The Czech Philharmonic and Music Director, Semyon Bychkov, continue their acclaimed Mahler cycle with the composer’s First Symphony, one of the most evocative and colourful symphonic debuts in the history of the genre. Mahler once famously said that “a symphony should be like the world, it should encompass everything.” In his First Symphony, he creates just such a world, filled with animal sounds, hunting horns, rural dances, klezmer bands and allusions to his own songs and folk song melodies such as Frère Jacques. These elements all function within a highly subjective, immersive symphonic drama, providing a blueprint for most of his symphonies to come. Semyon Bychkov and the Czech Philharmonic approach the composer’s firstling with their esteemed eye for detail and pacing, matched by their unmistakably Bohemian sound. The Czech Philharmonic is one of the world’s orchestral gems, recognised for its rich tradition with the Czech masters as well as European repertoire. Semyon Bychkov who is internationally renowned for his interpretations of the core repertoire, began his tenure with the Orchestra at the start of the 2018/19 season. Their recording of Mahler’s First Symphony follows Mahler’s Fourth and Fifth Symphonies (both 2022) and the Second Symphony (2023), part of the complete Mahler cycle to be released by Pentatone.

REVIEW:

The orchestra’s magical combination of richness, precision, and nuance is instantly in evidence, with brass and wind pinpoint and the strings characteristically shimmering and sinuous in the opening movement before making merry in Kraftig bewegt, doch nicht zu schnell. The control and perfection of Bychkov’s pacing in the third movement, and the way his forces combine in Sturmisch Bewegt with such attack one minute and astonishing fluidity the next, epitomizes a reading of beauty and depth.

-- The Sunday TImes (UK)

In the early 1960s, four young musicians who had been playing chamber music at Rudolf Serkin’s Marlboro School and Festival in Vermont were encouraged to form a string quartet. In July 1964, the Guarneri Quartet gave its first concert and less than a year later made its first recordings under contract to RCA Victor. For the next 45 years, with only one change of personnel, the Guarneris performed all over the world and amassed a large, wide-ranging, prize-winning discography. Sony Classical now presents, for the first time in a single collection, all the recordings made by the Guarneri Quartet for RCA between 1965 and 2005.

When the announcement came of its retirement at the end of the 2008–09 season, the eminent British critic Rob Cowan wrote a perceptive, affectionate tribute to the Guarneri Quartet in Gramophone, comparing it to the Juilliard Quartet, the other superb ensemble that had dominated the American quartet catalogue for so many years. Using their respective Bartók recordings as an example, he contrasted the “cut-glass precision” of the Juilliard’s early-60s set to the Guarneri’s “volatile, free-spirited, generously expressive and tonally rich” performing style in its RCA cycle from the mid-70s.

That characterization of the Guarneri Quartet’s playing runs through virtually all the reviews garnered in their long recording career, a story that began with the 1966 release of two of Mozart’s late “Prussian” Quartets and an album coupling Dvořák and Smetana. HiFi Stereo Review wrote that “not since the Juilliard String Quartet set the New York music world on its collective ear some 25 years ago has a new chamber group created such a furor as the Guarneri Quartet on the occasion of its New York début in February, 1965. This pair of discs demonstrates eloquently what all the shouting was about, for these players – Arnold Steinhardt, John Dalley, Michael Tree, and David Soyer – blend precision with flexibility of phrasing and rhythm in a way not often encountered in contemporary American string groups. Here, indeed, is the influence of the seed bed from which the quartet stems – the Marlboro of Rudolf Serkin, Alexander Schneider, and Pablo Casals … To the Smetana [‘From My Life’] the Guarneri Quartet brings blazing intensity and fierce rhythmic verve, while the wonderful slow movement of the Dvořák [Op. 105] comes forth from the stereo speakers with an almost orchestral lushness, yet with inner voices flawlessly balanced.”

Other critics concurred in their reviews of these two LPs: “The foursome produces an unfailingly luscious tone, plays with letter-perfect intonation, and displays all sorts of felicitous pinpoint balances and coloristic effects. And how these gentlemen stay together … even in the most wayward of tempo changes. In short, this is ensemble work of a transcendental variety … The Guarneri Quartet is the most gifted group of its kind I have heard in years” (High Fidelity). “This is distinguished Mozart playing indeed. Its technical excellence needs little comment: as with the Dvořák/Smetana record … last month, with this team you take technical mastery for granted as soon as you hear the first phrase, and straightaway it's the intensely musical quality of the playing which strikes you. Theirs is Mozart played with the classical virtues, above all with firm line, poise and sensibility. The surface of the music is polished, but how much the Guarneri Quartet find beneath” (Gramophone).

Arthur Rubinstein was the quartet’s longtime keyboard partner. In 1966, they recorded the Piano Quintets of Schumann and Brahms: “Rubinstein and the Guarneris search out to equally convincing effect the flowingly lyrical aspects of the music, and this yields special rewards in a ravishing slow movement [the Brahms]” (HiFi Stereo Review). Dvořák’s followed in 1971: “The performance is beautifully balanced between the gentleman at the keyboard and the gentlemen with strings, and the sense of give and take comes from the experience of many collaborations” (High Fidelity).

They also recorded the piano quartet literature, beginning in 1967 with “beautiful performances” (High Fidelity) of Brahms. Their reading of Fauré’s Op. 25 in C minor was judged (also by High Fidelity) to be “beautifully played and exquisitely well reproduced. The instrumental lines are wonderfully clear in this highly directional recording … Rubinstein displays his regal style.” And in a disc containing both of Mozart’s piano quartets, “the playing throughout both sides is extremely beautiful … and superbly integrated – at once expressive and elegant, making all of Mozart’s points with clarity, straightforwardness, and the exalted give-and-take that is the life’s breath of real chamber music. The recorded sound, too, is exceptional for its richness, balance, and clarity” (HiFi Stereo Review).

One of many other composers who feature prominently in Sony’s Guarneri collection is Haydn. About the ensemble’s 1977 recording of the two Op.77 quartets, HiFi Stereo Review wrote that “these spirited, attractive performances of Haydn's two greatest string quartets are marked by a sense of real involvement. Articulation is crisp, ensemble is impeccable, and there is an organic flow from the first phrase to the last in each work”, while Gramophone praised their “deeply thoughtful, powerfully paced” 1986 reading of Haydn’s Seven Last Words.

With reinforcement from the Budapest Quartet in 1965, the Guarneris produced an “absolutely stunning performance (HiFi Stereo Review) of Tchaikovsky’s Souvenir de Florence sextet. In 1966, they recorded quartets by Mendelssohn and Grieg (the latter receiving its CD première in this set): “The Guarneri ensemble does itself proud throughout this disc – most notably in the Mendelssohn, in which they display a tonal homogeneity and a warmth of phrasing that are truly striking. It is as though one instrument, not four, were producing the lovely sound that emerges from the speakers. Happily, the RCA recording staff has come up here with a string quartet sonority of the utmost intimacy, yet endowed with just enough room tone to enhance the naturally warm tone of the Guarneris” (HiFi Stereo Review).

But the heart of any string quartet’s repertoire is inevitably the Beethoven cycle, and it is with these works that the Guarneris were most closely associated. They made their complete recording for RCA between 1966 and 1969. Gramophone described the Early Quartets as “elegant and buoyant, with well-chosen tempos, subtle bowing, crisp articulation, telling contrasts between staccato and legato, and a consistent sense of style.” HiFi Stereo Review enumerated the virtues of their Middle Quartets: “(1) excellent intonation; (2) glowing tone; (3) ensemble that is balanced and accurate but always flexible and natural; (4) superb phrasing and line-building; (5) good feeling for a high Beethoven style. These are strong and expressive readings that often achieve great poetic insight and a powerful dynamic impulse.” The HiFi Stereo Review’s critic rhapsodized over their Late Quartets: “If I had to make the choice of a very few records to take with me to a desert island, I’d choose recordings of the last five Beethoven string quartets. Now, with the arrival of this new album (complete with the Grosse Fuge) by the Guarneri Quartet, I’ve got my island package. All I need is the island. The Guarneri is, without a doubt, one of the most extraordinary string quartets before the public these days: the group has an absolutely stunning sense of both soloistic and ensemble color. Indeed, I can’t think of another string quartet that can match them for sheer sensuous appeal.”

SUMMARY:

• With the first release of the Guarneri Quartet’ recording of Mendelssohn’s Quartet No. 3, transferred and edited from the session reels using 24 bit / 192 kHz technology

• 9 quartet recordings for the first time on CD, transferred and mastered from the original analog tapes, 3 quartets remastered, using 24 bit / 192 kHz technology

• Includes collaborations with Arthur Rubinstein, Leonard Rose, Mischa Schneider, Pinchas Zukerman, Walter Trampler, Ida Kavafian, and more

• Original LP sleeves and labels, booklet with full discographical notes

Igor Levit releases a new album as his personal artistic reaction to the October 7 attacks on Israel and the current rise in anti-Semitism worldwide. The album contains his selection of “Songs without Words” by Felix Mendelssohn and concludes with one Prelude by French Romantic composer Charles-Valentin Alkan. Igor Levit and his team have given their time pro-bono and his proceeds will be donated to two German organizations fighting anti-Semitism - OFEK Advice Center for Anti-Semitic Violence and Discrimination and the Kreuzberg Initiative Against Anti-Semitism.

Igor Levit explains, “I made this recording out of a very, very strong inner necessity. I spent the first four or five weeks after the attack on October 7th in a mixture of speechlessness and total paralysis. And at some point, it became clear that I had no other tools than to react as an artist. I have the piano. I have my music. And so, the idea came to me to record these works, the “Songs without Words” and to donate my proceeds from this recording to two wonderful organizations that work in my hometown here in Berlin to help people who experience anti-Semitism and to help young people avoid falling into the clutches of anti-Semitism. It is my artistic reaction, as a person, as a musician, as a Jew, to what I have felt in the last few weeks and months. Or to put it more precisely, it is one of many reactions that came to mind.”

REVIEWS:

Aside from altruistic reasons, one should buy this disc for Levit’s exceptional pianism and fresh insights.

He addresses Mendelssohn’s E minor Op. 102 No. 1’s agitato directive without the usual tendency to push and pull the composer’s basic Andante tempo. On the other hand, he takes the famous E major Op. 19 No. 1’s con moto on faith, yet keeping the long melodic phrases afloat. The E minor Funeral March stands out for Levit’s impeccably balanced chords, plus a sense of split-second timing that takes both notes and rests into equal account.

Levit’s hypnotic, long-lined legato and subtle dynamic gradations justify his measured pacing of three Venetian Gondola Songs, while his linear independence in the A-flat Duetto is akin to Ignaz Friedman’s, albeit by stricter, more modern-day standards. It may be rather cheeky to end a Mendelssohn Songs Without Words recital with Alkan’s Op. 31 No. 8 Prelude, but the music’s inherent sadness and gripping slow-motion trajectory in the piano’s high register makes a profound effect in Levit’s remarkable hands. Hear for yourself.

-- ClassicsToday (Jed Distler, 10/10)

Star pianist Pierre-Laurent Aimard presents Ländler, a collection of delightful dances composed by Franz Schubert. Rustic and cheerful, these miniatures display a fascinating side of Schubert’s musical persona. Their simplicity is deceptive, as these dances are frequently shaken up by Schubert’s harmonic wandering soul, yet remaining lyrical, picturesque, and tuneful. For Aimard, there is a kinship between Schubert’s Ländler and Kurtág’s Játékok, pieces that he often performs side by side, sharing a combination of playfulness and Modernism that also calls the great twentieth-century miniaturist Anton Webern to mind. By avoiding almost any repetition, Aimard evokes a sleepwalker’s journey rather than a series of dances.

A renowned champion of twentieth-century music, Pierre-Laurent Aimard has released multiple acclaimed albums in his exclusive contract with Pentatone, including Messiaen’s Catalogue d’Oiseaux (2018) and Visions de l’Amen (2022), along with Beethoven’s Hammerklavier Sonata & Eroica Variations (2021). He also joined Tamara Stefanovich in Etudes and Frames (2023), with music by Vassos Nicolaou, and recorded Bartók's Piano Concertos with the San Francisco Symphony and Esa-Pekka Salonen (2023).

The present release is a mind-blowing rendition of a contemporary classic by amazing Ukrainian pianist, past winner of Van Cliburn competition. “Recordings usually start to live their own lives after their release. However, this one happened to be very special since it acquired its very meaning long before getting to the publishing phase. Recorded in September 2021, this project survived February 24, 2022 - the date marking for me the end of a fragile balance between humanity and medieval darkness. This recording is dedicated to the people of a free and independent Ukraine, whose unshakable spirit will never be defeated.” (Vadym Kholodenko)

This second and final volume of Chopin’s Mazurkas by Peter Jablonski includes the composer's Mazurkas Nos. 30-51 alongside six posthumous mazurkas. For Chopin, the Mazurkas became a deeply personal, intimate statement of his feelings as an émigré Polish composer living in Paris. From some of his very first compositions to his last, it is the only form that Chopin composed regularly throughout his life. Similarly, Chopin’s Mazurkas have followed Peter Jablonski throughout his entire career as a pianist in nearly every solo recital. This album also includes Chopin’s final composition that was written just few weeks before his death, the Mazurka No. 49 in F minor (1849).