Classical Music

The tradition of adapting other composers’ works was a common convention in the early 18th century; adopting a piece by another composer was regarded as a sign of the highest esteem for fellow composers. As he grew older, Bach practiced this frequently for his own works. He arranged concertos written in Köthen for other ensembles in Leipzig, adapted Weimar cantatas to suit Leipzig conditions, and transformed chamber music into orchestral music (and vice versa). This CD by the Elbipolis Baroque Orchestra of Hamburg features five works by Johann Sebastian Bach, recorded in orchestral arrangements specially created by Jörg Jacobi, as well as the presumed original version of the Overture in B minor (BWV 1067) in a reconstruction by Werner Breig.

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CONCERTANTE • Egils Sefers (cl); Niels Larsen (bn); David Palmquist (hn); Claus Efland, cond; Sinfonietta Riga • CHALLENGE 2621 (69: 13)

BELLOLI Concert for Clarinet, Horn, and Orchestra. F. DANZI Concertino for Clarinet, Bassoon, and Orchestra, op. 47. I. LACHNER Concertino for Horn, Bassoon, and Orchestra, op. 43. JADIN Symphonie concertante for Clarinet, Horn, Bassoon, and Orchestra

You know that favorite phrase of marketers, “Something for everyone.” Well, this disc is very nearly it. For the beginner, and for those whose musical taste remains staunchly conservative, every note on this program will fill the bill. For the experienced and the connoisseur ever in search of something new, I submit that not one reader in 500 knows all four of these composers. (OK, horn players will recognize Belloli. But note, that’s not Franz Lachner in the title; it’s his brother Ignaz.) Most every clarinetist, bassoonist, and horn player will want this disc as a welcome extension of their solo repertory. Lastly, if you are impressed with the whole cult of virtuosity, there is plenty here to engage your interest, and then some. (Wait until you hear the end of the Jadin work!)


The only demographic likely to ignore this disc is the die-hard avant-gardist—and understandably so. Phrases are all four-square, the harmony is totally predictable, the mood is one of infallibly good cheer (there is but a single movement in a minor key; even that lasts barely more than a minute, and is more melancholic than morose). This is music as conservative as can be, all from the late 18th and early 19th centuries by composers who had no interest in pushing the ceiling. No, their aim was solely to please their contemporary listeners and to amaze audiences with displays of virtuosity. This is not to say these works are inferior. Each is full of attractive melodies and appealing instrumental combinations, and none outstays its welcome (the longest is 18 minutes).


This would appear to be a joint Danish-Latvian project. The orchestra and solo clarinetist are Latvian, the conductor and remaining soloists Danish. All three soloists are superb musicians and technical wizards. The horn player in particular knocks off prodigiously difficult passages with the ease of a clarinetist or violinist. The “wow” factor is nearly off the charts. In more than half a century of listening to great horn players, I have never heard anything to top this. Not even Dennis Brain or Barry Tuckwell ever played like David Palmquist.


No two works calls for the same combination of soloists, yet each soloist gets to play in three of the four works. All have gorgeous tones, and play with aplomb, taste, and obvious love for the music. There is not a trace of strain in their playing. A good contender for this year’s Want List.

FANFARE: Robert Markow

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Beethoven's most famous piano trio is dedicated to the Archduke Rudolph, himself an accomplished musician. The importance of Rudolph as a patron can be seen in the number of other prominent works that Beethoven dedicated to him. Beethoven started work on the trio in the second half of 1810, but much of the work was done in March of the next year. Some descriptions give an inkling of how novel a composition this was perceived to be, and a young Ignaz Moscheles reported: "In the case of how many compositions is the word 'new' misapplied! But never in Beethoven's, and least of all in this, which again is full of originality. "A year after the Archduke, Beethoven wrote another piano trio in B-flat major. The autograph dates it 26 June 1812, but besides the similarity in key it is different in every way. It consists of a single movement, was not published during the composer's lifetime, and was written to encourage the nine-year-old Maximiliane Brentano in her piano playing. The Trio in E-flat WoO 38 might have been once intended to be part of op. 1 and although there are no extant sketches to support this, the style of the composition makes a dating of around 1790-1 plausible. The trio contains some surprising twists and turns, particularly in it's lengthy codas. The last piece for piano trio that Beethoven published during his lifetime has one of the longest compositional histories of all of his works. It consists of a long introduction, followed by ten variations on 'Ich bin der Schneider Kakadu' from Wilhelm M�ller's popular opera Die Schwestern von Prag. The first version of this piece was probably composed between 1801 and 1803, but it was substantially revised in 1816, and most likely further revised before publication in 1824. This final trio therefore includes elements from Beethoven's early, middle, and late styles.

Chamber music arrangements of symphonies were very common in the late 18th and early 19th century, and it is probably true that a large proportion of the people who were familiar with the symphonic repertoire at the time were so because of them. The Second Symphony is the only one for which Beethoven himself produced an arrangement, although there is evidence that his student Ferdinand Ries did the bulk of the work, with Beethoven adding the finishing touches. One of the three piano trios published under op. 1, the second announces its pretentions to the symphonic genre earlier than its siblings and has several common points with the Second Symphony that was written ten years later. The Allegretto in E flat, Hess 48, probably was one of the first works for piano trio that Beethoven wrote, dating back to the early 1790s. Its form is a short, but humorous conversation between three different instruments.

Marie and Veronica Kuijken play historical pianofortes for this recording of Mozart four-hand pieces. The instrument dictates, so to speak, what can and cannot be done; as its touch is much lighter than that of a modern piano, it is also much easier to gracefully play the virtuosic fast passages. The Kuijken sisters explore the limits of the pianoforte, both literally and regarding sound volume. A splendid, deeply musical, and refined recording!

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PROKOFIEV Violin Sonatas: No. 2 in D; No. 1 in f. Five Mélodies, op. 35a • Isabelle van Keulen (vn); Ronald Brautigam (pn) • CHALLENGE 72580 (60: 59)


Violinist Isabelle van Keulen and her frequent duo partner, pianist Ronald Brautigam, present Prokofiev’s two violin sonatas in the order of their appearance. The Second Sonata originally appeared as a flute sonata; David Oistrakh, who heard the premiere, asked the composer to arrange it for violin and piano. Prokofiev left the piano part untouched and collaborated with Oistrakh on adapting the flute part to the violin. When once practicing the Sonata, I heard a flute player in the next room playing the flute version. We both emerged into the hallway to argue about the superiority of the one over the other—I championing the flute version, and she the one for violin. Apparently, Oistrakh and Prokofiev did their jobs well. In fact, though, I always thought that Oistrakh played the piece like a flute sonata, while Nathan Milstein played it like a violin sonata (I can’t think of any flute players who play it like a violin sonata).


Van Keulen digs so deeply into the strings in her aggressive statement of the two themes that she erases all vestiges of that flute version. Yet she adds a silvery sheen to some of the passagework that keeps the movement from sounding coarse or brutal. She or Brautigam occasionally releases an intense outburst that reveals the music’s bubbling hot core, however irenic Prokofiev himself thought the music to be overall; and they showcase the Scherzo’s quicksilver sprightliness, although van Keulen draws an almost hoarsely rich tone from the lower registers of her 1734 Guarneri del Gesù in the trio—a timbre that also suggests steamy sultriness in the outer portions of the third movement—to say nothing of its slinky middle section. Van Keulen sounds almost ferocious—as did Milstein—in the Finale’s opening theme. I remember Dmitry Sitkovetsky’s recording as suggesting high resolution but equalized tension (Virgin 7243 5 61887, Fanfare 25:2). The resolution’s all here in van Keulen’s reading, but not the equalized tension—at the very least, the dynamic interplay between the duo partners guarantees that and they sprint with breathtaking élan to the finish.


In the First Sonata, van Keulen deploys a tone of great strength—modern textile armor wrapped around steel—which lends a hard edge to the first movement; and Brautigam delivers the already grim musical message with intimidating intensity, spreading the terror from the “wind in the graveyard” passages throughout the entire movement. The second movement begins with a snarl; and van Keulen’s very strength—a strength that occasionally causes her violinistic voice to crack, principally the first time it’s heard—lends a somewhat different musical meaning to the lyrical second theme from that which many listeners may have come to expect. She adopts a somewhat kinder and gentler manner in the more introspective third movement, but the duo gives the Finale a topsy-turvy sense of hurling jagged fragments.


The program ends with the Five Melodies . Once again a violinist, this time Paul Kochanski, helped Prokofiev arrange the part for violin. In Joseph Szigeti’s reading of these pieces with Carlo Bussotti, they retained a quirkiness that they lack in van Keulen’s and Brautigam’s version; but since van Keulen and Brautigam play passages like the middle of the second with joyous energy, and bring an almost searing intensity to the opening of the third, they can hardly be accused of pruning the pieces emotionally.


For those seeking a view of these works more recent than those of the first performers, van Keulen and Brautigam certainly provide an almost comparable musical understanding combined with, arguably, an equally ample technical command and, not at all arguably, superior recorded sound. Very strongly recommended.


FANFARE: Robert Maxham

Mouton, C.: Concertos a 5 Nos. 1-10

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BEETHOVEN Symphony No. 9 • Jan Willem de Vriend, cond; Annemarie Kremer (sop); Wilke te Brummelstroete (mez); Marcel Reijans (ten); Geert Smits (bar); Consensus Vocalis; Netherlands SO • CHALLENGE CC72532 (SACD: 63:14)

Jan Willem de Vriend completes his survey of the Beethoven symphonies with this exciting new Ninth. His excellent orchestra is a modern ensemble with the addition of period brass (I presume from the sound that natural horns are employed). This cycle is the latest addition to the relatively small number of sets available in SACD multichannel sound; for that reason alone it deserves some attention.

The performance begins with a dramatic, emphatic opening with timpani pounding home the punctuation. Vriend creates excellent tension through the contrasting major and minor modes, the former theme especially poignant. Philip Herreweghe, in the Ninth included in his own compendium of the symphonies, isn’t as intensely dramatic, and his touch is lighter in the percussion. I prefer Vriend, who is closer in spirit to Paavo Järvi (RCA), though Järvi employs a brisker tempo, and his orchestra hasn’t got the punch of Vriend’s full-size outfit.

The exuberant energy of the Scherzo is manifest in this performance, and the timpanist is once again an impressive presence. Repeats are observed, and the tempo seems perfect, the Trio not too fast but still providing contrast with the Scherzo theme. Vriend allows the Adagio to take its time without any sense of drag; Herreweghe is about 30 seconds quicker but doesn’t inject quite the same level of cantabile phrasing as is heard in this new account.

The clamorous opening of the finale is fast and furious; the basses and cellos then have their say—Vriend has his cellos up front to the right, with basses behind, so this episode is especially vivid. Baritone Geert Smits has the timbre of a bass-baritone, and his delivery is heroic but never brusque. The Consensus Vocalis sounds like a medium-size choir, numerous enough to add heft to their contributions. Vriend’s Turkish March allows Marcel Reijans the space to hold forth with spirit (and breath). The double fugue is truly joyful, while the four soloists are exemplary in their subsequent quartet. Vriend guides the symphony to a triumphant close with a presto that is coherent but exhilarating.

The sound is excellent, though some may prefer an aural perspective that is closer. I initially felt that the production was bass-shy, but within this mid-hall perspective, the orchestral balance is actually truer than productions that feature a booming bass sound, and the amount of instrumental detail is also notable.

With this release, Vriend’s entire cycle is enhanced, so that I would now place it on par with that of Herreweghe on PentaTone (though this Challenge set now consists of six discs to the five of Herreweghe). Given the overall excellence of the performances and sound, I can recommend this new Ninth as worthy of even the more fully stocked Beethoven collection.

FANFARE: Christopher Abbot

Schubert / Drigo / Vieuxtemps / Cage / Stravinsky / Apituley

The Schemellis songbook is an all-too-rarely recorded collection of works from the Baroque's greatest composer. Most of the pieces, made by a melody and a figured bass, have been traditionally ascribed to Bach. On this disc - part of Ton Koopman's series - the star is 15-year-old boy soprano Constantine Emanuel.

World premiere recordings of major orchestral works by leading Dutch composer Willem Jeths! Two world-famous conductors - Edo de Waart and Markus Stenz - have been chief advocates of these new pieces. The recording also includes the great virtuoso Erik Bosgraaf playing Jeths' Recorder Concerto, and features the lovely mezzo-soprano Karin Strobos.

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Five hundred years ago no one would have had to argue long about the image and significance of Nuremberg. The city was the intersection of numerous trade routes, housed the imperial regalia, was the germ cell of German humanism. A musical tour through what was then the centre of Europe –Dominique Visse and the Capella della Torre are embarking on no less a venture on this CD. They takes us back to an epoch around 1500, a date always regarded as the heyday of the free imperial city. The musical tour goes on down from the castle to the spacious Marktplatz and further, Visse and his Capella della Torre take the listener by the hand...

"Renaissance Music in Perfection"- RBB Kulturradio "Finally one realises why the shawm was considered a "royal instrument" in Renaissance times." - NDR Kulturradio

"Marvellous the excellent wind players of Capella de la Torre." - Tiroler Tageszeitung

"Capella de la Torre shows on the highest level how instruments can be used in the interpretation of Renaissance Music."- Toccata

"The level of the group can be without any doubt be compared with the ensembles of Jordi Savall."- NDR Kulturradio