of 37. He had around 17 years of huge success with operas such as Il Barbiere di Siviglia, and after completing his last opera Guillaume Tell, he had another 39 years of ‘silence’. The second period of his life was in fact anything but silent, and Rossini would later turn up with pieces such as the Stabat Mater and the wonderful Petit messe solennelle.

More private were the creations which became collected as the Péchés de vieillesse or ‘Sins of Old Age’, which are contained in fourteen volumes. Some of these are for voice and piano, others, such as volume IX, include pieces with strings, harmonium and horn, the solo piano works from which appear at the end of this programme. Album de Chaumière or ‘The Cottage Album’ is the no doubt ironically twee title given to volume VII, the first of the albums for solo piano. This consists of 12 pieces ranging from titles such as Petite polka chinoise to works of a grander scale such as Une pensée à Florence. Rossini’s attitude with these works is frequently ironic and often deceptive. Confronted with a title such as Prélude inoffensif, one might expect something other than the extended lyrical aria which in fact appears. The generally light character of many of the pieces is interspersed with more searching, funereal atmospheres such as that in Un profound sommeil, and Un cauchemar – literally ‘A Nightmare’. In these pieces we are not so very far removed from the symbolic cries of the owl in Leoš Janá?ek’s ‘On a Overgrown Path.’ On the complete opposite there are parody-like pieces such as the bombastic Marche which closes Vol. VII.

Alessandro Marangoni is a young pianist and a rising star whose reputation will in no way be harmed with these recordings. Whatever one thinks of these ‘Sins of Old Age’ they are certainly a fascinatingly enigmatic and eclectic mixture of Rossini in all moods. Fans of the Petit messe solenelle must certainly investigate these pieces, as the thick piano chords and bouncy bass lines which crop up in that work are certainly not absent here. Fans of Rossini’s operas are also kept well fed with rich melodic invention, if performed instrumentally rather than vocally. This Naxos recording is very good, with a rich, deep piano sound, if captured in a rather dry and tubby acoustic. The impression is one of a front room soirée rather than a concert hall performance, which isn’t such a bad thing for these pieces. I do however feel that a slightly more sympathetic space might have helped Alessandro Marangoni when trying to give a more legato feel, or in varying the colour and mood. The pieces come across a little on the lumpy side sometimes, and the contrast between some of the works is less startling than might otherwise have been the case.

This new series will have to compete with the recordings by Stefan Irmer on MDG, and although there is no information on the instrument used in the Naxos recording – other than that it is a Steinway & Sons from the Angelo Fabbrini collection, it gives the impression of being an older instrument, a quality it would then share with the MDG recordings. The bass has a pleasant rounded quality, and the usual Steinway brightness only really shines through in the upper registers at higher volume. Any reservations I may have can be accounted for as a matter of personal taste, so nothing I say should stop anyone from dropping into their local retailer and bagging this remarkable release forthwith. This is going to turn into another of Naxos’s eminently collectable sets, and on this showing will prove to be worth it at almost any price.

-- Dominy Clements, MusicWeb International

Prokofiev, S.: Eugene Onegin

The album also contains additional tracks by Francois Couperin that are identified by generic Baroque era dance titles without specific details: Allemande, Sarabande, Sicilenne, Gavotte.

Gypsy Strings is a collection of arrangements of traditional gypsy music together with a selection of original compositions. The disc was conceived to display the talents of London Concertante’s leader, Adam Summerhayes, and the Bulgarian fiddle player Emil Chakalov. The music becomes a jousting match between the two, backed by London Concertante’s twelve-player string section. The ensemble enjoys an ever growing reputation for exciting and memorable performances, thanks to exceptional players and inspired programming.

The ‘time of breakthroughs’ contained in the title of the album, which is the key for the selection of the repertoire recorded on it, can be interpreted on multiple levels. On the one hand, it refers to the period of rebirth of Poland – to one of the most important turning points in the history of this country, which was ‘witnessed’ by music of the composers presented on the album. On the other hand, it points to the turn of the 20th century – an extremely colorful time in the history of the multicultural and vibrant city of Katowice, whose dynamic development, mainly related to its industrial aspect, also included the cultural sphere. One of the important points on the then cultural map of the city was undoubtedly the Evangelical church built in 1856, within the walls of which the material of this album was recorded.

A lasting love affair with the clarinet amongst composers from the dawn until the dusk of the Romantic era (i.e. from Schubert to Strauss) is the key takeaway of this Signum release. In recognition, a trio of leading British soloists - clarinetist Julian Bliss, soprano Ailish Tynan and pianist Christopher Glynn - perform a sumptuous selection of the era's chamber music by Brahms, Chopin, Schubert, Schumann and Richard Strauss. The program is centered around Schubert's iconic The Shepherd on the Rock, virtually the final complete work that Schubert composed before his tragic death in 1828, age 31.

Also available on Blu-ray

2014 marks a year of celebration recognizing the 150th birthday year of the German late-Romantic orchestral, operatic and lied master composer, Richard Strauss (1864-1949). Arabella (premiered 1933, Dresden) was the last of the half dozen Strauss works to feature a libretto by the great Austrian writer Hugo von Hofmannsthal. This production, from the most recent Salzburg Easter Festival is, after Capriccio, the second of three Richard Strauss operas C Major is releasing in honor of the composer’s birth, life and work. The star-laden cast includes soprano Renèe Fleming, baritone Thomas Hampson, Albert Dohmen (Covent Garden, Wiener Staatsoper, MET) and Gabriela Benacková (Wiener Staatsoper, Covent Garden). With Christian Thielemann and the Staatskapelle Dresden, “the music of Richard Strauss is in the best of hands.” (ORF) “Thielemann gets the best out of the cast...especially Renée Fleming with her “luxurious” soprano …” FAZ

Richard Strauss
ARABELLA

Graf Waldner - Albert Dohmen
Adelaide - Gabriela Be?a?ková
Arabella - Renée Fleming
Zdenka - Hanna-Elisabeth Müller
Mandryka - Thomas Hampson
Matteo - Daniel Behle

Sächsischer Staatsopernchor Dresden
(chorus master: Wolfram Tetzner)
Staatskapelle Dresden
Christian Thielemann, conductor

Florentine Klepper, stage director
Martina Segna, set designer
Anna Sofie Tuma, costume designer
Bernd Purkrabek, lighting designer
Volker Michl, choreographer

Recorded live at Salzburg Easter Festival, 2014

Picture format: NTSC 16:9
Sound format: PCM Stereo / DTS 5.0br> Region code: 0 (worldwide)
Subtitles: German, English, French, Spanish, Chinese, Korean, Japanese
Booklet notes: English, German, French
Running time: 178 mins
No. of DVDs: 1

For his latest solo album in a growing catalog of increasingly critically praised recordings for Signum Classics, Alessio Bax returns with a program of rich and evocative works for piano by Modest Mussorgsky and Alexander Scriabin. The Italian-born, NYC-based pianist Alessio Bax creates “a ravishing listening experience” with his lyrical playing, insightful interpretations, and dazzling facility. “His playing quivers with an almost hypnotic intensity,” says Gramophone magazine, leading to what Dallas Morning News calls “an out-of-body experience.” “…a pianist of refreshing depth.” (International Piano) Alessio Bax plays Beethoven, released in 2014, was a Gramophone Editor’s Choice: “'Even when compared to legendary performances of this sonata (Kempff, Richter, Gilels, Brendel, etc), this performance stands its ground in music to test the technique and intellect of even the greatest pianists.”

Shortlisted for the Gramophone Awards!

Counter-tenor Iestyn Davies and and the viol consort Fretwork present a new recording of works for viol consort and voice drawn from 17th-century Germany, following their critically-praised 2019 album of works by Michael Nyman and Henry Purcell. Featuring performances from organist Silas Wollston and counter-tenor Hugh Cutting, the recital ranges widely over the 17th century – from the early years with three curiously similar sounding friends: Schein, Scheidt and Schütz, to the most significant member of the Bach family before Johann Sebastian, Johann Christoph Bach. From their they travel down North Sea to the foothills of the Alps, including Buxtehude’s predecessor at the Marienkirche in Lübeck – Franz Tunder (whose daughter Buxtehude was to marry) and another north German composer who worked in Copenhagen, Christian Geist. Giovanni Felice Sances is an outlier here: he was born in Rome, but spent the second part of his life working for three successive Emperors in Vienna, where viol playing was still very much in vogue. In 2021, Fretwork celebrates its 35th anniversary. In the past three and a half decades they have explored the core repertory of great English consort music, from Taverner to Purcell, and made classic recordings against which others are judged. In addition to this, Fretwork have become known as pioneers of contemporary music for viols, having commissioned over 40 new works. Iestyn Davies is a British countertenor widely recognised as one of the world’s finest singers celebrated for the beauty and technical dexterity of his voice and intelligent musicianship. Critical recognition of Iestyn’s work can be seen in two Gramophone Awards, a Grammy Award, a RPS Award for Young Singer of the Year, the Critics’ Circle Award and recently an Olivier Award Nomination. He was awarded the MBE in the Queen’s New Year’s Honours List 2017 for services to music.

Classical Music