Classical Music

Classical Music

Born on June 29th, 1864 in the small village of Kohlberg in Upper Palatinate, Anton Beer-Walbrunn hails from the same area as the composers Christoph Willibald Gluck and Max Reger. He taught composition, counterpoint, theory of harmony as well as the piano and was acknowledged as a teacher of great popularity. As a composer whose style was greatly influenced by the classic and romantic tradition, but who also took up modern ideas in the music of the turn of the 19th century, he created numerous works for almost all musical genres. Hanns-Friedrich Kaiser dedicates himself to the organ works of the composer. Hanns-Friedrich Kaiser began his musical training as a choirboy during his school days. After graduating he studied organ and church music at the Staatliche Hochschule fur Musik in Munich, completing his studies with honors. At his numerous organ concerts, he has emerged as an outstanding interpreter, especially of Reger organ music.

Classical Music

Classical Music

Classical Music

Classical Music

English born conductor F. Charles Adler was a student of Gustav Mahler and a devoted Bruckner enthusiast. Presented here on this 5 CD Music & Arts release are the fabled SPA and Unicorn studio recordings of 1952-56 as well as a live broadcast performance of Anton Bruckner's Symphony No. 6. These works have been expertly restored and re-mastered in 2014 by Aaron Z. Snyder. At least two previously Music & Arts releases devoted to Mr. Adler, one exclusively Mahler, the other given over to both Mahler and Bruckner, have been warmly welcomed back to the catalog, resurrecting the important recordings of an ardent, early supporter of these once controversial, now universally-admired composers.

Classical Music

Classical Music

"People loved him because of his good nature, even if they did not understand his art." Thus wrote Sibylla, Duchess of Württemberg, Froberger's last patron and his "humble forsaken pupil". She places a finger squarely on two fundamental aspects of Froberger's life: his modest and unostentatious character and the extreme subtlety of his music. A pupil of Frescobaldi and exponent of Couperin, Froberger's complete works remained unpublished until 1897 and it is only in the last half-century that more and more keyboard players have started to feel the persuasion of his secret and inward music. The present recording explores some of the music in the earliest of the three surviving Froberger autographs housed in the Austrian National Library, the Libro Secondo of 1649. Colin Tilney is internationally known for his harpsichord, clavichord and fortepiano playing, with many solo recordings on DG (Archive), EMI Electrola, Decca, Hyperion, Dorian, etc. For Music &Arts he earlier recorded Bach's English Suites on an antique Italian harpsichord, the French Suites on clavichord, an album of fugues by Bach and his forerunners, and a Scarlatti disc.

Following critical acclaim for their series of duo recordings for violin and flute on the theme of 'The Art of Elegant Conversation', period instrument group the Elysium Ensemble returns to Resonus with an expanded line-up to present an arresting and vibrant new recording of flute concertos by the Baroque composer Johann Joachim Quantz. With Elysium founders Greg Dikmans (flute) and Lucinda Moon (violin) as soloist and leader, the Ensemble breathe fresh new life into these striking and beautifully crafted works with performances that are at once filled with a compelling spirit and warmth. The Elysium Ensemble is an Early Music group from Australia specializing in music from the 17th- and 18th centuries. It has been acclaimed by critics for it's elegant performances, fine musicianship and authoritative interpretations of music from the Baroque and Classical periods. This special ensemble embodies the concept of elysium (defined in the 17th century as a state of ideal happiness) by bringing together musicians whose awareness of the stylistic demands of the repertoire is combined with a mastery of period instruments. The ensemble's performances are indicative of the freshness and spontaneity which the musicians bring to this collaboration through discussion, rehearsal, experimentation and research.

We pay homage to a conscientious artist who has found a composer and a cause to champion. (Audiophile Audition)

The system of valves that allowed brass instruments to employ all the notes of the chromatic scale was developed between 1810 and 1820. Players of the natural horn, however, were not completely convinced, judging that the valves removed the characteristic timbre of each key and therefore standardized the instrument’s sound. This dispute was particularly intense in France, where virtuoso horn players such as Dauprat and Gallay never ceased to put forward their arguments in favor of the natural horn. This truly titanic struggle is the basis of this recording, with works that lead up to the first pieces to be composed for valve horn. Born in 1956, Claude Maury studied music at the Royal Conservatory of Mons, where he obtained the highest distinctions in modern horn and chamber music. He then perfected his skills with Francis Orval, Vandriessche André, Michel Garcin-Marrou and Hermann Baumann. In 1981 he won the competition for natural horn Gallay in Perpignan and, in 1984, won another international competition for natural horn in Bad Harzburg, Germany. In 1985, he left the Orchestra of Radio Télévision Belge to devote himself almost exclusively to the practice of ancient horns.

MUSIC OF SPAIN

MOZART: COMPLETE VIOLA QUINTET

...Oppitz turns majestic and impassioned..., qualities he carries over to Concerto No. 2, which benefits from his refreshing alacrity and clever balancing of the work's classical and romantic character...

--Victor Carr Jr., ClassicsToday.com
reviewing this the 2nd Concerto, reissued as part of RCA 60388

The Auryn Quartet have been working with TACET for years now. And those of you who are in the know will appreciate what that means:... The challenges for a quartet formation from playing Beethoven's works mean picking up the tensions in the score and hanging on to them. The Auryn Quartet is not only equal to this task: they really seem to gain strength and fun from this field of tension. To be able to play at this level, the musicians constantly have to redefine the boundaries between respect for the other players and healthy self-interest. Playing in a quartet seems to have become a life elixir for the four Auryns: For twenty-three years now they have been rising to greater and greater heights. With the Quartets op. 18 by Beethoven they have definitely reached a peak. We await eagerly the promised continuation of their complete collection of Beethoven's Quartets. (WDR Herzeichen) There is no shortage of great and famous Beethoven Cycles, but there are no performances such as these. For me, this is now the set to beat. (Laurence Vittes)

Classical Music

2010 two CD release. Carlo Grante is one of the most active and accomplished performing and recording artists of his generation. He was recently featured in the widely read monograph Roberto Piana incontra Carlo Grante, first of a series devoted to major musical figures of Italy. His concert performances feature a broad repertoire: recently, under the direction of conductor Fabio Luisi, he performed Franz Schmidt's Concertante Variationen with the MDR Orchestra of Leipzig at the Gewandhaus; Busoni's Concerto Op. 39 with the Orchestra dell'Academia S. Cecilia, Rome, at the Parcomdella Musica and with the Wiener Symphoniker in Vienna; F. Schmidt's Concerto with the Wiener Symphoniker at Vienna's Konzerthaus; Isabel Mundry's Panorama Ciego piano concerto with the Dresden Staatskapelle at the Semperoper. He has been recording the complete solo piano works of Godowsky for Music & Arts and recently began recording a complete Scarlatti cycle.

TOSCANINI COLLECTION: BEETHOVE

Classical Music

ERNST Introduction and Fantasy on Le Quattour Favori by F. Halévy , Op. 6. Élégie , Op. 10. Introduction, Variations, and Finale on a Waltz by Charles Shunke and Heinrich Wilhelm Ernst, Op. 26. Hungarian Airs, Op. 22. HELLER and ERNST Pensées fugitives , 7-12. OSBORNE and ERNST Souvenirs of La Juive • Sherban Lupu (vn); Ian Hobson (pn) • TOCCATA 0163 (80:55)


Toccata’s series, Heinrich Wilhelm Ernst: Complete Music , continues with its third volume, comprising two sets of variations, the once famous but now at least familiar Élégie , the second half of Pensées fugitives (the first half having appeared in the series’s first volume), an opera fantasy, and the formidable Airs hongrois variés (here with a cadenza by Arthur Hartmann), all played, once again, by violinist Sherban Lupu and pianist Ian Hobson. The first work in the collection bears the title Introduction et Variations Brillantes en form de Fantaisie pour le violon sur le Quatuor favori de Ludovic de F. Halévy and consists of a set of four variations on a theme from Halévy’s opera Ludovic (according to the notes, Halévy completed the work begun by Ferdinand Hérold). As in the earlier volumes, Lupu produces a slightly acidulous tone, but he wields it suggestively, leaping with great effect into the higher registers in the introduction and playing with the pathos and drama the music, as well as the composer’s reputation, demands. As in the other volumes, Toccata has provided separate tracks for each section—the introduction, theme, variations, and concluding passages—so that reader-listeners can follow the highly detailed—and highly informative—booklet notes by Ernst’s biographer, Mark Rowe. In the variations, Lupu communicates the brilliance and aplomb (listen to his strutting staccato double-stops sprinkled with pizzicatos or the transcendentally difficult finale) that must have made such a strong impression on Ernst’s listeners (he seemed to have known—and been admired by—virtually everybody, including Liszt, with whom he played Beethoven’s “Kreutzer” Sonata, Joachim, Berlioz, Mendelssohn, Robert and Clara Schumann, Paganini, Brahms, Wieniawski, and Charles Hallé, while the perceptive 19th-century violin historian, the Rev. H. R. Haweis, identified him as the greatest of all the violinists he’d heard).


The notes relate the hyper-romantic story of the Élégie sur la mort d’un objet chéri , which Ernst composed upon learning of the death of a young woman with whom he had fallen in love years earlier. Lupu creates the violinistic equivalent of a sob—many times over—in his heartfelt performance of this piece, which includes Louis Spohr’s characteristically chromatic introduction—the practice of including, which Rowe traces to Joachim and August Wilhelmj. Compare this deeply moving reading to the blander but still affecting one by Ingolf Turban (without Spohr’s introduction, on Claves CD 50-9613, Fanfare 20:6), the rich-toned but again less electifying one by Ilya Grubert (with Spohr’s introduction but also with some heavy breathing that doesn’t really help make Ernst’s mournful point—Hyperion 67619, Fanfare 31: 6), and Grubert’s similar reading with orchestra (without Spohr’s introduction but with the weight of the orchestra to give it ballast, which Steven E. Ritter reviewed in Fanfare 30:5 and I reviewed in Fanfare 31:1—Naxos 8.557565), and it becomes clear how much more pathos Lupu wrings from the piece. The notes give the next work the title, Introduction, Variations et Final, Dialogués, & Concertans sur une Valse favorite pour Piano et Violin par Charles Schunke et H. W. Ernst , and the work, with its showy pianism, recalls the Thème Allemande Varié , also by the two in collaboration, which appears in the series’ first volume. In this case, they’ve embellished in four variations a waltz by Johann Strauss, Sr., creating from it a highly entertaining, rhythmically vibrant pastiche that relies for its effect more heavily on pianistic than on violinistic brilliance. Hobson meets the challenge, as does Lupu—handily in both cases (and the violin part’s not at all easy, even if it’s overshadowed by the piano).


The Pensées fugitives include a Rêverie, Un Caprice, Inquiétude, Prière pendant l’orage, Intermezzo , and a Thème original de H. W. Ernst , with a variation and finale. (The identification of Ernst must have been necessary because Ernst published these pieces with pianist Stephen Heller—and though Ernst wasn’t their sole composer, he did give performances of them.) In the Rêverie, Lupu plays some portamentos that will strike many listeners as old-fashioned, but will seem to others the most effective way in which to heighten the expressivity—which they do. The Caprice doesn’t suggest the difficulty of Paganini’s works by the same name, but communicates the joviality and indeterminacy at the title’s root (a leaping goat?). The restless Inquiétude gives way to the moving Prière, to which, according to the notes, a storm serves as the background. Lupu and Hobson capture the prayer’s urgency as effectively as they do the storm’s tumultuousness. The Intermezzo, more playful, nevertheless reflects darker Affekten in its accompaniment, at least in Hobson’s performance. The theme and variations doesn’t empty Ernst’s bag of tricks as do the other works, but the variations seem strongly characterized, in the drawing-room manner, and the duo digs the marrow out of each of these moods and posturings. The booklet notes give the epigraphs printed with these pieces and descriptions of each.


Lupu and Hobson make Souvenirs de l’Opéra La Juive de F. Halevy [sic] pour Piano et Violon Concertants Composés par Osborne et Ernst , another collaboration—this time with George Osborne, according to the notes, an Irish pianist—sound quintessentially operatic, in each of its two sections. The intensity of these movements, and their performances, gives way to the breathtaking swagger of the Hungarian Airs , which Rowe identifies as one of Wieniawski’s favorite warhorses and even cites as an influence (in its rising 10th) on Edward Elgar’s Violin Concerto. Ruggiero Ricci recorded this piece twice, mounting its technical challenges with more breathtaking panache (if greater recklessness) than does Lupu, although Ricci doesn’t capture to a significantly greater degree its ethnic coloring or the affecting lyricism of its second theme, in which, once again, Lupu seems almost to sob. And Hartmann’s brilliant and commanding cadenza fits the work hand-in-glove.


For those who haven’t yet discovered the riches of Toccata’s series, this third volume might be as good a place as any to begin—but surely not to end. There’s a diamond in every sock drawer—almost, in fact, in every sock. The volumes of this series ought to pass directly through the Want List into the Hall of Fame, but it may be good for readers to learn of them more expeditiously among the pages of ordinary reviews. But the usual precautions ought to apply: Not recommended for those with heart problems, and so forth. They’re that exciting.


FANFARE: Robert Maxham

The musical language of the New York-based Arnold Rosner (1945–2013) had its roots in the modal harmony and rhythm of pre-Baroque polyphony and evolved in an array of unusual directions, producing a style that is instantly recognizable and immediately appealing – as can be heard in the three works on this recording. Rosner’s Nocturne suggests the immensity – and the implacable violence – of outer space, whereas his overture Tempus Perfectum has its starting point in Renaissance dance. The monumental Sixth Symphony opens with music of volcanic ferocity and vehemence; the central Adagio then provides an island of troubled calm before the dignified opening of the finale presages a symphonic Allegro of wild, freewheeling energy; only when its immense force is spent does this powerful masterpiece sink to an uneasy close.

REVIEWS:

I first came across Arnold Rosner’s music on a 1990 Harmonia Mundi Modern Masters CD of tonal American 20th Century music, reviewed here and here (in a later reissue), and now available only as a download or second-hand. The work recorded there, the Responses, Hosanna and Fugue, was so evidently influenced by Vaughan Williams’s Tallis Fantasia that I was intrigued, to say the least.

This disc begins with the Nocturne Op.68, in which Rosner sought to suggest the movement of planetary bodies in the vastness of space. He tried to do this by initially evoking a mysterious swirling atmosphere that is occasionally interrupted by violent outbursts. Melodic fragments gradually coalesce into a melody for strings, which is further developed and intensified by the inclusion of the rest of the orchestra. Like many such ‘descriptive’ pieces composed over the last 150 years, one would never guess at the underlying creative stimulus, but that doesn’t make it any less enjoyable.

It is followed by Tempus Perfectum: A Concert Overture. Its archaic title reflects Rosner’s modern adaptation of a medieval form in 98 metre. Rosner was interested in early music and here he uses a type of canzona notable for its markedly rhythmic material and separation into distinct sections. The effect is of triads superimposed on the main theme at various points, and the work, which sounds markedly antique, gradually achieves a much more modern climax on (predominantly) strings and trumpets, before dying away.

The most impressive work on this superlatively recorded and performed CD, is Rosner’s 6th Symphony. Its first movement is one of extreme emotional turbulence, represented by ferociously explosive rather angular music that lasts for its ten-minute duration. I am strongly reminded of the first movement of the Vaughan Williams Fourth Symphony, although Rosner is not quite so dour.

I don’t think there can be much doubt that throughout the Symphony this influence persists, and the Sinfonia Antartica informs the second, slow movement. In fact, I am indelibly reminded of the ‘Landscape’ movement of the RVW work. Having said that, Rosner doesn’t quite manage to conjure up the stupefying power so evident in the Antartica, despite a slightly more colorful orchestral palette and a willingness to use the tam-tam almost to abandon. RVW brings an organ to the shattering climax of his symphony, but an organ is one instrument not employed by Rosner. The movement begins in a hushed atmosphere, with a slightly oriental sounding theme. This is developed towards the emotional centre of the movement where the composer’s use of strings (to emphasize the melody) is gradually superseded by the appearance of woodwind, brass and percussion to great effect.

His gift of writing impactive and indeed, memorable music, is very noticeable throughout the work, but particularly so in this movement and in the last, where RVW in ‘galumphing’ mode makes an appearance early on. A reliance on the cymbals and later, the tam-tam disturbs me a little – this is a trait that is very evident in the works of some contemporary American tonal composers, perhaps influenced, however subconsciously, by film music. Notwithstanding, since I love the sound of cymbals and tam-tam in a sumptuous orchestral panoply, I will remain only very slightly disturbed and revel in the sheer orchestral splendour of the whole thing. The final five minutes or so of the last movement begin with an ethereal woodwind solo, which appears repeatedly, sometimes on the brass, only to be interrupted by cataclysmic eruptions. The movement fades into silence with quiet recollections of earlier themes.

Throughout this CD the recording is truly splendiferous and the playing of the LPO is virtuosic beyond praise. It must be wonderful to hear these pieces performed live by this top-notch orchestra under the baton of a committed conductor, such as we have here in Nick Palmer. The booklet is detailed and informative in both biographical and musical detail. Toccata Classics are to be congratulated and praised for this release, consisting as it does entirely of first recordings. I look forward to others in the series.

-- MusicWeb International (Jim Westhead)

A formidable start to Toccata’s Ernst series.

Unlike Paganini, the Moravian violinist Heinrich Wilhelm Ernst – their careers overlapped, indeed Ernst was something of a musical son – has not garnered a large discography. It’s not surprising. Violinists seem to operate on the principle that if you’re going to essay the works of one wrist-crunching, finger-stretching nineteenth century composer-executant of genius, let it be Paganini. This leaves Ernst in the recorded wilderness, and other than the Last Rose of Summer variations and one or two other pieces – especially those that appeal to the intrepid solo violinist – the bulk of his other works, especially those for violin and piano, have lain relatively discarded.
 
He wasn’t always neglected; and there have been pockets of interest over the years. Indeed, if you go back far enough you’ll find two very early recordings of two pieces in this recital; Jan Rudenyi recorded an abridgement of the Carnaval de Venise variations back in 1905, and Hugo Heermann, an important German violinist, recorded the Second of the Op.8 Nocturnes at around the same time, albeit in an arrangement for violin and orchestra.
 
But of far more significance is that Sherban Lupu himself has already recorded some Ernst with Peter Pettinger for Continuum [CCD1017] – back in 1990 they set down the Adagio sentimentale op.13, Airs hongrois variés Op.22, the Op.17 Polonaise, and the Rondo Papageno, the last of which he reprises here for Toccata Classics. The others will follow in subsequent volumes, of which there are to be six in total, along with new editions of the works in question, edited by Lupu and published by Toccata.
 
Lupu proves a lordly exponent. Ernst was quick off the mark with his Fantasie brillante sur le Prophète – Meyerbeer’s opera had been written the previous year – and Lupu demonstrates a splendid command of both its more static legato moments and its increasingly virtuosic demands. One really needs wrists of velvet steel to encompass the demands placed on them, not least in the broken chord passage – but Lupu keeps the line intact despite all this, even though there is some rough bowing around the three minute mark of the Andantino pastorale section. That is part of Lupu’s fearless approach to these works, and he’s not afraid of a resinous or crunching attack when the occasion calls for it. He’s notably nuanced in the Nocturnes, spinning a noble operatic legato in the E major, the more famous one, and dispatches the cadential passage with sang froid. I admire him and Toccata all the more for not splicing an accidental string touch.
 
The Carnaval de Venise variations is one of his best known pieces, at least to the string fraternity. With left hand pizzicatos, octave leaps, fearsome harmonics and the like, this calls for some superhuman bowing and left hand feats, feats indeed of digital gymnastics. What with this, it’s necessary also to convey something of the sheer wit, gall and theatrical outrageousness of the writing, something Lupu does in spades. Each variation is separately tracked here – in fact Toccata is scrupulous about separate banding, so that these nine pieces generate a total of 43 separate tracks.
 
The Op.13 Morceaux make for a contrasting pair; the first is a scena and there’s the gentle lyricism of the second. For all the fire and brimstone, one must not forget Ernst the charmer. The Thème Allemand Varié is a first recording, and so is the Rondo Allemand – it was co-written with pianist Charles Schunke (1801-1839) - whilst the Carnaval de Venise is heard fully, intact, for the first time here. That’s a particularly notable feature of a series like this, something one could also note of, say, Hungaroton’s Hubay series. We end with a piece Lupu played on that Continuum disc, the Rondo Papageno, another devilish finger-buster, and something of an experimental number, which plays with The Magic Flute figure and displays the violinist’s technique with dramatic flourish.
 
The excellent notes are by Mark Rowe, who has written a biography of the composer, and production values are high. The recorded balance rather favours Lupu over Hobson. Other than that, this is a formidable start to the Ernst series.
 
-- Jonathan Woolf, MusicWeb International