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Classical Music

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Classical Music

Classical Music

Paco Peña, Paco Arriaga, Rafael Montilla, guitars
Inmaculada Rivero, José Angel Carmona, singers
Angel Muñoz, Charo Espino, Ramón Martínez, dancers
Nacho López, percussion

Yondani Butt was born in Macau. He studied conducting with Wolfgang Vacano (1906-1985) at Indiana University, majoring in chemistry. He continued to study conducting with Josef Blatt (1906-1999) at the University of Michigan while pursuing his chemistry degree. Hailed by Robert Marsh of the Chicago Sun Times as ''an outstanding talent'', Yondani Butt has received acclamation from critics and audiences for his many recordings and concert performances. He died on August 28, 2014. ''Anyone seeking these two symphonies on one disc, together with a generous 'filler' into the bargin, could hardly do better than to acquire this eminently recommendable issue'' Robert Matthew-Walker, International Record Review on the original release of Symphonies Nos. 3 & 4.

Founded by John Wallace in 1986 to explore and perform the extensive brass repertory, The Wallace Collection is one of the world's pioneering brass ensembles with an international reputation for innovative programming. After a twelve-year sabbatical, the ensemble was relaunched in May 2014 at a Park Lane Group concert in the Queen Elizabeth Hall, London. Currently it aims to achieve the extraordinary and exceptional in brass through focusing on the music of today in close juxtaposition with the lost repertory of the 19th century.

Brass instruments have been prominent in Peter Maxwell Davies’s music since his Op. 1, a trumpet sonata he wrote the year he turned twenty-one. The focus of this record, however, is on music from a long quarter-century later: the Brass Quintet he produced in 1981 and a spray of pieces that came in the immediate wake of that major effort, including not only two smaller items for the same formation but also a horn solo that, though so different in scale, is related in substance to the quintet. Trumpet tunes continue the story into the next two decades.

Let me say it right off the bat: I absolutely loved this CD, and I’m betting that you will, too. I have been enthralled with Hindemith’s Kammermusik ever since I acquired the complete set of works collected under that title in Riccardo Chailly’s 1992 two-disc Decca release. Seven works in all make up the series. Six are essentially chamber concertos, each featuring a different solo instrument: piano in the op. 36/1, cello in the op. 36/2, violin in the op. 36/3, viola in the op. 36/4, viola d’amore in the op. 46/1, and organ in the op. 46/2. The seventh, op. 24/1, is for 12 solo instruments. That leaves the op. 24/2 for five wind instruments heard here, to which Hindemith gave the title Kleine Kammermusik. Technically speaking, it falls outside the set of seven the composer designated Kammermusik, but in style it shares much in common with its siblings. Written in 1922, it is a delightful thing, peppy, perky, and playful, with just enough of those Hindemithian sour notes thrown in to give the piece a lemony zest. The Six Bagatelles by György Ligeti (b. 1923) is a fairly early piece written between 1951 and 1953, while the composer was still living in Hungary. The work is based on six movements from Ligeti’s Musica ricercata, and is clearly indebted to neo-Classical models, particularly Bartók and Stravinsky. Do not expect anything like the later spatial and spectral tone-cluster music that made Ligeti famous in the West.

I am of two minds when it comes to Carl Nielsen (1865–1931). Hearing his name so often in hyphenation with Sibelius (like Debussy and Ravel), I could not imagine how or why anyone would pair these two composers who sounded to me so utterly different in style and musical speech. Moreover, I was (and still am) a Sibelian to the core, and I was mystified that Nielsen, who seemed quite the inferior of the two, could be held up as an equal. Well, that was a long time ago, and before I really applied myself to learning Nielsen’s music. I still believe that Sibelius was the greater of the two composers, but they are so different from one another that comparisons are not very instructive. I have long since come to appreciate Nielsen for the individual and special voice that was his.

His Wind Quintet, op. 43, from 1922, is testament to that unique voice. At nearly 25 minutes, it is a substantive and masterful work. The concluding Theme and Variations movement, especially, is not only a brilliant display of wind-writing technique, but really beautiful and moving music.

What can I say about the Quintett Wien? These five musicians are more than masters of their craft; they come together as a perfectly blended ensemble that breathes as a single living organism. Truly magnificent. Nimbus captures them in an acoustic that is open and radiant, but not reverberant. I know that I will be playing this CD many times over.

Jerry Dubins, FANFARE

Classical Music

Includes work(s) for pno by Igor Stravinsky. Soloist: Martin Jones.

Classical Music

Classical Music

Although Dmitri Kabalevsky’s concertos and sonatas hardly lack for good recordings, few pay attention to his prolific output of shorter solo piano pieces. That’s a shame, because this composer, if not a towering original, wrote imaginatively and effectively for the keyboard, as the works on this disc bear out.

Even at 21, Kabalevsky could dole out flashy goods in his third Op. 1 Prelude, while simple sophistication and canny register deployment define both of Op. 40’s short variation sets. The Six Preludes and Fugues Op. 61 wear their contrapuntal craftsmanship lightly; who else could write a tuneful, waltzing fugue, or a prelude based on clusters that evoke Burt Bacharach covered by The Carpenters? Written for the 1958 International Tchaikovsky Competition that made Van Cliburn a household name, the A minor Rondo wears well, from its opening downward arpeggios to the infectious “oom-pah” accompaniment.

Each of the three Op. 87 variation sets, respectively based on American, French, and Japanese folk songs, has a distinct personality and deserves wider recognition. While the booklet notes understandably liken the American theme to a tune played on a Native American wooden flute, some listeners will recognize it as the folk song “All the Pretty Little Horses”. Known for her steadfast advocacy of worthy keyboard rarities (including splendid recordings of the complete Amy Beach and Arthur Foote piano music), Kirsten Johnson’s astute attention to detail and her fluent, tonally rich pianism are a joy to behold. The resonant warmth of Nimbus’ engineering will please collectors who found the label’s 1970s/’80s “Ambisonic” productions to be uncomfortably diffuse.

-- Jed Distler, ClassicsToday.com

When I first wrote my transcription of Bach’s Goldberg Variations for String Trio, in 1984, it was both a labour of love and an obsession with the 1981 Glenn Gould recording. For two months I probably had the time of my life, musically speaking, being in the constant company of Johann Sebastian Bach and Glenn Gould.

Generally, at that time, transcriptions were out of fashion and I recall that my own colleagues and managers were sceptical about such an audacious idea.

Since then my transcriptions have been played all over the world, and moreover they have opened the floodgates of new interpretive possibilities for the piece which have included solo harp, wind instruments of all kinds, saxophone quartets, Renaissance viols and even a fascinating concoction of Uri Caine, among many others.

By the time 2009 arrived I felt that this was the right moment to re-visit and somewhat re-examine my original transcription. It was 25 years after the piece was first transcribed, I had performed it many times and heard different adaptations of it, so I felt the need to return to a simpler version with hardly any repeats at all.

I have made some changes in orchestration, probably influenced by my String Orchestra transcription of 1992, but most of all I tried to inject some fresh, youthful energy to propel the piece from the beginning to end. As a result there was still room left for my old/new friends, 15 Sinfonias, which have always been in my mind to be played and recorded, and this was a welcome bonus for me and my talented young colleagues, Yuri Zhislin and Luigi Piovano.

I hope listeners will share in my life-long journey through the Goldberg Variations and my love of the music, indeed in the very first publication of the Variations, in 1742, J. S. Bach states that the spirit of the piece is “for the enjoyment of music lovers”.

-- Dmitry Sitkovetsky

Classical Music

Classical Music

Classical Music

Kenneth Woods, who conducts this recording, writes: “Philosophers and musicians have argued for centuries about whether music is a universal language or a personal one. It seems that it can obviously be either or both, and that there is a huge continuum of language between those musical gestures that are truly universal and those which are almost as personal as a fingerprint. One of the things I find most compelling about Philip’s music is the extent to which it embodies the extremes of both the universal and the personal. As Philip’s output grows and our understanding of his work evolves, we can begin to see that there are musical threads which spill over from one work to the next. In this respect, he is part of a venerable tradition. Sometimes these recurring themes and motifs have profound personal significance, sometimes they are simply, as Philip once said to me of a particular rhythmic motif which appears in the vast majority of his pieces at least once, “very useful.”

French organ music from the period of Louis XIV to the Revolution has always held fascination for performers and listeners alike. The kaleidoscope of colors, the rich and varied styles and the sheer exuberance of the music never fail to captivate. Yet, performance practice of this music has never been fully understood. David Ponsford has spent much of his career studying this repertoire, resulting in his book French Organ Music in the Reign of Louis XIV (Cambridge University Press, 2011). This series of recordings, on the most important historical organs in France, is therefore the fruit of many years of research by a seasoned performer whose aim is to combine technical brilliance with intellectual understanding, to bring the music alive with authority and meaning.

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music