Time, place and mood are explored in this unusual programme that reveals the inventive curiosity of the Arabella Quartet, lauded by the Boston Musical Intelligencer for its "freedom, drive, and risk-taking". The geographical span is wide, from Spain to Russia, and traditional staples by Schubert sit alongside meditative statements on human themes by Puccini, Turina, Webern and Nielsen. Shostakovich's Two Pieces for String Quartet were rediscovered in the 1980s and broaden the expressive range of this fascinating disc.

Having celebrated its fiftieth anniversary in 2019, it is perhaps remarkable that the Fitzwilliam String Quartet has not already recorded this towering pinnacle of Western music repertoire: Schubert’s String Quartet in G major, D. 887. This revelatory recording on period instruments proves it was well worth the wait! The work’s idiomatic grandeur and overall complexity coupled with its everchanging tonalities and otherworldly atmosphere call for the sort of stamina that is the privilege of a limited few. The Fitzwilliams rise admirably to the challenge, demonstrating the characteristic expertise which has defined their recordings over many decades. Inexplicably left unfinished, the C minor ‘Quartettsatz’ rounds off the program. This chiseled, and yet formally unorthodox, single movement is presented here with its Andante second movement completed by leading Schubert scholar Brian Newbould.

The traditional songs of the Christmas holiday are offered here by the Salzedo Harp Duo, their third release on Azica Records. The Salzedo Harp Duo, named after groundbreaking composer Carlos Salzedo, is Jody Guinn and Nancy Lendrim. Jody Guinn has been the principal harpist of the Akron Symphony Orchestra and the Cleveland Opera since 1984. She has been substituting or playing extra harp with the Cleveland Orchestra since 1986. Guinn shares her love of the instrument with several private students and is on the harp faculty of colleges across the region. Jody Guinn has been the principal harpist of the Akron Symphony Orchestra and the Cleveland Opera since 1984. She played for the Cleveland Ballet and the Ohio Chamber Orchestra for 16 years while both organizations were in existence in Cleveland. She has been substituting or playing extra harp with the Cleveland Orchestra since 1986 including multiple tours to Europe, New York City’s Carnegie Hall and Washington D.C.’s Kennedy Center.

Parisian, Emma Boynet (1891–1974) studied with Isidor Philipp at the Conservatoire and became an established part of the local music scene in the 1920s and 30s. She was one of the few French pianists to find success in the USA, travelling there for the first time in the company of her former teacher in 1934, and as a result, made several albums for Victor in New York, including a five-disc 78rpm album entitled ‘French Piano Music’. Her career seems to have faltered in the 1950s but not before she made two highly regarded (but now rare) Faure LPs which have become collectors’ items. We are delighted to reissue them here.

REVIEW:

I had never heard of the French pianist Emma Boynet (1891-1974) before this remarkable release came to my attention and hooked me for life. Boynet studied with the legendary Isidor Philipp, with whom she remained associated throughout his long life. During the 1930s and ’40s Boynet made frequent concert and radio appearances in the United States, yet kept a low profile in her final decade. More importantly, she made extraordinary recordings. APR has reissued on two generously filled CDs all of Boynet’s solo 78s, together with the contents of two all-Fauré LPs recorded for Vox in 1950 and 1952.

If Boynet had left us nothing else, the sheer insouciance and effortless mastery of her 1932 Pathé Weber Rondo brillante (sound clip) assures her legendary status, although her sultry Falla Andaluza is nothing to sneeze at. She takes Schubert’s G-flat Impromptu at an appropriately alla breve tempo. True, she dashes through the Rondo finale of Haydn’s two-movement C major sonata like a bat out of hell, yet what staggering control and timing!

Apparently all of the selections in Boynet’s 1938 RCA Victor French Music Anthology were first takes, including an audaciously winged and imaginatively phrased Chabrier Bourrée fantasque that makes everyone else’s sound thick and clumsy. Naturally she plays Philipp’s charming Nocturne and scintillating Feux-follets with total affection and style. Boynet subjects Debussy’s Les sons et les parfums tournent dans l’air du soir from Preludes Book I to capricious tempo shifts, and arpeggiates chords at random; it’s a curious reading that doesn’t convince. However, Boynet and Fauré merge as one.

She understands and internalizes the composer’s textural transparency and intricately wrought counterpoint, while projecting the melodies so that they move over the bar lines. As a result, some listeners may feel that her animation in the Fifth and Sixth Barcarolles borders on impatience, a factor arguably mitigated by the Vox LPs’ dry sonics and less-than resplendent concert grand. On the other hand, her Vox Fourth Nocturne is smoother and more lyrically unfolding than in her earlier 78 rpm version. And Boynet’s spacious, poetic Vox accounts of the great Sixth and Seventh Nocturnes count among the Fauré piano discography’s treasures.

Frédéric Gaussin’s extensive annotations are as scholarly and informative as one could wish, not to mention Mark Obert-Thorn’s world-class transfers. In all, a significant addition to APR’s ongoing French Piano School reissues, and an absolute must for pianophiles.

-- ClassicsToday.com (Jed Distler)

In summer 1987, nine years after he first requested permission to emigrate, the 35-year-old Russian pianist Vladimir Feltsman was finally allowed to leave the Soviet Union. Feltsman, who had studied at the Moscow Conservatory with the legendary Yakov Flier and won first prize at the prestigious Long-Thibaud Competition in Paris at the age of 19, arrived in New York amid a welter of publicity. CBS Masterworks offered him a recording contract, while President Ronald Reagan welcomed him to the White House for a recital that was glowingly reviewed in the New York Times.

When Feltsman made his Carnegie Hall debut two months later, the Times hailed him as “an artist of wide musical interests who on this occasion included three pieces from Messiaen’s Vingt Regards sur l’Enfant Jésusto set off more popular works by Schubert and Schumann … Mr. Feltsman took an aptly spacious and relaxed approach to the first two movements [of Schubert’s A major Sonata D 664)] … He then let loose in the more brilliant Allegro finale with an impressive display of breathtaking scales … In the Messiaen, Mr. Feltsman drew out its great, clashing sonorities and made light of its technical terrors. At the conclusion of Schumann’sSymphonic Etudes, any lingering doubts about Mr. Feltsman’s pianistic strengths or artistic instincts were blown away.”

Interest in Feltsman’s pianism had already been piqued before the pianist set foot in the New World by a performance, released by CBS in 1986, of the Chopin Preludes recorded in Moscow. “Feltsman sweeps through the 24 Preludes with genuine poetic bravura,” wrote the Los Angeles Times. “There is a daring and Romantic fire in the playing which only add to the agony of his plight.”

Now Sony Classical is reissuing that Carnegie debut recital from 1987, a Russian Chopin recording that preceded it and an even earlier Schubert recital, from Paris in 1978, along with all the other Feltsman performances captured by CBS mics before his collaboration with the label ended in 1989. Among them are a live Liszt recital including the B minor Sonata and a live Rachmaninoff coupling of the Third Concerto andRhapsody on a Theme of Paganini with Zubin Mehta and the Israel Philharmonic: “Feltsman’s pianistic control compels admiration. He is a commanding player.” (Gramophone).

He also recorded the First and Third Tchaikovsky concertos with Washington’s National Symphony Orchestra under Mstislav Rostropovich, who, wrote Gramophone’s reviewer, “coaxes out playing of the very highest quality – rich-toned, idiomatic in inflexion, with just the right degree of thrust when required … [Feltsman’s] is a relatively laid back view of the First Concerto – no screaming in the outer movements, no flash-fingered shallowness in the central prestissimo of the slow movement. The big first movement cadenza is wonderfully fluid and continuous, and the transition into the following coda is a dream. There is much sensitive dialogue between piano and orchestra, well captured by the recording … a performance one can learn from, and the Third Concerto goes splendidly.”

Feltsman’s last CBS recording featured the first two Prokofiev Piano Concertos and ten pieces from Romeo and Juliet: “One has only to hear the refinement of colour he produces in ‘Romeo bids Juliet farewell’ … or the clarity and lightness of articulation in the First Concerto to realize that he possesses not only formidable fingers but very considerable artistry … The LSO under Michael Tilson Thomas produce excellent support … Again [in Concerto No. 2] there is splendid pianism from Feltsman and cultured playing from Tilson Thomas and the LSO.”

SET CONTENTS:

DISC 1:
Chopin: Préludes, Op. 28

DISC 2:
Schubert: Fantasy in C Major, Op. 15, D. 760 "Wanderer"    
Schubert: Moments musicaux, Op. 94, D. 780    

DISC 3:
Schubert: Sonata for Piano in A Major, Op. 120, D. 664    
Messiaen: Vingt regards sur L'enfant-Jésus    

DISC 4:
Schumann: Symphonic Études (Variations) in C-Sharp Minor, Op. 13    
Rachmaninoff: Prélude in G-Sharp Minor, Op. 32, No. 12    
Beethoven: 6 Variations on an Original Theme in D Major, Op. 76    

DISC 5:
Rachmaninoff: Piano Concerto No. 3 in D Minor, Op. 30    
Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43    
Conductor: Zubin Mehta
Performer: Israel Philharmonic Orchestra

DISC 6:
Prokofiev: Piano Concerto No. 1 in D-Flat Major, Op. 10    
Prokofiev: Piano Concerto No. 2 in G Minor, Op. 16 (1923 Version)    
Prokofiev: 10 Pieces from Romeo and Juliet, Op. 75: No. 10, Romeo and Juliet before Parting    
Conductor: Michael Tilson Thomas 
Orchestra: London Symphony Orchestra 

DISC 7:
Liszt: Sonata in B Minor
Liszt: Tre Sonetti di Petrarca
Liszt: St. Francis d'Assise: La predication aux oiseaux

DISC 8:
Tchaikovsky: Piano Concerto No. 1 in B-flat minor, Op. 23
Tchaikovsky: Piano Concerto No. 3 in E-flat Major, Op. 75: Allegro brillante
Conductor: Mstislav Rostropovich 
Orchestra: National Symphony Orchestra 

Among Schubert’s compositions are rare and overlooked works for solo piano that reflect staging posts of his short compositional life. As a boy he had studied with Salieri who almost certainly encouraged him to explore contrapuntal techniques in 1812 – the fugues and fugal expositions he wrote are testament to his secure grounding in the form. Schubert’s admiration for Mozart is clear in the Fantasy in C minor, while the substantial Two Scherzi, D. 593 show early mastery. Also included is the Allegro in E major, Schubert’s first, unfinished attempt at a piano sonata. Pianist Wojciech Waleczek recorded Liszt’s Harmonies poétiques etreligieuses, Vol. 53 of the Complete Piano Music series on 8.573773.Gramophone wrote: ‘He is sufficiently technically equipped to allow his imagination full flight. He has a strong dramatic instinct and brings a sense of proportion when Liszt grows discursive. Perhaps most importantly, Waleczek conveys an aura of rapture to this music.’

Sir András Schiff (born 21 December 1953) is a Hungarian-born British classical pianist and conductor, who has received numerous major awards and honors, including the Grammy Award, Gramophone Award, Mozart Medal, and Royal Academy of Music Bach Prize, and was appointed Knight Bachelor in the 2014 Queen's Birthday Honors for services to music. He is one of the most appreciated and distinguished pianists in the world. Magically, he brings life into pieces, makes them breathing and swinging and keeps up almost forgotten ideals of piano playing. He is not only a great pianist, but also a professional whose view is not limited on piano music, but who has wide knowledge of the broad field of macro culture. This enables him to play the piano which always makes sense to his own point of view. This extensive concert recordings for fans and collectors includes Schiff's Interpretation of Bartok's Piano Concertos, Schubert's Piano Trios and Bach's Goldberg Variations among others. András Schiff is particularly appreciated for his Janáček and Schubert interpretations, which are included in this collection. The edition makes rare classical archive footage from the years 1989-2008 available on Blu-ray Disc.

In the late-classical era, an Edinburgh publisher commissioned the most famous composers in continental Europe to orchestrate traditional Scottish folk songs in their original English. A lush sampling of this music is performed here by Makaris, a new early-music super-group headed by soprano Fiona Gillespie. (Olde Focus)