Classical Music

"The Bridge disc features the expert New York chamber group Speculum Musicae, and has an attractive rarity as opener, the Three Poems of Robert Frost, composed in 1942 when Carter was still an obedient, highly effective adherent of the 'open-air' Coplandesque style, but orchestrated with exuberant resourcefulness as recently as 1980...The account of Syringa (1978), the most complex and hermetic of the vocal works, with its superimposition of the soprano's Robert Ashbery poem on a collection of ancient Greek texts sung by the bass, may strike listeners (and especially attentive score-readers) as more careful than inspired. But as it proceeds it conveys the spirit of the work's intricate yet impassioned enquiry into the sources and spaces of creativity very well. Momentum is maintained, and the instrumental detail is clear and precise.

A Mirror on which to Dwell (1976) is less ambitious, though these settings of six poems by Elizabeth Bishop are marvellously refined in sonority the vocal line ranging from lingering lyricism to subtly-patterned declamation. Christine Schadeberg characterizes the texts alertly, especially the tricky syntax of ''O Breath''...

It is indeed gratifying to find record companies so prompt in acknowledging the importance of the Carter phenomenon, and with performances that, if not always ideal in every respect, are for the most part worthy of this extraordinary music."

-- Arnold Whittall, Gramophone [2/1990]

Those who lament the austere, dispassionate, "scholarly" approach that more often than not informs today's original-instrument performances of Bach cantatas will find much to rejoice in Masaaki Suzuki's grand and heartfelt, if not overly devotional conceptions. For instance, as you listen to the opening Sinfonia of Christ lag in Todesbanden you're immediately struck by the emotive delicacy of the string playing and how perfectly it introduces the subject's necessary resolve and sadness. Moments later when the chorus enters and the momentum shifts, the urgency of the ensemble likewise changes to deftly communicate just the right measure of boldness and hope. Throughout the piece Suzuki's uncanny ability to extract every nuance from Bach's sublime score recalls the efforts of Karl Richter, Günther Ramin, Fritz Werner, Karl Ristenpart, and Helmut Winschermann--bygone patricians of this repertoire who were equally considerate of the music's every emotion, from deepest angst to overwhelming joy. Though BWV 4 is one of Bach's most famous and oft-recorded cantatas, Suzuki's rendering of it ranks with the very best.

The two other cantatas offered--Nacht dir, Herr, verlanget mich BWV 150 and Der Herr denket an uns BWV 196--also receive outstanding performances. In BWV 150, soprano Yumiko Kurisu's seamless and spirited rendering of the aria "Doch bin und bleibe ich vergnügt" is a marvel, as is the fifth-movement trio "Zedern müssen von den Winden", expertly performed by countertenor Akira Tachikawa, tenor Koki Katano, and veteran Dutch bass Peter Kooy. Also noteworthy is Suzuki's brilliant negotiation of the complex rhythms of the chorale "Meine Augen sehen stets zu dem herren", imparting a rarely heard uplifting quality to the setting. BWV 196 is highlighted by the final chorale "Ihr seid die Gesegneten", where Suzuki's sensibly dignified conclusion impresses more favorably than the overly exuberant let's-get-it-over-with treatment Konrad Junghänel and the Cantus Cölln offer in their fairly recent Harmonia Mundi recording (type Q1384 in Search Reviews).

BIS's sound is of audiophile quality, with an expansive yet detailed sound stage that spectacularly complements Suzuki's grand realization. As Volume 1 in a complete traversal of Bach's sacred and secular cantatas, this auspicious entry offers the promise of an extraordinary and very important cycle that shouldn't be missed by anyone who loves these works. This is the kind of Bach rarely heard anymore--performances that make you want to devote time to them, to listen at lifelike levels and follow the text religiously.
-- ClassicsToday.com

Classical Music

REVIEW:

It's the marvelous singing of Lilli Paasikivi, with her intelligence, penetrating insight, and richly rounded tone that fully captures the spirit of these works and makes them little gems that no Lieder enthusiast can afford to overlook. Ondine's warmly resonant, naturally balanced recording makes this important disc even more welcome. It's a "must-have".

It's not long into this disc before it becomes evident that Alma Mahler was a very different composer from her famous husband Gustav. Alma studied with Zemlinsky, whose influence (along with that of Hugo Wolf) shows most readily in her work--yet this is Alma's music through and through. Even before Mahler forbade her from composing once they were married, Alma displayed a distinctive voice, one steeped in 19th-century Romanticism (her father often sang Schumann lieder) as well as the musical currents of the new century. The first set of Five Songs comes from this early period, and right from the opening "Die stille Stadt" Alma's skill at word setting captivates, as does her ability to recreate in music each poem's unique emotional state. Of the five, "Bei dir ist es traut", with its recurring falling major second, is the only one that sounds remotely close to her husband's style.

After Gustav's death Alma again took up composition, and the following Four Songs reveal a new richness and poignancy in her writing as well as an expanded harmonic palette. "Licht in der Nacht"'s haunting atmosphere lingers after the song has ended, while "Anstrum"'s tonal waywardness displays Alma's awareness of modern musical developments. Alma's last set of Five Songs, published in 1924, is based on spiritual texts, emphasizing both their reverential (Hymne) and mystical (Hymne an die Nacht) themes.

The program concludes with two unpublished songs, "Leise Weht ein erstes Bluhn" and "Kennst du meine Nachte", both composed in a cultivated Romantic style that would indicate their belonging to Alma's earlier period. The impact of the music is no doubt enhanced by Jorma Panula's idiomatic and imaginative orchestrations, beautifully rendered by the Tampere Philharmonic.

--Victor Carr Jr, ClassicsToday.com

A history of the Requiem' takes the music-lover on a journey through the very varied history of the requiem. Presenting one work per century seemed to be just right for illustrating the evolution of this, one of the most significant musical forms in the history of music. The first part of the series, devoted to Ockeghem and Lassus, was awarded a '5' by the prestigious magazine Goldberg, and the second part, presenting the requiems of André Campra and Michael Haydn, recorded on period instruments got a 'four stars' from Le Monde de La Musique. Begun towards the end of 1848, Anton Bruckner's Requiem was completed on 11 March 1849. It was performed for the first time on 13 September 1849 at Sankt Florian. Dissatisfied with it, Bruckner reworked it in 1854 and again in 1894, then according it a 'This is not bad!?, despite his acute sense of autocriticism. Almost nothing hints at the extraordinary symphonist to come, but he makes great strides towards the choral writing of later masterpieces such as the Te Deum and the masses. Maurice Duruflé's Requiem was the response to a commission from the publisher Durand and was written by Duruflé in memory of his father. The piece poses an interesting problem: written in 1947, it is a near contemporary of works as radical as Le Soleil des eaux (1948) of Boulez or the Quatre Études de rythmes pour piano (1949) of Messiaen. In appearance, the Requiem shares hardly any of the preoccupations prevalent in France at this time. Yet, success was immediate, and was even greater subsequently in the United Kingdom and in the USA, where it has never flagged: there, the work continues to enjoy an exceptional reputation. Lying fairly clearly within the tradition of Fauré, Duruflé's Requiem resembles the older work in its overall character of calm and meditation.


Composers:
Anton BRUCKNER
Maurice DURUFLE

Performers:
LAUDANTES CONSORT
Guy JANSSENS (Conductor)
Benoît MERNIER (Organ)
Elke Janssens (Soprano)
Penelope Turner (Mezzo)
Roel Williams (Tenor)
Arnout Malfliet (Bass)


Track Listing:
Anton Bruckner Requiem
1. Requiem
2. Dies irae
3. Domine
4. Hostias
5. Quam olim
6. Sanctus
7. Benedictus
8. Agnus Dei
9. Requiem
10. Cum sanctus

Maurice Durufle Requiem
11. Introit
12. Kyrie
13. Domine jesu criste
14. Sanctus
15. Pie jesu
16. Agnus dei
17. Lux aeterna
18. Libera Me
19. In paradisum

Total timing: 72.59

Classical Music

Choral Concert: Tapiola Choir - TORMIS, V. / ASHEIM, N.H. /

The only noise captured on this 20-track collection is breathtaking renditions of Bach, Mozart, Schubert, Verdi and more legendary composers.

REVIEW:

In the early 1730s Bach revised his E flat major Magnificat of 1723, transposing it to D major and omitting the interpolations peculiar to Christmas performances in Leipzig. (Recent research suggests such richly scored Latin Magnificats could be performed in Lutheran churches at some 15 annual festivals, not just the three – Xmas, Easter, Ascension – previously supposed.) The D major was apparently Bach’s preferred version and is the one commonly played today, as on this latest instalment of Masaaki Suzuki’s acclaimed survey of Bach’s sacred vocal music. Suzuki’s Magnificat, like his earlier Bach recordings, is sharply focused and performed with engaging conviction. My benchmark disc, by Philippe Herreweghe, grips with its palpable air of excitement. Suzuki’s reading is cooler, more nuanced and has a clearer acoustic; yet Herreweghe’s soloists retain a slight edge – few could match Barbara Schlick and oboist Marcel Penseele in rapt duet on ‘Quia respexit’. Herreweghe’s coupling is the splendid Cantata, BWV 80; Suzuki offers a trio of fascinating rareties. The Magnificat by Kuhnau, Bach’s predecessor at Leipzig, resembles Bach’s in instrumentation and division of text: it’s a lively, attractive piece, trumpets ringing out boldly in the bright opening chorus. Two shorter Magnificats by Bach’s Dresden-based contemporary Zelenka represent a very different and highly individual approach, the C major’s tripartite structure creating an almost concerto-like framework for soprano soloist. Suzuki’s excellent, scrupulous performances should provoke greater interest in Kuhnau’s and Zelenka’s church music – the latter’s Missa Dei Filii, by Tafelmusik/Frieder Bernius (DHM), is also highly recommended. Performance: 5 (out of 5), Sound: 5 (out of 5)

-- Graham Lock, BBC Music Magazine

Choral Concert: Saint Clement's Choir - HOWELLS, H. / BAX, A

Includes prelude(s) for keyboard by John Bull. Soloist: Colin Tilney.

Frederica von Stade and French vocal music go together like peanut butter and jelly. For example, her Melisande remains unmatched in its depth of character and great musical profundity. Von Stade was meant to sing the arias on this compilation disc of recordings from her early career. Her years of living in France greatly influenced her interpretations and approach to the music. Equipped with one of the greatest mezzo instruments, von Stade sings with such natural ability and charm that it is easy to forget all that goes into preparing an aria.
A case in point is Offenbach's "Ah! quel diner je viens de faire" from 'La Perichole.' Often referred to as the "drunk" aria, it is one of von Stade's signatures, and she slyly portrays the plastered dinner guest trying to hide the extent of her intoxication. In dramatic contrast, von Stade passionately sings of desperate love in "Dieu! Que viens-je d'entendre?" from 'Beatrice et Benedict.' She seems to thrive on the intricate orchestration of Berlioz, and her flawless French diction is a delight to the ear. This is an important disc for those interested specifically in this repertoire, and von Stade sings it better than anyone else.

Richard Marlow's Trinity College Choir of Cambridge has established itself as one of the premier groups of its kind, recording prolifically for Conifer and staking out a swath of repertorial turf that encompasses devotional music from the sixteenth century to the middle of the twentieth. Unlike their better-known counterparts at King's College, the Trinity choristers are an all adult ensemble, using women instead of boy trebles and achieving a more professional sound as a result.
CHORAL MOODS is a well-filled two-disk compilation which offers an excellent survey of sacred choral music, though one might have hoped for a little more J. S. Bach. What is here, above all, is beautiful music, well sung and recorded. There are some substantial pieces, such as the Gregorio Allegri "Miserere," Felix Mendelssohn's anthem "Hear My Prayer" and the complete "Messe Basse" (Low Mass) of Gabriel Fauré, as well as some less frequently encountered works such as Henry Balfour Gardiner's "Evening Hymn" and Camille Saint-Saëns "O Salutaris Hostia." It adds up to make a highly commendable anthology.