Classical Music

ESSENTIAL: PRICE

IN MY HEART: 17TH & 18TH ITALI

PODLES AND OHLSSON LIVE

Classical Music

Classical Music

Penderecki: Te Deum - Lacrimosa

Classical Music

Shakespeare's works contain some of the most memorable references to music in the English language and have inspired some of the finest music - instrumental, vocal, orchestral and operatic - ever written. On this new Chandos SACD the Phoenix Bach Choir has assembled a deeply satisfying anthology of songs on texts by Shakespeare, set by a variety of composers, to form a richly rewarding programme: a memorable marriage of literature and music.

Classical Music

Classical Music

A most compelling disc.

These choral works by Verdi are overshadowed by his great Requiem Mass and are consequently often overlooked. Maestro Noseda has been doing a first-class job in Manchester from 2002 as principal conductor of the BBC Philharmonic Orchestra. Sadly his final appearance as their chief conductor was on 16 April 2011 in a concert performance of Verdi’s Otello at the Bridgewater Hall. Noseda will become conductor laureate of the BBC Philharmonic.

For these choral scores Noseda has turned to all-Italian forces. The soloists are renowned Milanese soprano Barbara Frittoli and Genoa-born tenor Francesco Meli. The feature work is the Four Sacred Pieces - a score with three or four fine alternative versions in the catalogue but it certainly hasn’t been recorded anywhere near as often as its quality deserves.

Soon after working on The Force of Destiny in 1862 Verdi composed the dramatic cantata the Hymn of the Nations. It was the intended as the Italian entry for the International Exhibition in London in 1862. The score calls for tenor soloist, referred to as ‘The Bard’ in the text, sung by Francesco Meli, a four-part mixed chorus and orchestra. It is a setting of words by Arrigo Boito, the librettist especially noted for Otello and Falstaff. It did not actually feature at the International Exhibition but when performed (with a soprano soloist) in London it was to considerable acclaim. This celebratory work sung with tremendous fervour includes references to France and Italy. In deference to Queen Victoria there is a verse of ‘ God Save the Queen’ at the conclusion.

To mark Rossini’s death in Paris in 1868 Verdi suggested that the composers of Italy should unite in honour of Rossini. A scheme was hatched that each composer would collaborate gratis and contribute part of a Messa per Rossini to be performed once only at Bologna on the first anniversary of Rossini’s death. Initial performance preparations were put in place. However, the collaborative project experienced several difficulties and never came to fruition. Verdi’s contribution was the closing section the Libera me, Domine cast for soprano solo, four-part mixed chorus and orchestra. Verdi later reused the Libera me Domine for his great Requiem Mass ( Manzoni Requiem) with a few alterations necessary from the original to ensure a good fit.

Verdi’s Four Sacred Pieces were actually premièred as three Sacred Pieces in 1898 in Paris. Verdi dropped the Ave Maria from the performance. The Ave Maria was performed as part of the set later that year in Vienna. Its four panels can be summarised as follows:-

i. Ave Maria on an ‘enigmatic scale’ harmonised for four-part mixed chorus a cappella, in Latin
ii. Stabat Mater for four-part mixed chorus and orchestra, in Latin.
iii. Laudi alla Vergine Maria (text taken from Canto XXXIII in Paradiso of Dante’s Divine Comedy) for four-part women’s chorus a cappella, in Italian.
iv. Te Deum for double mixed chorus and orchestra, in Latin.

I have several versions of the Four Sacred Pieces including accounts from the Berlin Philharmonic and the Ernst Senff Chamber Choir/Giulini on Sony, Orchestre Révolutionnaire et Romantique and the Monteverdi Choir/Gardiner on Philips and the Berlin Philharmonic and the Swedish Radio Choir and Stockholm Chamber Choir/Muti on EMI. Most outstanding of all is the version from Carlo Maria Giulini with the Philharmonia Orchestra and Chorus on EMI Classics. Produced by Walter Legge, this was recorded in 1962 at London’s Kingsway Hall. My current copy is the wonderful sounding 2010 reissue on the EMI Classics, Masters series titled Great Classical Recordings. The coupling is Giulini’s justly famous 1963-64 Kingsway Hall account of the Requiem on < EMI Classics 6 31821 2.

The Ave Maria for unaccompanied mixed chorus is a haunting score. Noseda’s Teatro Regio Chorus is attractively toned and sing well. Giulini takes the tempo a little slower than Noseda. I immediately noticed the superior sound from the refined and highly unified Philharmonia Chorus. Giulini’s women’s choir sound remarkably angelic with the men’s choir providing a sturdy foundation.

The substantial Stabat Mater is highly dramatic with Noseda’s Turin forces contributing a sparkling and buoyant performance. Giulini’s Philharmonia chorus is noticeably more powerful with singing of considerable weight together with resounding orchestral accompaniment. Giulini’s climaxes remain quite awe-inspiring - spine-tingling stuff. The glowing string sound from the Philharmonia also takes the ear. Remarkable too is a glorious hushed quality to the Amen.

Probably the most immediately appealing of the set is the lightly textured and captivating Laudi alla Vergine Maria for unaccompanied women’s chorus. Noseda’s Turin choir offers attractive singing and is stirring on occasions. Giulini’s choir with their impeccable unity sounded angelic. Here Giulini takes a slightly quicker pace than Noseda.

For mixed chorus and orchestra the Te Deum is the lengthiest piece and the most complex of the set. It is generally acknowledged as containing the finest writing - best appreciated after several plays. The piece also includes the set’s only part for solo voice. Noseda’s Turin choral forces are in excellent voice sounding particularly reverential. They take great care over the meaning of the text. The Turin brass sound thrilling and I was struck by the gleaming timbre of the strings. For Noseda soprano Barbara Frittoli is suitably pious in her small solo part. A little quicker than Noseda, Giulini’s stunning interpretation feels weightier and has additional vitality with breathtaking climaxes. The orchestral accompaniment from the Philharmonia shines through - especially the brass - to grand effect. Janet Baker can be heard singing serenely towards the conclusion.

The final score on the Chandos release is Mary the Virgin of the Angels, the concluding chorus with Leonora from act II of the opera The Force of Destiny (1861/2). Verdi’s librettist for the opera was Francesco Maria Piave.

Renowned soprano Barbara Frittoli has pleaisng clarity of diction combined with a most glorious tone. The pronounced wobble on her sustained notes may prove a distraction for some. In the Libera me Domine from the Mass for Rossini Frittoli remembers appropriately that she is not singing in a Verdi opera and is suitably reverential. I was highly impressed with Francesco Meli, a clear-toned tenor with a top register that reminded me a little of Pavarotti. Meli’s voice is sufficiently powerful to soar over the chorus in the Hymn of the Nations.

The Chorus of Teatro Regio of Torino is in impeccable form: heartfelt, reverential and decisive. I found them especially rousing in the Hymn of the Nations and tenderly devout in the Stabat Mater and Laudi alla Vergine Maria. With notable unanimity and potency the Teatro Regio Orchestra respond with conviction to Maestro Noseda’s thoughtful promptings.

The Chandos presentation is to the high standard that we have all come to expect. I was impressed by the quality of the booklet notes which included a fine essay and full texts with English translation. The sound quality is reasonably clear, however, I was a touch uncomfortable with the brightness of some of the forte passages. This is a compelling disc and reminds us again that every Noseda disc is worthy of investigation.

-- Michael Cookson, MusicWeb International

The Beauty Stone is a neglected gem among the works of Arthur Sullivan, better known for his famous collaboration with W.S Gilbert. In this premiere commercial recording, featuring some of the finest singers on the stage today, all original music has been restored. This release follows Chandos’ highly regarded recording of Ivanhoe.

Trio Marie-Antoinette: Musik in Versailles

THE CARMEN PROJECT

This seems to me an unusually successful example of a crossover CD, with Denyce Graves applying the sultry mezzo of a Carmen to songs that demand precisely that Latin heat and passion. Piazzolla is the starting point of the collection, in the shape of the heroine’s sensual song from María de Buenos Aires; but the tone for the CD is set by its arranger, Pablo Ziegler. One of Piazzolla’s most faithful disciples, Ziegler is responsible also for the arrangements of songs by another leading 20th-century Argentinian composer, Carlos Guastavino. Though a veteran of the Buenos Aires jazz scene, Ziegler is classically trained, and it is classical textures that are the most striking feature of his instrumentally varied arrangements for four or five musicians.

Perhaps the jazziest number in the whole collection is Villa-Lobos’s Estrella é lua nóva, arranged by the composer’s New York-based fellow Brazilian Eliane Elias. She uses a trio comprising piano, acoustic bass and percussion. For performances of their own works by two Cuban musicians, José María Vitier has a quintet, while Chucho Valdés simply accompanies at the piano.

The original challenge was to synthesise classic, jazz and Latin music, to present graceful melodies in uncluttered arrangements. This has been achieved extraordinarily successfully. Nothing conspires to destroy the atmosphere of relaxed sensuality and eroticism that pervades the whole collection. Piazzolla’s Milonga sin Palabras, performed as a wordless vocalise with piano, bandoneon, bass and flute, is perhaps the most haunting item in an altogether beguiling collection.

-- Andrew Lamb, Gramophone

Le Miroir De Musique is an ensemble specialized in the music of the late middle ages and Renaissance, from the golden age of the troubadours to the humanist movements of the 16th century. The ensemble is based in Basel (CH) and brings together the most prolific of early music performers, many of whom are graduates of the Schola Cantorum Basiliensis. The image of a "Mirror of Music" is borrowed from Jacques de Li�ge's treatise (Speculum Musicae), and reflects our goal of painting a vivid picture of medieval and Renaissance music, in a spirit of fidelity to the original sources. This project was first conceived for the Festtage Alter Musik in Basel in 2013, at the suggestion of Peter Reidemeister. The program was developed in close collaboration between the five musicians and the musicologist Martin Kirnbauer.

Classical Music

Bayreuth in the 1950s was annual summer home to the greatest cast of Wagnerian singers in the opera world, as the numerous and thankfully recorded performances from that house in that decade reveal. This 1957 performance of Wagner’s Die Meistersinger von Nürnberg has as its female lead Elisabeth Grümmer in the role of Eva, whom some argue was the character’s finest interpreter. Conducted by the fine French Wagnerian André Cluytens, other cast members include Gustav Neidlinger and Joseph Greindl. Complete on 4CDs; 24bit/96kHz re-mastered.

Classical Music

From its 1742 premiere, Handel's oratorio "Messiah" has continued to be an audience favorite and for many, the initial portal into the world of Classical choral music. Portraying the life of the "anointed one" (the literal meaning of the Hebrew word 'Messiah'), from the Annunciation and his birth to his death on the cross and revelation, and including the famous 'Hallelujah Chorus.' , “Messiah” continues to draw rapturous reception when performed live. Featuring vocalists Julia Doyle, Lawrence Zazzo, Steve Davislim and Neal Davies performing in the original English-language version, along with the Chor des Bayerischen Rundfunks under the direction of Peter Dijkstra, and accompanied by the whimsically named B'Rock, the Belgian Baroque Orchestra Ghent, working from the original and historically informed scoring, this live recording manages to add to the canon of the “Messiah”.

The recording of "Casa Guidi" on this album won the 2004 Grammy Award for Best Classical Contemporary Composition. This selection is a HDCD (High Definition Compatible Digital) recording.

" . . .Argento, who has extensive experience writing opera, is a master of scene setting and grateful writing for the voice. He is also a great orchestrator and like his obvious mentor here, Strauss, leaves nothing to be desired in his touching and flawless expressions of these warm and intimate texts. If you love Strauss opera and want it in English with a little Carlisle Floyd thrown in, you will want this, especially in this gleaming performance with Ms Von Stade at her peak and this wonderful orchestra captured in radiant sound . . ."

" . . . Argento's Capriccio for clarinet and orchestra (1985) takes the titles of its three movements from piano pieces from Rossini's Sins of My Old Age . . . this is a charming, classically sculpted concerto filled with diverting melody, absorbing argument and congenial civilization. This major contribution to the clarinet repertoire is given a performance that will set the standard for years to come."

" . . . [an] essential release, which offers a compelling portrait of one of our most persuasive American romantics."

- GIMBEL, American Record Guide, Jan/Feb 2004 issue

Featuring Gluck Arias from Alceste, Wagner Arias from Tannhauser, Beethoven Fidelio Act 1, Britten, Menotti, Handel (sung in English).

RUSSIAN DUETS

Classical Music