Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

The music chosen for this tour of Norway is by the Norwegian composer Edvard Grieg, taken from his many Lyric Pieces, short piano pieces that reflect the culture and life of Norway.

This project was produced exclusively for 180 gram audiophile vinyl release. SOUVENIR and has been referred to as "the most beautiful music ever composed for the string orchestra". Ensemble leaders Øyvind Gimse and Geir Inge Lotsberg decided early for Tchaikovsky's "Souvenir de Florence" and 2L opted for the "Serenade for Strings". The Trondheim Soloists are regarded as one of the top chamber orchestras in the world. Their DIVERTIMENTI and their FOLK STYLE were both nominated for a total of five American GRAMMY Awards in categories "Best Small Ensemble", "Best Engineered Album" and "Best Surround Sound Album".

Mention of Japanese composer Karen Tanaka in these pages has been very brief, but always complimentary: her string quartet, At the Grave of Beethoven, reviewed more than a decade ago, and two of her very short piano works featured on this new release, Northern Lights and Lavender Field, played by Thalia Myers on two anthologies, reviewed here. This appears to be the first CD devoted entirely to her works - the nearest thing to date was 'Invisible Curve', a disc of chamber music released on New World Records (80683) in 2008, which she shared with Chinese composer Chen Yi.

Crystalline I and II, which open and close this fascinating recital respectively, were written a few years apart, the latter an obvious follow-up to the first. According to the liner-notes, the title reflects the composer's intention to create a "rendering of a cool timeless world of glittering, sparkling crystals." The style and sonorities of Crystalline I, one of Tanaka's earlier works, give a good idea of what to expect from her piano music - detail, delicacy, consonance, timbral sculpturing, sensuality.

The 'prismatic' idea of the Crystallines recurs in the most recent of Tanaka's piano pieces, Water Dance - actually a set of three dances - which was commissioned by Norwegian pianist Signe Bakke herself, who has had a working relationship with Tanaka for some time. The 'water' element is not the musically archetypal undulation of waves or ebb and flow of tides, but more the play of light on the shimmering surface of a clear - crystalline, one may say - mountain stream.

One great service Tanaka renders art music in works like Water Dance or the Techno Etudes, is to expose the mountebankery of mainstream minimalism. Her music here is a minimalism of sorts, but so much more intelligent, more inventive, more profound than the piano music of, say, Philip Glass or Ludovico Einaudi, or a thousand anonymous Hollywood film scores. Tanaka studied at IRCAM with Tristan Murail, famed for his so-called 'spectral' music, which clearly had a strong influence on her own stated interest in the "transformation of timbre in space, analogous to a gradual change of light refraction in crystals and prisms".

A different side of Tanaka's pianism can be heard in the Children of Light, a set of simple but exquisite melodic miniatures written for children, both to enjoy and play - although one of them at least, African Elephant, sounds far from easy! Some of the pieces are so instantly, deliciously memorable that listeners will be amazed that this is the first time of hearing. As an educational bonus to children, there is an overall ecological theme - each piece describes the special natural beauty of or a threatened species of animal from different parts of the world. The eight varied items selected here are from a total of twenty; what a pity, on this evidence, that the rest were not recorded - there would surely have been enough space on this disc, which, though otherwise excellent in every regard, is rather brazenly on the short side.

There are two pieces in Bakke's recital with the title Northern Lights, one from the Children of Light collection, the second a stand-alone work commissioned by the Royal School of Music with Lavender Field for teaching purposes. The CD booklet gives Tanaka's instructions to learners for performing these rhythmic, succinct pieces - both of which, incidentally, were recorded by Thalia Myers on the CDs linked to above. For Lavender Field, for example, the player is told to "imagine weaving colour and scent with sounds. The harmonic series on E flat appears and disappears into space at the end."

In all the above works the pianist must show great finesse and sensitivity, a demand which Bakke meets with total reliability. In the curiously named Techno Etudes, on the other hand, the accent is firmly on virtuosity, particularly rhythmic speed - and again Bakke is equal to it. The music was commissioned by Japanese pianist Tomoko Mukayama, who originally asked for a work to synchronise with some pre-taped 'techno' music. Though the techno idea was thankfully dropped, the title stuck, as did the emphasis on an almost robotic drive and great velocity. This is hypnotic, primal music, and the CD notes argue the case, not altogether convincingly, that it expresses at a deep level similar ideas to the far more delicate, complex sounds of the 'crystalline' works. Quite inventively, the notes describe the particularly virtuosic first movement as sounding like "a frenetic boogie-woogie machine that sometimes seems to get stuck".

The sound quality on this hybrid SACD is immaculate, even listening in normal stereo. This is how solo piano music should be recorded. The booklet, the back cover of which is glued onto the cardboard case, has well-written, detailed notes in English and Norwegian. Oddly, Tanaka does not get a mention on the front cover or the CD itself.

Playing time aside, a superb release.

-- Byzantion, MusicWeb International

FRANCE

The Places
The places visited include Arles, with its Roman arena, the mill made famous by Alphonse Daudet in his Lettres de mon moulin and the celebrations of the guardians of the Camargue, with its wild horses. Accompanying the Zoological Fantasy of Saint Saëns are scenes from zoos, the nature reserve at Sigean, near Narbonne, and the Swiss children’s zoo at Rapperswil.

The Music
The music is taken from the orchestral suites derived by Georges Bizet from his music for Alphonse Daudet’s melodrama L’Arlésienne (The Girl from Arles), the story of the vain love and suicide of a young relative of the Provençal poet Mistral. Camille Saint-Saëns composed his Carnival of the Animals to entertain his friends. The procession of animals ranges from lions to fish, pianists, critics and fossils.

Picture format: NTSC 4:3
Sound format: PCM Stereo 2.0
Region code: 0 (worldwide)
Running time: 60 mins
No. of DVDs: 1

Classical Music

MUSICAL JOURNEY: CZECH REPUBLIC
A Musical Visit to Prague and Lednice castle

The Places
The churches and palaces of Prague are seen, with the great River Vltava (the Moldau), which flows through the city, the outline of city buildings reflected in its waters. The Strahov Monastery and the Villa Bertramka are practical examples of Mozart’s contact with Prague. On a visit to the monastery he improvised on the organ, and at the Villa Bertramka he and his wife Constanze were guests of the Czech composer Dušek. There is also a visit to Southern Moravia and Lednice, with its Neo-Gothic castle, its folly, a slender minaret, in its English gardens, with its trees and artificial lakes.

The Music
Mozart had happy memories of Prague. When, during the last ten years of his life, circumstances in Vienna proved increasingly difficult, he was always welcome in the Bohemian capital. It was for Prague that he wrote his opera Don Giovanni in 1787 and for Prague that he wrote one of his last operas, La clemenza di Tito, commissioned for the coronation of Leopold II as King of Bohemia, and for his unappreciative wife, who described the work as 'porchería tedesca', German porkery. Prague continues to honour Mozart in various festivals, concerts and memorabilia.

Picture format: NTSC 4:3
Sound format: Dolby Digital / DTS Surround
Region code: 0 (worldwide)
Running time: 54 mins
No. of DVDs: 1

BAVARIA

The Places
The Road of Romance, in South Bavaria, leads through the countryside to the great castle of Weikersheim, former residence of the Counts and Princes Hohenlohe. Further exploration of Bavaria and the Bavarian Forest leads to Prunn Castle on its rocky eminence, and finally to Würzburg on the River Main and the Marienberg Fortress.

The Music
Max Bruch, a native of Cologne, enjoyed a career that took him, as a conductor, to Liverpool, Coblenz, Breslau and Bonn, before his final years in Berlin. His first Violin Concerto remains among his most popular works. Carl Maria von Weber led an even more varied life that took him to musical centres in Germany and Austria. He was a pioneer of German romantic opera, and three opera overtures are chosen here. Der Freischütz (The Marksman) evokes the spirit of the German forest, while Euryanthe explores more exotic territory, as does Oberon, Weber's final opera, written for London in 1826, the last year of his life.

Picture format: NTSC 4:3
Sound format: Dolby Digital / DTS Surround
Region code: 0 (worldwide)
Running time: 53 mins
No. of DVDs: 1 (US and Canada)

Includes work(s) by various composers.

The music for Christmas presented by Winchester College Chapel Choir and the Hong Kong Philharmonic Orchestra starts with unaccompanied works performed by the singers. The first of these offers verses from an English version of the hymn of St Ambrose, Veni, Redemptor gentium (Come, thou Redeemer), sung to the melody Puer nobis nascitur (A boy is born to us) adapted by the Wolfenb�ttel organist and Kapellmeister Michael Praetorius, an important figure in the development of Lutheran church music in the early seventeenth century.

Dvorák: Symphony No. 9 "From the New World" & Slavonic Dance

Includes work(s) by Joaquín Rodrigo. Soloist: Raquel Lojendio.

WOLFGANG AMADEUS MOZART:Elisabeth Norberg-Schultz; Marianna Pizzolata; Cinzia Forte; Desiree Rancatore; Bernard Berchtold; Orchestra e Coro del Teatro Comunale di Bologna/Ottavio Dantone; Michal Znaniecki, director; NTS WOLFGANG AMADEUS MOZART: Ascanio in Alba KV 111.

Classical Music

RODRIGO: Soleriana / Zarabanda lejana y Villancico (Complete

Leonid Kogan, Vol. 1: Brahms & Mozart Violin Concertos (Live

Reinecke wrote his Grand Romantic Opera in Five Acts, King Manfred, between April and December 1866 in Leipzig, using a libretto by Friedrich Roeber. The work received it's first performance on 26th July, 1867, at the Royal Court Theatre in Wiesbaden under the direction of Wilhelm Jahn and was published in 1868 by Breitkopf and H�rtel. The opera deals with the fate of the war-like King Manfred of Sicily (1232-1266), an illegitimate son of the Hohenstaufen Emperor Frederick II, who had half Europe against him and fell in battle against Charles of Anjou. Reinecke chose this unfortunately Wagnerian subject in accordance with the taste of the time. Although critics of the day recognized the value of the work, it was to disappear from the repertoire within a few years. Only the splendid Overture and the Preludes were to retain a place until the turn of the century. The Overture is one of the most important works of Reinecke, constituting a character-sketch of Manfred, in the manner of Beethoven's Leonora, Schumann's Genoveva and Manfred and Wagner's Faust, rather than relying on the musical content of the opera. Here are all the ingredients of Romantic stage music, lyrical melodies for horn or cello, the sounds of the minstrel's harp, agitated running notes for the strings and massive chords for the brass, all handled with an assurance that makes it difficult to understand the present neglect of the piece. The Prelude to Act V deserves special mention. A short introduction presages the coming disaster, the death of Manfred, before a melodic line of lyrical intensity, a cogent demonstration of the creative power of the composer. It is with this music in mind that we may read Reinecke's assessment of his own achievement, in a letter to Ferdinand Hiller on his choral work Belsazar: "... you know that no brilliant, original inventiveness is at my disposal... , but I believe, nevertheless, that I have provided a thoroughly respectable piece of work, evidence of worthy endeavor, a passable command of form and good taste, perhaps also of good judgment".

Rubinstein: Symphony No. 2, "Ocean"

Classical Music

HAYDN: Symphonies, Vol. 27 (Nos. 50, 51, 52)