Sweelinck: Organ Works

Poised on the northern margin of Europe, Swedish composers struggled to have their voices heard but built a strong national musical culture during the course of the 19th century. The works for violin and orchestra collected on this disc have little obviously Swedish content, such as folk tunes. Rather, the composers can be heard drawing on the models of the musical giants of their day, asserting that Swedish music was ready for comparison on equal terms with that of central Europe.
Written early in the century, Franz Berwald's youthful concerto is an eccentric work that stretches the classical tradition. Fragmented melodies and military figures in the outer movements frame a very brief Adagio. Jumping to the end of the century, Wilhelm Stenhammar and Tor Aulin composed under the influence of Bruch, Brahms and Schumann. Stenhammar's Romances are predominantly lyrical, allowing young soloist Tobias Ringborg's attractive singing tone to shine. Aulin's Concerto no 3 is dramatic and impassioned; with many striking unaccompanied passages and austere dialogues between violin and orchestra. Despite the obvious influences, this work has an originality of rhetoric and style that make it the real discovery here.

This is an incredibly beautiful CD, one that will surely be played repeatedly around here. The repertoire is mostly for string orchestra and every piece is a romantic gem. Lars-Erik Larsson's music occupies half the CD, and ranges from the tuneful Little Serenade to the eloquent, soul searching Adagio. Gunnar de Frumerie wrote romantic music within a neo-classic framework, and his Pastoral Suite, exquisitely played here, is a prime example. Kurt Atterberg's Suite, which began life as music for a play called Sister Beatrice, is perhaps on a more spiritual level than the pastoral works of the other composers. Atterberg's use of modality at times makes it reminiscent of Vaughan Williams' Tallis Fantastia, and it is just about as lovely and nearly as significant. The lovely little Blomdahl romance might come as a surprise to listeners who only know this composer from his stringent, modern-to-the-max compositions. The playing throughout is incredibly beautiful. This orchestra plays with a rich, ripe tone that is completely disarming, and conductor Petter Sundkvist gets the utmost in nuance from every player. The Naxos sound is full and warm with lots of well-defined bass. This CD is a real find.--Rad Bennett, ClassicsToday.com

Complete Track List:

1. Dagen är kommen 04:36
2. När juldagsmorgon glimmar 02:43
3. Det är en ros utsprungen 02:24
4. Betlehems stjärna (Gläns över sjö och strand) 03:17
5. Ding, dong, merrily on high 01:53
6. Nu tändas tusen juleljus 02:32
7. Stilla natt 02:44
8. Gladelig vi sjunge dig 01:49
9. Förunderligt och märkligt 02:27
10. Vid Betlehem 04:59
11. Tre kungar 02:40
12. Härlig är jorden 02:51
13. O helga natt (Adams julsång) 04:19
14. I saw three ships 02:11
15. Jungfru Maria 02:43
16. Och det hände vid den tiden 03:03
17. Jul, jul, strålande jul 02:37
18. Ave Maria 05:51
19. Tomorrow shall be my dancing day 02:41
20. Lyss till änglasångens ord 03:03

Listen to the Naxos Podcast to learn more about this release

The composer's Russia Adrift is becoming something of a classic outside his native homeland. I was delighted to come across this recording of an arrangement for mezzo-soprano and orchestra; it's just as powerful as the original version. In addition, we have a beautiful three-movement 'small cantata' to words by Pasternak, Smeg idyot, from 1965, in which the choir's show their mettle, and from Music for Small Orchestra, from a year earlier, a work that undoubtedly has its own strength of character. This is an important addition to the ever-increasing Sviridov discography.

– Gramophone

The Symphony No. 1 in D major, scored for pairs of flutes, oboes, clarinets and bassoons, four horns, two trumpets, three trombones, timpani and strings, opens with an effective Molto allegro, in text-book sonata-allegro form. The repeated exposition with it's principal and secondary themes is exploited in a central development, which ends in mounting excitement as the principal theme returns in recapitulation. The strings start the A major Andante, the longest of the four movements of the symphony, with a strongly felt melody, in which clarinets, bassoons and French horns join. This provides the chief substance of the movement, as it returns in various guises, in part or in whole, in Elgarian grandeur or in sparer textures. There is a further shift of key to G major for the Allegretto Scherzando, with it's opening peasant dance. There is a succeeding section in B flat, exploring the higher registers of the flutes and a shift to A major for a passage accompanied by the softest of plucked strings. There are further changes of key before the return of the first material and the passage accompanied by softly plucked strings, with which the movement ends. The last movement starts with a slow introduction of increasing intensity and excitement, introducing the sonata-allegro form movement, with it's syncopated principal theme and contrasting secondary theme, introduced first by the strings. The material is duly explored in a tightly constructed development, to return in the expected recapitulation. Svendsen's Symphony No. 2 in B flat major, written some ten years later than the first of his symphonies, further establishes his position as a major symphonic composer. Similarly scored, the work absorbs and transforms something of Wagner's influence into a classical structure, the first subject first heard from cellos and French horn makes it's first return, after the central development, with the flute, while the secondary material, first heard in the woodwind, makes it's return with the help of the strings. The slow movement, heralded by the somber notes of the French horn, entrusts it's first theme to the clarinet, in music that owes much of it's color to the deft handling of the woodwind. The sound dies away, with a change of key from the E flat of the Andante to F major for the Intermezzo, a country dance, with it's suggestions of Norway and it's contrasting trio sections. There is a slow introduction to the Finale, suggesting something of what is to follow and leading, with a crescendo, to the Allegro con fuoco, with it's cheerful principal subject and contrasting secondary material, duly and dramatically developed, to re-appear in recapitulation.

Recording information: Alsion Concert Hall, Sonderborg, Denmark (12/18/2007-12/21/2007).

The music of Iceland' first composer, Sveinbjorn Sveinbjornsson, is reflective of his personality, described by his contemporaries as vivacious and affectionate but temperamental at times. This recording celebrates the composer' 160th anniversary.

SUPPE: Famous Overtures

The names of William Schwenck Gilbert and Arthur Sullivan are fused when speaking of their collaboration on a series of operettas. It is almost impossible to consider the music of Arthur Sullivan on its own terms without thinking of Gilbert. This is unfortunate because Sullivan was a fine composer of serious music and wrote oratorios, hymns and large orchestral works that have been neglected. This collection of overtures puts Sullivan in the spotlight and his music rises to the occasion.
The Sullivan overtures on this recording are curtain raisers for the most beloved of the operettas written with W.S. Gilbert. Each and every one is a delight and filled with the jaunty melodies that make the operettas so charming. Sullivan was a clever orchestrator and the overtures are colorful and filled with exuberant energy. The Royal Ballet Sinfonia under the direction of Andrew Penny deliver loving performances. This is an ideal recording for lovers of the overtures of Rossini and waltzes of Johann Strauss.

Growing up as I did in the New England prep-school tradition, I had the opportunity to sing in some half-dozen Gilbert and Sullivan operettas (we did one every year), and saw many more in local productions in and around Connecticut. I remember particularly memorable productions of Iolanthe and Patience (dragoons on motorcycles), but at one time or another I had the good fortune to see or act in most of these pieces, some on multiple occasions. Although Gilbert's verbal wit does not export well, at least according to my friends on the continent, Sullivan's tunes remain some of the finest and most memorable ever to grace operetta. I'll take him over those Viennese schlockmeisters any day, though Offenbach is another story entirely.

All of which is a long way of saying that Pineapple Poll, Charles Mackerras' balletic answer to Gaîté Parisienne, is a masterpiece of musical pastiche, and a delicious treat for anyone who just wants to relax and revel in delicious melodies, dressed up in "bright as a shiny new penny" orchestration.

Mackerras himself recorded "Poll" at least twice, for EMI and later for Decca in the early digital days, and both performances are splendid, as might be expected. But so is this one. It's every bit as rhythmically infectious, exceptionally well played, and brilliantly recorded. David Lloyd-Jones' vivacious take on the Irish Symphony provides a very substantial bonus, making this new release a prime recommendation if you want to hear Sullivan's major orchestral work alongside many of his best tunes, but without the voices. Marvellous!

--David Hurwitz, ClassicsToday.com

These two works make a logical coupling, though they never have been paired before. Indeed, “A Winter’s Tale” seems to be receiving its CD premiere. An early work, Suk hasn’t quite shaken off the influence of his illustrious father-in-law, Dvorák, but this confidently shaped and scored, melodically memorable piece already offers a taste of the composer to come in its darker emotional tone. “A Summer’s Tale” is one of a series of works in which Suk came to terms with the tragic death of his wife. It’s a nature poem on the grandest scale (the last movement, “Night”, is of positively transcendental beauty), and a heartfelt masterpiece that would be better known if it weren’t so horrendously difficult to play. The Slovak Radio Symphony Orchestra may not be the Czech Philharmonic, but they undoubtedly know the score, and they acquit themselves admirably. There also is some fine playing from the principal trumpet, as well as from the two English horn soloists in the very Slavic, haunting third movement (called “Blind Musicians”). A fine disc.

– David Hurwitz, ClassicsToday.com

STRAVINSKY Violin Concerto. 1 Zvezdolikiy. 2 Symphonies of Wind Instruments. 3 Le sacre du printemps (1911-1913; 1947/1967) 4 • Robert Craft, cond; Jennifer Frautschi (vn); 1 Gregg Smith Singers; 2 O of St. Luke’s; 2 20th Century Classics Ens; 3 Philharmonia O • NAXOS 8.557508 (67:42)


The first thing that strikes one about this disc is the marvelous sound of the orchestra; Craft achieves a balance of chamber and orchestral character that fits the Violin Concerto perfectly. Of course the musicians and engineering team deserve credit, too, but it is Craft’s vision, understanding, and ability to get exactly what he wants that make the difference. The composer’s 1960 stereo recording with Isaac Stern is rhythmically square (and Stern’s energetic playing is sabotaged by ugly recorded sound), whereas Craft swings nicely. Stravinsky’s 1930s performance with Samuel Dushkin is closer to this one. If I seem to be favoring Craft over Stravinsky as an interpreter and conductor of the latter’s music, so be it. Now in his eighties, Craft is surpassing most of his former efforts, and many of these Naxos recordings stand as the finest of all. I am reminded of the truism that Schoenberg’s works suffered from being so badly played for half a century: well, so did many of Stravinsky’s, beginning with the works immediately following the big three ballets. Craft’s recent Les noces , for example, is superior to any earlier recording.


Getting back to the Violin Concerto, Frautschi is a superb young violinist who has specialized in 20th- and 21st-century music. She plays the bright yet silky “ex-Cadiz” Stradivarius, which stands out from the ensemble or fits right in, as required. Whether Frautschi or Craft is driving this performance doesn’t matter; the results are wonderful: savory, clean, punchy, and yet light. I am thoroughly beguiled by Itzhak Perlman’s beautiful playing of this Concerto on DG, and by the Boston Symphony’s eloquent accompaniment, but this performance does the piece more justice.


Zvezdolikiy is better known by its French title, Le roi des étoiles (“King of the Stars”), but Craft translates it as “The Star-Faced One.” I think I’ve encountered this recording before, but I can’t place it—this series petered out on two other labels (MusicMasters, Koch International) before Naxos came to its rescue. No matter: this is a fine reading by excellent forces, very well recorded. The booklet offers an English text. Craft plays the original score of Symphonies of Wind Instruments (the composer led the simplified 1947 version in Sony’s “The Recorded Legacy”) and makes it sound surprisingly mellow, at one point almost jolly.


Stravinsky was always touching up his music, every time he performed anything. My Boosey & Hawkes score of Le sacre says “Revised 1947, Re-engraved edition 1967,” which I think means only that this 1990s publication duplicates a 1967 one. Of course a Stravinsky- or Craft-led performance needn’t be limited by a published score. Oh well, thought I, Craft’s always brilliant, always fascinating program notes will explain all. But Craft writes only a “chronicle” of the composition and early performances, never getting past April 6, 1914. Whatever “1911–1913; 1947/1967” means, this performance sounds as if most of the awkward moments have been cleaned up, but the baby has been thrown out with the bath water. The orchestral playing is less vibrant than that of the London Symphony in Craft’s 1995 Koch recording, which later appeared on Naxos ( Fanfare 29:3). A too-warm recording doesn’t help; timpani and bass drums are a bit distant and muffled, which will never do in this music. In the final Sacrificial Dance, the playing becomes a bit sloppy. I note that this performance lasts 33:41, the earlier one 31:58; the difference is certainly noticeable. Both performances were recorded at Abbey Road Studio 1, this one in 2006. Perhaps the revised score explains why modern performances seldom thrill the way early ones did (and still do), in particular Salonen’s recent Los Angeles Philharmonic SACD spectacular being less satisfying than Stravinsky’s cramped, monaural 1940 recording with the New York Philharmonic.


At Naxos prices, you can afford to buy this CD just for the Concerto.


FANFARE: James H. North

After the tremendous success of his early ballets, Igor Stravinsky changed focus in several ways, from modernism to neoclassicism, and from large ensembles to very small ones. 'The Soldier's Tale' was part of this change, a theater piece for three actors and seven musicians, with music that reflected distinctly non-Russian influences such as tango and ragtime. The work has become most popular in suite form, partly because C. F. Ramuz's sing-song spoken text, originally in French, is seen by many as tiresome and overly moralistic. In this performance, the text is heard in a popular English translation by Michael Flanders. Nicholas Ward leads the Northern Chamber Orchestra in a solid performance that features nice solo turns from all concerned, including Ward himself on violin. The disc also includes Stravinsky's ersatz Brandenburg, the "Dumbarton Oaks" Concerto in E flat.

REVIEW:

Robert Craft's performance of The Rite of Spring, rescued from oblivion, proves that in the early ballets he can be both accurate as well as exciting. Extremely well played by the London Symphony, seldom have the complex textures in the Introduction to Part One or the Ritual of the Rival Tribes sounded so clear and natural. And yet, in the Dance of the Earth, or the concluding Sacrificial Dance, Craft pulls out all of the stops to really impressive effect. The sonics are excellent, both here and in The Nightingale--this latter a beautiful, neglected piece that sounds much better in its original operatic form than in its later, formally somewhat dysfunctional symphonic dress. Once again Craft leads a superb performance of the orchestral part, and the singers are mostly fine. Olga Trifonova's bright soprano does well by the nightingale...with transliterated text and English translation, this is a very good deal.

-- David Hurwitz, ClassicsToday.com