This new release, recorded at the Helsingborg Concert House in 2019, features Emil Jonasson performing works by Mozart alongside the Helsingborg Symphony Orchestra conducted by Stefan Solyom. Emil Jonason (b. 1983) was born and raised on Värmdö outside Stockholm. He started playing clarinet in the municipal music school at the age of 10 – the instrument which back then had the shortest waiting list. With a father who was an amateur jazz clarinetist, he listened early on to world-famous names such as Benny Goodman, Sidney Bechet, Kenny Davern and especially the notorious Spike Jones and his City Slickers. At the age of 17, he was accepted to the Royal Academy of Music in Stockholm, and has since studied for Hermann Stefánsson, Martin Fröst, Kjell-Inge Stevensson and Yehuda Gilad. He won the Solofoni competition in Helsingborg at the age of 21, performed Nielsen’s clarinet concerto with the Helsingborg Symphony Orchestra, and at his diploma concert in 2008 he played John Corigliano’s clarinet concerto together with the Royal Philharmonic Orchestra in Stockholm.

Così fan tutte is Mozart's third opera to a Da Ponte libretto. It is in opera buffa style and has only six characters, two couples and an elderly philosopher and a trusted maid. In this recording Lesley Garrett sings the part of the maid, Despina, and the celebrated veteran Sir Thomas Allen the philosopher, Don Alfonso. Despite the somewhat cynical storyline this opera contains some of Mozart's most memorable and sublime music. The conductor, Sir Charles Mackerras, has spent many years researching performance practice of the eighteenth and nineteenth centuries and is a noted authority on Mozart's operas. He writes of this recording, 'it is indeed a pleasure having the Orchestra of the Age of Enlightenment lending its expertise in tonal colour, phrasing and rhythmic impulse to Mozart's wonderful score...I have chosen to record this English version of Così fan tutte with the traditional cuts, thus making it closer to a staged performance'. The English translation, by the Rev. Browne, was first used in London at a performance conducted by Sir Charles Villiers Stanford in 1890.

After their prize-winning Mendelssohn symphonies cycle and acclaimed Mozart symphonies album, the NDR Radiophilharmonie and its chief conductor Andrew Manze now present Beethoven’s Fifth and Seventh symphonies. While Beethoven’s Fifth is arguably the most famous symphony in the history of music, the Seventh counts as one of the most rhythmically-advanced pieces of nineteenth-century music; an “apotheosis of dance”, to quote Richard Wagner. Both works display Beethoven’s mastery of and audacious approach to musical form as well as the richness of his melodic invention, and are generally praised as paragons of symphonic composition. Andrew Manze brings his experience in the field of historically informed performance to the polished symphonic sound of the NDR Radiophilharmonie, providing an ambience that fits these early nineteenth-century works like a glove.

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REVIEWS:

The finale of the Seventh goes faster even than the already zippy metronome mark, and is tremendously exciting. It’s also quite graceful in its way, thanks in large part to Manze’s scrupulous attention to dynamic indications and articulation. Indeed, there’s an exceptional lightness of touch in much of this Symphony – sample the spring and sparkle of the dotted rhythms in the first movement’s Vivace or the nimbleness and unexpected delicacy of the third-movement Presto.

The Fifth has similar attributes in terms of clarity, balance and rhythmic verve but is in no way ‘Beethoven light’, as some historically informed performances have been labelled.

– Gramophone

A consummate interpreter, Manze never plays fast and loose with tempos, nor with radically over-emphasised dynamics. The rigour of his period performance practice and expressive consideration brings clarity and freshness, the sound finely judged, full of breadth, never ploughing through the symphony’s vulnerable moments.

– BBC Music Magazine

Listen to the Naxos Podcast to learn more about this release

Dublin-born prodigy John Field enjoyed a wide reputation and great popularity. He was renowned as a soloist for his delicacy of nuance and as a composer for his cultivation of that most poetic of forms, the nocturne. His Piano Concertos were eagerly anticipated and the premiere of the Concerto No. 7 in Paris on Christmas Day 1832 was attended by both Chopin and Liszt. Ingeniously structured in two movements, its Rondo finale evokes the ballroom and Russia in a series of constant contrasts. The Irish Concerto is a reworking of the first movement of Field's Piano Concerto No. 2 in A-Flat Major.

This is Emanuele Cardi's fourth album for Brilliant Classics after recordings which display this talented organist's wide musical sympathies and talents. "He is a great connoisseur of Baroque repertoire," noted the Spanish magazine Codalario of Cardi's Neapolitan album, "and it shows in his ability to give these pieces such native color: this is a remarkable album." On this occasion he has recorded an album which concludes with Bach's most famous yet possibly most spurious work for organ, the Toccata and Fugue in D minor, whose Italianate flourishes surely have their origin in a work for violin, whether or not by Bach himself. In fact an aesthetic conversation between Italy and Germany underlies the character of the album as a whole. Kittel, Krebs and Vogler were pupils of J.S. in Leipzig, and their work featured here is indebted to a greater or lesser extent to the example of their master; whereas his most talented son, C.P.E., struck out boldly in new directions of harmony and voicing, as demonstrated here by a C minor Fantasy and Fugue and the substantial A minor Sonata. The cousin of Pachelbel, Walther, like Bach, made many transcriptions for organ of concertos by Vivaldi and his contemporaries such as Corelli and Torelli. Walther's own concerto is a scintillating piece of dancing counterpoint in that tradition, marking quite a contrast to the chorale-based music of Bach's pupils in the first half of the album.

The last disc in Marangoni's highly acclaimed four single disc survey of Clementi's monumental Gradus ad Parnassum.

In cooperation with the International Mozarteum Foundation belvedere is publishing highlights of the Mozart Week from first beginnings until today. Contemporary history and the history of interpretation become audible on carefully restored sound documents in excellent sound quality. Moreover, the edition will also comprise current recordings from the Mozart Week and concerts throughout the season, using the most up-to-date recording and production techniques. The Mozart Week has taken place annually in Salzburg since 1956. Renowned artists have made their mark on this festival since its beginnings and created a distinct impact as regards interpretation, artistic analysis and musical performance. Concerts of the Mozart Week have been recorded on radio and television since the inauguration of the festival. The treasures in the archives of these concert recordings are now being reissued. The album "Wilhelm Backhaus plays Mozart" contains a recording of the pianist's recital from 1956, the 200th anniversary of Mozart's birth and also the year when the Mozart Week was founded, and recordings from the recital in 1967. It offers an interesting opportunity to compare Backhaus's interpretations and the implicit relationships Mozart's compositions. Wolfgang Schaufler writes: "We have to bear in mind that Backhaus worked closely with Hans Richter who conducted the first performances of some works by Brahms."

Classical Music

Koželuch: Complete Keyboard Sonatas, Vol. 2

This 5-disc set features four outstanding 20th century conductors, William Steinberg (1899-1978), Dimitri Mitropoulos (1896-1960), Igor Markevitch (1912-83) and Gennadi Rozhdestvensky (b. 1931) thrillingly directing several Great Choral Classics of the 19th century, including Beethoven’s Missa Solemnis and Verdi’s Requiem. Sopranos Galina Vishnevskaya and Dame Janet Baker, among other stellar singers, feature prominently in these performances.

Gulda, a brilliant master of rhythm, uncompromising Bach interpreter and jazz musician, is in the best keeping with Chopin. Works by Chopin appear in Gulda’s concert programmes from quite early on. His secret in playing Chopin with so much vitality? It is the inimitable mix of rhythmic strictness, most cantabile tenderness and controlled outbursts of emotion. Although he would become one of 20th-century music’s most capricious rebels — as in love with the free spirits of jazz as with the living monuments of classical — pianist Friedrich Gulda (1930–2000) was born and bred in that most traditional of musical cities, Vienna. He studied theory with the late-Romanticist Joseph Marx at the Vienna Academy of Music, and he won the Geneva International Pianists' Competition at age sixteen, eventually earning a reputation for the rare blend of cogency and freedom within his interpretations of music from Bach, Mozart and Beethoven to Ravel and Debussy. His most notable recordings included both books of Bach’s Well-Tempered Clavier and the complete sonatas and concertos of Beethoven.

The string quartets of Beethoven are among the greatest works of their kind, but he composed other works for quartet which have been neglected. This album is dedicated to these intriguing rarities. Alongside the wild and monumental Grosse Fuge, in many ways the culmination of Beethoven’s achievements in the string quartet genre, this recording further displays his mastery of counterpoint by bringing to light brilliant yet forgotten original versions of his quartets Op. 18, No. 1 and Op. 131, plus six virtually unknown miniatures, including his Preludes and Fugues.

Classical Music

The four releases in the Wiener Symphoniker's first full recorded Beethoven's symphony cycle met with universal acclaim from critics and audiences alike. Now the fifth part, in the form of the Symphony No. 9, is being released. The album is part of the Wiener Symphoniker's Road to Beethoven, a project to prepare for the year 2020, the 250th anniversary of the composer, a towering father-figure for classical music. With this new release, the Wiener Symphoniker are hoping to follow up on the great success of their four albums in the cycle. Both the first release with Symphonies Nos. 1 and 3 and the second with Nos. 4 and 5 have been picked as "album of the month" by various international music magazines. The latest release Nos. 6 and 8 was awarded in France for Trophées Classique Radio. Based on these releases, the British Gramophone magazine nominated the orchestra for "Orchestra of the Year 2018". In particular, the magazine praised Jordan's approach of combining the classic Viennese sound with a more modern, leaner interpretation, original tempos and insights from historically informed performance. For Jordan, the content of the music was paramount. His goal was not to revere Beethoven as a monument but rather to present him in a more "natural, direct and personal" way.

Louis Spohr's reputation as one of Germany's leading violinists was at it's height when he composed his Duets for Two Violins, Op. 39, and while it appears his intention was to finance an Italian concert tour with marketable duets, the publishers complained of their technical difficulty. Spohr defended this aspect by stating his 'desire to give my duets more inner value, more richness of harmony' than is usual in this genre. Indeed, a contemporary critic exclaimed that 'it is no exaggeration to say that the ideas and artistry required for these works would be sufficient... to create three concertos.'

The young Chinese pianist Jingge Yan is known for his intellectual profundity and the expressive vitality of his piano performance. His beautiful and philosophical interpretation of Beethoven's piano works has been greatly praised all over the world. In 2015, Jingge Yan was entitled the first 'Beethoven Ambassador' by the city Bonn and has been since then a dedicated leading musician for the music education for the youth and artistic communication between Europe and China. Since 2016 he has been pursuing an ambitious project: the complete recording of the piano sonatas, of which the third episode is now being released here. Jingge Yan, born in Beijing in 1986, had his first piano lessons at the age of four. From 2007 to 2011 he studied at the Oberlin Conservatory in Ohio (USA) with Prof. Peter Takacs and graduated with a Bachelor's degree for piano and organ. At present he is continuing his studies at the Mozarteum in Salzburg with Prof. Pavel Gililov.

There are no finer period-instrument Haydn symphony performances available than these. Using a nearly 50-piece orchestra (thank God!), McGegan captures the music's full grandeur as well as its intimacy. These players sound like a real orchestra, a group with a corporate identity, an attractive ensemble sonority, superb wind soloists, and, miracle of miracles, period strings that don't sound like a den of dying cats. McGegan's phrasing of the "clock" theme in the eponymous symphony's second movement is a model of stylishness and wit--listen and I dare you not to smile.

His pacing throughout is ideal; allegros are swift but not so much as to blur characterful detail. The minuets are perfect; trumpets and drums cut through the texture without turning crude; tuttis really fill the acoustic space, and the dynamic range is aptly wide. No performance of these works follows Haydn's dynamic markings literally, but McGegan's adjustments flow with the music and invariably come across as natural--check out the finale of the "London" Symphony for some particularly telling examples.

The live sonics are generally very good, particularly given the fact that the recordings were made over a three-year period (2007-9). In Symphony No. 88 close miking makes the sound a touch rough in places, and I could do without the applause at the end of each work, but the audience otherwise is extremely well-behaved and extraneous performance noises are happily quite minimal. We need Haydn recordings like this: warm, humorous, affecting, yet fully cognizant of period scholarship and style. They are far too rare.

– David Hurwitz, ClassicsToday.com



HAYDN Symphonies: No. 104, “London”; No. 88; No. 101, “Clock” • Nicholas McGegan, cond; Philharmonia Baroque O • PHILHARMONIA BAROQUE PBP-02 (75:16) Live: Berkeley, CA 2/10–11/2007, 11/15–16/2008; 9/12–13/2009


Nicholas McGegan and his San Francisco period-instrument ensemble are renowned for their many Handel recordings, but they play music of all eras. This is the first Haydn I’ve heard from them. This 2007 performance of the “London” Symphony is marvelous: The opening Adagio-Allegro brims over with high spirits, highlighted by blazing brass and pounding timpani; the Menuet has grace as well as bounce (McGegan does not play da capo repeats), and the Trio has a delicious lilt, with the merest hint of a luftpause in measure three. The finale is somewhat rough and ready, but its Spiritoso direction is fully realized. Comparisons with other performances do reveal a few shortcomings. As used to be the case in period ensembles, violins are rather dull; those in Richard Hickox’s Collegium Musicum 90 are clean and bright. Hickox’s forces are also better balanced and recorded (by Chandos); McGegan’s woodwinds are often drowned out by screaming trumpets. However, the Hickox has nowhere near the drive and élan of this performance. Nor can McGegan’s strings match the crisp attacks and phenomenal execution of either Colin Davis’s Concertgebouw or Leonard Bernstein’s New York Philharmonic.


The opening Allegro of No. 88 goes beautifully; the movement has no trumpets or timpani. Violins are brighter in 2008, as is the recorded sound. The Largo, however, is a disaster. Bassoons are weak; even when the pair shares the solo line, they are nearly inaudible. Taken even faster (5:30) than the impatient George Szell (5:53), this performance totally misses the movement’s calm beauty. Largos are always difficult; holding the line at a very slow tempo takes enormous concentration and ensemble discipline. Hermann Scherchen almost manages, at a lumbering 10:04; Bernstein’s 7:04 is ideal, in a uniquely lovely rendering. McGegan’s Menuet is back on track; his slow Allegretto works well. The Allegro con spirito finale, again reasonably paced, is also a success—until the coda. In this live performance, McGegan (adrenaline kicking in?) ups the tempo at the last minute, and the final three chords are smudged. Bernstein opts for a ludicrously fast tempo; his virtuoso ensemble pulls it off.


The “Clock” gets a fine performance at mostly consensus tempos; the 2009 sound (they were all at the same site, the First Congregational Church in Berkeley) is more reverberant than before but very well balanced. The Andante is too fast; is McGegan, like Szell, allergic to slow music? The bassoons revive here, but oboe and flute are a bit sour together. Menuet and Finale are magnificent; the wrong-note trumpet joke sounds cleanly, the clarinet-brightened score resounds, and this time the final three chords are crisp.


Good period performances of late Haydn symphonies have been hard to come by. This disc ranks among the best.


FANFARE: James H. North
"...Nicholas McGegan has been honing the San Francisco-based period-instrument Philharmonia Baroque Orchestra for some 25 years. Nor are performances of Haydn’s music in period style anything new. But seldom have his elemental dynamic contrasts sounded so properly in proportion or so mercurial, with the 50 or so players able to play out lustily in fortes and pull back quickly to quieter modes, whether playful, subtle or mysterious...The recordings, made at the First Congregational Church in Berkeley, Calif., from 2007 to 2009, were beautifully produced and engineered by David v. R. Bowles...The release of cumulative excitement at the end of each [symphony] is of a kind that tends to happen only in live circumstances."

- James R. Oestreich, The New York Times [June 24, 2011]

It may or may not be purely coincidental that this third volume in Naxos’s issue of the complete Boccherini Cello Concertos has been released in the year that marks the 200th anniversary of the composer’s death. Whatever the case, this new recording, featuring an entirely different soloist and orchestra from the previous volumes, should not disappoint collectors of the entire cycle. Raphael Wallfisch proves to be a most stylish and sympathetic performer. He has the necessary technical armoury to cope with the fearsomely difficult writing in each concerto, but also delivers a wonderfully expressive melodic line in the slow movements. Throughout Wallfisch plays his own cadenzas which are free from Romantic bluster and empty virtuosity. The partnership with the Northern Chamber Orchestra works very well, though the reverberant and muddy recording does not always serve the music to its best advantage. While the rather heavy bass line seems apposite for movements such as the Maestoso of the C major Concerto, it appears to undermine the lightness and wit of the rondo finale of the well-known B flat Concerto, and makes some of the slow movements sound more lugubrious than one might have expected. Performance: 5 (out of 5), Sound: 5 (out of 5)

-- Erik Levi, BBC Music Magazine

In 2005 Igor Levit and Xiaohan Wang performed, together with the Kolner Kammerorchester under Helmut Müller-Brühl, as outstanding talents of the semi-final of the “International Beethoven Competition for Piano Bonn”. The competition had been initiated in the same year by the then President of the Federal Republic of Germany Horst Kohler. The young pianists, today successful all over the world, performed on that occasion Beethoven's piano concertos nos. 1 and 2. On this recording, Igor Levit performs the First Concerto, and Xiaohan Wang the Second.

Virtuoso violinist Francesca Dego joins forces with legendary conductor and period performance pioneer Sir Roger Norrington for this recording of Mozart’s 3rd and 4th violin concertos – the first time either soloist or conductor have recorded the works. The outstanding musicians of the Royal Scottish National Orchestra provide the accompaniment, with reduced numbers of strings and antiphonal violin seating to replicate the size and seating of the Salzburg court orchestra who gave the premier performances of these works. Norrington’s attention to detail and style is enthusiastically embraced by soloist and orchestra resulting in a beautifully fresh and captivating interpretation of these well-known works. Dego completes the album with the violin sonata Op.1 No.4 with her regular recital partner Francesca Leonardi.

PLEYEL String Quartets: in E?, op. 2/4; in B?, op. 2/5; in D, op. 2/6 ? Ens? Quartet ? NAXOS 8557497 (56:38)


Throughout his long and distinguished career, Ignaz Pleyel (1757?1831) composed a total of 57 string quartets, and by the time he wrote the half-dozen quartets that were engraved in 1784 by Graeffer in Vienna as op. 2, Haydn had already composed his ops. 20 and 33 sets, both of which expanded the scope and breadth of the form. Mozart was familiar with Pleyel?s work and it may have been Pleyel?s op. 2 that prompted Mozart to write his father, ?You will find them [the quartets] worth the trouble. They are very well written and most pleasing to listen to. You will also see at once who [Haydn] was his master. It will be a lucky day for music if later on Pleyel should be able to replace Haydn.?


Indeed, the presence of Haydn is unmistakable in these works, although it is not as if he were guiding Pleyel?s quill, for these quartets are not knock-offs. Rather they are as annotator Allan Badley noted, ?a remarkable achievement for a young composer and it is one of the cruel quirks of fate that works of such vitality and imagination could be forgotten for so long.? I add to Dr. Badley?s remarks that this music impresses immediately by way of its tunefulness, memorability, and tight, but never pedantic structure. It flows beautifully from page to page and movement to movement with the ease of a brook gently making its way down a hillside


The Ens? String Quartet?an American ensemble, by the way?is made up of violinists Maureen Nelson and Tereza Stanislav, violist Robert Brophy, and cellist Richard Belcher. The quartet takes its name from a Japanese zen painting of a circle ?that represents many things, perfection as well as imperfection, the moment of chaos that is creation, the emptiness of the void, the endless circle of life, and the fullness of the spirit.? In 2003, the group won the Concert Artists Guild International Competition and in the same year was awarded top prize at Chamber Music Yellow Springs in Ohio. They have appeared in leading venues across the land including Lincoln Center and the Merkin Concert Hall (New York) and have been the guests of Bill McLaughlin on St. Paul Sunday Morning , heard nationwide on member stations of National Public Radio.


Lacking the first of the two Naxos discs that make up Pleyel?s op. 2, I placed this arrival in my player with no preconceptions as to what I might hear. It didn?t take long for me to determine that I was privy to extraordinary talent. The performances are replete with enthusiasm and momentum and, drawing upon a winning combination of instinct and convention, they evoke not only a distinct personality, but also exhibit poise, coupled with an exceptional sense of vitality and elegance. The energy generated by these young musicians is obvious from the get-go, as is their commitment to the repertoire. Vital and intellectually challenging, these curiosities repay the listener?s interest time after time by way of their memorable and affable nature.


Without doubt, these quartets stand their ground with similar works of Haydn and Mozart, and with advocacy this strong, they will certainly begin to emerge from musical oblivion, taking their long overdue place in the repertoire.


FANFARE: Michael Carter

After the success of their debut disc, ‘Voyages’, Mary Bevan and Joseph Middleton present their second recital disc exploring Lieder in German and Italian by Schubert, Haydn and Wolf. The programme is woven around songs inspired by the ‘muses’ of the day, both mythological and divine.

REVIEW:

Mary Bevan is not just an exceptionally fine soprano. She’s also a superb actress. Those dramatic qualities – and her keen care for diction – shine in her latest album. She is at her best in the sprinkling of Wolf’s Mörike Lieder, including an ecstatic ‘Gebet’. Middleton’s playing is always sensitive, never overwhelming the singer.

– Gramophone

This Blu-ray Disc is only playable on Blu-ray Disc players and not compatible with standard DVD players.

Also available on standard DVD

Mozart’s Singspiel Die Zauberflöte seamlessly alternates seriousness and jollity, and combines philosophical ideas with a fairytale world of wondrous animals and magical musical instruments. Fusing music, technology and stagecraft, this exciting production gives Die Zauberflöte a refreshing treatment both thrilling and simple. Following overwhelming stage success, McBurney’s unique production received five-star reviews in the Dutch press: ‘a feast for the eyes and ears’ (Het Parool) and ‘Delicious!’ (Trouw) ‘‘...inventively staged...’’ (Daily Telegraph)

Running time: 156 minutes
Subtitles: English/German/French/Dutch/Japanese/Korean
Picture Format: 1080i High Definition
Sound format: 2.0LPCM + 5.1(5.0) DTS

ROLLA Violin Concertos: in Bb; in D; in A • Paolo Ghidoni (vn, cond); O da Camera del Conservatorio di Mantova • DYNAMIC 714 (60:30)


Dynamic’s release of violin concertos by Alessandro Rolla makes available three of the 21 works in the genre written by the violinist, teacher, conductor, and composer. Those versed in the lore of Nicolò Paganini will remember Rolla as the teacher to whom Paganini’s father brought the young prodigy, who read one of Rolla’s concertos at sight while waiting for the master to appear. That anecdote alone (not cited in the booklet notes by Mariateresa Dellaborra) should lend these works a special interest for aficionados of the violin. The notes cite the sources from which Marco Pinotti transcribed each of the three concertos for performance. Listeners will notice from the outset that the winds (oboes and horns) that Rolla incorporated in his orchestral textures serve a more important function than merely fluffing up the blanket of orchestral sound. The solo part of the first movement of the Concerto in Bb-Major explores a range and variety of technical devices (though, surprisingly, not double-stops) far in advance of Giovanni Battista Viotti but hardly so daring as those of Paganini. Paolo Ghidoni serves as a bold and technically alert champion, playing the solo part of this concerto with a big-toned ardor, accompanied from some distance behind—despite the recorded sound’s clarity—by the orchestra, which, for its part, occasionally detours into a byway of contrasting affect. The first movement’s cadenza sounds brilliant without making onerous demands on the soloist. The slow movement opens with a theme of near-Mozartean purity, in both the orchestral and solo parts; Ghidoni embellishes it with sweet figuration, much of it in the violin’s higher registers, leading into the final movement, an elegantly lyrical “Rondò.”


The Second Concerto on the program, in D Major, falls into the same three movements, the first opening with an orchestral tutti that includes darker threads among the brighter ones. Once again, the solo part lies in a somewhat higher tessitura than those in Viotti’s and Pierre Rode’s concertos, although the passagework remains similar, at times uncannily reminiscent of particular figural turns in Viotti’s celebrated Concerto No. 22, though the interaction between solo and orchestra has grown more conversational in Rolla’s concertos. The slow movement enshrines passages of melting cantabile and leads to a “Rondò” that again recalls Viotti’s concertos. If the D-Major Concerto recalls Viotti, the final one on the program, in A Major, suggests Wolfgang Amadeus Mozart, especially in the first movement’s orchestral thematic statements, although the violin part still bears traces of Viotti’s influence. Ghidoni sounds particularly rich in the few passages in the lower register that Rolla provides for the soloist in this movement. The simple and straightforward slow movement leads to a “Rondò polonaise,” recalling in its themes rondos by Viotti and Louis Spohr. These concertos should prove interesting in their own right for collectors who delight in exploring the violin literature’s byways but should also ingratiate themselves with general listeners—and they could provide a technical missing link between Viotti and Mozart for violin students. Warmly recommended.


FANFARE: Robert Maxham

Recording of the Month

Ferdinand Ries was Beethoven’s student, close friend and biographer, but until quite recently was very much one of those composers living in the shadow of his Bonn master, rather than as the gifted and prolific composer he in fact was.

American pianist, author and educator Susan Kagan has explored the music of those composers associated with Beethoven and his musical scene. In fact she has researched the music of Archduke Rudolph – Beethoven’s composition student for more than twenty years – for her Ph.D. This was subsequently published by Pendragon Press back in 1988. More recently she has almost single-handedly championed the cause of Ries’s piano music, with five CDs of his Sonatas and Sonatinas on the Naxos label.

Kagan explains: ‘Ries studied piano with Beethoven (both were natives of Bonn, Germany) and was entrusted by him with such work as making transcriptions and piano arrangements, and copying orchestral parts of Beethoven’s new works. Ries moved to England in 1813, married an Englishwoman, and had a successful career touring as a virtuoso concert pianist. At the same time he was composing prodigiously and virtually everything he wrote was published. His thorough knowledge of Beethoven’s music undoubtedly helped shape Ries’s style, but his piano sonatas, from 1809 on, show an adventurous turn toward an expressive keyboard style anticipating that of the first generation of Romantic piano composers – Mendelssohn, Chopin, and Schumann. His gift for melody is like Schubert’s, and he is ever inventive in creating and developing beautiful themes. While his symphonies and concertos are ‘public’ works, intended for large audiences and concert halls, the piano sonatas are his most personally-expressive works, revealing an individual outlook on a genre of music cultivated by that great triumvirate of the Classical period – Haydn, Mozart, and Beethoven.’

Ries also composed eighteen violin sonatas, which were brought out by Bonn music-publisher, Simrock, who also published much of Beethoven’s music. On this latest release from Naxos, Kagan is joined by violinist and fellow-American Eric Grossman, in an exploration of three of Ries’s violin sonatas, two from his op. 8 set, and his op. 19, all world-première recordings. However, unlike the piano sonatas, which have been released as part of a series of volumes, by starting here with a well-chosen selection from the eighteen extant examples, it gives the record company the option of releasing further violin sonatas in the future, or just letting this present single CD speak on behalf of the other fifteen.

It is interesting that the opening movements of the Sonata in F, Op. 8 No. 1, recorded first, and the Sonata in C minor, Op. 8 No. 2 that follows, have more than just a passing acquaintance with movements by Beethoven himself. While the latter first movement is very reminiscent of the corresponding movement from Beethoven’s Piano Sonata in the same key, Op. 10 No. 3, the F major Sonata opens in a pastoral vein, with a main theme which immediately hints at Beethoven’s ‘Spring’ Sonata for violin and piano in the same key. Rather than reinforcing the idea that Ries is merely mimicking his teacher – what follows, in both of Ries’s sonatas, after the initial ‘homage to Ludwig’, really does confirm that the younger composer has an individual voice, and subsequently embarks on quite a different musical journey from his master.

Of the violin sonatas as a whole, Kagan continues: ‘(They) are models of the Viennese Classical sonata style established by Mozart: most are in three movements, with first movements in sonata-allegro form, lyrical slow movements in ternary (ABA) form, and rondo finales. Like Mozart, Ries divides the material to provide equal interest for both instruments.’ The Sonata in F largely adheres to this pattern, though is, in fact, a four-movement work, with a sprightly Scherzo and Trio in the tonic minor (F minor) following the opening ‘Allegro ma non troppo’, before a conventional, though short slow movement, leads to the finale, with its essentially rustic theme. However, this soon contrasts with the central episode, where staccato triplets evolve into a vigorous fugato section (like a fugue, but not fully played-out), and something which, according to Kagan in her compact, yet succinct and informative sleeve-notes, is an unusual event in Ries’s music, where polyphonic writing is ‘generally avoided’.

The characteristic dotted rhythms and robust dynamics of the ‘Allegro con spirito’ that open the Sonata in C minor, imbue it initially with an almost martial character, but this soon turns lyrical, in which vein the ensuing ‘Adagio cantabile’ slow movement continues, and which also then acts as the perfect aperitif to the lightness of the closing rondo, with its staccato texture and preponderance of rapid repeated notes.

The so-named Grande Sonata in F minor, while the shortest of the three works on the CD, is nevertheless conceived in large scale, both with regards structure and content, and with its key, and the dramatic insistence of the opening movement’s main theme, link it in character to Beethoven’s ‘Appassionata’ piano sonata, written some five years earlier. Unlike Beethoven’s work, Ries’s sonata begins with a short and poignant ‘Largo espressivo’ introduction – not unlike the opening of Beethoven’s earlier ‘Pathétique’ sonata, but providing nowhere near as dramatic a lead-in. Ries maintains the feverish mood of the ‘Allegro agitato’ throughout, despite the occasional sections away from the over-arching minor tonality, and the movement’s calmly-understated close. The following slow movement, in a gentle triple measure, and in the relative major key (A flat major), has a simple charm and eloquence that makes it extremely endearing and pleasing on the ear, but with sufficient contrast within, to hold the listener’s attention throughout. The overall playful mood of the final rondo also has more than enough variety, both rhythmically and melodically in its main theme and episodes, to sustain it, with some real fireworks in the central episode. The music has a decidedly Schubertian feel, both thematically, and in Ries’s use of tonality, where more remote keys figure, and there is often a characteristic shift from major to minor and back. Yet again Ries chooses to finish like a lamb, rather than a lion – something Beethoven does in the opening movement of his ‘Appassionata’, but not in the work’s tumultuous and clattering coda to the finale.

Whichever way you look at this latest Ries CD from Naxos, you will surely not be disappointed. The playing, positioning and recording are first-rate, and the three pieces recorded are charming, entertaining and with a good feel for motivic development. Whether they form part of a more extended investigation into the composer’s repertoire for violin and piano, or remain just a one-off sampler, at the bargain price offered, they are simply too good to miss.

– Philip R Buttall, MusicWeb International

This is a program featuring some of Beethoven's greatest piano works, in celebration of the 250th anniversary of his Birth. A native of Ukraine, Sophia Agranovich is an internationally acclaimed soloist, chamber musician, recording artist, and educator. Sophia Agranovich is “a bold, daring pianist in the tradition of the Golden Age Romantics…A tigress of the keyboard” – Fanfare. Her performances are captivating audiences by the “orison of uncommon beauty” – Audiophile, “the extraordinary dramatic urgency”, “the ideal balance she achieves between the intellectual and the emotional” – Fanfare, “interpretation that dares to be different”, “magnificent shading and superior musicianship” – American Record Guide. Her previous releases for Centaur have been met with wide critical acclaim.

Continuing their complete Mozart opera recording cycle, Classical Opera’s latest release shines a light on two early opera works by Mozart. Grabmusik was reported to be the product of a test set by the prince of Salzburg, who: “... not crediting that such masterly compositions were really those of a child, shut him up for a week, during which he was not permitted to see any one, and was left only with music paper, and the words of an oratorio ... During this short time he composed a very capital oratorio, which was most highly approved of upon being performed.” Performed for Holy Week the title can be translated as ‘Cantata on Christ’s Grave’ (literally ‘Grave Music’), and the anonymous text takes the form of a dialogue between a tormented soul, who is desperately lamenting the tragedy of Christ’s death, and an angel. Bastien und Bastienne is the only one of Mozart’s operas to have been written for performance in a private house rather than a theatre. Commissioned at some point in mid-1768 by the renowned and controversial German physician Franz Anton Mesmer, it tells the tale of two young shepherds, Bastien and Bastienne, being reconciled in love the fortune teller and magician Collas after Bastien has briefly been lured away by the attractions of a noble lady from the city. This new recording is uses Mozart’s original 1767 setting of the libretto by F. W. Weiskern & J. H. F. Mu¨ller, the provenance of which was only established in 1980s.

Classical Music

This is volume two of Ingrid Jacoby's complete set of Beethoven Piano Concertos. This strongly projected performance of Beethoven's Concerto No.5 is complemented by an all-Beethoven recital which Jacoby recorded in 1991/92, featuring sets of variations, the Andante favori and the op. 119 Bagatelles.

Glenn Gould maintained a very peculiar relationship, a sort of love and hate, with Beethoven's music, which he performed out of any traditional scheme or system. This CD presents two further Beethoven rarities in live recordings by the Canadian pianist, the first being the Piano Concerto No.1 in C, op. 15, recorded in Turin, Italy on 23 January 1951 when Gould was only nineteen. The Piano Concerto No.3 in c, op. 37, with the Canadian Radio Orchestra under conductor Heinz Unger, was recorded four years later, on 21 February 1955. This very significant addition to the discography of Glenn Gould furthers the image of this eclectic, fascinating and singular artist.