In celebration of Norrington's 75th birthday, this special DVD is released featuring performances of these Haydn symphonies plus a newly produced portrait of conductor Norrington, an invaluable contribution to understanding this modest man.

Vaughan Williams, R.: Mass in G Minor / Silence and Music /

Classical Music

As James MacMillan celebrates his 50th birthday he here conducts his large-scale, complex work, The Quickening coupled with the symphonic suite The Sacrifice: Three Interludes, taken from his opera, The Sacrifice, a work based on a medieval Welsh tale and focusing on issues of love and conflict. Co-commissioned by the BBC Proms and the Philadelphia Orchestra, The Quickening sets poetry by MacMillan's frequent collaborator Michael Symmons Roberts. Hailed as some of the most distinguished writing since that of Benjamin Britten, the powerfully imaginative score explores the themes of birth, new life and new impulses, but as MacMillan says, it also has its dark side out of which hope is glimpsed. Joining the BBC Philharmonic is the Hilliard Ensemble, who premiered the work at the BBC Proms, accompanied by the City of Birmingham Symphony Chorus and Youth Chorus. MacMillan was awarded the 2008 Royal Philharmonic Society Opera and Music Theatre Award The Sacrifice following its premiere in September 2007 by Welsh National Opera. As did Britten in the now famous Four Sea Interludes from his opera Peter Grimes, MacMillan uses the Interludes as opportunities to withdraw from and reflect on the action, and he says, 'the orchestra provides another dimension to the narrative and to the drama, which allows the imagination to travel deeper or in a different direction.' James MacMillan is one of the UK's leading contemporary composers, and several of his earlier compositions are available on Chandos under his direction, including The Confessions of Isobel Gowdie (Classic FM Award winner), and The Berserking. Also available: CHAN 10092, 10275, 10377, 9997.

Classical Music

Classical Music

MOZART, W.A.: Symphonies (Essential), Vols. 1-6 (Norrington)

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Classical Music

Connolly’s is a distinguished addition to the catalogue.

In many respects Schumann is the archetype of the romantic artist: deeply influenced by literature, committed to powerfully intense emotions, creatively aware of the virtuosity of performers. He was himself a fine pianist, and the first twenty-three of his published compositions were for his own instrument. He then went on to match this achievement in the field of solo song, in which regard he became the true inheritor of Schubert’s mantle.

Another important aspect of Schumann’s creative nature was his fondness for creating large-scale compositions out of sequences of miniatures. He developed this trend in piano works such as Carnaval and Kreisleriana, and continued it in the vocal song-cycles, including for example Frauenliebe und -leben and the two groups of songs under the title Liederkreis (Opp. 24, 39).

All of these issues are germane to this collection of songs presented by Sarah Connolly with the expert support of Eugene Asti. Under the collective title 'Songs of Love and Loss', this Schumann programme includes two cycles from the great song year of 1840, the Liederkreis and Frauenliebe und –Leben. The remaining songs come from later in the composer’s life: the collection entitled Gedichte der Königin Maria Stuart Op.135, the beautiful short 'Requiem' from Op.90 and 'Mein schöner Stern!' Op.101 No.4. These show no falling-off in quality, despite the commonly-held view that his encroaching final illness undermined the quality of the composer’s later compositions.

There are abundant alternative performances of Frauenliebe und –Leben and the Liederkreis, but Sarah Connolly brings a distinguished addition to the catalogue. While many great artists have brought their insights to the former, a personal favourite is the 1996 Deutsche Grammophon disc by Anne-Sophie von Otter with Bengt Forsberg (445 881 2), while in the Op. 39 Liederkreis there is always the issue of whether a man’s voice is better. Among notable interpretations is that of Bryn Terfel, for instance, with Malcolm Martineau (again DG, 447 042 2). Therefore the excellent Sarah Connolly does not become an instant top recommendation, but she does have both the technique and the insight to do full justice to these great songs.

In Frauenliebe und –leben Connolly and Asti tend towards slower tempi, perhaps missing some degree of ardour, though a real highlight of their performance is 'Du Ring an meinem Finger', in which there is much intensity. The balance between voice and piano is nicely achieved by both the artists and the Chandos engineers, while the recording venue, Potton Hall in Suffolk, is a tried and tested acoustic well suited to chamber music and songs.

Although Connolly is not a native German speaker, her treatment of the language is assured and the treatment of the text abounds in all the subtleties the songs have to offer, with a vocal timbre that is rich and nicely in focus. The collaboration of the artists seems even better in the lesser-known songs. For instance Requiem moves to a convincing climax after a beautifully chaste opening phase, and the somewhat austere songs on poems attributed to Mary Queen of Scots have an intensity that is all their own. Perhaps her preference for slower tempi pays its strongest dividends here.

-- Terry Barfoot, MusicWeb International

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Classical Music

The world-class vocal ensemble Chicago a cappella does Christmas choral music fans a real service by daring to create a program entirely of contemporary (primarily within the last 20 or so years) works that defy the usual and predictable holiday concert choices that guarantee instant audience familiarity and gratification (not that there's anything wrong with those beloved, treasured standards!). Most of the works featured here require a bit more-than-usual attention from listeners--the composers and arrangers obviously approached such common texts as "What sweeter music", "Il est Né, le Divin Enfant", "O Come, O Come Emmanuel", "Noël nouvelet", "I wonder as I wander", "Lo Yisa Goy", and "The Huron Carol" with an idea to say something that hadn't already been said. And they do--splendidly. Then we have entirely original pieces by Stephen Paulus (Splendid Jewel--from a 14th-century Italian text), Gwyneth Walker (The Christ-child's Lullaby--inspired by a traditional Hebridean song), Richard Proulx (Prayer of the Venerable Bede--from a text found on the wall of Galilee Chapel in Durham Cathedral), and Danish composer Per Nørgård (En stjerne er sat--a dialogue between the Angel and the shepherds).

It's a tribute to the power of the Christmas story and to its enduring, compelling fascination for composers that the best of them continue--more than 2000 years later--to devote their efforts to writing music to recognize and celebrate the birth of Christ. And we are fortunate to have choirs of this caliber to bring this music to us in a context that presents it most favorably and gives it a permanent presence in our listening repertoire.

Another of the disc's strengths is the sheer variety of music, from the Nigerian setting of the text "For unto us a child is born" by Christian Onyeji, to Rosephanye Powell's "spiritual-like" Who is the baby?, to Yemeni composer Chaim Parchi's alluring Chanukah tune "Aleih Neiri", arranged for choir by Zamir Chorale of Boston founder Joshua Jacobson. The nine singers of Chicago a cappella are absolutely right-on in every respect, and the sound is ideal. This is an unqualified success, a holiday treat, a musical bounty that will both challenge and enliven your Christmastime listening. Highly recommended!

--David Vernier, ClassicsToday.com

Including some of the most beautiful baroque Christmas music on offer, this programme makes for the perfect Christmas collection. 'This is period-instrument performance at its best', wrote American Record Guide on the CD's original release. It is re-issued here for the first time. Three popular favourites, Corelli's gorgeous concerto for Christmas Eve, an idyllic Christmas concerto by Vivaldi, and Manfredini's Concerto grosso are complemented by two little-known cantatas by Telemann and Scarlatti. Each of the Italian composers has his own voice, contrasting tremendously with the more rugged German style of Telemann. Susan Gritton is the soloist in Scarlatti's cantata, described by Classic CD as 'ravishing and ravishingly sung... worth anyone's CD token'. This is a disc of intimate Christmas music, which will make an ideal stocking filler. As Classic CD wrote at the time of the original release, 'This is a delightful addition to the Christmas market, and the careful selection of its items and superb recording ensure that, like the traditional puppy, it's not just for Christmas'.

REVIEW:

These Baroque concertos and cantatas are all associated with Christmas, although some only marginally. The Scarlatti and Telemann cantatas were written for Christmas. The Manfredini and Corelli concertos probably received their associations with Christmas because each contains a pastorale movement, shepherds’ music in 12/8 time that Italian folk tradition associated with Christmas (the “Pifa” from Handel’s Messiah is another example). The Vivaldi concerto, one of his typical string concertos, seems to have received its seasonal connection from Vivaldi’s practice of programming it at Christmas time.

All of this music is delightful to hear. Many of Fanfare’s readers will probably have one or more of these works already, especially the concertos. The two cantatas are less often encountered, especially the Telemann, from the first movement of which we get the English carol Good Christian Men Rejoice. The playing and singing are excellent in all respects. Susan Gritton makes a major contribution in the solos of the Scarlatti cantata. Members of Collegium 90’s choir are equally good as soloists in the Telemann. Presiding over all, Simon Standage directs lively performances that respect the score and never stray into extremes of tempo.

This collection was issued 10 years ago under the title “Per la notte di natale.” In this reissue, Chandos provides full notes along with texts and translations, for which I commend them. Anyone looking for an enjoyable collection of Baroque music associated with Christmas need look no further.

-- Fanfare

Directed by Julian Jarrold, Evelyn Waugh's novel, Brideshead Revisited receives its first cinematic adaptation this summer with a cast which includes Academy-Award winner Emma Thompson, Michael Gambon, Matthew Goode, Hayley Atwell and Ben Whishaw. The screenplay is written by Jeremy Brock and Andrew Davies. Brideshead Revisited follows the memoirs of Charles Ryder and his involvement with the Flyte family who own the Brideshead Estate. It relives the hedonistic days of 1920s Oxford University and tells an evocative story of forbidden love and the loss of innocence with particular focus on Charles's relationship with brother and sister, Sebastian and Julia and their mother, Lady Marchmain. Chandos is delighted to have been given the opportunity to record Adrian Johnston's soundtrack, the first original film score on Chandos Movies. Having won both BAFTA and Emmy Awards for his scores, Adrian Johnston has had an impressive career in television and film to date including Becoming Jane, Kinky Boots, The Mayor of Casterbridge and White Teeth. Adrian Johnston writes of the Brideshead Revisited recording "I was thrilled to have an opportunity to work with Chandos - a label whose philosophy I have always liked, and whose CDs of Philip Lane's fine film score reconstruction I have particularly admired. I know that to release a 'non historical' film score was somewhat of a departure for the label, but I hope that Brideshead Revisited can somehow exist as a Chandos product, and perhaps open up the way for future film music collaborations." The BBC Philharmonic is conducted by Olivier Award winner Terry Davies who has a wide range of credits in film, theatre and TV including Shakespeare in Love, Becoming Jane, House of Mirth and A Midsummer Night's Dream.

Bruckner, A.: Symphony No. 6

Surging with epic emotions, Royal Mezzo showcases mezzo-soprano Jennifer Larmore in symphonic portraits of commanding characters from legend, literature, and mythology. (Cedille)

Così fan tutte is Mozart's third opera to a Da Ponte libretto. It is in opera buffa style and has only six characters, two couples and an elderly philosopher and a trusted maid. In this recording Lesley Garrett sings the part of the maid, Despina, and the celebrated veteran Sir Thomas Allen the philosopher, Don Alfonso. Despite the somewhat cynical storyline this opera contains some of Mozart's most memorable and sublime music. The conductor, Sir Charles Mackerras, has spent many years researching performance practice of the eighteenth and nineteenth centuries and is a noted authority on Mozart's operas. He writes of this recording, 'it is indeed a pleasure having the Orchestra of the Age of Enlightenment lending its expertise in tonal colour, phrasing and rhythmic impulse to Mozart's wonderful score...I have chosen to record this English version of Così fan tutte with the traditional cuts, thus making it closer to a staged performance'. The English translation, by the Rev. Browne, was first used in London at a performance conducted by Sir Charles Villiers Stanford in 1890.

MENDELSSOHN Cello Sonatas: in B?, op. 45; in D, op. 58. Variations concertantes, op. 17. Assai tranquillo. Lieder ohne Worte, op.19a/1,3,6 (arr. Piati); op.109 • Antonio Meneses (vc); Gérard Wyss (pn) • AVIE 2140 (72:45)


As Chopin’s works for cello owe their genesis to his association with Franchomme, so Mendelssohn’s pieces were written with specific cellists in mind. The charming and brilliant Variations concertantes (1829) and the First Sonata (1838) were written for the composer’s talented younger brother, Paul. In the interim, Mendelssohn composed the charming albumblatt, known as the Assai tranquillo , as a gift for his Düsseldorf colleague, Julius Rietz. The weightier Second Sonata, from 1843, is dedicated to Count Mateusz Wielhorski, who became a professional cellist on his retirement from the Russian army and eventually an important patron of music in St. Petersburg. Mendelssohn’s last work for cello and piano, the poetic Song without Words , op 109, is dedicated to Lisa Cristiani, one of the few women cellists of the time. Three of the piano solo Songs without Words , transcribed by the cellist Alfredo Piatti, who was much admired by Mendelssohn when they met in London, are interspersed among the original works on this disc.


The distinguished Antonio Meneses—a celebrated soloist and, since 1998, cellist with the Beaux Arts Trio—is a near-ideal interpreter of this important Romantic repertoire. Commanding a rich and varied tonal palette, Meneses approaches Mendelssohn’s essentially lyric expression with poise and equilibrium. This does not mean that passion and drama are given short shrift. In the Scherzo of the D-Major Sonata, the cunning pizzicatos verge on the sinister, only to be dispelled by the flowing cantabile of the trio. During the ensuing Adagio, one of the most beautiful slow movements in Mendelssohn’s chamber music, the cello interrupts the piano’s chorale figure with a series of recitatives. Meneses imbues these passages with a poetic utterance that is disarming in its intensity. His reading of the op. 109 Song without Words is the finest I can remember. Though Gérard Wyss’s piano-playing may lack a certain polish and finesse, his musical instincts are acute, and he remains the sensitive and supportive partner throughout.


Musically speaking, these performances will comfortably take their place alongside other admired readings of the repertoire, including those of Mischa Maisky and Sergio Tiempo (DG 471565) and János Starker and György Sebok (Mercury 434377). The recording, however, made in England in June 2007 at Potton Hall, Suffolk, doesn’t seem to do full justice to Meneses’s wonderful sound. It’s difficult to tell if poor microphone placement or a problematic acoustic space is the culprit, but presence and blend are lackluster. Stephen Pettitt contributed the informative and inviting notes.


FANFARE: Patrick Rucker

"When the Wigmore Hall Live label released an archival recording of a 1998 recital by the great mezzo-soprano Lorraine Hunt Lieberson last year, it raised the hope of more such posthumous finds. And just as that hope had begun to fade, here comes another treasure, this one unearthed from the archives of Emmanuel Music in Boston.

As it happens, this release serves as tribute not only to Hunt Lieberson, who died in 2006, but also to her frequent close collaborator Craig Smith, the founder of Emmanuel Music, who died in November. And the material is choice: spacious arias from two Bach cantatas and extended excerpts from Handel’s oratorio “Hercules.”

The disc begins with a 1992 recording of the aria “Kommt ihr angefochtnen Sünder” from Bach’s Cantata No. 30: Something of a tease as the opening instrumental passage heightens the anticipation of Hunt Lieberson’s entrance, more than two minutes into the disc. But that glorious Voice, when it appears, meets every expectation.

The “Hercules” excerpts, from 1999, trace the travails of the hero’s wife, Dejanira, culminating in a harrowing mad scene.... Although Hunt Lieberson’s compelling stage presence added mightily to any performance, the voice alone amply conveys her characteristic intensity here....

Dare we hope for more?"

– James R. Oestreich, New York Times [8/10/2008]

The early death of Lorraine Hunt Lieberson deprived the world of an exceptional artist and one, moreover, who left all too few commercial recordings. However, some archive recordings are now beginning to emerge and this new release, featuring previously unissued live recordings is one such. The CD also forms a tribute to one of her mentors, Craig Smith, Music Director at Emmanuel Church, Boston from 1970 until his death in November 2007 at the age of sixty.

Smith founded Emmanuel Music, which, besides fulfilling a liturgical function at the church, evolved also into a concert ensemble of no little distinction. Perhaps Smith’s greatest achievement was to inaugurate the practice whereby each Sunday between October and April, the main Sunday morning church service includes a cantata by Bach appropriate to the day. That tradition continues to this day and later this year the thirty-ninth consecutive season of liturgical cantatas will commence.

It was through Emmanuel Music that the then Lorraine Hunt took some of the first steps on her solo singing career and she maintained the connection, I believe, for the rest of her life, including appearances in the Sunday cantata series. This disc, therefore, takes us back to her singing roots.

The disc begins and ends with arias taken, I presume, from complete Sunday service performances of Bach cantatas. The aria "Kommt ihr angefochtnen Sünder" comes from the cantata Freue dich, erlöste schar, written for the feast of St. John the Baptist. Alfred Dürr writes thus of the cantata: "The underlying mood is joyful, relaxed and unproblematical, not only in the opening chorus but in the four arias, where a dance-like style is often clearly evident." Unfortunately, to judge by this aria at least, Craig Smith seems to have a different conception. Presumably with the agreement of his soloist, he sets and extremely slow tempo and the aria lasts 8:46.

This sent me scurrying to my shelves for comparisons. John Eliot Gardiner, in his Bach Cantata Pilgrimage performance takes a mere 5:27 but he is surely too fleet – at his pace the aria sounds like a gambol through the Elysian meadows. So that might seem to suggest that Smith is "simply" old fashioned in his conception. But turn to Fritz Werner’s 1971 performance and you find a tempo that seems to me to be just right – he takes 6:03. Beside Werner I’m afraid Smith sounds laboured. What saves the performance is the sheer beauty and inwardness of Lorraine Hunt Lieberson’s singing. On its own terms the performance is quite lovely and no admirer of the singer will be disappointed but I just think the basic conception is wrong.

Things are much more satisfactory in the other Bach aria, which is placed at the opposite end of the programme. This aria is from the cantata Allein zu dir, Herr Jesu Christ, which is for the Thirteenth Sunday after Trinity. Again, Miss Hunt Lieberson’s singing is beautiful and communicative and this time the pace is much more sensible, I think. The conductor here is the composer, John Harbison, who has also had a long association with Emmanuel Music and who, in fact, is currently the Acting Artistic Director. He adopts a slow pace, but this aria can take it. Again comparisons were instructive. Eliot Gardiner’s tempo is almost identical and he takes exactly as long as does Harbison. Werner didn’t record this cantata but another celebrated Bach traditionalist, Karl Richter, did. In his 1976/7 recording he takes 9:34 but his soloist, Julia Hamari, sounds cool besides either of her rivals and she and Richter, whose direction is smooth and relaxed, convey no real sense of trepidation. Nathalie Stutzmann, for Eliot Gardiner, is perhaps a touch more inward than Hunt Lieberson but she’s equally involving and it’s only by the merest whisker that I come down in favour of this present, excellent performance.

The remainder of the disc is devoted to excerpts from Handel’s oratorio, Hercules and these excerpts contain all the music for Dejanira, the wife of the eponymous hero. I presume, though it’s not clear from the documentation, that these extracts are taken from a live account of the complete work.

The role of Dejanira is an exceptionally demanding one, both vocally and emotionally. She is, in Craig Smith’s words, a "monumental character." I can well imagine that Lorraine Hunt Lieberson was a pretty formidable presence in the performance of the oratorio for these extracts show us a vivid character portrayal.

In her first aria, "The world when day’s career is run," she is fully the grief-stricken wife, yet she still retains dignity. Much of Dejanira’s music is in moderate or slow tempo but when swifter music arrives, in "Begone, my fears, fly, hence, away," Miss Hunt Lieberson excels in the passagework.

As her jealousy of the captive princess, Iole, begins to take hold and her certainty that Hercules has been unfaithful increases there’s great sadness in the aria ‘When beauty sorrow’s liv’ry wears’ and that is splendidly conveyed here. Particularly outstanding is the account of "Cease, ruler of the day, to rise," where the singing is particularly expressive. Writing of this disc elsewhere, but of another aria in the programme, the critic Michael Kennedy spoke of Miss Hunt Lieberson’s "power to humanise every note and bring the music to new life." How I agree and I’d say that this comment applies even more strongly to this deep aria.

The final excerpt is the Mad Scene. Here Miss Hunt Lieberson is intensely dramatic without ever going overboard. This is extremely demanding music and she performs it vividly and, once again, when the divisions arise she displays fine vocal agility. Hers is a tremendous performance of this recitative and aria and, unsurprisingly, it sparks an ovation from the audience who, otherwise, are commendably silent throughout.

These extracts contain some superb Handel singing. Frequently I was reminded of Dame Janet Baker’s assumption of Handelian roles and I can pay no higher compliment than that.

Despite my reservation over the one Bach item – a reservation that does not concern the singing per se – this is a superb disc that all admirers of this much-missed singer will want to have. And if you’ve not heard Lorraine Hunt Lieberson before, buy this disc and discover for yourself what all the fuss is about.

– John Quinn, MusicWeb International

Classical Music

Gypsy Strings is a collection of arrangements of traditional gypsy music together with a selection of original compositions. The disc was conceived to display the talents of London Concertante’s leader, Adam Summerhayes, and the Bulgarian fiddle player Emil Chakalov. The music becomes a jousting match between the two, backed by London Concertante’s twelve-player string section. The ensemble enjoys an ever growing reputation for exciting and memorable performances, thanks to exceptional players and inspired programming.

Csurgo Zenekar: Music of Hungary

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