Classical Music

The final album in Bruce Levingston’s three-part series, Still Sound contains intimate works featuring world premiere recordings of Pulitzer Prize-winner William Bolcom’s “New York Lights” written for Bruce Levingston, and Augusta Gross’ new works inspired by Satie and Pärt. Bruce Levingston is one of the leading figures on the contemporary music scene. The New York Times calls him “[one] of “today’s most adventurous musicians” and describes his performances as “graceful,” “dreamy” and “hauntingly serene”; The New Yorker describes him as “a poetic pianist who has a gift for inventive—and glamorous— programming.”

Marie and Veronica Kuijken play historical pianofortes for this recording of Mozart four-hand pieces. The instrument dictates, so to speak, what can and cannot be done; as its touch is much lighter than that of a modern piano, it is also much easier to gracefully play the virtuosic fast passages. The Kuijken sisters explore the limits of the pianoforte, both literally and regarding sound volume. A splendid, deeply musical, and refined recording!

HUMMEL Piano Sonata No. 3 in f. Fantasy after Mozart’s Le nozze di Figaro. MOZART Fantasy in c, K 475. Piano Sonata in F, K 332. MENDELSSOHN Andante with Variations • Daria Gloukhova (pn) • CENTAUR 3080 (55:54)


As a critic, you tend to notice that some labels produce consistently dull and uninteresting releases while others, for whatever reason, are consistently interesting and stimulating. Happily, Centaur is one of the latter companies. Nearly every Centaur release I’ve received for review is fascinating in one way or another, and some of them have replaced other longstanding reference recordings on my shelves.


If this disc doesn’t supplant any other in my collection, it is only because I have no other music by Hummel. Daria Gloukhova is a pretty young woman, 24 years old, and apparently so dedicated to Hummel that she has his family crest, name, and dates of birth and death tattooed on her left arm. I must admit that kind of scares me, but her playing is so absolutely mesmerizing that I forgive her whatever tattoos she chooses to inflict on herself, now or in the future. Go for it, girl! Whatever makes you play like this, I’m all for it!


She is similar to historically informed performers in that she plays in a straightforward rhythmic style, with no deviations for rubato. She differs from them in that she plays a modern piano, yet with such a tightly knit, cohesive style that you listen to her, mesmerized, from start to finish. We all know Hummel as a great pedagogue, like Carl Czerny, but are perhaps less familiar with him as a composer. This sonata and fantasy make a strong case to reconsider his worth; this is interesting music, half in the style of Mozart and half in the style of Beethoven, yet not really sounding like either. One wonders if someone would be charitable enough to finance a recording of Gloukhova playing some of his eight piano concertos, or perhaps his piano quartet and quintet. Gloukhova brings the same combination of warm tone, springy rhythm, and exceptional musical cohesiveness to Mozart’s Fantasy K 475 and Sonata in F. I’ve never heard Mozart played with such a combination of headlong excitement and dark, brooding colors. Gloukhova will completely change your perceptions, and expectations, of Mozart. Even the “lightweight” Sonata in F, played with delicious élan by Ronald Brautigam on BIS, sounds darker, moodier, more smoldering here in Gloukhova’s interpretation. This is a young woman who curries no favor with the modern tendency toward emotional detachment in her playing—she seems incapable of playing anything without going at it full bore. Her technique is absolutely dazzling, yet though, especially in the allegros, she seems to gobble up notes like Pac-Man, technique is not an end in itself but always, for her, a means to expressing the exultation or feeling she encounters in the music.


Hummel’s fantasy on Mozart’s Figaro is exceptionally imaginative, breaking up the components of “Non più andrai” into fragments in the introduction and then, after statement of the theme, running through virtuosic changes and variants in a most imaginative way, including a switch to minor for the bridge and a relaxation of tempo for further variants. The return to strict tempo does not mean a return to major, however, as Hummel keeps moving in and out of minor keys as well as numerous key changes. Gloukhova balances all this like an army of angels dancing on the head of a pin, her playing extraordinarily neat and, in this piece, playful as well.


Mendelssohn’s Andante with Variations receives a warm, glowing reading of its opening statement, then her by-now familiar condensation of pulse and smoldering, flowing legato in the variations. It should be reiterated that, for all her forward momentum, Gloukhova never plays anything in a shallow manner, which for me is the mark of a true artist. I can only hope that she goes far in her career; I’ll certainly be looking for her name on future releases.


FANFARE: Lynn René Bayley

To the general public, Masaaki Suzuki is known as the inspired leader of Bach Collegium Japan, currently undertaking a complete cycle of Bach's cantatas for BIS. He has also received much praise for his on-going recordings of the harpsichord music by the same composer. But his début was actually as an organist - he started playing regularly at Sunday services at the age of 12! When going to the Netherlands to study, Suzuki pursued parallel courses, graduating with a soloist's diploma in both organ and harpsichord. The years spent in The Netherlands also explains his familiarity with the musical world of J.P. Sweelinck, and with the traditions of the Dutch Reformed Church with its ties to Calvin and his 'Genevan Psalter'. The attractively varied programme on this disc alternates secular music for the organ with Sweelinck's settings of psalms from the Genevan Psalter. Due to the suspicion with which the Dutch Reformed Church - and Calvin - regarded instrumental music in religious contexts, these settings were not intended to accompany the congregational singing, but were rather played either before or after the service, providing an opportunity for meditation and afterthought. They fill a similar role on this disc, sandwiched as they are between the more extrovert Toccatas and Fantasias, but also testify to the central place these psalms had in Sweelinck's work. As an epitaph put it, it was he 'who put to music David's royal word, And made it to resound in Zion, in Holland it was heard.' The organ chosen by Masaaki Suzuki is a splendid instrument built by Marc Garnier according to the Northern German and Dutch style of the mid-17th century, especially for the use in the services of the Kobe congregation of the Reformed Church of Japan, where the tradition of congregational singing of Calvin's Genevan Psalter is particularly strong.

Classical Music

Listeners familiar with other recordings in Masaaki Suzuki's ongoing traversal of Bach's solo keyboard works may find his performances of the Partitas somewhat of an anomaly. For instance, the sharply delineated juxtapositions of tempos that made his Fantasias and Fugues program so thrilling (type Q3840 in Search Reviews) are nowhere to be heard here. The interpretive agenda this time is much subtler and decidedly more introverted. Not only does his choice of relatively moderate-to-slow tempos throughout (and his observance of all repeats) make this performance one of the longest ever--each CD of this two-disc set extends beyond 80 minutes--there also is a sense of deeply considered involvement with the way phrases are turned, details attended to, and passages executed. Like Bach, who esteemed these compositions highly, Suzuki's performances suggest admiration, even occasionally excessive adoration.

Listen for instance to the way Suzuki renders the opening Sinfonia of the second Partita, to the way in which each thematic idea, however brief, is underlined through his use of subtle dynamic shading and crisp counterpoint. Likewise in the Passepied of the fifth Partita Suzuki's emphasis on inner detail often makes him sound as if he's recapitulating the recapitulations (though without ever sacrificing the movement's already quirky momentum). In less capable hands this kind of overt attention to detail could sound affected or needlessly fussy. In Suzuki's very capable ones however, we hear an artist ceaselessly probing, relishing both the significance and joy of his task.

BIS's engineering is fine, though admittedly the harpsichord sounds less immediate than in Suzuki's previous offering mentioned above. There is no shortage of outstanding harpsichord performances of Bach's Partitas, and for listeners who may prefer a performance equally as personal though a bit more extroverted, the stylish angular rhythms that characterize Blandine Verlet's performance on Philips, the freewheeling elegant ornamentation of Igor Kipnis on Seraphim, or the fresh unfettered spirit that Christophe Rousset brings to his L' Oiseau Lyre cycle make them deservedly distinctive and worthwhile as well.
--John Greene, ClassicsToday.com

Classical Music

Classical Music

Some of C.P.E. Bach’s large number of single-movement pieces for solo keyboard were published in collections, beginning with the Probestücke (Study Pieces) of 1753, included on Vol. 22 in this series. Here Miklós Spányi presents three other sets intended primarily for didactic use: the two collections of Kurze und leichte Clavierstücke and the 6 Sonatine nuove. Of the 28 pieces contained in them, only one is longer than 3 minutes, the majority being less than two minutes long. Not all his shorter pieces were intended for studying; the closing Abschied for one has an almost private character.

Classical Music

Classical Music

" This CD presents five world premiere recordings of acoustic and electronic works by the Danish composer Rune Glerup (b. 1981). Instead of offering a narrative flow of music, Glerup uniquely allows the listener to move around among independent three-dimensional blocks of sound with powerful energy fields between them."

BRODSGAARD: in girum imus nocte et consumimur igni (we enter

Possibly, like me, the first time you may ever have met the name of Forqueray was when you first discovered the ‘Pièces de Clavecin en concerts’ by Rameau. In those chamber works, enlargements of solo harpsichord pieces, Rameau invariably pays tribute to some of his most interesting contemporaries. Amongst them were names which I thought I would never get to know further including ‘La Marais’ (Marin Marais), ‘La Laborde’ who features in the opening piece of Forqueray’s first Suite and ‘La Forqueray’ found in Rameau’s Fifth Suite, a Fugue in D minor composed apparently on the occasion of the wedding of Jean-Baptiste Forqueray. It’s intriguing that the movement ‘La Forqueray’ in the first suite here is also in D minor. It’s probably a character description of his viol-playing virtuoso father. Little did I know, until this CD emerged, that there were two Forquerays, father and son and both are featured on this disc. This also indicates how Brilliant Classics are imaginatively moving out from standard repertoire and re-issues.

The booklet essay, fascinatingly compiled by Lucy Robinson and entitled ‘A Case of Double Misattribution’ gives us some family background, which is useful and explains the music. It seems that in 1747 Jean-Baptiste had published pieces for viol composed by “M. Forqueray le père’. It seems however that they may not have been by him. The style, which is harmonically adventurous does not quite fit. Scholars now believe these pieces had been “thoroughly reworked” by the son. Jean-Baptiste tells us that he did write the bass line, “adding fingering and adding three pieces of his own”. Also the dedications are to the son’s contemporaries: Rameau, Leclair and one Buisson his brother-in-law and his solicitor Bourron! 

In the same year he then brought out his own harpsichord transcriptions of his father’s pieces which made excellent financial sense. 

According to the notes Antoine appears to have been a bit of a beast of a father, having his son incarcerated and then exiled for a number of years for some apparently minor thieving activities. It’s rather surprising then that his son took care to prepare the music for ‘clavecin’ so meticulously and brilliantly. He probably realized that many of these pieces are so fecund in imagination, so full of life and so original and sometimes so eccentric that by putting his own mark on them he wasn’t doing himself any harm. Anyway, his father’s fame had been widespread. He had been recognized as one of the greatest virtuosos whose music is even more difficult and extraordinary than that of the great Marais. In truth however Jean-Baptiste made very few alterations to the viol originals and where changes have been made it was not just to simplify or clarify but for purely musical reasons. Three of the pieces are by him, including ‘La Du Vaucel’, a rather pastoral piece to a man described as a “fermier généraux”. 

I managed to secure a photocopy of the Fifth Suite in C minor; the same published running order of pieces is retained in both versions. I assume this is so in all the suites. Several things immediately struck me. First, the clear fingerings and the figured bass as mentioned. Then the fact that the viol music is written on two staves: a bass and a C clef. Often the two move suddenly to bass clefs obviously giving a low tessitura mirrored by Jean-Baptiste. The suite begins with a serious homage to Rameau, returning the compliment, possibly. The most curious movement is the one reproduced in the booklet, ‘Le Leon’, which is notated in white notes because of its 3/2 time signature or as it is in the original 2/3. There are also instructions, which I’m not sure Michael Borgstede completely adheres to. They translate “In order to play this piece in the way I intended it, one must observe the placing of the notes; the upper part hardly ever coincides with the bass.” 

A standard form regularly found here and popular with French composers of this period is the Rondo. This is fine where the opening ‘A’ is arresting, as in ‘La Montiginio’ in Suite Five but on occasions as in ‘La Sainscy’ in the first suite, it can be a little irritating and tedious. 

Michael Borgstede’s playing is technically superb and he is a fine and experienced performer both as a soloist and as a member of the ensemble ‘Musica ad Rhenum’, a prolific recording group founded twenty years ago. Even so, I am not sure that he quite captures the composer’s intention. In the first suite for example does he really play La Clement ‘Noble et détaché’ or Le Carillon de Passy ‘Légérement sans vitesse’ as marked by the composers?

In all there are thirty-two pieces and the quality is not always consistent. Most are intriguing and often incredibly exciting. Three which stand out for me are, for sheer joy of living, ‘La Eynaud’ in the third suite and in the fifth ‘La Sylva’ which is melancholy and solemn in an alla breve time signature sensitively handled by Borgstede. The last piece of all, another Rondo ‘Jupiter’ is pure harpsichord music, using the full range of the instrument in a dramatic and spectacular way.

I’m not mad keen on the recording … or is it possibly the instrument. It is a copy of a double manual French harpsichord after Pascal Taskin (1723-1793). In so many pieces, which are pitched constantly in the lower section of the instrument even with octaves in the left hand, there is sometimes a lack of sharpness, which obscures the harmony. I have heard the tracks not only on my own stereo, but also in the car and on a friend’s fine equipment. I retain the same view although the bass does need to be turned down more than usual. 

Even so this is a fine set. The famous names of harpsichord composers have some competition here. These are pieces to which I will certainly return. 

-- Gary Higginson, MusicWeb International

Classical Music

Classical Music

Includes work(s) for piano by John Ireland. Soloist: Eric Parkin.

Classical Music

Classical Music

Miklós Spányi is one of the world’s most acknowledged scholars and performers of the works of C.P.E Bach. On this release he splits Bach’s large “Fortsetzung” Sonatas over two discs and includes the embellished versions that Bach may have intended as study material for his students.

This set includes a blu-ray audio CD playable on blu-ray players only and a standard CD playable on all CD players.

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Review:

Five virtuosic viola pieces exploring some of the many varied aspects of American music. All the composers are American with one exception: Russian Nikolai Kapustin, included because he incorporates American jazz elements in his music. GRAMMY® nominated violist Eliesha Nelson has a passion for performing and promoting music of neglected composers who have created masterworks for the viola. She has been critically acclaimed in international publications for her outstanding interpretive abilities. She is a marvelous player, a ravishing violist.

– Los Angeles Times

This timeless collection is pretty much every piece you would expect to be included, and then some; a good variety of music to please every palate. PENTATONE has some of the finest interpreters in it's catalogue to draw from and over 150 surround-sound albums - each and every one a top-quality DSD recording. This compilation will be enjoyed by both the curious beginner and classical aficionado.

Classical Music

The title “Heavy Sleep” is meant to reference not only this album’s eponymous opening work but also to note the phrase’s allusion to death and eternal sleep. + Voices of other composers or allusions to their own or others’ works are found throughout, often appearing as subtle homage to past composers. + Pianist Bruce Levingston is one of today’s leading contemporary music figures. + Many of the world’s most important composers having written works for him, his NYC world premiere performances of their works having won notable critical acclaim. + “One of today’s most adventurous musicians.” (NYTimes)