Classical Music

Vittorio Ghielmi and his ensembles of violas interpret pieces by Henry Purcell.

Classical Music

Classical Music

Classical Music

IDIGITAL:MARCH SLAVE

Classical Music

Messiaen, O.: Quartet for the End of Time / Bartok, B.: Cont

Brahms, J.: Clarinet Sonatas Nos. 1 and 2 / Schumann, R.: Fa

Classical Music

Classical Music

This is boisterous good fun, Christmas cheer performed with tremendous verve, well calculated to produce the 'medieval sound' that goes with Christmas trees, holly and mistletoe.

...Twenty years earlier [then Sequentia's recordings of this repertoire], Konrad Ruhland's approach is totally different: the melody instruments merely doubling the tune and those accompanying simply reiterating obvious patterns. This, too, would seem perfectly justifiable-especially for a more popular type of repertoire, which is exactly what we have in the Christmas Cantiones from the Moosburg Graduale of 1360.

"Christmas", the Ruhland remastering (though not entirely restricted to that season), was well worth the effort. It is all boisterous good fun. Christmas cheer performed with tremendous verve, well calculated to produce the 'medieval sound' that goes with Christmas trees, holly and mistletoe. It is nearly all in 6/8 and there is a lot of major mode, and it includes such famous items as Resonet in laudibus: you know the sort of popular repertoire. It's just the sort of CD that one needs as background music for the office Christmas drinks party. Sadly, no texts are given, but, luckily for us, the singers do articulate extremely well.

-- Gramophone [12/1997]

This most recent of Klavier’s Wind Band releases is a collection of music by composer Ron Nelson whose wind band compositions span six decades of the 20th and 21st centuries. Included are some of Nelson’s earliest works such as the Mayflower Overture composed in 1958, and his most recent works like Pastorale: Autumn Rune written in 2006. Other pieces included that show the breadth and depth of Nelson’s music are Fanfare for the Kennedy Center (commissioned by the National Symphony Orchestra and Sir Neville Marriner) and a pyrotechinally brilliant work representing the optimism the world felt at the dawn of the 21st century, Fanfare for the New Millenium.

Lawrence Johnson of the Chicago Tribune has said that “Nelson’s music is ingeniously and beautifully crafted…that rarest of animals, contemporary music that is intelligently woven, fresh, audience-friendly and life-enhancing.” Ron Nelson was awarded the Medal of Honor of the John Philip Sousa Foundation in Washington, DC and an honorary doctorate from Oklahoma City University.

The album concludes with a fascinating interview with Ron Nelson.This extensive survey of Nelson’s composing career is brought to life by The Keystone Wind Ensemble under the leadership of Jack Stamp. The Keystone Wind Ensemble is comprised of approximately 50 woodwind, brass, and percussion players. All members are alumni, students, faculty or administrators from Indiana University of Pennsylvania. Fanfare magazine has praised the ensemble by stating that “the group plays with precise intonation and ensemble, able to tackle tricky rhythms and keep dense textures clear.

The String Quartet offers countless possibilities of interplay between the different instruments. If you add a fifth person to the mix, in this case the viola player, Nobuko Imai, with the Auryn Quartet, then it not only gives the whole sound a comparatively orchestral quality but also considerably increases the methods at the composer's disposal. These are just two reasons why Wolfgang Amadeus Mozart's combination of 2 violins, 2 violas and a cello have become so well-loved. The opulent and tragic KV 406 in C minor together with the pure, idealistic KV 515 in C major forms the first standalone album, the famous, sorrowful KV 516 in G minor with the early, exuberant and dramatic KV 174 the second album and the chirruping, mischievous KV 614 in E flat major with the mature and worldly-wise KV 593 in D major the third. In as far as these characterisations say anything at all about the music, it is only about the opening of each piece. Each movement is distinct and different. Every quintet tells its own great story.

The 'Haunted Spot' is one of the most mysterious and worrying pieces of the Forest Scenes op. 82 and seems somewhat unusual as the opening of a Schumann CD. And yet this miniature takes US straight into the middle of Koroliov's Schumann idea, which radically rejects all facile virtuosity and any superficial flow. Koroliov digs deep into the Kreisleriana and is obsessed with detail in his search for rough patches, resistance and the unexpected. The fact that he never loses sight of the greater picture is one of the secrets of this truly great pianist. The Scenes from Childhood sound wonderfully simple, just like the dreamy recollection of an aging poet. After this CD we would like to go back to Schumannn's favourite poet Jean Paul. (Partituren)

The Auryns approach the Quartets, which are some of the most complex Brahms ever wrote, with an entirely open mind. The four musicians playing most expressively, without ever drifting off into that thick, vibrato-dripping sound which serves many a far more famous quartet formation as a surrogate for true passion. The Auryn Quartet's Brahms sounds lean and yet sensual; the tempi are prompt and flexible. A highly successful recording which was also recorded in a first-class way (as we have become used to from the ambitious Tacet Label)"

Recorded in: Moscow

These quintets come from a set of six in a Madrid manuscript with an attribution to Boccherini: they are not in Boccherini’s own catalogue of his works, which doesn’t necessarily exclude their authenticity (he noted in it most of his true chamber music, though not the cello sonatas or the keyboard ones); they sound as if they date from the 1780s, and the presence of an obbligato cello part does of course imply at least some link with him. This is claimed as their world premiere recording.

They are very agreeable and on the whole deftly written pieces, but to my mind don’t quite have the ring of his style: their formal regularity, their sometimes motivic writing (the first movement of the G major work, for example), and the frequent spells of rather routine invention argue against his authorship, as does the three-movement form (he preferred, oddly, two-movement opere piccole or four-movement opere grande), the absence of minuets (a movement type he patently relished) and the presence of three very schematic variation finales (a type he avoided). The compiler of the Boccherini thematic catalogue thought that they had “formulas and turns of style which are characteristic of him”, on reading through the parts, but since he evidently didn’t notice that they were for flute, violin, viola and two cellos (as opposed to flute and string quartet) I am inclined to think the reading-through wasn’t too rigorous.

By Boccherini or not, they make pleasant listening. They don’t demand that special affection for detail or feeling for texture that the most characteristic Boccherini needs, and respond well to these direct, modern performances, neatly phrased, the dialogues gracefully executed. The first cellist, who has several flights into the upper reaches of his instrument, is very assured, and there is also the particular pleasure of Jean-Pierre Rampal’s flute playing, as urbane as ever.

-- Stanley Sadie. Gramophone [8/1998]

By far the finest reading of this little-heard masterpiece, which combines Bruckner-like counterpoint with a vivid sense of drama. Anton Dermota gives a deeply impressive performance.

I have been seeking out broadcasts and recordings of this oratorio ever since, 20 or so years ago, I first began to suspect that it was a masterpiece. Many of those performances were so dreadful that I began to wonder whether I'd been quite wrong about the work but this, by a long way the finest reading of Das Buch mit sieben Siegeln ("The Book with seven seals") that I have ever heard, triumphantly vindicates it.

Franz Schmidt's oratorio combines learned, Bruckner-like contrapuntal artifice (which in a bad performance can sound crabbed and boring) with a vivid sense of drama that at times recalls the naive peasant baroque of some Austrian and South German carved altarpieces (and can in a bad performance sound merely naive), at others the horrific realism of Matthias Grünewald. As a composer himself and a man of deep religious conviction Mitropoulos responded to both these aspects, and such haunting passages as the duet for two survivors of the pestilence and death spread by the horsemen of the Apocalypse, or the tremendous earthquake chorus that follows the breaking of the seventh seal have a powerful sense of drama which is emphasized by Mitropoulos's precise care for contrapuntal and instrumental detail. Yes, in this live performance there are a few untidinesses (the rushing violin passages in the gipsy "Hallelujah", not altogether unexpectedly - they are hideously difficult) but the impact and the devout urgency of the reading are not in the least diminished by them.

In the hugely taxing central role of St John, Dermota is deeply impressive. Although the part is often given to a dramatic tenor it responds to a lyric voice that is capable at times of ringing fullness. Dermota matches Mitropoulos's urgency, and clearly means every word of the role. At one point, where a descending vocal line illustrates the text's reference to the four beasts and the elders falling down before the Lamb, it is obvious that the bottom note of the phrase is not within his range. Instead, quietly and reverently, he speaks it, and the expressive effect of this is characteristic of his whole performance. The other soloists, Gueden and Berry especially, are distinguished, and both chorus and orchestra audibly respond to Mitropoulos's conviction.

The mono recording is a little constricted at times, with patches of acid string tone, but it improves and gains impact as it proceeds. Das Buch mit sieben Siegeln still has the reputation of a piece that the Austrians regard as a classic but which doesn't travel. This recording refutes that view with inspiriting eloquence.

-- Gramophone [3/1996]

Classical Music

"One of the most unlikely of mystics, Benjamin Britten penned his Hymn to the Virgin when he was just sweet 17. In its antiphonal responses between eight-part choir hymning the Virgin’s virtues in English and four-strong semi-chorus echoing their phrases back at them in Latin, it’s a gift to the Choir of Westminster Abbey, singing on its home ground, under Martin Neary. This all-Britten collection surrounds the familiar Ceremony of Carols – surely the most affecting anthology of its kind ever composed – with less familiar items like the Wedding Anthem for Lord Harewood and Marion Stein (now Thorpe) and the Christopher Smart setting Rejoice in the Lamb, plus a guest performance, as it were, of Canticle II: Abraham and Isaac with its other-worldly opening for unison alto and tenor (Michael Chance and Ian Bostridge) as the Voice of God – worth a million dollars, as BB himself confided to Tippett...This disc is one of the best things [Neary and the Westminster Choir] have done."

-- BBC Music Magazine

THE JOY OF CHRISTMAS NEWMAN,

There was a time, perhaps not too long ago, when the holiday season didn't seem quite so loud... Back then, or so we imagine, the holidays were as soothing and calm as a winter landscape after a snowfall... On this recording, harpist Ayako Shinozaki (with occasional help from Kazuko Shinozaki, also on harp) takes us back to the holiday season we wish we could remember, a time of almost contemplative intimacy. The songs and carols presented here, all arranged by Hiroshi Aoshima, run the gamut from the ancient to the modern... elegantly arranged and elegantly performed on the instrument of the angels.
-- Jackson Braider

Antonin Rejcha Guarneri Trio Prague Antonin Rejcha: Piano Trios

The piece reflects the tumultuous post-war musical development and can be designated as one of Foerster’s most progressive compositions. The young and gifted Janáček Trio interprets Foerster’s works with an understanding of the composer’s inner world and complete engagement.