Traditional music from Ireland, England and Scotland touches our hearts in a way that is very special and somehow magical. On this album, "Spirit and Pleasure" shows excerpts from the musical world of the 17th & 18th century in Ireland, Scotland and England: old pieces that were only passed down orally, new music in the traditional style, composers who are assigned to the "courtly-bourgeois" music, discovered the charm of these melodies, provided them with basso continuo and variations and published them among others in London, the musical center of England. The album title "Good taste" is derived from the "Treatise of Good Taste in the Art of Music" by Francesco Geminiani.
Vasks: Oboe Concerto - Vestijums - Lauda / Mayer, Poga, Latvian National Symphony
Ondine
CD · 1 disc
$18.99Sep 03, 2021
Latvian composer Pēteris Vasks (b. 1946) is one of the most prominent names among living composers today. This album by the Latvian National Symphony Orchestra conducted by Andris Poga includes the first recording of Vasks’ atmospheric and pastoral Oboe Concerto written for the centenary celebrations of Latvia’s independence in 2018 and performed by one of today’s leading oboists, Albrecht Mayer. The new concerto is coupled with two early orchestral works from the 1980s, Vestijums and Lauda – both musical manifestations from the final years of the Soviet Union when occupied Latvia started its peaceful fight to regain the country’s independence.
REVIEW:
Although he was a septuagenarian when he composed this Oboe Concerto in 2018, on a commission from oboist Albrecht Mayer, the music of composer Pēteris Vasks has continued to evolve. The inclusion here of two of Vasks’ 1980s orchestral works is to the point, for they are clearly works of the same composer as the Oboe Concerto, showing a characteristic departure from Baltic minimalism in a Romantic direction. Yet Vasks’ weaving of Romantic and minimalist has deepened over the years. One feels that the performances here by are unusually committed; the effect is hypnotic. The detailed notes, providing a good deal of context relevant to the development of Vasks’ increasingly influential music, form another attraction.
John Mayer: Violin Concerto No. 2 - Jonathan Mayer: Sitar Concerto No. 2
First Hand Records
CD · 1 disc
$21.99Mar 05, 2021
The first true cross cultural fusion of Indian and western music was back in 1957 with John Mayer’s Raga Music for Solo Clarinet and through the sixties, seventies, eighties and nineties his musical output reflected his Indian roots. This release celebrates John Mayer’s orchestral work and sees the further development from his son Jonathan Mayer, including three premiere recordings and one first commercial release. Included in this album is John Mayer’s Second Violin Concerto, originally commissioned for the late Erich Gruenberg in 1978, is it played by Sasha Rozhdestvensky who has a long standing relationship with First Hand Records. Mayer’s Concerto for the Instruments of an Orchestra had its premiere performance in 1976 by The London Philharmonic Orchestra and Bernard Haitink. Jonathan Mayer’s Pranam for sitar, tabla and orchestra is inspired by the Indian dance form Kathak and was premiere in the Czech Republic in 2017, it features the composer on sitar and Shahbaz Hussian on tabla. His Second Sitar Concerto was premiered again in the Czech Republic in 2019 and all works are under the baton of the Indian conductor Debashish Chaudhuri.
Lehar: Das Land des Lachelns / Edelmann, Morbisch Festival
Videoland
DVD · 1 disc
$32.99Oct 18, 2019
The three-act romantic operetta Das Land des Lachelns (The Land of Smiles) by Franz Lehar was one of Lehar’s later works, and was wildly popular in Vienna and Germany upon its 1929 debut. The title refers to the supposed Chinese custom of smiling, regardless of what is happening in life, with the leading character, Prince Sou-Chong singing a song early in the show titled “Always smiling” which describes this. This production from the Festival Orchester Morbisch, the Ballett der Seefestspiele Morbisch, and the Schor, Statisterie und Kinderstatisterie der Seefestspiele Morbisch is directed by Peter Edelmann, and was recorded at the 2019 festival.
With a terrific cast including Maria Bengtsson and Katharina Magiera, and under the baton of Sebastian Weigle, OehmsClassics and Opera Frankfurt bring back to live a nearly forgotten jewel of comic opera in the 19th century. After the premiere at the Viennese Karntnertortheater in 1847, Friedrich von Flotow's Martha or The fair at Richmond became for nearly half a century one of the most popular operas in Europe. Full of charming melodies and with a plot as hilarious as racy, the story of bored Lady Harriet Durham and her friend Nancy, who disguised themselves as Martha and Julia and travel to the servant's fair of Richmond, where they actually not only find a job, but also true love, is an enchanting example for the 1850's civic opera and also Friedrich von Flotow's wonderful light hearted music. After "Der Graf von Luxemburg" OehmsClassics is happy to continue the collaboration with Opera Frankfurt with this remarkable recording.
Things will be jolly good at the Morbisch Lake Festival in 2017! With Christel the post mistress and Adam the bird seller, two of the best-known operetta characters will be returning to the lake stage after an absence of nearly twenty years. Petty corruption in positions of authority, comedy of errors and something for the heart – all the classic operetta ingredients come together masterfully in the Vogelhandler. The arias “Grus’ enk Gott, alle miteinander”, “Ich bin die Christel von der Post” and “Schenkt man sich Rosen in Tirol” are very well known to lovers of operetta throughout the world.
The great Cervantes, he taught me the magic and great humanity that poetry and the music of our Golden Century harbor. In the middle of the 16th century appears in Spain the ''cross-strung harp'', as Juan de Bermudo confirms in his work, Declaration of Musical Instruments, year 1555. This appearance is due to the growing music chromatization and the progressive emancipation of the specific instrumental language. Therefore, the harp, diatonic so far, becomes a chromatic instrument in a very original way: adding an order of chromatic strings interwoven or intertwined with the diatonic ones. It turned out to be an extremely practical invention for the spanish Violeros and, apparently, not sued out of the Iberian Peninsula. The famous Tomos, witness the harp's musical intervention in these two fields, sacred and profane. One of the most prolific composers of the Tonos was Juan Hidalgo, a Royal Chapel's musician, Pedro Calderon de la Barca's right hand and, in turn, prominent harp player.
A superb new Otello from the Salzburg Easter Festival: “Cura is a commanding Otello with his richly coloured tenor and both fragile delicacy and fiery ardour” (Südwestpresse). “Röschmann as Desdemona guarantees effortless perfection” (Neue Musikzeitung). “Álvarez as Iago would be hard to surpass” (Abendzeitung). This Salzburg production – featuring “a cast worthy of any festival” (Südwestpresse) – is conducted by Christian Thielemann, who displays a command of Verdian tragedy to match his celebrated sovereignty in Wagner. He and his great Dresden Staatskapelle, a consummate opera ensemble, “achieve wonders” (Die Presse), “generating Italian ‘Musikdrama’ with their incandescence and precise nuances” (Abendzeitung). In his fascinating staging, director Vincent Broussard integrates video with set and lighting design to create an idealized visual context for what he calls Otello’s “conflict of ancient and modern, of 2D and 3D”.
A mythical performance from la Monnaie - Bruxelles. Parsifal is a strange and enigmatic work. At the end of his life, did Wagner wish to celebrate asceticism, which he himself had never practised? Did he fall upon his knees before the Cross, as claimed by Nietzsche? And what does the secret society of knights based on pure blood signify, desperately waiting for the saviour to regenerate it? What is the true nature of the opposition between the worlds of Klingsor and the Grail? What can Parsifal tell us today? In his artistic will and testament, Wagner condenses his moral idea of the world and returns to the roots of love and religion - to the very heart of art according to him. With the participation of conductor Hartmut Haenchen who is passionated by the score, Italian stage director Romeo Castellucci proposes an original reading of this brilliant work and explores the essence of Wagnerian ‘Kunstreligion’ in a different light.
“Thanks to the telling contributions of Mr. Castellucci and Mr. Haenchen, the Monnaie’s ‘Parsifal’ casts new light on a difficult opera.” NY TIMES
Parsifal: Andrew Richards Kundry: Anna Larsson Gurnemanz: Jan-Hendrik Rootering Amfortas: Thomas Johannes Mayer Klingsor: Tómas Tómasson Titurel: Victor von Halem
Orchestre symphonique de la Monnaie Hartmut Haenchen
Stage direction: Romeo Castellucci Choreography: Cindy Van Acker Set & costume designs, lighting: Romeo Castellucci Dramaturgy: Piersandra di Matteo Recording: La Monnaie / De Munt, Bruxelles - 20/02/2011
R E V I E W: 3763560.az_WAGNER_Parsifal_Hartmut_Haenchen.html WAGNER Parsifal • Hartmut Haenchen, cond; Andrew Richards (Parsifal); Anna Larsson (Kundry); Jan-Hendrick Rootering (Gurnemanz); Thomas Johannes Mayer (Amfortas); Tómas Tómasson (Klingsor); Victor von Halem (Titurel); O symphonique de la Monnaie; Ch de la Monnaie; Ch de jeunes de la Monnaie • BELAIR (DVD: 239:00) Live: Brussels 2/20/2011
The Parisian daily Le Monde called this 2011 Le Monnaie production “un Parsifal hallucinaire.” That’s putting it mildly. Wagner’s operas have long inspired “extreme” treatments and this is one of the most extreme I’ve encountered. Some of it works, some of it doesn’t. It’s not for the faint of heart. And I wouldn’t want to be without it.
Parsifal is the first operatic undertaking for the Italian playwright and stage director Romeo Castellucci, well known for his avant-garde tendencies. In the hyperbolic language sometimes employed by men and women devoted to dramaturgy, Castelluci explains his method in the liner notes. “As I approached Parsifal, I tried to forget everything I knew. I put myself in the shoes of someone who knew nothing. I closed my eyes, and I listened once, twenty times, and then a hundred times to the music, this thing. Then I slept. I reworked the whole of Parsifal in a state of amnesia, from the beginning to the end. A work like this needs a vision coming from one’s deepest places … not just an illustrative approach.” OK, that’s a little over the top. But there truly is a dreamlike quality to what you witness here. One remembers images rather than scenes when it’s all over. Act I’s setting is a dense and dark forest in which one can, at first, barely make out the principal singers. (Gurnemanz’s costume covers him from head to toe in leaves, so he fits right in.) Act II is borderline pornographic, as Castelluci dispenses with singing Flowermaidens on stage and, with the vocalists out of sight, has Parsifal tempted by platinum-wigged nude dancers (and, as the credits acknowledge, “Shibari bondage performers” and “contortionists.”) One dancer lies down on a pedestal and aims her external genitalia at the audience for a good 20 minutes. Kundry’s and Amfortas’s act of sexual congress, barely alluded to as a historical event in run-of-the-mill Parsifals, is graphically projected as a hologram. Act III is a complete change of gears, with the chorus joined by a large crowd of non-singing supernumeraries in modern-day dress that, from the Transformation Scene onward, are seen to be slowly striding forward, presumably to a better future world. There are clichés, to be sure—the face paint, Kundry’s application of a few words, graffiti-style, to a blank wall, etc.—and some familiar visual theatrical features are missing: there’s no spear, no non-healing wound, no sign of the Cross when Klingsor’s realm is vanquished. But for contemplative Wagnerians, this will be a very rich experience indeed.
It helps enormously that the musical values are first-rate. Hartmut Haenchen is an experienced and insightful Wagner conductor and, as with his excellent Ring cycle for Etcetera (Fanfare 31:3), he consults the notes of Wagner’s assistants and other artists involved in the first Bayreuth performances. Haenchen definitely eschews the draggy tempos that have become common, but this Parsifal is not the least bit rushed. (For the record, the timing is a half-hour longer than Pierre Boulez’s famously brisk 1970 Bayreuth recording.) Castellucci is not alone in finding Kundry to be the central character in Parsifal—she’s alive and well when the curtain comes down at the close of act III—and Anne Larsson does a terrific job with the wide-ranging dramatic requirements of her role. Jan-Hendrick Rootering is a magisterial Gurnemanz and the American tenor Andrew Richards has a pleasing, well-supported voice well suited to Parsifal. This is Richards’s first Wagner role and, from the sounds of it, Siegmund and Walther, at least, should be on his radar. Thomas Johannes Mayer appears and sounds agonized without scenery chewing. (Remember, he’s got no wound to show off.) Tómas Tómasson is an excellent singer, though perhaps his Klingsor should be a bit less robust to contrast better with the other male characters that still have their “equipment” intact.
Most opera videos released nowadays are carefully planned, with a film director assigned to the project; this video, we are told, is “purely an archive.” No apologies are necessary. The camera work is skillful and editor didn’t feel obliged to always show us who was singing at the moment. (How long can you watch Gurnemanz explaining the back-story, anyway?) The medium was clearly analog film. The sound is good and even though the resolution of Dolby Digital is lower than the stereo PCM option on a DVD, the surround sound program here is sonically very satisfactory. Subtitle choices are English, French, Dutch, and German.
Clearly, this shouldn’t be anyone’s introduction to Parsifal. But for those who want to explore new levels of meaning and emotional power in Wagner’s final work, BelAir’s release deserves the strongest consideration.
“This set is essential” concluded Gramophone of the Ring cycle when this 2008 production was issued complete. Christian Thielemann leads a performance of masterful pacing and burning conviction that features detailed interpretations from many of today’s most experienced interpreters of their complex and glorious roles.
Saint-Saens: Sonata for Oboe and Piano; Faure / Mayer, Wisniewska
Tudor
CD · 1 disc
$21.99Jun 30, 2009
It is a shame that this unhackneyed collection of French music for oboe and piano has been overlooked. The Swiss company Tudor apply their usual exemplary production standards to recording and documentation. Artistic matters are in the hands of two dedicated musicians. Bamberg-born Mayer produces a full-throated quality, but going by the initial Fauré tracks, tends to scout over emotional expression. The Sicilienne could have been touching if the emotional agenda had been painted in. The Pavane feels rushed. The Berceuse is on the other hand quite pleasing with the note production being both curvaceous and penetrating. Wisniewska’s piano sound is rounded; not harsh. The Saint-Saens Sonata seems congealed in the first movement but in the other two is perfectly gracious. There is a gamin cheeky finale with strange echoes of Beethoven’s Fifth. Is Saint-Saens lampooning Beethoven?
Then we are back to Fauré with a sequence of five song transcriptions. Après un rêve is heavy-lidded and weighed down with sleepy contentment. Le secret is suitably grave with the music carrying a faintly melancholy tincture. Au bord de l'eau explores an elusive mood though the faint clicking of the oboe’s key mechanism can be heard and does return you to earth. Clair de lune is a brisk and pleasant stroll of a piece; not ardent. Mayer’s oboe here takes on the opulence of its cousin up the road, the clarinet. There are two Pierné’s represented in this recital Gabriel’s Serenade has an Iberian accent – more Massenet than Ravel. The Pièce sounds rather Tchaikovskian with a surprisingly brusque role for the piano. Fantasie Pastorale is by Paul Pierné. It radiates elysian calm – superbly done by the two players. The Satie pieces are well enough known. Here that sentimentality deficit I mentioned earlier is again in evidence though I did note that Wisniewska’s insight provided emotional contrast – listen to the way she gives face to a simple note cell in Gymnopédie 2. Bozza’s Fantaisie Pastorale is so much more than the shallow display piece I had braced myself for. It surveys stygian Bax territory, moves into showers of fanciful curlicues and culminates in a magically poised and elfin close. Koechlin’s Au Loin is for English horn and piano. It is splendidly ermine-dark and languid. The melodic material might remind some listeners of Bax’s In The Faery Hills.
American Classics - Ives: Piano Sonata No 2, Etc / Mayer
Naxos
CD · 1 disc
$19.99Aug 01, 2004
This recording has a lot going for it. Ives' music permits such a wide latitude of interpretive options that it's difficult to criticize any performance on grounds other then technical incompetence, and Steven Mayer not only plays extremely well, he has interesting ideas about how this music should sound. The Concord Sonata receives a magisterial performance, some 10 minutes slower than Marc-André Hamelin's benchmark recording for New World, but the music itself is so dense that it never sounds slow. Quite the contrary. If Mayer sacrifices some typical Ivesian wildness, he compensates by allowing us to hear more of what's going on in even the densest passages. He's particularly adept at pointing up, say, Beethoven's Fifth on its various appearances in "Emerson", and despite his comparative leisure, he highlights the abrupt contrasts of tempo and dynamics in "Hawthorne" as well as anyone.
Mayer's relaxed reading of the "The Alcotts" has special charm and a warmth that's just right for this portrait of two girls practicing the piano at home. "Thoreau" is let down a bit by the recording, which fails to back off far enough to realize a true pianissimo, even though Mayer scales down his dynamic range as Ives requests. Indeed, about the only other quibble I have aside from this one is that Mayer doesn't give us a true "very fast" in the 7/4 section of "Emerson", though of course it's an open question whether or not Ives himself would have cared. In the final analysis, this performance makes an excellent introduction to the work, combining a healthy dose of Romantic expressiveness with great clarity, concentration, and boldness. Even the readings between movements (of bits of Ives' own essays and fragments taken from the eponymous writers, an aspect of the performance I truly dreaded) are sonorously but simply intoned by Kerry Shale, coming off well as a sort of palate-cleansing sorbet between the larger courses.
The three shorter works, all more or less related to the sonata (everything in Ives tends to be related to everything else anyway), make for a very interesting and entirely appropriate bonus. I particularly enjoyed the wacky and truculent Varied Air and Variations, a riotously obnoxious piece that doesn't get as much attention as it should. As noted, the sonics, though generally good, tend to put the microphones a touch too close to the piano, and in consequence somewhat limit the dynamic range while capturing a bit of performance noise besides--but this isn't really troublesome. If you're looking for a satisfying, low-priced way to get to know some truly remarkable piano music through intelligent and sympathetic performances, you can't go wrong here. --David Hurwitz, ClassicsToday.com
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