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SaleO schone Nacht: Romantic Choral Music / Alber, Orpheus Vokalensemble
Carus · Jul 2020CD$20.99$15.99 -
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Ein feste Burg ist unser Gott / Rilling, Bach Collegium Stuttgart
Haenssler Classic · Mar 2017CD$18.99 -
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Schtschedrin: Carmen Suite - Respighi: Pini di Roma / Jansons, Bavarian Ravio Symphony
BR Klassik · Jan 2020CD$19.99 -
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O schone Nacht: Romantic Choral Music / Alber, Orpheus Vokalensemble
The Organ of The Badia Fiorentina / Riboli
The organ of the Badia Fiorentina monastery in the centre of Florence is one of the finest surviving examples of an Italian renaissance organ, completed in 1558 by the Tuscan organ builder Onofrio Zeffirini. The characteristically Italian timbre of the organ and its historical temperament make it the perfect instrument for performing repertoire from the 16th, 17th and 18th centuries. In her own booklet-note introduction to the repertoire on this album, Giovanna Riboli explains that she has chosen a sequence of repertoire to display the organ at its most characteristic, but also to give a guided tour to high-points of European organ music of the late 16th and early 17th centuries. She opens her recital with a pair of toccatas, by the Venetian Gabrieli and the Florentine Frescobaldi, that give voice to the instrument’s most brilliant registers. A variation set by Pasquini enables her to range over the impressive stop-list including rarities such as a Nightingale stop. There are two representatives of the English keyboard school, Byrd and Farnaby, at their most extrovert and virtuosic, and then two substantial pieces by the founder of the North German organ school, Sweelinck, followed by an ‘English masquerade’ by his pupil Scheidemann. Giovanna Riboli rounds off this imaginatively programmed album in reflective mode with the Tiento y discurso de segundo tono by the Spanish composer and organist Francisco Correa de Arauxo. The album’s expressive journey is astutely planned, and her playing of this historic instrument brings out all its antique tone- colors.
REVIEW:
This disc, another in the series that Brilliant Classics is devoting to Italian organs and organ music, upholds the high standards of preceding entries for Renaissance and Baroque music. Giovanni Riboli is the skilled executant on this Cook’s tour of 16th- and early 17th-century Western European organ repertoire. The instrument is rather closely recorded, but sounds well. The English-Italian booklet provides detailed notes by Riboli on the organ and the composers, including specifications, along with an artist bio and photos. This is an attractive recital disc, and recommended accordingly.
– Fanfare
Ein feste Burg ist unser Gott / Rilling, Bach Collegium Stuttgart
Martin Luther reformed the structures of the church. Preaching the gospel was bound to have visible consequences for the form of divine service. Preaching and Luther’s own writings are complemented by the sacred song, through which evangelical faith is spread. The new song of the Reformation springs from the faith of a confessing church. In arranging, translating and expanding a whole series of older church melodies, and in particular through his own figures of speech, Luther was the true founder of German Protestant congregational singing. His own hymns reflect his strong personality founded on faith, exercising a powerful effect on his and following generations. He was the “Wittenberg Nightingale.” The reforming of the old order of service had shown the need for Latin chants to be replaced by verses sung in German. Luther’s first congregational hymn “Nun freut euch, liebe Christen gmein” was written in 1529. The first Lutheran hymn book, Geistliches Gesangsbuchlein, appeared in 1524. This “little book of sacred songs” introduces the great hymns of the Reformation, soon to find a place in popular culture and to be sung wherever the gospel is preached: Music had great significance for Luther. In honor of the 500th anniversary of the reformation, this collection of hymns by Martin Luther and songs from JS Bach is released.
VIVALDI: THE FOUR SEASONS - 1989 RECORDING
Tchaikovsky, Rachmaninov: Spring Night / Belkina, Sidorenko
For Russian musicians, the romances of Tchaikovsky and Rachmaninov have always been a test of their artistic maturity. The very name of the genre carries a great many shades of meaning in Russian, denoting what at times are very varied forms of musical utterance. The vocal chamber works by these two composers, who are usually mentioned in the same breath as luminaries of Russian music, really do exhibit the vast range in artistic expression of their creators. You listen to a recording by the young musicians Lena Belkina and Natalia Sidorenko, who have begun the difficult journey along the road that leads to a perfect blend of tone and the discovery of a personal inflexion in these diminutive, yet complex masterpieces. It is significant that the mezzo-soprano Lena Belkina - for whom Russian, with it's awkward intonation, is a mother tongue - lives and works in Austria, Germany, Italy and France. This has given her an awareness that romances by great Russian composers are part of a worldwide musical heritage. There are several themes running through the romances brought together on this disc that pose demanding artistic challenges for their performers. Spring: from tender green leaves that have barely sprouted to luxuriant blooms of flowering lilac, rushing streams and the burble of the nightingale's song. Night: descending on us with it's unexpected warmth, sometimes stifling, sometimes melancholy, giving rise even in the midst of a storm to cradle songs, serenades and dreams of a happy life, which often dissipate on awakening. Love: past and future, lamented and desired, 'familiar to everyone and eternally new', as one of the romances puts it.
RISING
Schtschedrin: Carmen Suite - Respighi: Pini di Roma / Jansons, Bavarian Ravio Symphony
Liszt: Russian Transcriptions, Vol. 35 / Alexandre Dossin
LISZT Polonaise from Yevgeney Onegin. Le Rossignol. Chanson bohémienne. Abschied. Mazurka. March from Russlan and Ludmilla. Prelude to the Borodin Polka. Russian Galop. Tarantella by César Cui. Slavic Tarentella by Dargomyzhsky. 2 Anton Rubinstein songs. Autrefois • Alexandre Dossin (pn) • NAXOS 572432 (66: 25)
The Naxos traversal of Liszt’s complete piano music, which began in 1997, has now reached its 35th volume with Alexandre Dossin playing a fascinating program of transcriptions of Russian composers. Dossin’s bona fides as a Liszt player of distinction were established with his 2007 contribution to the series, a disc devoted to the Verdi transcriptions and paraphrases. This new release shows him in wide-ranging repertoire, from salon trifles such as the Chanson bohémienne of Bulakhov, through the resplendent setting of the Polonaise from Tchaikovsky’s Yevgeny Onegin , to the heartrending Abschied (Farewell), a simple song setting for Liszt’s beloved pupil Siloti.
The chief interest of this repertoire, however, is not its variety, but its chronology. Five of the transcriptions—those based on music of Alyabyev, Bulakhov, Glinka, and Vielgorsky—are souvenirs of Liszt’s Russian tours of the 1840s. The isolated Mazurka “composed by a St. Petersburg amateur,” possibly Vielgorsky, dates from 1856, during Liszt’s Weimar years. The remainder—including the Tchaikovsky Polonaise and the Borodin, Dargomyzhsky, and Cui transcriptions as well as the two Rubinstein songs—were all set by Liszt in 1880 or later. In other words, these final seven transcriptions are products of the last six years of Liszt’s life and thus contemporaneous with such late-style works as Czárdás macabre , the Hungarian Historical Portraits, Bagatelle without Tonality, Unstern!, and the several pieces memorializing Wagner.
The Polonaise from Onegin , easily the most familiar work on the disc, is given an extrovert reading that highlights its profusion of opulent pianistic detail without obscuring the overall structure and momentum of the dance. Dossin’s interpretation readily holds its own beside those older, famous ones of Cziffra and Ponti, and perhaps surpasses them in its unforced poise and characteristic voice. Dossin approaches Alyabyev’s The Nightingale , set by Liszt as a veritable mini-Russian rhapsody, with intelligence and finesse. Meanwhile, the quirky Circassian March from Glinka’s Russlan and Ludmilla, a virtuoso tour de force , fairly explodes with rhythmic acrobatics and kaleidoscopic colors.
The two tarantellas by Dargomyzhsky and Cui are particularly intriguing, reminding us that, during the 1860s, Liszt and Dargomyzhsky were among the first composers to experiment (independently) with use of the whole-tone scale—Dargomyzhsky in his opera The Stone Guest and Liszt in his melodrama Der traurige Mönch. Both tarantellas exemplify Liszt’s tendency in old age to transform the materials he transcribed, imbuing them with the radical harmonic and rhythmic characteristics of his own late style. In many cases, and certainly in these tarantellas, the originals are endowed with a “new formal and authorial weight,” as Jonathan Kregor has suggested in his pathbreaking study, Liszt as Transcriber (2010). Dargomyzhsky had been dead 10 years when his unprepossessing piano duet Slavic Tarantella was taken up by Liszt and expanded into a haunting and concert-worthy piano solo. The longest piece on the program is the Tarantella by César Cui , possibly Liszt’s very last transcription of another composer’s work. Kregor points out that Cui’s orchestral original had been in circulation for more than 25years when Liszt decided to transcribe it. Liszt expands, emends, and amplifies the material in a way that elevates this folk dance to a veritable metaphysical realm. If proof were needed that the acuity of Liszt’s perceptions and the richness of his imagination remained undiminished to the end, the Tarantella by César Cui provides ample testimony.
It is hard to imagine a more eloquent spokesman for this repertoire than Dossin. Though he is by birth and upbringing Brazilian, the nine years he spent studying in Moscow lend an unmistakable authenticity to his voice in Russian music. Moreover, Dossin’s refined and multifaceted pianism, combined with his formidable intellectual and musical grasp, make him one of the more remarkable Liszt interpreters before the public today.
FANFARE: Patrick Rucker
Great Singers Live: Edita Gruberova
Edita Gruberova – her very name is melodious. The Slovak soprano is undoubtedly one of today’s most well-known interpreters of coloratura opera singing, and especially of Italian bel canto. She made her debut in 1970 as Queen of the Night in Mozart's "Magic Flute" at the Vienna State Opera and, ever since her performances in the same role at Glyndebourne and Salzburg in 1974, she has been a regular fixture on the world’s leading operatic stages and concert podiums. Flattering epithets such as "the Queen of Coloratura", "the Slovak Nightingale" or "prima donna assoluta" are hardly exaggerated, for they really do represent what Edita Gruberova has embodied for almost half a century. She is celebrated all over the world for her perfect mastery of vocal technique, her astonishing ability to master even the most difficult coloraturas and highest notes, her clear and precise intonation and, most importantly, for something that overshadows and transfigures everything else: the seductive and beguiling timbre of her voice. This album, released by BR-KLASSIK to celebrate her 50th stage anniversary, presents nine recordings made between October 1983 and June 2000 at Bayerischer Rundfunk concerts. In addition to well-known as well as lesser-known arias from operas by Handel, Rossini, Donizetti, and Bellini, and also the Couplet of Adele from Johann Strauss' operetta "Die Fledermaus", Edita Gruberova can also be heard in interpretations from Mozart's "Exsultate, jubilate", his “Laudate Dominum” from the “Vesperae solennes de confessore,” and also Michael Haydn’s far too rarely performed Christmas cantata “Lauft, ihr Hirten, allzugleich.” This album is more than a historical portrait – it offers a representative musical cross-section of Edita Gruberova's wide-ranging repertoire, and also includes several surprises that complement and enrich her comprehensive discography.
Forgotten Provence 1150-1550 / The Martin Best Consort
The very welcome resurgence of the Nimbus and Lyrita labels has restored many treasures to the catalogue. This is emphatically one of them – an hour of music from medieval and early-Renaissance Provence on a recording to sit back and enjoy. Technically, this and the other recordings made by the Martin Best Consort and Ensemble are not reissues, since they are again available with their original catalogue numbers and still at full price. Almost five years after Nimbus got back on its feet, it is incredible that their recordings are not featured in the 2008 editions of either the Penguin Guide or the Gramophone Guide. I hope that the current review will partly redress that unfortunate situation.
The recording covers a number of themes, as stated in the sub-titles. The overall tone of the programme is lively, though with some reflective interludes. The texts are in Occitan, the medieval language of Provence, and Latin.
The first section deals with love, not always of the courtly type. In Ne l’oseray-je the woman laments that she is to be married off to an uncouth peasant; the man complains that everything in the home seems to be for his wife’s benefit. In Dessus la rive a sailor tries to have his way with a young girl, who appears to get the better of him.
Track 3 brings us to the theme of fin amors or courtly love, but with the boot on the other foot – the woman’s rather than the man’s. Beatriz, La Comtessa de Dia, or Comtesse de Die, was one of several independent-minded medieval Provençal women who fought their corner in a male-dominated world. In A chanter m’er de so qu’ieu non volria (I must sing of that which I would rather not), the only piece by any of the trobairitz, or female troubadours, to have survived with its melody, she adopts the role usually taken by the male lover, complaining that she is compelled to sing about a love that consumes her for someone who does not value her.
This work is also included on an excellent Hyperion recording, Bella Domna: The Medieval Woman (Stevie Wishart with Sinfonye on the budget-price Helios label, CDH55207 review – a well-deserved Musicweb Bargain of the Month). Sinfonye perform the work unaccompanied and at a slightly more leisurely pace. Both performances work well, capturing a tone of regret, rather than anger, at the indifference of the beloved. If I marginally prefer the Hyperion, it is a very close call – Lilly Crabtree on Nimbus sings excellently. All the versions which I know give the text as chantar, which would seem to be correct Occitan, but Crabtree clearly sings chanter, as per the booklet.
Those wishing to know more about the trobairitz should consult Klinck A L and A M Rasmussen (eds.), Medieval Woman’s Song: Cross Cultural Approaches (Philadelphia: University of Pennsylvania Press, 2002). References to A chanter m’er are on p.8. Vecy le mai is a carole in rondeau form, one of those countless medieval celebrations of the month of May, "the merry month which stirs our hearts." Ma charmante cadet belongs to the chanson d’aventure type, though it omits the usual prefatory matter in which the man’s riding out is described; it represents a dialogue between a knight and a peasant girl who, as so often in such chansons, is his intellectual superior.
The sequence of free organum which follows allows a temporary respite from secular concerns. The term organum refers not to an organ accompaniment but to an early kind of polyphony in which the voices move at an interval against each other, usually at a fifth; in this case the technique is applied to a sung Alleluia into which the psalm text Justus ut palma has been inserted – "the righteous shall flourish like a palm tree." Those seeking to understand terms such as organum and polyphony will find lucid explanations in the Oxford Companion to Music. In any case, don’t be put off by these technical terms; just enjoy the music. A l’entrada del tens cler takes us back to familiar troubadour territory, the return of Spring. Li gelos chastises jealous men, while the Air de Cheval gives us a brief instrumental interlude.
Lancan li jorn is one of the most celebrated of troubadour cansos; in Jaufré’s text the lover longs with what the notes aptly describe as Michelangelo’s ‘divine discontent’, for his beloved in a far-off country. This piece is no less effective for its being viewed from the conventional male perspective. The note-writer thinks that Beatriz’s female-orientated version in A chanter m’er is somehow more ‘real’, but long experience has taught me never to be wholly convinced by circumstantial detail in literature – as when Rousseau retells Montaigne’s account of being knocked out by a rampaging animal, as if it were his own experience. Jaufre is just as convincing when his canso is sung as affectively as it is here.
In Ara Lauzata a lascivious monk wishes that the pretty girl he sees could be a beautiful nun encloistered in his house; he is obviously second cousin to some of the worldly clerics in the Carmina Burana, best known in Carl Orff’s arrangement, though the original medieval music has survived. The Sequence to St Peter and St Paul recalls us to the joyful praise which the monk should have been offering to the saints instead of the scurrilous thoughts to which he has given voice.
The Montpellier Motets are not all religious pieces – the term did not have that limited meaning originally. Pucelete/Je languis, Aucun and Lonc tans are all secular motets but Alle Psallite, which closes the sequence, is another eked-out Alleluia in praise of God. If you would like to investigate further the manuscript from which these pieces came, you could do much worse than to try the Anonymous 4 in Love’s Illusion: Music from the Montpellier Codex – a different style from that of Martin Best but equally enjoyable (Harmonia Mundi HMX290 7109, budget price).
Nightingales figured largely in medieval poetry and music. The first of the pieces entitled Rossignolet du bois asks if the nightingale has heard the voice of a village boy who wishes to be married but doesn’t understand how to behave in love. In the second the nightingale announces the arrival of Spring-time and love. In le Sodard, the soldier hears the nightingale sing that his love is dead. The lyrics are worthy of Housman’s Shropshire Lad and the music a rousing martial theme, played here with gusto, which contrasts with the soldier’s loss.
The Epiphany sequence Epiphaniam Domino is one of many such pieces contained in medieval missals, lengthy pieces which replaced the Gradual between Epistle and Gospel, very few of which survived the reforming zeal of the Council of Trent.
The final piece, Reis glorios, is a dawn-song, alba in Occitan, aubade in standard French. The words are spoken as if by the watchman who has been keeping guard over his master as he made love, but they are religious words, in praise of the Glorious King and His Holy Mother. The fine performance of this wonderful alba by Guiraut de Bornelh, named by Dante as the Master of the troubadours, makes an excellent conclusion to a very worthwhile programme, combining the secular and the spiritual, as the medievals did effortlessly.
The singing and instrumental playing throughout are excellent, in both the lively music – the courtly and the not so courtly – and the more reflective pieces. I leave aside the thorny issue of the extent to which such music should be accompanied. Regular readers will know that I have consistently given the highest praise to Hyperion’s budget-price Helios reissues of the recordings of Gothic Voices, who very rarely include an instrumental accompaniment. I trust that I shall not seem illogical in praising the Martin Best Consort, who do regularly employ such an accompaniment, in equal measure. There is certainly room for both approaches when such fine performers are involved; in any case, the accompaniments here are not overdone. Apart from the fact that the Gothic Voices reissues are at budget price, comparisons are odious – and there is no overlap, as far as I am aware, between this Nimbus recording and anything that Gothic Voices recorded: they concentrated on a mainly Northern French repertoire.
The recording is good – a little close, but that is not inappropriate in such music. The notes are informative, offering a general overview and individual notes on the separate tracks. Nimbus offer translations of all the works, but not the original texts. If only one could be included, I suppose that is the right way round, but I still think it a pity – medieval Provençal is not exactly a common enough skill for the listener to pick it up from hearing the CD. Hyperion are more generous in this matter: they always offer texts, albeit in minuscule form, including that of A chantar m’er in the booklet accompanying Sinfonye’s recording of Bella Domna. For convenience of those who buy the recording – many of you, I hope – I have included such original texts as I have access to, in an Appendix to this review.
Until recently, this CD was available with other Martin Best medieval recordings in a bargain collection. If you hurry, you may find that some dealers are still offering that set – a wonderful bargain. It was the original intention that I should review the collection but, although it is deleted in that form, Nimbus have kindly sent me the individual CDs to review. Watch out for reviews of the remaining volumes in due course.
-- Brian Wilson, MusicWeb International
TERRA MATER
CHANGES
Rued Langgaard: String Quartets, Vol. 2
For Dacapo and the Nightingale String Quartet (NSQ) alike, this is a quickish follow-up to volume 1 of Rued Langgaard's string quartets, released in spring 2012. It has a very similar feel. The only noteworthy difference, arguably, is the fact that the three works heard here come from an earlier period. That was before his music became more idiosyncratically flirtatious - or "filled with so much frustration and weirdness", as the NSQ's first violinist referred to the first-disc quartets. Indeed, this trio in particular is said to encapsulate feelings of love towards a certain 'Dora' that would stay with Langgaard all his life - even after his later marriage to Constance. There is, consequently, a lot of lyrical warmth and nostalgia embedded in these scores, which are basically late-Romantic-cum-neo-Classical in spirit. They are indeed conservative enough for Carl Nielsen's somewhat earlier quartets to be considered a useful reference point.
Dacapo have promised nine string quartets, the six numbered ones plus the A flat and Rosengaardsspil, both heard here, and the set of variations already appearing on volume 1. There exists also a late and very short quartet movement, the 'Italian Scherzo', which may or may not be included on the single volume to come. With the cycle Dacapo are, curiously, in direct competition with themselves: a double disc featuring quartets nos. 2-6 was recorded by the estimable Kontra Quartet in the 1980s, originally appearing on RCA LPs (DCCD 9302). It appears the Kontras never did complete their Langgaard cycle, although that may be due in part to gaps in the scholarship at the time.
Lest the collector be drawn to the present set primarily by the 'SACD' badge, it may be worth recalling that the first disc, recorded by the same team at the same location, did not really deliver 'Super-Audio' engineering, despite a short-listing for the 2013 BBC Music Magazine Awards. Volume 2 is no different: spacious, but so bright that the NSQ might have been given protective sunglasses for the recording sessions. Furthermore, although microphones have thankfully been kept away from players' noses, background traffic does intrude repeatedly in the more tranquil passages - of which there are quite a few.
Still, these quibbles are not so major as to constitute a true caveat emptor. Besides Langgaard's delightful, fundamentally hospitable music, the NSQ's interpretations are also most commendable. Volume 1 was in fact their commercial recording debut, but they showed little sign of greenness or nerves. A year or so on, they seem even more relaxed and in tune with the works of their maverick compatriot. A blend of expressive astuteness and technical self-confidence leaves the whole project smelling aptly of roses. The CD's credit side is further augmented by extensive and informative booklet notes, in English and Danish.
-- Byzantion, MusicWeb International
Respighi: Roman Trilogy / Wilson, Sinfonia of London
Following the widespread critical acclaim of their first two recordings – including a BBC Music Magazine Award – John Wilson and the Sinfonia of London turn to Respighi’s Roman Trilogy for their third release. Born in Bologna in 1879, Respighi trained as a violinist and composer, and travelled extensively. His influences are therefore wide-ranging, from Richard Strauss and Debussy to Rimsky-Korsakov (who taught him orchestration) in addition to a love of – and fascination with – Plainsong and music of the Italian baroque. Fountains of Rome was the first of these three great tone poems, composed between 1913 and 1916, and inspired by a series of photographs given to him by the artist Edita Broglio. Intensely programmatic, the work sees Respighi setting out to evoke ‘sentiments and visions suggested… by four of Rome’s fountains contemplated at the hour in which their character is most in harmony with the surrounding landscape, or in which their beauty appears most impressive to the observer’. Pines of Rome was completed in 1924 – a particularly turbulent time in Italy, following Mussolini’s appointment as Prime Minister, in 1922. Like Fountains, the work is explicitly programmatic, set in four sections, and calling for extremely large orchestral forces – including a gramophone recording of a nightingale in the third movement. Roman Festivals was premiered in 1928 by the New York Philharmonic under Toscanini, who was a great supporter of Respighi and regularly performed his works throughout his career. Again, in four parts, Festivals calls for the largest orchestration of all, including a vast array of percussion as well as organ, four-hand piano and mandolin. Despite some negative criticism when they were first introduced, these works have found favor with concert goers around the world and been regularly performed ever since.
