Classical Music

Classical Music

Hermann Max and the Rheinische Kantorei set out on new paths toward the interpretation of Bach’s motet cosmos. The present CD also includes the Motets BWV Anh. 159 because Bach scholarship has come to regard these works, long ascribed to Johann Christian Bach, as compositions by Johann Sebastian Bach as they clearly bear his musical signature.

Classical Music

Classical Music

In his 1979 biography of the composer John Clapham says; "[Dvorák] wrote his Alfred on quasi-Wagnerian lines between 26 May and 19 October 1870, and having completed it he stowed it away, out of sight, realising it was a hopeless failure". Given that this performance - a recording of a live concert - is the world premiere of the complete work in its original German-language form and only the second performance ever - the first was in Czech translation in 1938 - perhaps Clapham can be forgiven for taking a punt as to the quality of this work. Hopeless failure it most singularly is not.

In 1870 Dvorák was some years into his post as viola player in the Provisional Theatre in Prague. Smetana was the principal conductor and was laying the foundations for a Czech national opera. Given his direct involvement with works as diverse as William Tell, Fidelio, Faust and La Traviata it is no surprise that Dvorák should want to try his hand at operatic form. Even today, with only Rusalka of Dvorák's eleven operas in the international repertoire it is easy to forget that he wrote more stage works than the 'father' of Czech opera, Smetana. Alfred was his first operatic essay and the only one he wrote using a German libretto. The reason for this is most probably pragmatic and financial. The libretto by Karl Theodor Körner was already over fifty years old and had the benefits of being both dramatically apt and better still, free for him to use. At the time of its composition Dvorák was somewhat in the thrall of Wagner. This resulted in him using leitmotifs to delineate characters and there is an undoubted Germanic flavour to the work. Indeed, the shadow of Wagner hangs heavy over the work. Not that Dvorák was alone in having such an influence early in his compositional career. It could easily be argued that Strauss' Guntram is even more so. Which does lead me to wonder if Dvorák's 'shelving' of this work was more political - small and large 'p' - expediency than artistic critique. With extended passages of dramatic recitative and a consciously heroic style there is little of the Bohemian character that would become so typical of his greatest works. Aside from the Act I ballet which even though set in southern England is a proto-Slavonic dance, I am not sure anyone listening with an 'innocent ear' would be able to identify the composer.

At the same time there is so much to admire here. The work is well paced; three well balanced acts that do not outstay their welcome. Undoubtedly the characters are rather 'stock' and the work lacks a central villain to introduce any sense of danger but conversely they are considerably less generic than many similar works. A couple of other observations; the eponymous hero Alfred does not appear at all until the second Act and his imperilled betrothed - Alvina - is the only significant solo female role in the work. Dvorák gives the bulk of the duets to Harald and Alvina, The greatest weakness is the sense of dramatic stasis - the work feels more like a series of tableaux - indeed more than once the work reminded me of cantatas such as Elgar's King Olaf or Caractacus rather than opera proper. That said, this is work in progress so it seems unduly harsh - as indeed Dvorák was himself on the work - to consign it to the waste-bin of history.

Which is where this important and valuable world premiere recording comes in. The good news is that it is really very good. The performance was given as part of the International Dvorák Festival in Prague as recently as September 2014. There seem to have been two performances on consecutive days and these discs are the result. The absence of any applause between Acts or at the end of the Overture implies that some rehearsal/patching sessions were involved as well. Very occasionally there is an audible audience cough but nothing to seriously disrupt the performance. Applause is left in at the very end of the work which seems slightly anachronistic. Further good news in that the Arco Diva production team have caught the performers in extremely good sound in the Dvorák Hall of the Rudolfinum. The balance between orchestra, chorus and soloists is very good. Although essentially a static concert performance the voices have been well separated. Certainly the brass particularly of the Prague Radio Symphony Orchestra have been especially well caught; likewise the wind are given an appealing bloom. No surprise, given the bardic nature of several scenes, Dvorák wrote a prominent harp part which is pleasingly audible throughout. As is the Czech Philharmonic Choir Brno. If one was being picky you would have to say that they sound a fraction small to represent a hoard of ravening Vikings but what they lack in number is made up for by a characteristically fine focused and well-balanced tone. There are occasions when the upper strings struggle for absolute unanimity with Dvorák's tricky writing but again nothing to disappoint overly.

Conductor Heiko Mathias Förster paces the work very well. The use of predominantly German-speaking solo singers ensures idiomatic pronunciation of the text too. The only relatively familiar part of the work is the Overture. Dvorák rescued it from oblivion, revised it and renamed it as the Tragic Overture although he never heard that performed either and it was ultimately published as an Op. Posth. In this form it has been recorded on Marco Polo with Libor Pešek conducting the Slovak Philharmonic Orchestra. It is not absolutely clear if the revised Tragic Overture and the original operatic version are essentially identical. Assuming they are, Pešek takes a full two minutes off Förster's interpretation which is probably to the benefit of the work. The Slovak orchestra's playing is just that little bit more incisive too - both of the opening slashing chords played with absolute precision whereas the Prague orchestra live suffer from fractional lack of ensemble. After a lusty opening chorus there are a series of scenes in which the principal Danish protagonists are introduced. Especially impressive is the ringing tenor of Ferdinand von Bothmer as Harald - the invading prince. Dvorák's writing for this tenor role and that of Alvina is both extended and demanding. Petra Froese as Alvina is more tested by the writing and does not sound altogether comfortable. Indeed during the complexities of the Act II finale it sounds as though she is struggling to maintain her pitching in the thick textures. Conversely the baritone of Felix Rumpf singing the eponymous Alfred is very good indeed - youthful and virile with a very attractive voice. He makes a good foil for von Bothmer.

Another impressive aspect of the work is Dvorák's handling of the big set-pieces. Act I closes with Alvina spurning Harald's advances with the chorus in full-flight singing "Now new turmoil awaits us, we are ready to fight". The dramatic highpoint of the entire work is the end of Act II. In true 'rescue opera' mode Alfred has secretly entered Harald's stronghold disguised as a Minstrel to rescue the imprisoned Alvina. Before doing so he sings a ballad: "Man can stand a lot before the final restraint breaks, then he must risk everything, Thunder and hell will not stop him. Therefore tremble, you Danes! Bravely will the Briton stand." Not the least attention-seeking way of avoiding capture but in best operatic tradition with a single bound he is free, sweeping Alvina away to freedom and leaving confusion in his wake. Once the conventions of such scenes are accepted it makes for an exciting and actually rather impressive sequence. Dvorák had already written his first two symphonies before he essayed this opera so it should not come as a total surprise that his handling of the orchestral parts if not always refined is certainly confident.

It is not just the large ensembles that impress - Alfred makes his delayed entrance in Act II scene 1 with an extended soliloquy where he ponders the recent battle against the Danes that he has lost. This is an overtly Wagnerian passage but still an impressive one. Once again Förster proves himself masterly at pacing the scene so that it progresses from reflection to determination and ultimately to action when Alfred's loyal servant Sieward - sung by the ever-excellent bass Peter Mikuláš - enters to tell him of Alvina's capture and Alfred vows revenge. Having rescued Alvina at the end of Act II she rather carelessly manages to get herself captured again early in Act III. If nothing else this allows for more ardent wooing from Harald and equally vehement rejection by Alvina. In a separate, and again rather Wagnerian scene, Alfred and his army pray for victory in the coming battle. During the ensuing fight, Alfred defeats the Danes and Harald is captured. Alfred offers mercy but Harald chooses to die by his own hand. The opera ends with Alfred and Alvina reunited and the obligatory general rejoicing. By some degree this is the least impressive end of an act in the work.

Even allowing for that relative weakness, I think it is important to reiterate that this is a wholly enjoyable work. No, it is not a lost masterpiece; Dvorák would go onto greater things, but at the same time it is far from being the total failure the text books would tell you it is. I cannot imagine there being many other complete recordings coming along any time soon to challenge this one which makes this set's overall quality all the more valuable. The set does not come with a printed libretto but rather unusually it is embedded on both CDs as a pdf file. This is easy to save to a computer and is clearly printed in the original German with Czech and English translations. Having any libretto is better than none although personally I would prefer a traditional printed booklet. The liner is in Czech and English and includes a useful essay, opera synopsis and historical background as well as the usual artist's biographies and some pictures from the concerts. One entertaining typo says: "... the overture was performed under the title Dramatic (or Tragic) after Dvorák's death in 1905 and 1912 respectively." He wasn't dead, he was just sleeping - no that's King Arthur not Alfred (or Dvorák).

Czech opera, apart from The Bartered Bride, Rusalka and the major works by Janá?ek, struggles for any kind of toehold in the international repertoire. That being the case it is hard to imagine Alfred being preferred for revival before other finer works. However for those interested in Dvorák's development as a composer this is both fascinating and vital in appreciating his genius - it is important to remember that this was by far the most substantial composition Dvorák had attempted at the date of its composition. Taking that fact into account the successes of the work far outweigh the shortcomings. Exactly the same can be said of this performance - the minor flaws of execution that come with a live concert count for little compared to the confident, committed and dramatic sweep of the performance. A set all admirers of the composer should hear.

- Nick Barnard, MusicWeb International

Classical Music

Classical Music

Classical Music

Classical Music

Kaikhosro Shapurji Sorabji is known as a composer whose pursuit of extremes resulted in vast works such as his Opus Clavicembalisticum which, for many years, was acknowledged as the world's longest non-repetitive piano work. More important is his music's unique and satisfying beauty. From the mystical impressionism of earlier 'nocturnal' pieces to the awe-inspiring energy and massive climaxes of his later work, Sorabji's legacy is one which is increasingly appreciated as a unique contribution to 20th century music. Michael Habermann's now legendary recordings gained Sorabji's exclusive approval, breaking through the notorious ban he had placed on performances of his own work.

This volume heralds the beginning of the most substantial and ambitious compositional exercise in Bach’s career: an annual series of cantatas in which the composer planned that every Sunday in the church calendar would be identified, textually and musically, by the appropriate chorale for the season. Bach’s second annual cycle – or Jahrgang 2 – was never completed but it contains around 40 chorale cantatas in which, most notably, the first stanza of the chorale is presented variously as an intricate fantasia on the chosen hymn, proclaimed with stirring fervour, usually by the sopranos. While Bach sought new compositional challenges here, he also knew that his boys at St Thomas’s would cope better with familiar chorale-based material than the highly complex choruses which characterise the earlier cycle.

Suzuki’s approach to these cantatas is not strictly chronological as has often been the case. He starts with the first piece in the cycle, the splendid O Ewigkeit, du Donnerwort (No 20), which Bach performed on the first Sunday of Trinity (June 11, 1724) but jumps a week by missing out No 2 (with its strikingly austere stilo antico opening movement) and goes for No 7, and then chooses No 94 from a few weeks later. None of this has much bearing on the performances except that this formula seems to juxtapose deftly the wide range of forms used by Bach. The extended and graphic description of Christ’s baptism in Christ unser Herr zum Jordan kam (No 7), articulated by two concertante violin parts, is contrasted with the dazzling French overture of No 20. If the playing in the former is somewhat prosaic, Suzuki gives the majestic opening movement of O Ewigkeit such apt propulsion in the bass line that one only intermittently yearns for the more secularised elegance of Herreweghe.

It seems curious that two performances of No 20, released so closely, should employ the same tenor and bass soloists in Jan Kobow and Peter Kooy. Suzuki’s approach with both singers is rather more rhetorical than Herreweghe, who tends to irradiate the music for its own sake, enhanced by the cultivated strings of Collegium Vocale. Both have something interesting to say but Suzuki connects language and music with greater depth of sentiment.

As exemplary a work is Was frag ich nach der Welt (No 94), a substantial cantata whose librettist clearly worked in close collaboration with Bach, ensuring that each stanza of the chorale could be presented with disarming invention. The work is as eager to provide telling dramatic imagery as it is to ruminate on the transience of life and Mammon’s vanity. Bach makes instant demands on his virtuoso flute player who, judging by the number of obbligato parts from this period, was no slouch. It is a marvellous, fresh and abiding testament to Bach’s increasing obsession with unified and economical means. Suzuki realises its quizzical turns and relishes the enriching set-pieces.

Pieter Jan Leusink and Ton Koopman’s readings are full of character and ruddy energy (in the case of Koopman and the Amsterdammers, particularly distinguished instrumental performances) but neither can boast Robin Blaze’s commentary on our deluded world, Betorte Welt. All told, another success chalked up for this continually impressive Bach series.

Jonathan Freeman-Attwood, Gramophone [5/2004]

The Koelner Akademie under the conductor Michael Alexander Willens presents a compelling interpretation of the Christmas Oratorio by Johann Wilhelm Hertel. The former “Court and Chapel Composer” at the court of Duke Friedrich von Mecklenburg-Schwerin, Hertel composed this cantata between 1777 and 1783 for its sacred concerts. The oratorio came across well and in the introduction by Franziska Seils to the score published by the ortus musikverlag, we read: “Along with the harmonically highly expressive opening chorus and the simply set chorales on familiar melodies from Christmas songs, the angelic proclamation radiating in trumpet splendor and the fully dimensioned, eight-part concluding chorus certainly also contributed to the popularity of the work […] areas of influence interact in Hertel’s Christmas cantata: the tradition of the popular lyrical pastoral idyll and the dramatic oratorio, the baroque philosophy of the emotions and the will to symphonic design.”

Each new volume of J.S. Bach's church cantatas continues to attract accolades from the musical press. The excellence of the Bach Collegium Japan led by their inspirational director Masaaki Suzuki and with a line-up of some of the best and most experienced vocal soloists are know entities. Everyone is pretty much in agreement: the cantatas have been entrusted to the best possible interpreters who take endless pains in preparing the recordings and still manage to convey the frisson of a live performance. Perhaps what makes these recordings so special is the fact that the listener is constantly astounded at the quality of the music itself. We still nourish a romantic view of genius and think of a musical masterpiece as the product of a great and painful labour. Yet Bach produced a whole succession of masterpieces, week after week, in order to fulfil his obligations as Cantor of the Thomas Church in Leipzig. The present disc is a fine example of Bach's development of the Church Cantata. The three cantatas are for 'ordinary' Sundays in the liturgical year - 11th, 13th and 16th Sundays after Trinity. They were written in Bach's second year as Thomas cantor in 1724. And they excellently demonstrate Bach's desire to make use of the post-Reformation hymnbook in his liturgical works. Whereas the earlier cantatas had been based on the gospel of the day on which they were to be sung, Bach now began to concentrate on illuminating various familiar hymns - possibly in an attempt to involve the congregation more closely in the service. This is the 24th volume of our cycle of Bach cantatas. It seems almost as though the recordings have an addictive quality for demand continues to increase! The present volume is in the best traditions of the series, featuring Cantata veterans Yukari Nonoshita, Robin Blaze, Gerd Türk, Peter Kooij and a wealth of striking music. Another must from the Bach Collegium Japan and BIS..

It is interesting to see what uses musical amateurs of Handel’s day made of his scores, and the singing by Nicki Kennedy is excellent.

HANDEL Cantatas: So Pleasing the Pain Is. 1,2 With Roving and with Ranging. 1,2 To Lonely Shades 1,2 & • Nicki Kennedy (sop); 1 Sally Bruce-Payne (alt); 2 The Brook Street Band (period instruments) • AVIE 2153 (2 CDs: 118:57 Text and Translation)

& HANDEL Songs: 1 An answer to Collin’s complaint. Dear Adonis, beauty’s treasure. The forsaken nymph. I like the am’rous youth. Love’s but the frailty of the mind. ’Twas when the seas were roaring. Transporting joy

This recording is titled “Handel’s English Cantatas.” The three works consist of 13 arias and three duets from three Handel operas, Giulio Cesare, Ottone , and Flavio , with new English texts and arranged for two violins and basso continuo . The arrangements have been attributed to Handel, but this claim is very doubtful. The form of each work, a series of arias ending with a duet, without linking recitative, is otherwise unknown in Handel, and there is no evidence that Handel had any part in putting these works together. The notes to this recording make as good a case as can be made for Handel’s involvement, but I remain unconvinced. The works themselves make enjoyable listening, since the music is taken from three of Handel’s best operas, and it is interesting to see what uses musical amateurs of Handel’s day made of his scores.

The performances are generally enjoyable. Nicki Kennedy is the more pleasing of the two soloists. Sally Bruce-Payne has a large voice that does not sound like it is always completely under her control, and she has an annoying habit of giving a very strong accent to some words; for example, in So Pleasing the Pain Is her overstress produces too strong an emphasis on some syllables. Fortunately, she manages to control this tendency most of the time. The Brook Street Band, consisting of two violins, cello, and harpsichord, plays expertly, and one hardly misses the full orchestra for which these works were originally written.

According to the catalog of Handel’s works in the New Grove , these three cantatas were arranged for different voices than those assigned to them here: So Pleasing the Pain Is for tenor and baritone, With Roving and with Ranging for soprano and baritone, and To Lonely Shades for soprano and tenor. The notes are silent on the arrangements made for this recording.

There are two English cantatas that are accepted as legitimate. Look Down, Harmonious Saint , a single recitative and aria, is not included here but can be found as a supplement to Robert King’s recording of Acis and Galatea . The second, Venus and Adonis , survives in fragmentary form as two arias with harpsichord accompaniment. Those two arias, Dear Adonis, beauty’s treasure and Transporting joy , are included here in a group of seven songs. Many songs have been attributed to Handel. A few years ago, Somm released a recording of all of the songs of unquestioned attribution. Four of them are included here, though one ( An answer to Collin’s complaint ) is performed in a harpsichord arrangement. The forsaken nymph and the two arias from Venus and Adonis are recording premieres. All are excellently sung by Nicki Kennedy.

The three newly recorded items make this recording a must for dedicated Handelians, and the three English cantatas make interesting listening.

FANFARE: Ron Salemi

Classical Music

Classical Music

Classical Music

On a new disc to celebrate the 2012 Diamond Jubilee, the King's Singers present a selection of works from the past 500 years written in honor of the great Monarchs of Britain. Starting with works for (and in some cases by) Henry VIII, the program covers the Elizabethan 'Triumphs of Oriana' by composers such as Gibbons, Mundy and Dowland; a very Victorian selection of dedicatory works by Elgar, Parry and Parratt; choral arrangements from the opera 'Glorianna' by Benjamin Britten; and a new piece by Paul Drayton that comically pens 'A Rough Guide to the Royal Succession'. (Drayton is perhaps best known to fans of the King's Singers as the composer of their much-loved encore work Masterpiece.)

As the notes point out, Buxtehude "never held a position that required him to compose vocal music," but as these works show, he was no stranger to the practice, writing for the voice with adept concision that shows a remarkably wide expressive range and engaging tunefulness. The works are not complex by any means, and employ a minimal contingent of strings and/or organ just sufficient to support and add color to the vocal parts, and to supply textural and occasional imitative or contrasting thematic interest.

These little cantatas--each lasting between five and eight minutes--feature four or five voices (in one case, only a solo singer), with texts in Latin or (in two instances) Swedish, drawn from the Psalms or religious poetry. In addition to the cantatas--and a welcome organ Praeludium and Passacaglia--we hear the Kyrie and Gloria of a Missa alla brevis, Buxtehude's "only strictly liturgical work"; the extraordinary and delightfully surprising chromatic passages in the final few pages of the Gloria make this one of the program's more memorable--and immediately repeatable--moments.

Paul Hillier's one-voice-to-a-part configuration works very well for these pieces whose style often seems closer to the earlier 17th-century Italian madrigal than to northern European church music of the late 1600s (the opening vocal flourishes and overall expressive character of "Ecce nunc benedicite Domino", for instance). All of these singers are excellent, but among them Else Torp is particularly fine in her solo-cantata "Att du Jesu vill mig höra" (That you will hear me, Jesus). The instrumental ensemble and continuo playing, as well as the solo-organ renditions by Buxtehude expert Bine Bryndorf, are equally stylish and assured--and everything is recorded in state-of-the-art sound, from the church of St. Mary's, Elsinore (Helsingør), where Buxtehude once served as organist, and who played the (now restored) instrument heard here.

--David Vernier, ClassicsToday.com

Classical Music

Classical Music

Classical Music

The Spiritual Revival Choir of Moscow was created in 1992, at the end of the Soviet era, a time when religious freedom was once again permitted in Russia. The choir's repertoire includes music of the renaissance, baroque, classical and romantic periods, as well as music by contemporary composers such as Alfred Schnittke. 'Serene Ecstasy' features the choir in sacred music by Russian composers from the 19th and 20th centuries.
The choir opens the program with "The Russian Soil," a hymn dedicated to Russian saints that is memorable for its rhythmic drive and exalted tone. Two sacred pieces by Tchaikovsky are marked by drama and, in "Eucharist" from the 'Liturgy of St. John Chrysostom,' a sense of joy. The group's lush tonal quality is ideal in Ippolitov-Ivanov's pacific "Praise the Lord, O My Soul."
This recording consistently impresses with its excellent singing and fascinating repertoire; surely it's an ideal recording for all lovers of sacred music.

Classical Music