Classical Music

A good specimen of lateral thinking here: at least in as far as it crosses catalogues, years and performers, and comes up with a new combination. Here are three works for voice and orchestra, two choral, one for soloist, written between 1969 and 1974 (though I believe This Worlde's Joie also incorporates two settings from a Cantata in Praise of Love written in 1959). They have a good deal in common yet enough separate identity for them to comprise an acceptably varied programme, the Elegy for a Prince forming a relatively tough and tangy item to be sandwiched in between the choral collections. Of these, Ave Rex is a set of carols, ''Sir Christmas'' being now by far the best known, and This Worlde's Joie a cantata in four movements, nearly 50 minutes long, employing a boys' choir as well as the usual forces of soloists, mixed choir and orchestra.

This, of course, makes us think of Britten, and indeed it is difficult not to think of him, and to a lesser extent Tippett, throughout the disc. In his useful booklet-note, Geraint Lewis acknowledges this but expresses it in terms of ''occasional points of contact and homage'', which is probably excessively diplomatic. We are still, I think, too close to these composers of our time to avoid the word 'derivative': in a few more years it will probably not matter or affect enjoyment, which, irrespective of such questions, is still quite considerable. This Worlde's Joie moves delightfully from one good setting to another, always contriving to unify the structure and work effectively towards climax and contrast. The Prince of the Elegy is Llywelyn ap Gruffudd, killed by English soldiers in 1282: a stern mood prevails, the orchestral writing harder and more austere than the composer's usual style though it yields to some tender expression in the last section.

Sir Geraint Evans, who gave the Elegy's first performance at Llandaff in 1972, sings with authority and dark coloration (for the most part the tessitura is low, rising towards the end and finishing with a sustained soft high E). The soloists in the cantata are excellent and I couldn't help wondering why more was not heard on record of Janet Price. Willcocks and Atherton conduct with vigour and care for detail, and the recordings are admirably clean. In the original review of This Worlde's Joie Trevor Harvey found the words ''not all that clear'', but this seems largely to have been remedied, and indeed one of the best features of Mathias's writing for voices is that he is habitually careful to make the music serve the words and not obscure them.

-- Gramophone [2/1995]

This disc was the result of Lyrita receiving funding for the re-mastering and CD release of a large swathe of 20th century Welsh music from 1960s and 1970s LPs. As a result Mathias, Hoddinott and Grace Williams tapes first issued on vinyl were given a new lease of life. Three LPs culled from the archives of EMI and Decca form the source of this compilation. Penillion was originally coupled with Daniel Jones choral piece The Country Beyond the Stars and Hoddinott’s Welsh Dances both of which ended up on other Lyrita CDs. The Sea Sketches came from a Decca LP of Welsh music for string orchestra including Gareth Walters’ Divertimento and two works by William Mathias: Divertimento Op. 7; Prelude, Aria, and Finale Op. 25.

There’s no doubting that Grace Williams had a strikingly individual lyric talent and there are certain to be major discoveries yet to be made. Her Fantasia on Welsh Nursery Tunes is delectable melodic rhapsody around various folk-tunes which are handled with complete professionalism being integrated seamlessly into a satisfying whole. Carillons for Oboe and Orchestra was written for the BBC who requested – and received – a light-weight entertaining work but not a trivial one. The mood is subtle and elusive and unmistakably her own – always slightly mysterious, even exotic as if drawing on Medieval air drawn from the warmer valleys and forests of Wales. If it occasionally and fleetingly sounds like Malcolm Arnold’s own gorgeous Oboe Concerto no harm is done. This is a work that deserves to be discovered by contestants in the BBC Young Musician of the Year competition. Penillion is soaked in the Welsh tradition of improvised vocal descants to the harper’s melody. It is recognisably by the same composer as Carillons and once again the music is lissom, serene and exotic. The Andante con tristezza is warm with melancholy – doused in just enough sentiment to tug at the heart but not so much as to become mawkish. It is almost Rózsa-like in its otherworldly beauty. The final Allegro agitato sounds vaguely Elizabethan and the tremendous power of the piece links with the dynamic punch of the Ballads for Orchestra on the companion Lyrita SRCD 327.

The solo trumpet plays a large and melismatically singing part in Penillion and of course is at the centre of things for the three movement Trumpet Concerto. Howard Snell who later founded his own orchestra gives a sensational performance and once again there are those skirls to be heard (Poco Lento) later to be recalled in Ballads. This is a less ingratiating work than the other pieces on this disc. All the works are succinct with many short movements and that’s also the case with the Sea Sketches for string orchestra – a challenge to use a body of strings to depict the seas. Her work with Britten (who, it seems, wanted her to be his assistant) is apparent in the gale-plied and ozone-rich High Wind movement. Sailing Song is warm and calm with the boat barely making gentle headway. This is followed by the thoughtful Channel Sirens – more a matter of chilly foghorns than seduction. Breakers is a gusty presto and things come to a close in the same warmth as Sailing Song for the tenderly music finale Calm Sea in Summer with its faintly Straussian redolence.

A second Lyrita CD encapsulates the tougher yet still entrancing world of Grace Williams with the scena Fairest of Stars, the Second Symphony and the sensational Ballads for Orchestra – a work which although more compact is as brilliant and moving as Rachmaninov’s Symphonic Dances.

The helpful notes are by Malcolm Boyd.

Williams also enjoyed a Chandos LP in the early 1980s and this was also issued on CD but otherwise there has been little else. We await first recordings of the Sinfonia Concertante for piano and orchestra, the Violin Concerto and the First Symphony Owain Glendwyr as well as the Missa Cambrensis for soli, chorus and orchestra.

This is a beguiling recital and while it may not have the instant draw of the symphonic big guns in SRCD 327 it presents many captivating aspects of Grace Williams’ treasurable creative genius.

-- Rob Barnett, MusicWeb International

Beethoven: Symphony No. 3 "Eroica" - Busoni: Turandot Suite

With this first project for Zig-Zag Territories, the musicians of the Canadian ensemble Masques under the direction of the harpsichordist Olivier Fortin demonstrate their passion for Austrian Baroque composer Johann Heinrich Schmeltzer. Ensemble Masques offers sonatas for five and six instruments, alternating with character pieces like Die Fechtschule (an evocation of battle), Die Polnische Sackpfeiffe, and the famous Lamento sopra il morte Ferdinandi III. This varied program highlights the diversity and the Italian inspiration of Schmeltzer's music.

Johann Christoph Friedrich Bach is certainly the least famous composing son of the great Johann Sebastian. He spent his life at the court of Bückeburg in Germany as court composer. His style may be loosely described as a fusion between his two brothers Carl Philipp Emanuel and Johann Christian: Galante Stil occasionally infused with daring harmonic and dynamic effects.His symphonies pre-shadow those of Joseph Haydn, and offer delightful Early-Classical orchestral music of high quality and entertainment.

Founded in 1979 by members of the Leipzig Gewandhaus Orchestra, the Neues Bachisches Collegium Leipzig has made the family of Bach its primary focus, delivering assured and committed performances of this repertoire for over 30 years. Their performance of these three symphonies by J.C.F. Bach is no exception, tracing with appropriate delicacy and vigour, under the esteemed directorship of Burkhard Glaetzner (one of Germany's most esteemed oboists), the various career stages of a composer whose oeuvre remains sadly overshadowed by that of his more illustrious brothers Wilhelm Friedemann and Johann Christian.

Performed with gusto and commitment by the former East German elite ensemble Neues Bachisches Collegium Musicum, conducted by oboist Burkhard Glaetzner.

A gem, licensed from the rich catalogue of Berlin Classics.

Other information:

– Booklet includes comprehensive notes on the music.

FACCO: 6 CONCERTI OP. 1 VIVAL

Tracks:
1. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - ALLEGRO
2. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - RIGAUDON I + II
3. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - ARIA
4. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - GIGUE-DUETT
5. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - ANGLAISE I + II
6. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - SORABANDE
7. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - HORNPIPE I + II
8. ANONYMOUS - CONCERTO (SUITE) IN D MAJOR - MENUET I + II + III
9. GOTTFRIED FINGER - SONATA IN C MAJOR - ADALGIO - ANDANTE
10. GOTTFRIED FINGER - SONATA IN C MAJOR - ALLEGRO
11. GOTTFRIED FINGER - SONATA IN C MAJOR - GRAVE - ( ALLEGRO)
12. TOMASO ALBINONI - CONCERTO IN C MAJOR - SINFONIA
13. TOMASO ALBINONI - CONCERTO IN C MAJOR - AFFECTTUOSO
14. TOMASO ALBINONI - CONCERTO IN C MAJOR - PRESTO
15. JOHANN CHRISTOPH PEZEL - SONATA C MAJOR
16. GEORG PHILIPP TELEMANN - CONCERTO IN D MAJOR - LARGO
17. GEORG PHILIPP TELEMANN - CONCERTO IN D MAJOR - VIVACE
18. GEORG PHILIPP TELEMANN - CONCERTO IN D MAJOR - SICILIANO
19. GEORG PHILIPP TELEMANN - CONCERTO IN D MAJOR - VIVACE
20. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - ALLEGRO
21. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - LARGO
22. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - MARCHE
23. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - ALLA BREVE
24. JOHANN MELCHIOR MOLTER - SINFONIA CONCERTANTE IN D MAJOR - VIVACE

Classical Opera continue their series of the complete Mozart operas on Signum with Zaide - a new completion of Mozart's unfinished work by conductor Ian Page. Composed during his early 20's, Mozart began work on the opera in Salzburg but later left the work to compose Idomeneo, subsequently leaving no overture or third act. The opera is set in a totalitarian regime where a couple have fallen in love, incurring the jealous of the ruling sultan.

Classical Music

This release offers one potential answer to a particular question: what happens to a musical performance when it is directed towards the bringing-to-life of a story? In this case, that story is the iconic one of Orpheus and Eurydice, realized in eight different ways by eight different composers of the past. Multiple prizewinning harpsichordist Mark Edwards—whose interpretations challenge the usual boundaries between musical text and act—performs works that, if they don’t explicitly refer to the Orphic narrative allying music, death, and rebirth, surely cast some light on it and are in turn illuminated by it. Mark Edwards reveals himself a lucid and inspired performer, following the hero as he descends, like him accomplishing wonders along the way through his art. First prize winner in the 2012 Musica Antiqua Bruges International Harpsichord Competition, Canadian harpsichordist and organist Mark Edwards (b. 1986) is recognized for his captivating performances, bringing the listener “to new and unpredictable regions, using all of the resources of his instrument, [...] of his virtuosity, and of his imagination” (La Libre Belgique).

The Belgian group Vox Luminis, directed by the bass Lionel Meunier, is now acknowledged as belonging among the world’s elite vocal ensembles, especially for its interpretations of German Baroque sacred music. The group's program of Bach cantatas are among the composer’s earliest, having been written in 1707/1708. Notable among them is the poignant cantata ‘Gottes Zeit ist die allerbeste Zeit’ (God’s time is the best of all times) BWV 106, also known as the ‘Actus tragicus’, which was composed by the 22-year old composer for a funeral ceremony.

-----

REVIEWS:

There are many beautiful moments in this program of four early cantatas by Bach. The seriousness with which Lionel Meunier and Vox Luminis approach these works is evident, and the forces are ideal.

– BBC Music Magazine

Vox Luminis live up to their name with clear, soft textures redolent of 17th-century devotional rhetoric. The single voices and instruments constitute a remarkably crystalline landscape. Emotional restraint also offers some ear-pricking moments.

– Gramophone

Classical Music

Collectors and admirers of Dvorak’s music bearing the hallmark of the Czech performance tradition can now add another comprehensive album to put alongside the previous complete Supraphon CDs mapping his chamber, piano, and symphonic works. The acclaimed recording of the symphonies, conducted by Vaclav Neumann, is now followed by Supraphon’s 8-CD box set featuring Dvorak’s orchestral pieces and concertos. In addition to the celebrated Slavonic Dances, it contains a number of rarely recorded symphonic works (the Hussite Overture, My Home, A Hero’s Song), as well as splendid compositions for chamber and string orchestras. Besides recordings made under the baton of Neumann, it provides scope to other great Dvorak conductors – Mackerras, Belohlavek and the rising star Jakub Hruša. The set of orchestral works is rounded off by recordings of concertos, ranging from the virtually unknown Cello Concerto in A major, written by the young Dvorak, to the most frequently performed, the Cello Concerto in B minor. Supraphon has again carefully put together top-quality and time-honoured recordings of works performed by world-renowned soloists.

Classical Music

Classical Music

Classical Music

Glazunov, A.K.: Orchestral Works, Vol. 12 - Symphonies Nos.

From time to time, the general idea gains currency that national anthems are nowadays an anachronism. According to the critics' arguments, these anthems were the product of a period of awakening nationalism. Today, however, there is wide endeavour to overcome narrow, national ways of thinking and acting, with the great aim of promoting the peaceful community and union of nations, to realize which should be the first principle for politicians all over the world. Criticism of this kind may surely be justified, considered from the standpoint of those seeking a United Europe. On the other hand we must not underestimate the sanctity accorded national anthems, carefully guarded symbols which enjoy the same respect and protection as national flags. They express love of the fatherland, pride in the native country, and trust in the nation. This is the reason for the sincerity with which people regard and sing their own national anthem, and the respect accorded to the anthems of other peoples. The solemn, dignified start and close of each official meeting between peoples divided by national borders is provided by national anthems. Yet when before have meetings between representatives of different nations been as frequent as today? Peoples meet at sporting events, at international youth gatherings, or at political conferences, heads of the states and delegations are received, cultural weeks and festivals are celebrated, and on such occasions the national anthems surely contribute to the understanding of other peoples, as well as offering the occasion for personal contact among individuals. Nothing, then, is more important in our time than mutual understanding, since misunderstandings and prejudices have in the past brought so much disaster to the nations of the world. Since publication of the CD-set Complete National Anthems of the World, Vols. 1-6 (Marco Polo 8.206001) in 1998, the following independent states have introduced new national anthems, restored from former anthems of the earlier history of their respective countries: Afghanistan, Bosnia and Herzegovina, Cape Verde, Congo-Kinshasa (formerly Zaire), Georgia, Iraq, Mozambique, Qatar, Russia, Rwanda, Somalia and Turkmenistan. It has therefore been necessary to produce a complete new set to replace the previous series. In addition to the national anthem of the newly independent state of East Timor, the Grand Ducal Hymn of Luxembourg and the Swedish Royal Song, the previous set furthermore included many state hymns of autonomous dependencies, overseas territories, other regional administrative bodies and ethnic groups, as well as the hymns of the Sovereign Military Order of Malta, the United Nations Organization, the European Union and the International Olympic Committee. The anthems are performed by the Slovak Radio Symphony Orchestra, Bratislava under the conductor Peter Breiner (born 1957), who has arranged and orchestrated all the anthems with great sensitivity. It is a highly successful undertaking which will arouse the enthusiasm of music collectors, ethnologists, heads of protocol and sports promoters.

*** This title is a reissue of a Japanese release with liner notes in Japanese. ***

PROKOFIEV Alexander Nevsky. 1 RACHMANINOFF The Bells 2 • Eugene Ormandy, cond; Philadelphia O; Phyllis Curtin (sop); 2 Betty Allen (mez); 1 George Shirley (ten); 2 Michael Devlin (bar); 2 Mendelssohn Club of Philadelphia; 1 Temple University Ch 2 • RCA-ArkivMusic 38296 (72:46)


Prokofiev may not immediately come to mind when thinking about Ormandy’s repertoire, but in fact his Prokofiev discography is substantial: all the symphonies save the Second and Third, including two versions each of the Fifth and Sixth; the Second and Fourth piano concertos; both violin concertos (with Isaac Stern); and the Scythian Suite , along with the usual suspects. This 1974–75 Alexander Nevsky , his second version, is a tour de force; Betty Allen is impressive (singing in Russian) in “The Field of the Dead,” and “The Battle on the Ice” is larger than life. The sound is among the best of the Ormandy RCAs, very immediate, with terrific bass response.


The Bells , recorded in 1973, isn’t quite as spectacular sounding; it’s as though the presence of soloists causes the pickup of the orchestra to lose immediacy. The work is sung in English, a retranslation of Balmont’s Russian. A Philadelphia specialty (Ormandy had first recorded it in 1954), it should have been a winner. But the real weak link is the soloists; George Shirley is fine, if not soaring, in the first movement, but Phyllis Curtin wobbles in the second, and in the remarkable final movement (with more lovely work by Rosenblatt) Michael Devlin uses a full operatic fortissimo regardless of the actual dynamic marking. Still, Ormandy is never less than authoritative in Rachmaninoff, and the Prokofiev is an absolute winner.

FANFARE: Richard A. Kaplan

These are two very fine performances. Ormandy proves himself to be surprisingly exciting in Nevsky, particularly in the first half of The Battle on the Ice. Betty Allen's voice doesn't ever seem to have been beautiful, and her registers are uneven, but that small deficit aside, most listeners will find little to complain about. The last movement, with percussion well to the fore, is more cinematic than the actual film, though no one can pretend that these balances are in any way natural.

Always a terrific Rachmaninov conductor, and with a fine cast of soloists, Ormandy delivers a powerful performance of The Bells. Yes, the version used is the English re-translation of the Russian original, but the Temple University Choirs sing with amazingly clear diction, even in the wild "Alarm Bells" third movement. The engineering here is far more naturally balanced than in Nevsky, though as with most of the discs in this Japanese RCA series it could use a state-of-the-art remastering. Available "on demand" from Arkivmusic.com, and demand it you should.

--David Hurwitz, ClassicsToday.com

This is one of the finest recordings yet in Naxos' ongoing Haydn symphony series, and if you haven't heard these comparatively rare works, now's your chance, for they are marvelously played and recorded by Béla Drahos and the Nicolaus Esterházy Sinfonia. The performances combine the necessary liveliness with an ideal transparency of texture: woodwind and brass make their points with unobtrusive clarity, yet the strings never sound thin or emaciated, a critical factor in the success of the slow movements (of Symphony No. 68 especially, which has the longest one that Haydn ever wrote). These symphonies are little gems. Each offers a liberal sprinkling of those flashes of genius that make Haydn's works stand out from the rest of the classical crowd. In Symphony No. 66, it's the witty finale with its 10-bar main theme, broken down into two five-bar phrases: the tune always sounds too long and never goes where you feel it should. Symphony No. 67 has many more surprises in store, from the delicious "col legno" (with the wood of the bow) ending of the slow movement, to the two solo violins in the trio of the Menuetto, to the haunting slow movement for string trio that pops up in the middle of the finale. Finally, as mentioned, No. 68 has Haydn's longest slow movement followed by one of his most appealing Rondos, a real "concerto for orchestra" in which each episode features different members of the orchestra's wind section. Don't miss this one. [4/12/2000] --David Hurwitz, ClassicsToday.com

RACHMANINOV: Symphony No. 2

This unique and fascinating programme features concertante works for piccolo and orchestra. The Piccolo Concerto by Lowell Liebermann was first performed and recorded by James Galway, and gained international fame. Liebermann is one of America’s most frequently performed and recorded living composers. The New York Times said of him: “As much as a traditionalist as an innovator.” The two contemporary works by Carla Galante and Alessandro Cavicchi, which are receiving here their first recordings, are written for and performed on the new MINI instrument by the famous flute builder Nagahara. It boasts improved dynamic contrast, better blending capabilities and an extended range. As a bonus, this release ends with a transcription of Mozart’s Oboe Quartet K370, for piccolo and strings.

Combining communicative performances with engaging programming, this release is dedicated to Schumann's music for cello and piano - works that were written after a period devoted almost exclusively to the piano, and whose aim it was to extend musical knowledge and practice. Teaming up once again to deliver consummate readings of these works are the seasoned Duo Dillon-Torquati, both of whom enjoy busy international careers. The release is a worthy follow-up to their previous two for Brilliant Classics (Gr�tzmacher's transcriptions of Schumann's piano and vocal music, 94060; Liszt's complete works for cello and piano, 94150) and provides a fascinating insight into the esteem with which composers and performers have responded to each other's music. Recorded 23-24 July 2012, Fondazione Spinola Banna per l'arte, Banna, Italy. An original program featuring works for cello and piano by Schumann, arrangements of works written originally for other instruments. Schumann himself left the choice of instrument open for some of his works: the clarinet, oboe and cello often changed roles. The Romanzen Op. 94 were originally for oboe and piano, but work very well played on the cello, as arranged by the famous 19th century cellist Gr�tzmacher. Also the violin sonata Op. 105 fares excellently through the golden, melancholy sonorities of the cello. Schumann lived his whole life under the spell of the great Johann Sebastian Bach, and as a tribute to Bach's genius Schumann added a piano part to the famous Cello Suites. This is the second issue of Schumann transcriptions for cello by the duo Francesco Dillon/Emanuele Torquati.

After Buxtehude in the 17th century and prior to Nielsen in the late 19th and early 20th centuries, Niels Gade (1817-1890) was the most famous Danish composer. His extraordinary 1st Symphony of 1843 was premiered in Leipzig at the Gewandhaus conducted by Mendelssohn, who promptly offered Gade a post at his new conservatory. Gade later conducted the premiers of Mendelssohn's Violin Concerto and Schumann's Piano Concerto. His music (he composed 8 symphonies, the 5th having an important piano part, a violin concerto and a Spring Fantasy for piano, orchestra and voices and a quantity of chamber and orchestra works) is superbly crafted, romantic but with a classical poise and form. The influence of his friends Mendelssohn and Schumann can be detetected, but there is a very definate Scandinavian feel to his music. Schumann wrote that he could detect 'the lovely beechwoods of Denmark' in Gade's music.

The 2 Novelletten are among his most successful works. Beautifully crafted, elegant and warm they are rewarding discoveries, and a good introduction to this neglected but important figure in 19th century Scandinavian music.

-----

Very pleasant additions to the romantic string-serenade repertoire.

Niels W. Gade’s Novelettes are charming, fresh additions to the romantic string-serenade repertoire. There are two sets, the first in F and the second in E, both dating from fairly late in Gade’s career. For those listeners who enjoy Grieg’s Holberg Suite, or the serenades of Suk, Dvorák, Tchaikovsky, and Robert Fuchs, this style will need no introduction: elegant dances, lyrical melodies which rise and fall with a cool outdoor loveliness, the minor keys used merely for spice.

A standout moment might be the beginning of the second set, with its ambiguous slow introduction opening up to brighter things; the second set also features a gorgeous andante with a fine role for the cellos. The first also opens with a lovely slow introduction, and it closes with a finale that brings to mind Mendelssohn’s Octet with its light-hearted fugato opening and perpetual-motion effects.

This isn’t exactly at the top of the string-serenade ladder, not next to Tchaikovsky, Suk, and Dvorák. It’s not even on the second rung, where Fuchs and Dag Wirén reside. The first two Fuchs serenades were just released on a gorgeous Naxos CD which I’d recommend over this one if you only buy one pretty string music disc per year. It doesn’t help that the recorded sound, analog from 1981, is slightly glassy, or that the Aarhus Chamber Orchestra’s work as an ensemble isn’t as polished as that of the best chamber orchestras we have today. Another cause for slight hesitation is the booklet note, which profiles Gade so strongly that we only get 18 words about the actual Novelettes. The CD lasts just 43 minutes.

But please notice I only said slight hesitation! This is still lovely music, fresh and totally enjoyable, and an unquestionably fine way to pass 43 minutes’ time. It’s at Brilliant’s usual bargain price. That said, the same price gets you ten minutes’ more music (and more colorful music too) on the Naxos Fuchs album; though I usually wouldn’t recommend one composer over another in a review, I do listen to my romantic string music to satisfy a particular craving, or mood, and other composers fulfil that mood better than does Niels W. Gade. Still, this is very nice, and there is nothing wrong with very nice!

– Brian Reinhart, MusicWeb International