Classical Music

Classical Music

Import Hybrid-SACD pressing.

Classical Music

On the present disc it is the all-Brazilian team of eminent pianist Arnaldo Cohen and the São Paulo Symphony Orchestra conducted by John Neschling who join forces. Arnaldo Cohen is a highly respected Liszt interpreter, as he has shown on a previous BIS release (CD1253), which earned him an Editor's Choice in Gramophone as well as glowing reviews, such as the following in the Chicago Tribune: 'These performances pack a tremendous visceral punch...among the most musically intelligent recordings of these celebrated pieces to grace the catalogue.' The São Paulo SO and Neschling have recently been earning international recognition both after highly successful tours and a number of BIS recordings that among other things have been desribed as 'the most vibrant, colourful, rhythmically vital and virtuosic performances imaginable' (Classics Today.com)

Classical Music

Ronald Brautigam's performance on the previous volume in this series was described in the International Record Review as 'remarkably full-blooded and forceful playing, pushing the instrument to its limits yet always securing a rich and well-rounded tone'. With the present disc, consisting of sonatas from Beethoven's middle period, Brautigam continues his survey of Beethoven's piano music on a new instrument, a copy of a Graf 1819 fortepiano, which corresponds to the greater demands in terms of power and dynamics made by works such as the Waldstein and the Appassionata. Beethoven's middle period began shortly after a personal crisis brought on by the composer's encroaching deafness, and during it he began to push the borders between free expression and strict form to an even greater extent than previously. In their glowing reviews of previous volumes, many critics have commented precisely on Ronald Brautigam's ability to bring out the radical aspects of the works. According to the reviewer in The Times, 'Beethoven the revolutionary comes closer than ever in Brautigam's fiery interpretations', and his colleague in Süddeutsche Zeitung agreed: 'One has almost the impression of being a contemporary of Beethoven's: one of the first, infinitely startled - not to say shocked - witnesses to this music.'

The programme on this first disc in the cycle includes both old favourites - the piano concerto - and less known works. (The Symphony was actually left unperformed for more than 100 years, from 1867 to 1980). Recorded with the new DSD (Direct Stream Digital) technology, these interpretations are available on SACD and in Surround Sound - a first for this the most recorded (?) of piano concertos. The presence of the piano and the weight of the orchestra as well as the sense of spaciousness are truly extraordinary. One gains entirely new insights into just how the piano soloist - Noriko Ogawa - sculpts those famous melodies; and just how dazzlingly spectacular her finger work is in the rapid runs!

Classical Music

Classical Music

Classical Music

Classical Music

Baldr is Jon Leifs' richest and longest single work, and like most of his larger pieces he never heard it performed. Its two acts last about 90 minutes, and fans of this expert at composing musical natural disasters will be delighted to learn that it contains both a hurricane and a volcanic eruption. Subtitled a "choreographic drama", it would make quite an impression on stage, assuming it ever could be staged as the composer intended; but until then we have this superb second recording (the first, by Paul Zukofsky and a talented band of Icelandic students and "ringers", was very good but no match for this fully professional effort).


The story, such as it is, begins with the creation of life itself, and of man. Baldr, one of those typical Norse hero types, is a favorite of Odin, and thus hated by Loki. In part one, Baldr meets and marries his beloved Nanna despite Loki's attempts to thwart their union (he has the hots for Nanna too) by summoning up a hurricane. In part two, Odin demands that all things on earth, both living and dead, swear not to harm Baldr, and they all do except (there's always a catch) for the lowly mistletoe. In "The Throwing Game", the Gods check out the efficacy of Baldr's protection by throwing all manner of deadly objects at him, and Loki naturally gets someone to hurl the mistletoe at Baldr, who promptly falls to the ground and dies. After his cremation, there's a huge volcanic eruption after which Odin and the chorus pronounce a final benediction.


Leifs conceived the work in the mid-1940s in part as a protest against the Nazi appropriation of Norse mythology for political and racial ends (he was living in Germany with his Jewish first wife for much of World War II), and very consciously wished to reclaim these stories in what he saw as their original form. Aside from using the old Icelandic texts for the brief sung passages, in Baldr Leifs perfected his mature musical style based on the irregular rhythms and primitive parallel harmonies of Icelandic folk music. The addition of hammers, rocks, chains, gunshots, and other such noise-making instruments to the percussion section gives his output a hard, brutal, primal quality unmatched in 20th century music, and conductor Kari Kropsu and the Iceland Symphony have a field day (as do BIS' engineers) bringing this richly evocative score to deafening life. Turn it way up: if you don't risk your speakers, it isn't an authentic Leifs experience.
--David Hurwitz, ClassicsToday.com

Milhaud’s La création du Monde used to be quite popular, at least on disc, but it seems to have vanished from the discography recently, at least until now. Christian Lindberg has assembled a varied and interesting program built around Milhaud’s jazz ballet masterpiece, and featuring solo saxophonist Claude Delangle. He’s featured in a splendid performance of Paul Creston’s Concerto for Alto Saxophone and Band (another unfairly neglected work), Roger Boutry’s really charming Divertimento for Alto Saxophone and Winds, John Williams’ rather commercial Catch Me If You Can, and the obligatory Piazzolla arrangement (Escualo).

The Swedish Wind Ensemble by itself stars in Anders Emilsson’s witty and harmonically entertaining Salute the Band, and in the Milhaud, which receives a performance of exceptional virtuosity, but also extreme mellowness. At the opening the sound is simply gorgeous, but as the work proceeds it would have been nice to hear a more “dirty” sound from the ensemble. Today’s players are so technically adept that they can do anything smoothly, but there are times when the music demands a certain edge that’s not generously evident here.

It’s not a huge problem, to be honest, especially when the program is so much fun, and BIS’s engineering is absolutely demonstration quality. In context, the playing is all of a piece, and it’s pretty excellent.

-- David Hurwitz, ClassicsToday.com

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Here’s a colorful, sophisticated program showcasing the marvelous alto saxophonist Claude Delangle, who’s collaborated with Piazzolla, Boulez, Berio, Takemitsu, and Salonen and who has been singled out for praise on MusicWeb International before. His new album with the Swedish Wind Ensemble is consistently ear-catching.
 
The appetizer is a suite of three numbers from John Williams’ film score Catch Me If You Can, one of my favorites of Williams - it avoids cliché and captures the movie’s spirit well. Then it’s on to the title work, Darius Milhaud’s La création du monde. Delangle is absent, but some friends of the players join for the string parts. It’s a delightful, jazzy performance with spirited solos.
 
Roger Boutry’s Divertimento for saxophone and band has a seductive French swagger and incredible songlike slow movement which make its appeal instant. Boutry arranged the piece for this recording; it was originally for sax and strings, and the rescoring includes great touches like muted trumpets in the andante.
 
The introduction to Paul Creston’s concerto makes it sound like the American response to Khachaturian (xylophone!), but the solo saxophonist’s lyrical instincts take over the proceedings, including a great duet with flutes. The finale is bursting with wit; it feels like something I know and love and can’t quite put my finger on.
 
Anders Emilsson’s Salute the Band is the odd piece out, a mosaic of ideas: some pulsate, some clash, some have Elgarian pomp, some are tense, some are grindingly dissonant … and Piazzolla’s Escualo is a wonderful encore.
 
With good sound and BIS’s usual classy presentation - although this is not an SACD hybrid - I find this absurdly easy to welcome. Anyone interested in the saxophone or jazzy, snappy modern repertoire will find much to enjoy. It’s a cosmopolitan, sophisticated album to put on while enjoying a glass of red wine and some witty conversation.
 
-- Brian Reinhart, MusicWeb International

Classical Music