Classical Music

Classical Music

HADJIDAKIS For a Little White Seashell. 6 Popular Pictures. Suite for Piano, “Ionian.” Rhythmology • Danae Kara (pn) • NAXOS 8.570957 (73:01)


Manos Hadjidakis was born in northern Greece in 1925. He was a constant and authoritative presence in the chaotic Greek scene of the latter half of the 20th century, but was also active in the movie business. His song Never on Sunday won an Academy Award in 1960 for the film of the same name. He died in 1994. This CD presents a collection of his solo piano music, spanning a period from 1947 to 1971. Although he took some classes at the Athens Conservatory, he was largely self-taught. Nevertheless, his music is well constructed and compelling. His language is mainly derived from folk sources, primarily dance, with vibrant rhythms and interesting harmonic flashes elevating the material from banality. Juilliard-trained Greek pianist Kara presents the music with delightful energy and color.


FANFARE: Peter Burwasser

The Goldberg Variations' alternation of connection and freedom, fantasy and strict form, was able to lead in a hitherto unknown way to a higher unity, raising them to the rank of a real compendium of the art of variation, strongly influencing Beethoven, Brahms and Reger. Tzimon Barto's international breakthrough came in the mid-1980s, when he appeared at the Vienna Musikverein and the Salzburg Festival at the invitation of Herbert von Karajan. Tzimon Barto has since performed with nearly every major international orchestra. “…a pianist who particularly cares about poetry." (Piano News)

Under the Big Top: Circus Marches

In April 1764 the Mozart family arrived in London on a concert tour arranged by Mozart's father Leopold which had already taken them to cities in Germany and to Paris. They were to stay until summer the following year. Received at the English court.

Lauded as one of the most original and brilliant of Georgian composers, Sulkhan Tsintsadze synthesized 20th-century classical elements with the rhythmic, melodic, harmonic, and modal characteristics of Georgian folk music. In so doing he developed, across a wide spectrum of the repertoire, his own highly personal and approachable idiom. His 24 Preludes for Piano were composed in 1971 and are unmistakably national in character. He gave new life to traditional Georgian folk songs and dances in a masterfully structured cycle that flows with the seamless eloquence of a film. This virtuosic kaleidoscope of contrasting images reveals music that is both extravagant and vibrant. Inga Fiolia studied at the Central Music School of the Tchaikovsky Conservatory in Moscow and the Cologne Musikhochschule with Alexey Nasedkin, Rudolf Kehrer and Vassily Lobanov. She has collaborated with orchestras including the Brussels Philharmonic, the Georgian State Chamber Orchestra and National Philharmonic, and the South Westphalia Philharmonic, and has broadcast on all the major German TV and radio stations.

The Geisterinsel is a masterpiece of poetry and language: nothing more musical could be imagined. This positive judgment pronounced by Goethe in 1798 was seconded by Duke Carl August, the ruling prince in Saxe-Weimar, when he wrote in 1801 that there was "really beautiful music" in this stage work. Both men were championing a singspiel in three acts premiered at the National Theater in Berlin on 6 July 1798 and performed fifty-five more times at this house until 1825. The authors of this successful work were the Gotha-born Friedrich Wilhelm Gotter and Friedrich Hildebrand of Einsiedel and it's composer was the K�nigsberg native Johann Friedrich Reichardt. After a short phase as a brilliant violin virtuoso Reichardt, who was influenced by the philosophy of the Enlightenment, became a pathbreaking "thinking artist" who soon met with recognition in various European countries as a composer and versatile writer active in many fields. With simple means Reichardt's music seeks, in keeping with the particular situation, to do justice to the tension between the "gentle melodies" of delightful spirit voices and the horrors of hell. It is primarily in his ensemble and final scenes that this composer produces a complexity that he had learned from Gluck and Mozart.

Widely recognized as one of the world’s best horn players, Philip Myers also inspired as well as commissioned most of the pieces on this historically significant album with world premieres of horn music by American composer Phillip Ramey, whose works have been performed by such orchestras as the New York Philharmonic and the Los Angeles Philharmonic, and whose Horn Concerto (with Philip Myers as soloist) was commissioned by the New York Philharmonic for their 150th anniversary. This release presents world premieres of works for solo horn, for two horns, and for horn in different combinations with piano and/or violin, stunningly performed by hornists Philip Myers and Howard Wall, whose long-time partnership as New York Philharmonic musicians extends into fantastic chamber music collaboration, also including splendid contributions by pianist Virginia Perry Lamb and violinist Elmira Darvarova (a former Metropolitan Opera concertmaster). Some of the works are newly recorded, while others are only now receiving their premiere recording after first performances over twenty years ago, with the Trio Concertant recorded live, and the Dialogue, and the Sonata-Ballade restored from archival material. All of the works on this release are magnificently performed contributions to the horn repertoire.

Naxos' acclaimed recordings of the music of John Ireland continue with this disc of the three piano trios and music for violin and piano. The tuneful Phantasie Trio of 1908 was one of the first of his works to bring him to public notice.

Classical Music

Trio Anima Mundi, a superb ensemble from Melbourne, Australia, makes it's recording debut on Divine Arts. The four works are exquisite Romantic pieces and includes the world premiere recording of Miriam Hyde's Fantasy Trio.

The term "dress parade" originally referred to a military parade where soldiers marched in formal uniforms and often carried their weapons. Dress parades are now so uncommon that the term has fallen out of use, and even out of most dictionaries, but in a very real way the United States Air Force Band continues this wonderful tradition. The Band has traded the instruments of battle and has replaced them with musical instruments of patriotism and goodwill. On Dress Parade captures the sound and feeling of the forgotten dress parade. This recording features compositions of renowned march composers Chambers, Goldman and Sousa, while simultaneously exploring the works of many lesser-known march composers whose legacies would have been lost had these musical treasures not been recorded.

Ferdinand Ries’s life and work are inextricably intertwined with those of his friend and teacher Beethoven, and both Cello Sonatas, Op. 20 and 21 were dedicated to cellist Bernhard Romberg, who performed regularly with Beethoven. Ries exploits Romberg’s extraordinary sound quality in the lower register of the cello in music that resonates with references to colleagues such as Haydn and Hummel. Ries’s final Cello Sonata, Op. 125, completes a triptych that richly deserves its place in the cello repertoire. This release joins an ongoing program of releases of music by neglected composer Ferdinand Ries. This has included an edition of his complete piano sonatas and sonatinas played by Susan Kagan, to whom “classical music lovers owe a debt of gratitude for rescuing these attractive keyboard creations from the undeserved obscurity that they’ve been languishing in for the past two centuries or so.” (Halesowen News) Acclaimed cellist Martin Rummel has recorded widely for labels including Paladino Music and Capriccio. His recordings for Naxos include works for cello and piano by Joseph Merk and Reinhold Gliere. Recordings by pianist Stefan Stroissnig include Beethoven’s Second and Fourth Piano Concertos with the RSO Wien conducted by Heinrich Schiff on the Gramola Records label, and his recording of the Four Impromptus Op. 90 by Franz Schubert and the Sonata in B minor by Franz Liszt was awarded the ‘Pasticcio Prize’ by Austrian Radio.

Classical Music

This programme brings together aesthetic and musical elements of East and West. Zhou Long captures the essence of the Chinese plucked ch'in and Cambodian aesthetics are preserved in Chinary Ung's expressive Spiral III. Tan Dun's Eight Colors combines the exotic timbres of Peking Opera with Second Viennese School tonalities. Gao Ping's Bright Light and Cloud Shadows has been admired for it's 'long-breathed brush strokes' (Washington Post). Taking it's inspiration from James Joyce's Finnegan's Wake Toru Takemitsu's beautifully crafted a Way a Lone evokes a shimmering sound world.

PROKOFIEV Piano Sonatas: Nos. 1–5 • Alexandra Silocea (pn) • AVIE 2183 (65:16)


As with Beethoven, one can with the revisions he made to the Fifth Sonata follow Prokofiev’s development almost from the beginning of his career to the end of it. Though a handful of the nine sonatas became popular with audiences and performers right from the beginning, others fell into the cracks of history shortly after their inception. Many of these sonatas became popular not only with Soviet pianists of the era, but musicians worldwide—Richter, Gilels, Horowitz, Gould, Cliburn, Argerich, François, to name just a few. In choosing to record the complete sonatas for her debut recording (of which the present release is just the first volume), Alexandra Silocea pits herself against some of the greatest pianists of the last century. Even in considering just the lesser-known sonatas, she has stiff competition from both Frederic Chiu and Anne-Marie McDermott, who have both recorded excellent complete cycles of these works. So the question remains, how does this young pianist, now in her mid-20s, fare? Remarkably well, actually. She possesses both the maturity to handle the subtleties of this music along with the requisite mechanical skill to handle the technical hurdles that Prokofiev throws at the pianist. She might not have the kind of fiery temperament that Gilels and Weissenberg bring to the Third Sonata’s climaxes, but the assured way she handles the dramatic alternation from the percussive opening to the more lyrical semplice e dolce theme is masterly. Her quirky way with the Second Sonata’s scherzo movement can stand at the top of the list for great performances, while her romantic yet never over-sentimentalized way with the First Sonata’s obvious debt to Rachmaninoff imbues the movement with a sound all of its own—one that Prokofiev was soon to abandon. Will this perhaps lead to the First Sonata being performed more in public? One can only hope so. Her ghostly, almost pale sound is equally perfect for the Più mosso section of the Second Sonata’s first movement. Silocea may possess a thin sound in general, but she has a beautiful one in regards to her melodic line, and has the ability to maintain a long line over a large span of time. Her crescendos and diminuendos always lend the pieces a feeling of momentum, which is especially important in these often forward-propelled movements. How will Silocea fare in the later sonatas? Only time will tell. But if she can manage to bring the same technical assuredness and musical sensibilities to these works, then we could be looking at not only an auspicious debut, but a very fine overall cycle of Prokofiev’s sonatas. I for one am looking forward to the second installment—in other words, highly recommended.


FANFARE: Scott Noriega

This is a beautiful selection of Sviridov’s choral music.

Georgy Sviridov’s Canticles and Prayers is considered by many as one of the most important works in Russian sacred music. In this new recording the Latvian Radio Choir under Sigvards Klava offers impressive renditions of music from this collection by the Russian master. Sviridov, a pupil of Shostakovich, began writing religious works in 1969. Since then these works have come to form an important part of his oeuvre. In the 1980s Sviridov had several projects to write a liturgy or a mass. In the end, the sketches of his sacred music came to form a cycle titled Canticles and Prayers. The work was created at a turning point in the history of Russia, the perestroika years that ended in the collapse of the Soviet state. The composer was keenly affected by the events of those years, building a monument to his era. The main body of Canticles and Prayers was assembled between 1988 and 1992. In September 1997, Sviridov selected the versions he thought best, approving the final order for the first three parts and making the final edits to the score. This work remained incomplete at the time of his death in 1998. Canticles and Prayers was thus Sviridov’s last work. The recording also includes the chorus The Red Easter based on a cycle of Easter hymns. Previous releases of the Latvian Radio Choir on Ondine have been highly successful. For instance, the recording of Rachmaninov’s All-Night Vigil was chosen as the Record of the Month, Editor’s Choice and received a nomination in the Gramophone Awards in 2013. Also, their more recent releases of choral works by Valentin Silvestrov and Eriks Esenvalds received Gramophone Editor’s Choice.

REVIEW:

This is a beautiful selection of Sviridov’s choral music. There is a subtlety to phrasing of the Latvian Radio Choir’s performance of the Trisagion (track 2, ‘Holy God’), for example, that often eludes Russian and Ukrainian choirs. And this serves them well too in the remarkable Having beheld a strange nativity, especially in the last movement, with its ‘increasing’ alleluias, and their mastery of dynamics means that they can bring it down to the quietest of pianissimos in nanoseconds.

The cycle on texts from the Old Testament is less familiar but has similarly outstanding moments—the second, ‘Sprinkle me with hyssop’, is particularly memorable in its alternation of male and female and choral groups—and in fact strikes me as one of the most likely works on this disc to enter the repertoire of Western choral ensembles. ‘Taynaya vechera’ might also do so, but here I come to my most serious reservation regarding this disc, which has nothing to do with the wonderful performances but everything to do with the disastrous translations in the booklet.

Do acquire this disc, listen to the frequently wonderful music and the consistently astounding performances but recycle the booklet.

– Gramophone

On its latest CD the Consortium Classicum presents entertaining Italian serenades by Rossini, Righini, Paisiello, and others. The term “serenade” derives from the Italian word serenata, which designates a musical genre of light, serene and tranquil character but with the potential for brilliance and sparkling wit. They are works of fresh and mirthful character, and Righini’s Serenade for Wind Sextet, here in a world-premier recording, stands out in this department. In contrast to the other sextets on this CD, this work contains demanding passages for the horns, which engage in virtuoso dialogue with the clarinet.

Though Bach’s set of six ‘Sonatas and Partitas’ represents the pinnacle of writing for the solo violin, the Baroque repertoire was rich in compositions for the unaccompanied violin, much of which remains little explored. On this recording Augusta McKay Lodge, hailed as “the real thing, a true virtuoso” (Seen and Heard), explores masters of the genre such as Biber, Locatelli and Pisendel but delves deeper to include the impassioned works of Nicola Matteis, the Franco-Italian warmth of Thomas Baltzar and a series of other long-overshadowed works by their contemporaries.

Composer Michael William Balfe composed 29 operas, and around 250 other pieces. He is best known for his opera The Bohemian Girl. Balfe’s opera Satanella was his 23rd opera, and was premiered at Covent Garden in 1858. The work is a hybrid of classical opera tradition and stand-alone songs. This release is performed by the John Powell Singers and the Victorian Opera Orchestra under the direction of Richard Bonynge.

Review:

Bonynge is unsurpassed in this repertoire; he keeps it zipping buoyantly along, effortlessly supporting his singers and clearly relishing every baleful horn call, rippling harp and languishing cello solo. His cast, too, feels near-ideal. The young Chinese-born tenor Kang Wang is a Rupert of considerable dash, and Sally Silver sings the title-role…with sweetness and sparkle.

– Gramophone

Includes work(s) by various composers.

Granados, E.: Piano Music, Vol. 5 - Escenas Poeticas / Azul

Classical Music