An engaging sampling of characterful music by one of the leading pianists of her day.

Teresa Carreño was born in Caracas. She went on to make an important and successful musical career in North America and Europe as (primarily) a pianist of considerable reputation. She was also a singer and an occasional conductor, as well as a composer. Carreño was the granddaughter of Cayetano Carreño (1774-1836), composer, organist and choirmaster who played an important role in the musical life of Venezuela. Her own father, Antonio Carreño (1812-1874) was, by profession a banker and a diplomat, but also had a sound musical background and gave his daughter her early music lessons. Her mother, Clorinda Garcià de Sena y Toro was a niece of Simon Bolivar’s wife. Teresa was something of a keyboard prodigy. At the age of 8 she was taken to New York, where she studied with Gottschalk and gave public performances which attracted large audiences. One writer who attended her concerts wrote that “Little Miss Teresa Carreno is indeed a wonder … A child of nine years, with fine head and face full of intelligence, rather Spanish-looking (she is from Caracas) runs upon the stage of the great Music Hall, has a funny deal of difficulty in getting herself upon the seat before the Grand Piano, runs her fingers over the keyboard like a virtuoso, and then plays you a difficult Nocturne by Doehler, with octave passages and all, not only clearly and correctly, but with true expression … she plays Thalberg’s fantasia on Norma, full of all kinds of difficulties … with brilliancy, with nice shading, with expressions, her chords struck square and clean, like a master”.

There followed further studies in Paris, with George Mathias and, later with Anton Rubinstein. In her earlier years she seems to have been a somewhat impetuous and fiery player she seems later - after a break from public performance, a break bound up with her complex marital history - she gained a reputation as a meditative player, whose work was characterised by genuine profundity. Evidence of her own playing exists only in the form of piano rolls.

The excellent Clara Rodriguez here gives us a delightful sampling of Carreño’s own compositions most of which were apparently composed during her teenage years in Paris. The music will surely interest - and give pleasure - to anyone with a fondness for the nineteenth-century piano repertoire. There isn’t perhaps much of startling originality here, nor very much that betrays the composer’s South-American origins. The partial exceptions are Un bal en rêve, which incorporates the dance rhythms of the Venezuelan merengue and the Latin-tinged Vals gayo. Everything is very accomplished and each piece makes clear not only the considerable technique that the young Carreño must have had at her disposal, but also her sophisticated rootedness in the music of her age. Her Ballade has a dramatic poetry of a sort which no nineteenth-century composer would have been remotely ashamed. Le Printemps has a fine declamatory opening, an elegant waltz momentum, and a pleasing willingness to disrupt that momentum to subtle and expressive effect. Chopin would not, surely have been embarrassed to acknowledge either the Mazurka de salon or Un rêve de mer. The lovely Venise is pure delight, an exquisite barcarolle - this is a piece that deserves a place in the extensive canon of compositions inspired by Venice. Something positive can - and should - be said about every piece on the disc.

Clara Rodriquez plays with abundant vitality and a matching tenderness. Her performances carry a persuasive air of authority - this is clearly music which means a lot to her. Little of this music achieves any great emotional profundity unless it be Plainte, an elegy for the composer’s mother. It never fails to engage as it explores a variety of moods and tempi and is always full of character.

-- Glyn Pursglove, MusicWeb International 

This collection of nine works of mine, recorded by the Ives Ensemble, spans exactly 30 years but all the music was actually written at the opposite ends of this period of time. The six trios are early pieces, composed in 1986 and 1989, while Piano Quintet and the two works for solo piano were written between 2011 and 2016. A 10th piece was also recorded and is available only on download, this is Holt Quartet, composed in 2013. If these compositions were listened to in chronological order, Hugo Pine would be followed by Piano Quartet. These two works are both entirely characteristic of my compositional endeavor at those particular points in time. They are in some ways similar and in some ways very different. What has changed in the intervening 22 years? (Laurence Crane) The Ives Ensemble was founded in 1986 by the Dutch pianist John Snijders and consists of a steady pool of 14 musicians. The ensemble concentrates on performances of non-conducted 20th and 21st century chamber music, in which, ever since the founding of the ensemble, the music of Charles Ives, John Cage, and Morton Feldman has been serving as its base. The ensemble has a large body of commissioned works from such great composers as John Cage, Richard Ayres, Michel van der Aa and many others.

Classical Music

Kenneth Woods writes of this release: “The idea for this orchestration of the Brahms Piano Quartet in A Major came to me spontaneously in a flash of inspiration while I was coaching chamber music at the Ischia Chamber Music Festival in 2008. … I listened to a group play through the first movement of the piece in its original form. As I began to work with them, I found myself speaking to the pianist, as I often do, in orchestral terms. “Can you try playing the opening phrase more like…. a quartet of hunting horns?” I asked…After the coaching I had a bit of free time, and found myself listening to an imaginary orchestral version of the entire first movement emerging from that horn quartet. I was fascinated by the ways in which I thought an orchestral realization could bring to the fore some the nature imagery and vernacular music that is present in the original. By the end of that morning, I’d decided to try to undertake a realization of the orchestration. It took several years from that morning on Ishcia to complete this orchestration. After my initial work on it in 2008, the piece was set to one side while I attended to other projects with firmer deadlines. The final version was premiered on 21 November, 2017 with the English Symphony Orchestra in Cheltenham Town Hall. The scores of Brahms’ Four Symphonies are like a sacred text for me. They are among the most studied, most loved, most performed works in my library. In trying to understand his use of the orchestra well enough to translate this Piano Quartet into a symphonic sound world, I’ve found my admiration for Brahms’ achievement continuing to grow.”

“In November 2020 I was asked by Em Marshall-Luck, Founder-Director of the English Music Festival to write a piece for her Christmas Garland concert at short notice. Having promoted a successful two-day festival in St Mary’s Church, Horsham, Em’s belief in the vital importance of offering live music-making during the COVID pandemic was stronger than ever. I decided to write a short, atmospheric piano piece Christmas Dawn, in support of her, the pianist Duncan Honeybourne, the festival and those who were willing to travel to Horsham to hear the music played live. Christmas Dawn is a simple, hymn-like tune presented first softly, with a simple chordal accompaniment. As it gains momentum, with more expansive piano figuration the tune develops and extends. A contrasting middle section with staccato quavers heralds the return of the theme in a full, joyful iteration, before closing softly again. I sent the score to my publisher and they suggested that the pianist Simon Callaghan record Christmas Dawn with an accompanying video, as a celebratory lockdown project at Wyastone Recording Studio that might cheer people up, given the uncertainties of Christmas this year. I hope the music and the video will give pleasure at a time when Christmas cheer is much needed.” (Richard Blackford)

Johannes Brahms began his musical life studying the piano, and his earliest, truly great compositions were solo piano works, both presented here. The Scherzo in E-flat minor, Op. 4, is the earliest surviving composition by Brahms. He wrote it in November 1851 when he was 18. He published it as Op. 4, rather than Op. 1, because, he explained to a friend, “when one shows one's self for the first time, people must first see the head and not the feet.” Musical scholars feel that, despite the composer’s denial, it obviously shows a “dependence” on Chopin’s scherzi, and quotes from Heinrich Marschner’s Hans Heiling at bar 46 as well. is certain that Brahms had composed the Scherzo of the F minor Piano Sonata in November 1852,before meeting Schumann and Liszt, but the same scholars feel bars 105 through 111 of this Scherzo unmistakably show the influence of Liszt’s music with “striking parallels.” The Sonata was completed just after Brahms’ visit with Schumann, and it would be easy for us to see Schumann’s influence in retrospect. Internationally recognized as one of today's most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors and recital series. His commanding technique, power and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.

Written in his late teens: Flight, for solo flute, whose swooping crests and curlicues are fervently relished in Michael Cox's performance. Benjamin describes the piece as 'inspired by the sight of birds soaring and dipping over the peaks of the Swiss Alps'. Listening to the piece you'll hear a panoply of songs surfing the musical thermals in the alpine either: low, long-breathed cries and calls, filigree flocks of ornamentation in the atmospheric heights of the flute's register, a chorus of vapors conjured by a single instrument. Into The Little Hill is based on the Pied Piper story, allowing audiences an immediate entry point into the opera's dramaturgy. But Crimp's re-telling simultaneously updates the story, with its politicians, photographs, and limousines, and opens up further mythic dimensions to the narrative. The drama of Into the Little Hill is concisce, clear and simultaneously ambiguous, even chilling. Benjamin says, 'Martin's text is hard-edged, formal, and hyper-condensed'. The reason for its musical and dramatic success is Benjamin's unerring feeling for expressive characterisation. Each layer of Into the Little Hill's score is immediately identifiable, from the Crowd's baying cries of 'Kill them' rightat the start of the piece, to the rodentine scurrying of the rat's music, and the Mother's lamenting grief in the last scene. Dream of the Song is a mysteriously sensual and sensually strange song-cycle for countertenor, a halo of female voices that are similar in register, but so different in timbre and sound and expression, and orchestra. The counter-tenor sings poems, in English, by Jewish poets of 11th century Andalucia, themselves inspired by Arabic poetry of earlier centuries. There are images of ravishment and wonder here - moonlight, the celestial tent of the sky, a dream of a gazelle, a harp, a flute - but they are always undercut by other ideas. Above all, it's the gossamer rapier of Benjamin's music that cuts to the heart of these settings.

Richard Blackford writes: “The seven prints I chose from Hokusai’s immense output of Ukiyo-e, or “pictures from the floating world”, represent landscapes, seascapes and scenes from Japanese town and country life around the iconic Mount Fuji. Whereas some movements are inspired by a single picture, others are composites of many scenes or visual variations on a theme. The poems of Sarojini Naidu (1879-1949) cover a wide range of human experience, from love, ecstasy, delight in the natural world, loneliness, acceptance and praise. These five poems form a cycle of one Indian woman’s experience. Her poetry pulsates with her love of Indian landscapes, seasons and flowers, simple joys, devotion and the splendor of Indian festivals. I chose an accompaniment of string quartet and clarinet to extend and enhance the richness of Naidu’s imagery and the passion she evokes. In 1980 I discovered in an old bookshop a book of Chinese children’s’ songs in English translation called Chinese Mother Goose Rhymes. Published in 1900 it includes, as well as the texts in Mandarin and English, I chose fourteen poems to make a cantata for children, accompanied by two pianos with optional percussion, recorder and harp. The cantata is framed by two marches as the children gather for a wedding. Recorded in 1981, the original tape sat on my shelf for years. Now digitally transfers by Nimbus and we were surprised and delighted at how fresh and dynamic the recording still sounds today.”

Classical Music

This is a reissue of Shumsky's analogue recording of over 30 years ago - released by Musicmasters (ASV) in 1979. The first thing to say unequivocally is how good the sound is for all that. It's certainly more 'restricted' than we might want now: less spacious and reverberant but in no sense claustrophobic. Although one would want such a reduction in sound-stage to concentrate our listening on the instrument, there is nevertheless a certain distance between microphone and violin. This has the result of seeming to capture a 'limited' performance, as much as a concentrated one.
 
Then, let's be grateful that there is now such an accessible and pleasing recording by Shumsky (1917-2000), one of the legendary violinists from the last century. His famed meticulousness and attempt at perfection is unlikely to fail to inspire. At the same time it may come across as a little too perfect, too much of an intention to do due homage to this great music at the expense of expressiveness. Contrast the approach taken in the interpretation of Rachel Podger (Channel Classics 24982), for example, where latitude works consistently well with a conviction that Bach's notes are sacrosanct.
 
It's almost as though Shumsky sees each movement as a problem to be solved, a hill to be climbed. Then he unobtrusively demonstrates how the expertise in whose tradition he knows he is squarely placed has solved it. The andante from the second (A minor) Sonata [CD.2 tr.11], for instance, is deliberate and paced - not that it lacks all life. But, perhaps, that such life is in a glass case close by.
 
On the other hand, when this measured and considered exposition is followed by the allegro, Shumsky's precision and self-denial win us straight back over … "I may be in a great tradition, I may be ultra-competent to the tips of my smallest fingernail", he seems to be saying, "but I will not flaunt it. It's all in the service of something greater. And something which we all implicitly know is greater without any need for self-promotion or exaggeration." This is most welcome. The point is further made in the way the very next movement (of the third Partita's preludio [CD.2. tr. 13]) exudes authority. The order on these CDs is G minor Sonata, D minor Partita, C major Sonata; B minor Partita, A minor Sonata, E major Partita. Yet it's an unselfconscious authority, and a quiet and generous authority that comes as much from love of the music as from gesture. Again, that's as it should be.
 
Shumsky's tone, intonation and attack are considered and contained. There is nothing wild or wayward. Yet, knowing what we do now about period instruments, the unnamed violin played throughout seems a little less (a little 'thinner') than the essence of all violins everywhere, which we might otherwise expect. But this is standard for the time and should not put us off. Just that it might not be expected. In other words, this recording is not a shining, slightly echoing and ultra-forward one, in which one can almost hear the varnish on the violin vibrate. But it nevertheless makes us listen to the music itself, and its player.
 
Were this recording being contemplated today, Shumsky might have taken some of his tempi differently… less contrast between fast and slow movements, for example, in order to heighten the tension. As it is, we tend to consider Shumsky's conception perhaps a little didactic and demonstrative in the best senses of those words. Not lacking in life, but as a result never really 'driving' the work in ways we have become used to in the last few years. He has, perhaps, a less overt awareness of the work's overall conception. Is more concerned with the particularities of each portion thereof.
 
To put it equally positively, for all Shumsky's preference for few and superbly-crafted recordings, this account of the pinnacle of the solo violinist's repertoire runs the risk, perhaps, of being thought 'exemplary', understated, even - on first hearing. Until you realise that its very neutrality is a completely legitimate way of bringing out the work's magnitude. It won't be everyone's favourite interpretation precisely because at least some measure of excitement, bravura or brilliance has now become the norm. But as an account that exemplifies the best and most solid from another age, it has a lot going for it.
 
-- Mark Seale, MusicWeb International

Issac Albeniz, the pre-eminent Spanish composer was a prolific composer, especially of piano music. Presented here is a collection of his works performed by the celebrated pianist, Martin Jones. Included in this collection are pieces that were left unfinished at the time of Albeniz’s death and completed by Martin Jones. Martin Jones has been one of Britain’s most highly regarded solo pianists since first coming to international attention in 1968 when he received the Dame Myra Hess Award. The same year he made his London debut at the Queen Elizabeth Hall and his New York debut at Carnegie Hall, and ever since has been in demand for recitals and concerto performances on both sides of the Atlantic. He is a prolific recording artist and his many major projects include the complete solo piano works of Mendelssohn, Brahms, Debussy, Grainger, Stravinsky, Korngold, Szymanowski, Granados, Guastavino, Mompou, Ernesto Halffter, Joaquin Nin, Has Gál, Jean Françaix, Jean Roger-Ducasse, and Alan Richardson.

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REVIEW:

Altogether this is a well stocked and representative survey of Albéniz's colourful and imaginative piano music and Martin Jones is as always a convincing advocate; I am always impressed with character and panache that he brings to all that he plays. The liner notes are informative though are in English only. A marvellous collection of the best of Albéniz' piano music.

– MusicWeb International

Cecil Armstrong Gibbs (he disliked the name Cecil so was known as Armstrong) was a prolific and versatile composer of the first half of the twentieth century. He studied under Sir Adrian Boult and Ralph Vaughan Williams. His contemporaries were Herbert Howells, Sir Arthur Bliss and Sir Arnold Bax. Known principally for his solo songs Gibbs also wrote music for the stage, sacred works, three symphonies and a substantial amount of chamber music. He gained wide recognition during the early part of his life. He continued to compose and conduct up until his death in May 1960. He is buried with his wife Honor in Danbury churchyard. Putting this project together we were surprised by both the quantity and consistent quality of Gibbs' output. The popular songs fully deserve their treasured position, but now we could easily match them with a new selection - To Anise, The Cherry Tree, On Duncton Hill, The Tiger-Lily, Midnight, Slow Horses Slow, The Exile and Take Heed Young Heart might be concert winners given a chance. In them we find the same simplicity and sensitivity to text. It has been remarked more than once that performers will find the best songs among the settings of de la Mare, this rather easy simplification holds less well when, as in this collection, we can assess Armstrong Gibbs output in a more complete form.

Cecil Armstrong Gibbs (he disliked the name Cecil so was known as Armstrong) was a prolific and versatile composer of the first half of the twentieth century. He studied under Sir Adrian Boult and Ralph Vaughan Williams. His contemporaries were Herbert Howells, Sir Arthur Bliss and Sir Arnold Bax. Known principally for his solo songs Gibbs also wrote music for the stage, sacred works, three symphonies and a substantial amount of chamber music. He gained wide recognition during the early part of his life. He continued to compose and conduct up until his death in May 1960. He is buried with his wife Honor in Danbury churchyard. Putting this project together we were surprised by both the quantity and consistent quality of Gibbs' output. The popular songs fully deserve their treasured position, but now we could easily match them with a new selection - To Anise, The Cherry Tree, On Duncton Hill, The Tiger-Lily, Midnight, Slow Horses Slow, The Exile and Take Heed Young Heart might be concert winners given a chance. In them we find the same simplicity and sensitivity to text. It has been remarked more than once that performers will find the best songs among the settings of de la Mare, this rather easy simplification holds less well when, as in this collection, we can assess Armstrong Gibbs output in a more complete form.

Cecil Armstrong Gibbs (he disliked the name Cecil so was known as Armstrong) was a prolific and versatile composer of the first half of the twentieth century. He studied under Sir Adrian Boult and Ralph Vaughan Williams. His contemporaries were Herbert Howells, Sir Arthur Bliss and Sir Arnold Bax. Known principally for his solo songs Gibbs also wrote music for the stage, sacred works, three symphonies and a substantial amount of chamber music. He gained wide recognition during the early part of his life. He continued to compose and conduct up until his death in May 1960. He is buried with his wife Honor in Danbury churchyard. Putting this project together we were surprised by both the quantity and consistent quality of Gibbs' output. The popular songs fully deserve their treasured position, but now we could easily match them with a new selection - To Anise, The Cherry Tree, On Duncton Hill, The Tiger-Lily, Midnight, Slow Horses Slow, The Exile and Take Heed Young Heart might be concert winners given a chance. In them we find the same simplicity and sensitivity to text. It has been remarked more than once that performers will find the best songs among the settings of de la Mare, this rather easy simplification holds less well when, as in this collection, we can assess Armstrong Gibbs output in a more complete form.

The late eighteenth century witnessed an explosion in the number of works written for multiple pianists, most of them for two players using one instrument. The majority were predestined for the domestic market, social gatherings or for pedagogical purposes, but some, including the two works featured on this album, were intended for performance beyond the salon and ventured into the realms of virtuosity. The genre was to blossom further as a pedagogical tool by which generations of pianists became acquainted with the larger-scale, mainstream repertoire via transcriptions and arrangements of symphonies and other orchestral works, operas and chamber music.