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Soustrot’s Saint-Saëns symphony cycle was quite good, and this new project looks to be similarly successful. For my money, the five piano concertos remain one of the most underrated groups of major works in the entire romantic repertoire. Yes, Nos. 2 and 4 get played more often than the rest, but there isn’t a dud in the bunch. It’s really only prejudice against the French aesthetic–the formal freedom, love of color, flash, and the dance–that prevents the music from getting the recognition that it deserves. That, and perhaps the fact that the melodious ease that informs all of Saint-Saëns’ writing makes a mockery of German pretensions to ownership of instrumental music in large forms.

These performances demonstrate a thoroughly “French” sensibility. Romain Descharmes savors the music’s charm and brilliance without indulging in excessive sentimentality. The First Concerto, with its surprising wiring for horns, has a breezy freshness that completely disarming. It’s played with joyful directness and a complete lack of affectation. I enjoy fast and dazzling versions of the Second Symphony, with its whirlwind finale, but Descharmes treats the piece with almost epicurean relish, nowhere more so than in this sassy, witty account of the central scherzo. There’s no lack of virtuosity, but also time to savor the music’s many harmonic delights.

Through it all, Soustrot accompanies with total confidence, and the sonics are terrific. A disc to savor.

– ClassicsToday (David Hurwitz)

The violin works of the leading German composer Wolfgang Rihm encompass almost his entire career and reflect the variety of his stylistic thinking. ‘Lichtzwang,’ the earliest of his concertos, draws on chorale-like sequences and piercing outbursts alike in its memorializing of the writer Paul Celan. ‘Dritte Musik’ begins almost imperceptibly before growing in intensity and eventually slipping beyond audibility. Defter and more subtle than the preceding pieces, ‘Gedicht des Malers’ (Poem of the Painter) was inspired by an imagined painting of the great Belgian violinist Eugene Ysaye. As Rihm has written: “The soloist virtually embodies the painter’s brush as it moves over the canvas in sometimes faster and sometimes more deliberate ways.”

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REVIEW:

Lichtzwang is one of the great elegaic works for violin and orchestra, in the same class as Alban Berg’s Violin Concerto. Dritte Musik, his third violin concerto, also has its contemplative moments, but overall it has a wider range of emotions. His most recent violin concerto, from 2014, is his Gedicht des Malers (Poem of the Painter). The painter is Max Beckmann, an important figure in Rihm’s music. This is a wonderful album.

– Music for Several Instruments (Dean Frey)

Matthew Quayle writes: “I am delighted to share the Avalon Quartet’s powerful rendition of my three string quartets on Naxos. These remarkable musicians display their uncommon insight and interpretive range throughout the album- from the introspective yet ardent journey of the expansive First Quartet, to the spiky mischief of the Second, to the enigmatic meandering through the thirteen fleeting movements of the Third. They have fully captured the stylistic diversity and dramatic intensity of these deeply personal pieces.” Matthew Quayle’s music has been commissioned and performed by ensembles including Albany Symphony Orchestra, Arditti String Quartet, Avalon String Quartet and Baltimore Chamber Orchestra. He is active as a pianist and has performed widely as a solo pianist and chamber musician. The Avalon String Quartet, who have recorded the works, were involved in the early performances of all three quartets and they have earned the composer’s strong admiration and imprimatur. The Chicago Tribune described the quartet as “an ensemble that invites you- ears, mind, and spirit- into its music.”

Sergey Prokofiev’s final years were clouded by ill-health, and the Seventh Symphony was his last significant work, full of poignant nostalgia and restrained but deeply expressed emotion. The Love for Three Oranges consolidated Prokofiev’s reputation in the West in the 1920s, both this and the satirical tale of Lieutenant Kije producing two of his most popular suites. This is the final volume of the acclaimed cycle of Prokofiev’s Symphonies with the Sao Paolo Symphony Orchestra conducted by Marin Alsop.

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REVIEWS:

Alsop captures the lyrical aspects of the Seventh work really well. She also has the advantage of a superior recording in the acoustically friendlier Sala São Paulo. The orchestra is superb throughout, but special mention should be made of the woodwinds that have notable solos in the work.

– MusicWeb International

This is one of the most desirable Sevenths on disc. The Sao Paulo orchestra are in good shape, and continue with a display of their refined tonal quality through the remainder of the disc, the creamy double-bass solo at the opening of the Romance in the Kije Suite worthy of special mention. Commendable inner detail, but play the disc at a very high volume to bring it to life.

– David's Review Corner

Manuel Ponce was the founder of Mexican musical nationalism, often incorporating the melodies of harmonised folk-songs into his music. Widely travelled—he studied in Europe, at first in Bologna and then, between 1925 and 1933, as a pupil of Dukas in Paris—Ponce assimilated a wide range of styles and influences, including European-influenced Romanticism, indigenous idioms and a more advanced harmonic language. This is the first of eight volumes devoted to Ponce’s complete piano music.

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REVIEWS:

I am enormously impressed both by the recording and by the performances.

Much of the music is virtuosic, but you might not always realise this, such is the skill that serves to hide the expertise. At no point is Cendoya fazed by the requirements of this aspect; instead he revels in the exotic sonorities and technical demands.

© MusicWeb International

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Cendoya captures the rhythmic swagger and melodic verve that runs through all of these pieces with charming, easy fluency. It’s infectious music, beautifully played—a welcome find among the slush pile of recent CDs.

© 2013 CBC

PIANO PHANTOMS • Michael Lewin (pn) • SONO LUMINUS 92168 (65:56)


NIEMANN Ghosts: Night on the Fleet. LYAPUNOV Round of Phantoms. GRIEG The Goblins’ Wedding Procession at Vossevangen. LAUSIG The Ghost Ship. MEDTNER Wood Goblin. DVO?ÁK Goblins’ Dance. GOOSSENS A Ghost Story. TROYER Ghost Dance of the Zunis. KASKI Night Music of the Mountain Goblin. VALLIER The Ghosts at Restormel. BOLCOM Graceful Ghost Rag. FARJEON Some Goblins and Gnomes and Things. PRICE The Goblin and the Mosquito. BAINTON Goblin Dance. HILLER The Dance of the Phantoms. RIVÉ-KING March of the Goblins. SCHUBERT Spirit Dance (arr. Heller). SCHUMANN Ghost Variations


Theme recordings don’t always work, simply because the gimmick of the theme doesn’t always produce music of outstanding quality, but in this disc pianist Lewin seems to have been inspired by the learning of new pieces and thoroughly enjoyed making the disc. I, for one, also enjoyed listening to it.


A large part of the reason for my enjoyment was the fact that despite this “ghosts and goblins” theme, most of the music is really of a high quality. Little if any of it seems to have been written for effect, but merely to explore unusual melodic or harmonic structure by channeling ghostly titles. A quick glance at the list of composers immediately shows several whose reputations as good composers are undisputable—Niemann, Grieg, Medtner, Dvo?ák, Schubert, and Schumann—yet even the music of such composers as Sergei Lyapunov, Carl Tausig, Eugene Goossens, and Ferdinand Hiller are played here with consummate skill and high artistic commitment. Lewin, who won top honors in the Franz Liszt International Piano Competition and the William Kapell International Competition, is evidently an artist committed to excellence in phrasing and interpretation. Not for him the easy route of empty virtuosity: Lewin brings a fine sense of direction and continuity to everything he plays, and the result is a fascinating recital devoid of music one has heard time and time again.


Indeed, eight of the pieces on this disc (those by Troyer, Kaski, Farjeon, Price, Bainton, Hiller, Rivé-King, and Schubert) are world premiere recordings, and I was particularly delighted to see a piece on this disc by Florence Price, whose Piano Concerto I prize so highly. By giving just as much attention and energy to the music of lesser-known composers, Lewin elevates their music so that it sounds indistinguishable from that of the acknowledged masters. In fact, the “lightest”-sounding work on this program was actually Dvo?ák’s Goblin’s Dance, a nice piece but by no means a great one, and even here Lewin does his level best to raise its quality. (Oddly enough, Goossens’s A Ghost Story was a better piece than Dvo?ák’s!)


Harry Farjeon’s Some Goblins and Gnomes and Things turned out to be an excellent piece, as was Price’s The Goblin and the Mosquito. Hiller’s Dance of the Phantoms is merely an enjoyable little romp, but how Lewin plays it! A real surprise, to me, was the piece by Julie Rivé-King, a native Cincinnatian who studied with Liszt and performed with Carl Reinecke. It is another charming piece, but not as insubstantial as one might imagine in advance of hearing it.


Lewin wraps up his program with Schumann’s Ghost Variations, a work completely unknown to me, written in 1854 when the then-schizophrenic composer had a dream that ghosts and angels dictated this theme to him. His wife Clara was apparently upset by the music’s “other-worldly origins” and refused to allow it to be published; thus it did not appear until 1939. As Lewin points out in the notes, the music is “fragile, gentle and intimate, painfully private,” but really and truly, not “ghostlike” at all. Thus we come to the end of this fascinating and original compilation of offbeat piano pieces. Bravo, Michael Lewin!


FANFARE: Lynn René Bayley

Leopold Stokowski's transcriptions have been getting a lot of attention on disc lately. Most particularly, DG reluctantly released an excellent disc of Mussorgsky pieces featuring Oliver Knussen and the Cleveland Orchestra, magnificently played and very different in conception from Stokowski's own. That disc vindicated his work by showing convincingly that these arrangements can have a successful existence independently of the great old wizard himself. José Serebrier's interpretations, while not quite so radical in their emphasis on laser-like clarity of texture, achieve much the same sort of validation while preserving more of the physical excitement and cinematic flamboyance of the original recordings.


This isn't just a question of the exceptionally splashy and colorful use of heavy percussion at the end of A Night on Bare Mountain or Pictures at an Exhibition, impressive (and necessary) though that is. Serebrier, who worked as Stoki's assistant conductor at the American Symphony Orchestra for about five years, brings a keen ear for those luscious string sonorities that also give these editions much of their magic at lower dynamic levels. I'm thinking, for example, of the shimmering closing pages of the Boris Godunov Symphonic Synthesis, among other places. Serebrier also captures the tragic intensity of the Khovanshchina Entr'acte as well as Stokowski ever did: he's slower, darker, and heavier than Knussen, more raw and "Russian" sounding, as he also is in the terrifying Catacombs section of Pictures at an Exhibition.


There's further icing on the cake that you won't find on the Knussen disc: the two lovely Tchaikovsky transcriptions (the Humoresque will be familiar to knowledgeable listeners from its use in Stravinsky's The Fairy's Kiss), and Stokowski's own Traditional Slavic Christmas Music, a setting where once again Serebrier shows himself able to conjure a truly authentic "Stokowski sound". Mind you, these aren't mere imitations. Serebrier's flexible approach to tempo and willingness to inject a jolt of extra electricity make something quite special out of the climaxes in A Night on Bare Mountain, and it's very clear that the Bournemouth Symphony Orchestra is having as much fun playing this music as you will have listening to it. The engineering stands among the best from this source as well. Spectacular, sensational, skirting the boundaries of "good taste"--this is the real deal. [6/17/2005]
--David Hurwitz, ClassicsToday.com

Septura turns to one of the most groundbreaking periods of music history: France at the onset of the twentieth century. In this fertile compositional field, solo brass instruments flourished, but the chamber music landscape was barren. And so the group re-imagines works by three composers who defined France’s unique musical direction: Faure, Debussy and Ravel. Conjuring the full kaleidoscope of colors possible from seven brass instruments, they trace the origins of Impressionism, from Faure’s masterful melodies through to the iconic piano works of Debussy and Ravel.

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REVIEW:

The Fifth in this series from the quite remarkable London-based Septura is a disc full of innovative ideas of re-scoring familiar music made by members of the septet. The most extended section of the disc comes with six of the Preludes Debussy wrote for solo piano arranged by Simon Cox; here Septura embellish the music with the sonorities Debussy would no doubt have used. Indeed the arrangement of La Cathedral engloutie, which ends the disc, emerges as one of the finest pieces the composer never actually wrote. The virtuosity that the group display is quite remarkable, technical challenges never existing in their elevated musical world. The recording quality is equally superb.

– David's Review Corner (David Denton)

Sony Classical announces a further batch of complete recordings from the CBS/Sony and RCA Victor catalogues. The newest installment of this popular series features some unusual repertoire as well as documents of the New York Metropolitan Opera in its postwar heyday. Mozart’s Figaro is here too, sung by “a delightfully fresh-sounding” Michele Pertusi (BBC Music Magazine) in Zubin Mehta’s 1992 recording of Le nozze di Figaro with the Maggio Musicale of Florence. The BBC reviewer lauded “Mehta’s energising sense of pace and colour [and] consistently good orchestral playing,” and Gramophone was also highly enthusiastic, writing that it “sounds like the performers were enjoying themselves. Save the Countess and Susanna, they’re all Italians (oddly rare on disc). This lends bubbling virtuosity to the Italian librettist’s exchanges for Lucio Gallo’s Count and Michele Pertusi’s Figaro…And both Karita Mattila [the Countess] and Marie McLaughlin [Susanna] are so at home with their mistress/servant roles.”

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REVIEW:

Zubin Mehta leads this modern-instrument performance that features characterful individual performances and an unusual variant of the Count’s aria for the vivid Lucio Gallo.

– BBC Music Magazine

MAYR Gioas • Franz Hauk, cond; Andrea Lauren Brown (sop); Robert Sellier (ten); Cornel Frey (ten); Andreas Burkhart (bs); Bavarian St Op Ch; Simon Mayr Ch & Ens • NAXOS 8.572710-11 (2 CDs: 111:22)


Only two issues ago (36:2), I had my first taste of music by Simon Mayr, on a Naxos CD featuring three of the composer’s concertos led, as here, by Franz Hauk, who seems to be somewhat of a Mayr specialist. In that review, I was forced to admit that I was not previously familiar with Mayr, most likely because his main area of endeavor was opera, a field in which I claim no particular expertise. The review concluded by wondering if, as mainly a composer of opera, Mayr was best represented by a disc of his concertos, and with a promise to get back to the reader with an answer once I gained more familiarity with his work.


The wait wasn’t a long one. Here we have Mayr’s Gioas (Joash, King of Judea), designated a “parody oratorio,” so-called because it draws upon Mayr’s opera, I misteri eleusini for its material. I gather that the work bears certain similarities to the composer’s David in the Cave of Engedi , reviewed by Patrick Rucker in 32:4, and Samuele , both previously recorded for Naxos by Hauk. A parody oratorio, as I understand it, involves the practice of adapting popular operatic works to religious texts so they could be performed during Holy Week while his Holiness looked the other way.


Gioas dates from 1823 and is set to a libretto by an unknown author (or one who preferred to remain anonymous) that tells a story of internecine blood-letting over rights to the throne, treachery, and retribution, all of which through self-sacrifice and appeasement of various gods, goddesses, and priests—that’s the religious aspect—culminates in a happy ending. The work is appropriately referred to in the program note as “pseudo-sacred,” or, to call it what it is, a barely disguised excuse to present an unstaged opera in the guise of an oratorio. Mayr was not alone in fashioning such Church-sanctioned entertainments. The tradition persisted, mainly in Italy, through much of the 19th century, with Emilio Cianchi’s Giudetta , composed in 1854, being performed as late as 1912. Knowing this, it’s a bit difficult to follow the intrigues of the plot and to listen to the impassioned arias, the pattering recitatives, and the solemn and celebratory choruses without a smile and a smirk. No matter how much holy water you sprinkle on it, the opera that’s inside this oratorio won’t be exorcised. Considering that Gioas was written in the same year as Rossini’s Semiramide , Mayr’s work sounds rather dated for its time. But having been born in 1763, Mayr was almost 30 years Rossini’s senior. So, perhaps it’s not surprising that Mayr’s style should more closely resemble Mozart’s than it does Rossini’s.


The music is delightful, often touching, and artfully crafted for the voice. It’s no wonder that Mayr was so celebrated for his operas. The four soloists are all very convincing in their roles and well matched vocally. Add to that enlivened playing from Hauk’s instrumental forces, and you have a winning performance. Unfortunately, Naxos has not provided a text or translation, but the album note gives a pretty good synopsis of the mishmash that calls itself a plot. If you can pretend while listening to Mayr’s Gioas that it’s not just an opera masquerading as a sacred oratorio, you will find much in the work and in this recording of it to enjoy.


FANFARE: Jerry Dubins

Gustav Mahler’s Ninth Symphony shows the culmination of the composer’s career. The concert recorded in this landmark live performance was part of The Mahler Project, in which friends and conductors Daniel Barenboim and Pierre Boulez tackled all of Mahler’s symphonies with the Staatskapelle Berlin. A documentary from Christoph Engel accompanies the concert, in which a diverse selection of statements and conversations from both conductors is featured.

Lullabies for Mila is dedicated to Alessio Bax’s daughter, Mila. The album begins with a moving dedication: “This album is not only a carefully curated playlist of soothing classics to calm a baby and perhaps make him or her fall asleep quicker. It is also a gift from parents to their children, with the hope that they will share music with their loved ones, not just to entertain them but also to enrich their lives.”; This disc compiles works from Bax’s past Signum albums, including performances with Southbank Sinfonia and Lucille Chung. It also contains a new recording of the Grieg’s Nocturne from his Lyric Pieces.; Alessio Bax is a celebrated and award-winning pianist. Gramophone says “His playing quivers with an almost hypnotic intensity,” and the Dallas Morning News calls it “an out of body experience.” He has performed as a soloist with over 100 orchestras.

Liszt's first meeting with Wagner in 1840 took place when the latter was struggling as a composer, and his transcriptions can be seen as part of a campaign to bring Wagner's work to the notice of a wider audience. These include many of Wagner's most famous dramatic moments, such as Isolde's Liebestod from Tristan und Isolde and the Wedding March from Lohengrin. The program concludes with the Solemn March to the Holy Grail from Wagner's last stage work Parsifal, Liszt's transcription of which was published in 1883, the year of Wagner's death.

One of Europe’s finest Baroque ensembles, Ensemble Meridiana is an award-winning group who is regularly asked to perform at all of the most prestigious early music festivals. The theme of this new release is love through Baroque France. The compositions travel through the venues where music was performed in this era: the salons, the countryside, and even the royal courts. Hailing from four different countries, the members of Ensemble Meridiana met during their time at the Schola Cantorum Basiliensis in Basel, Switzerland. “…some bravura playing… the players show an exciting sense of ensemble that doesn’t crimp their expression as individuals. May we hear more from this wonderful new group!” (Audio Video Club of Atlanta)

The other three pieces have all received previous recordings but that doesn’t lessen the interest when they are presented as persuasively as they are here by Stanislav Khristenko. The Piano Sonata No.4 dates from 1948 and is a four-movement work of powerfully contained expression. The conjunction, in the slow movement, of both extrovert and more interior gestures is amplified by Krenek’s precise application of sonorous incident – brief but telling – amidst a generally refined tonal color. Marked con passione this is the work’s core but the Rondo offers a rather whimsical example of Krenek’s sort-of modified Boogie patterns with the Jazz references powerfully engaged. His ear for the vernacular was, after all, long practiced. The finale is a Minuet, perhaps surprisingly – perhaps that’s the point – and its variations, one or two a touch crepuscular, or withdrawn, mark a telling way to end the sonata.

The George Washington Variations, Op.120 followed two years later, the result of a commission from a wealthy Los Angeles businessman for his daughter. This genial and clever set of variations takes in the ballroom and subjects its material to deconstruction and reconstruction, as the notes suggest, with much playfulness. Washington’s Grand March is a central focus, and subject to pithy and witty examples of lightly applied atonalism, jazz-hinting rhythms and much more. Playfully ironic in places it in no way outstays its thirteen-minute length. The brief two-minute Prelude packs quite a punch for so short a piece. As Peter Tregear notes in his excellent booklet, the application of twelve-tone is accomplished here with the utmost of lyricism.

The final piece is Krenek’s completion of Schubert’s Sonata in C major, D840, which he wrote in 1921, just less than a century after Schubert had left it a torso. The first two movements had been completed as had the trio of the Menuetto and the first 272 bars of the finale. It was the pianist Eduard Erdmann, a prominent musician then and later, who encouraged Krenek to take Schubert more seriously. In time he came to understand and share Erdmann’s enthusiasm and undertook a study of the composer’s work. His completion of the sonata is a valuable sidelight to his interests at the time and also of his application of compositional process. As Krenek wrote: ‘in both unfinished movements the thematic material was completely established…so Schubert was [not] still composing by proxy, as it were, but I had only to use my knowledge of, and feeling form Schubert’s style and technique in order to supply what he might have done. I think I did a fairly creditable job.’ He noted that the finale might have been longer had Schubert actually gone through with it.

Given the quality of this inaugural volume we can look forward to the second volume with confidence.

– MusicWeb International (Jonathan Woolf)