MUDGE Concertos: No. 1 in D; 1 No. 2 in B?; No. 3 in G; No. 4 in d; No. 5 in B?; No. 6 in F. 2 Non nobis, Domine 3,4,5 • Dominik Kiefer (vn, cond); Henry Moderlak (tpt); 1 Marc Meisel (org); 2 Michael Feyfar (ten); 3 Raitis Grigalis (bar); 4 González Arroniz (bs); 5 Capriccio Basel (period instruments) • TUDOR 7173 (75:41)


A graduate of Pembroke College, Oxford, Reverend Richard Mudge (1718­–1763) was appointed curate of both Great and Little Packington in 1741. He may have been private chaplain to Lord Guernsey, who would later become the Earl of Aylesford. The family had significant musical connections, the best known being Handel’s friend and librettist, Charles Jennens. In 1750, Mudge obtained a position at St. Martin’s, Birmingham, where he became a popular preacher. In 1756, we find him in the post of rector at Bedworth, where he lived until his death. Even though Mudge’s liturgical career is well documented, there is almost nothing pertaining to his musical pursuits.


Two collections of Mudge’s music have recently been discovered; both seem to have their origins during his years in service to Lord Aylesford. Most of the material appears to be preliminary versions of this set of concertos, published in 1749. Concertos for strings were quite popular at the time, selling well in a market geared to the desires of talented amateur performers. While the solo parts require performers whose skills are well above the mean, many provincial music societies included collections such as this in their repertoire. The set is scored in seven parts: a concertino of two violins and cello and a ripieno of two violins, viola, bass, and basso continuo . The First Concerto adds a trumpet to the ripieno and the Sixth includes a solo organ part that is modeled along the lines of Handel’s organ concertos. The remaining concertos follow the slow-fast-slow-fast pattern found in the concertos of Corelli and Geminiani, indicating that Mudge may have spent some time studying works by those composers in Lord Aylesford’s collection.


The text of the three-part motet, Non nobis, Domine , comes from the opening of Psalm 113. The two melodic components­—by Belgian Phillip van Wilder and Englishman William Byrd—were quite popular with Jacobites who refused to attend services of the Church of England. It expressed their solidarity with the Stuart dynasty and their rejection of the reigning monarch. As a footnote of sorts, the first appearance in English of both the music and text was around 1620.


The Baroque orchestra Capriccio Basel was founded in 1999, and their first decade has included concerts in France, Hungary, the United States, and appearances at several German festivals. Their collaborators include Andrew Parrott, Monica Huggett, and Gottfried von der Goltz. The orchestra’s Web site includes other releases, including one of concertos by William Hayes, which I hope to have in hand in the near future.


The music is not revelatory; it walks down a path that has been previously traveled by the likes of other Englishmen including John Stanley, Charles Avison, and John Hebden. But to Capriccio Basel, Mudge’s music is singular, and their beautifully manicured interpretations compel much admiration. Under the direction of Concert Master Dominik Kiefer, the orchestra and soloists exhibit a fine sense of elegance and generous vitality as well. Capriccio Basel displays a rare sense of dedication in this release; it is apparent at every turn by way of their meticulous attention to each and every detail, be it written or implied. Impeccable ensemble and precise intonation are the hallmarks of these praiseworthy sessions. These passionate and sympathetic interpretations have brought belated credit to this consistently charming music, music that has been awaiting rediscovery for far too long.


FANFARE: Michael Carter

Classical Music

This CD usefully gathers together the four most significant works in Brahms’s output for chorus and orchestra, with the obvious exception of Ein deutsches Requiem. Readers will already have noticed the rather niggardly playing time so let me hasten to assure them that it is only in this respect that the disc offers short measure: the music and the performances are of high quality.

The young English conductor, Robin Ticciati, has attracted a great deal of favourable notice in a relatively short space of time. Already installed as chief conductor of the Scottish Chamber Orchestra (from the 2009/10 season) he will become First guest conductor of the Bamberger Symphoniker from the 2010/11 season. This, I suspect, is his first recording with the orchestra and in it he reveals himself to be a fine Brahmsian.

The Alto Rhapsody is the best-known piece on the programme and I was very pleased to see the British mezzo, Alice Coote in the solo role. I saw her sing the piece on television a year or two ago at the Henry Wood Promenade Concerts. Here, freed from the necessity of projecting into such a vast auditorium as the Royal Albert Hall she can sing with the proper intimacy that much of the piece requires. It’s a remarkable work in many ways. The later Gesang der Parzen has a surprisingly large amount of dissonance in its harmonies but the way is surely paved in the searching music of the Rhapsody. Ticciati conducts it with maturity and is successful at laying out the stark winter landscape portrayed in the opening pages. Alice Coote sings very well; her vocal production is unforced and her warm, expressive tone gives much pleasure. Throughout the piece her voice is in good focus and I especially admired her poise at the telling phrase “Die Öde verschlingt ihn”. Ticciati accompanies his soloist considerately and his orchestra realises the textures of the music very well. Miss Coote is successful in putting across the introspective side of the piece and then, when the famous heart-easing melody appears - “Ist auf deinem Psalter” – her delivery of it is lovely, with the male voices of the choir in good support.

I came to know Nänie several years ago through taking part in a series of performances; it’s a very fine piece. It is, as Colin Anderson says in his booklet note, a work that contains “music of rapt contemplation and remarkable loveliness”. Indeed, the oboe melody that’s heard near the start is of a stature comparable with the theme for the same instrument in the slow movement of Brahms’ Violin Concerto. Ticciati leads a splendid performance. The music unfolds with due spaciousness and warmth but without any suspicion of wallowing. The choir is full-toned and well balanced. They produce some fine quiet singing but, when required, there’s ample power without any need to force the tone. It’s a very satisfying performance and to my ears Ticciati seems to get everything just right.

Gesang der Parzen is, musically, a very different proposition. This was the composer’s last work for choir and orchestra and it contains a good deal of turbulent, dark music. The darkness is emphasised by elements of Brahms’ scoring. He includes parts for a contrabassoon and a tuba while the choir is divided into six parts, including two alto parts and two bass parts. The piece begins quietly and from the outset a marked and appropriate degree of tension is present. The volume is increased significantly for the second stanza of the words, which are by Goethe, beginning “Der fürchte sie doppelt” (“Let he [who is raised up by them] fear them doubly”) and the choir rise to the occasion with some exciting singing. The whole piece is concentrated and is tragic in tone. Ticciati directs his forces with admirable energy. The spectral end, in which the contrabassoon is a discreet but telling presence, is well managed.

Schicksalslied mixes the sublime and the dramatic. The spacious introduction, in warm E flat major, is one of the most radiant passages of Brahms that I know. In this account the muted violins sing out the main theme most affectingly while the timpani pound quietly underneath. The gentle entry of the choir – led excellently by the altos – sustains the mood of the introduction perfectly. Later, at “Doch uns ist gegeben”, the music plunges abruptly into C minor and Brahms’ music is bitingly dramatic, recalling “Tod, wo ist dein Stachel” in Ein deutsches Requiem. Finally, Brahms relents and revisits the music of the introduction, but this time in C major. This is balm after the storm and I always think that the prominence of the flute in this reprise emphasises the lightening of the textures and the parting of the storm-clouds. The whole performance of this fine work strikes me as a complete success.

There have been comparable couplings of these four short masterpieces in the past. Claudio Abbado did them all to excellent effect with the Berliner Philharmoniker for DG in the early 1990s (435 791-2) and they were also recorded for Decca by Herbert Blomstedt in 1989, during his time in San Francisco. However, I’m not sure that either set of recordings is currently available. Even if they are, this newcomer offers an excellent alternative. Not only are the performances very good but also the recorded sound is very satisfying – I listened to this hybrid SACD in conventional CD form. My only reservation about the otherwise well-produced booklet is that the English and French translations of Nänie and of Gesang der Parzen are not aligned with the German words.

On this occasion I’d urge collectors to overlook the short playing time. These are very fine examples of the art of Brahms and they’ve been well served in these excellent recordings. I hope this is a harbinger of the forthcoming partnership between Robin Ticciati and this distinguished German orchestra.


-- John Quinn, MusicWeb International

Classical Music

Classical Music

•The deep theological reasons for participation in sacred music were inherent in boys‘ voices – their purity and innocence suggestive of angelic choirs. The boys choir tradition in medieval cloisters and schools was reinforced after the Reformation, voice training being thought an important component in their personality development.This interpretation of the “Stabat mater” offers an update on the debate about historic performance practice.

Classical Music

DIABELLI VARIATIONEN

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Smetana’s cycle “My Country” is a pinnacle of symphonic literature. There is nothing quite like it: six musical poems which, while independent of each other, form an organic whole. As a composer, Smetana was in the vanguard. This visionary work is unmistakably personal, connected to the Czech nation’s tragic history and to the Bohemian-Moravian landscape; it is not only about memory, it also gives hope for the future, brilliantly describing landscapes of the human soul. As such it goes beyond time, to create something of a lasting significance. This is music of nostalgia, which sets thoughts and emotions free. After hearing “My Country,” one emerges stronger. Every one of these six pieces has a tremendous energy, and enables one to live with melancholy and sorrow: the work transforms the listener and enriches his soul.

Classical Music

In this series of concerti, one senses a progression. The first six, all in major keys with clear, luminous themes, rely on a varied and singing virtuosity. Magnificently written for the flute, they remain – although more developed – in the tradition. The following concerti show the “French Mozart” at the peak of classical style, but also forward looking, notably through a more demonstrative conception of the Soli and the orchestration. The variety and quality of these concertos reveal François Devienne as one of the great masters of flute literature, and of the concertante genre in France.

During his short and turbulent life, Robert Schumann often composed as if in a trance. This exuberance, this impulsivity is particularly apparent in his works for piano and orchestra, all closely connected to his love for Clara Wieck. - "A cross between symphony, concerto and great sonata, not a concerto for the virtuoso" was his aim - and this is brilliantly realized; however, these works require a virtuoso with nimble, as well as strong and sensitive fingers, a pianist able to recreate Schumann's unique romantic world. Gerhard Oppitz achieves this in exemplary fashion, flawlessly mastering the technical demands in an interpretation imbued with a very personal passion for one of our greatest composers - all the while supported by and in dialogue with an orchestra ideally suited to his vision: The Bamberger Symphoniker.

Includes work(s) by various composers.

Classical Music

Classical Music

Classical Music

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Recording information: München, Studio 1 des Bayerischen Rundfunks (05/13/2008-05/16/2008).

Classical Music

L. MOZART Divertimento in F, “Musical Sleigh Ride.” Cassation in G, “Toy Symphony.” Symphonies: in D; in G, “ Sinfonia da caccia” • Hans Stadlmair, cond; Munich CO • TUDOR 737 (59:03)


Hans Stadlmair has been artistic director of the Munich Chamber Orchestra since 1956. This CD reveals an excellence of conducting and playing of Classical music off the beaten path. Leopold Mozart is more famous as the father of Wolfgang Amadeus Mozart than as a composer in his own right. The music on this disc supports history’s judgment as to the source of his fame. Yet some of this music can play an important role in propagating the greater Classical pieces.


The “Musical Sleigh Ride” and the “Toy Symphony” are among those vital pieces that serve young children as introductions to classical music. The “Toy Symphony” has been variously attributed to several composers, among them one of the Haydns (the famous Joseph and his lesser-known brother, Michael) and Leopold Mozart, who is the current winner of the attributions.


The most interesting piece in this collection is the “Sinfonia da caccia,” with its opening movement depicting a hunt ( a caccia ), complete with yelping hounds, galloping hoofs, and, most effectively, firing shotguns. This is another great piece for kids. Unless your child is another Mendelssohn/Mozart/Schubert genius, this music is a good way to lead him or her to discover The Art of Fugue 20 or 30 years hence, with a way station at the Beethoven symphonies.


Get this disc for your kids or grandkids! But not if you consider hunting and guns inappropriate for young children. Get it for yourself, to experience the caccia —vicariously perhaps, but without mammalian casualties!


FANFARE: Burton Rothleder

BRUCKNER Symphony No. 3 (first version, 1873) • Jonathan Nott, cond; Bamberg SO • TUDOR 7133 (Multichannel Hybrid SACD: 63:12)


In Fanfare 28:3, I briefly described the three versions—1873, 1877, and 1889—of Anton Bruckner’s Third Symphony, while reviewing Kent Nagano’s recording of the 1873 version with the Deutsches Symphony of Berlin (Harmonia Mundi 901817, also available as a multichannel hybrid SACD, HMC 801817). For all its virtues of interpretation, execution, and sound—and sounding even better in the SACD version—I judged it not quite as compelling a performance as one by Georg Tintner and the Royal Scottish Orchestra on Naxos 8.553454. Now a new SACD from Tudor further complicates the picture. Jonathan Nott, an English conductor enjoying a major career in Europe, leads a powerful performance of the symphony, and the Bamberg Symphony never sounded better. In “super audio” five-channel sound, this is now clearly the best recording to date of the 1873 version. It is also one of the shortest; Nagano is more than five minutes longer, and Tintner more than 14! The first commercial recording by Eliahu Inbal and the Frankfurt Radio Orchestra clocked in at 65:12, and the fastest ever, by Roger Norrington and his London Classical Players, zipped by at 57:25. In placing Nott and Tintner at the head of my list, I obviously do not care how fast the music is played, but how convincing a conductor and orchestra can make their interpretation sound. Nott, like Tintner, creates drama through persuasive dynamic and rhythmic contrasts, adding up to a complete and compelling conception. It is especially gratifying to find a relatively young (born 1962) conductor creating a profound and exciting performance reminiscent of much older conductors, such as Bruno Walter, Carl Schuricht, Wilhelm Furtwängler, Otto Klemperer, and Eugen Jochum.


Tudor’s notes argue, as did Georg Tintner annotating his own performance for Naxos, that the later versions were not so much improvements as attenuations of a great masterpiece that is best heard and understood in its original form. Now that I have become thoroughly familiar with it, I can no longer argue against that view, though there is so much to admire in every version of Bruckner’s symphonies that I prefer to enjoy each on its own terms. It seems more worthwhile to argue against those who, for whatever reason, try to suppress marvelous scores like the Vienna version of the First Symphony, or the final version (1888) of the Fourth, both of which were revised and sent to the printer with the composer firmly in charge, however much help he had from his disciples.


An ethical case might be made against the publication (as recently as 1977, edited by Leopold Nowak) of this first version, because the composer never tried to have it performed or published. But every Bruckner enthusiast I know is grateful to hear these alternate versions, and conductors may now choose which version or versions they wish to perform. Similarly, serious collectors can choose which they wish to buy and keep.


Thanks to many recordings and concerts heard live or by radio, one can now accept the large number of allusions to the operas of Richard Wagner in the 1873 edition.


This was the version Wagner saw; Bruckner sought and received the great man’s permission to dedicate the symphony to him. This version is characterized by monumental length: 2,056 measures, compared to 1,715 in the 1877 version, and 1,544 in 1889. When performed with such skill and conviction, and recorded in such rich and burnished sound as in Tudor’s new release, one feels that more, indeed, is better.

FANFARE: Robert McColley

Undeservedly overshadowed by his two string quartets and piano trios, the small pieces for violin or cello and piano are among the best of their genre from the “Moscow School”, differing mainly by having partly salonesque titles and a more intimate expression. The Quintet in D major Op. 51 (1900) for piano, two violins, viola and cello exemplifies the 40-year-old composer’s mature style, its cyclic elements and formal density heralding a new departure. The priority given to the piano and the variation movement suggest the influence of Tchaikovsky’s Piano Trio in A minor Op. 50.

Classical Music

KLEINE NACHTMUSIK KV 525, CONC