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Bax, Moeran, Benjamin: Violin Concertos; Walton: Cello Concerto / BBC...
Lyrita · Jun 2015CD$20.99 -
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Bottesini: Double-bass Concertos; Gran Duo Concertante / Zuccarini, Badila
Dynamic · Jun 2011CD$10.99 -
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Bax, Dyson, Veale, Bliss: Violin Concertos / Mordkovitch, Hickox, BBCSO, BBCNO Wales
Chandos · Jul 2015CD$21.99 -
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SaleJalbert; Bach; Pärt; Vasks: Violin Concertos / Batjer, Kahane, LACO
BIS · Aug 2019SACD$21.99$15.99 -
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SaleBeethoven: Piano Concerto No. 5 & Works for Solo Piano / Bax
Signum Classics · May 2018CD$19.99$9.99 -
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Vivaldi: Violin Concertos vol. 10, 'Intorno a Pisendel' / Chauvin, La Concert de la Loge
Naïve · Sep 2022CD$18.99 -
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Bach: Violin Concertos / Eschkenazy, Ogrintchouk, Concertgebouw Chamber Orchestra
PENTATONE · Oct 2012SACD$21.99 -
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Schneider: Three Flute Concertos / Riet, Moesus, Württembergisches Kammerorchester Heilbronn
CPO · Jun 2022CD$18.99 -
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Works for Bassoon & Strings
Bongiovanni
CD
$18.99
Mar 10, 2015
Until the middle of the 1700s the bassoon suffered from a series of technical limitations that retarded it's appreciation until new improvements allowed the classical bassoon (to distinguish it, as we do today, from the baroque instrument) to emerge as a fundamental instrument of ever more complex orchestras. The Ensemble Devienne and bassoonist Massimo Martusciello's new Bongiovanni release features a program of bassoon chamber works by four composers, one from the Classical era (Devienne), an early-Romanti (Danzi) and two 20th c. modernists, Jean Françaix and Roberto Molinelli.
Bax, Moeran, Benjamin: Violin Concertos; Walton: Cello Concerto / BBC...
Lyrita
CD
$20.99
Jun 09, 2015
Lyrita was founded in 1958 by Richard Itter, and is one of those record labels without which our appreciation of British music would be much the poorer. This release however takes us beyond the label’s own recordings, bringing examples of broadcast performances preserved by Itter on the professional recording equipment he had at his home in Burnham. With excellent BBC reception he made huge numbers or recordings of live performances which would otherwise have been lost into the ether. All of these recordings are from his tapes, while the Walton Cello Concerto was transferred to an acetate disc.
These are mono recordings, but the combination of the BBC’s high broadcast standard and Richard Itter’s superb tape recorder, the sound is remarkably good. You can find Arthur Benjamin’s Violin Concerto in modern sound on the Dutton Epoch label (see review), but Derek Collier’s 1961 recording is superbly shaped and much of the orchestral detail comes through. This is a work which was famously admired by Constant Lambert as “a brilliantly executed work”, and the same can be said of this performance. I remember Derek Collier as a teacher at the Royal Academy of Music when I was a student there in the 1980s and having this recording with him clearly at his best is a very fine tribute.
Lyrita’s own 1979 debut commercial recording of the E.J. Moeran very Irish Violin Concerto is inevitably more refined sonically (see review), but even with a little tape hiss and a few extraneous noises this is a very moving performance. Renowned soloist Alfredo Campoli is heard on top form in this recording and is worth the asking price for this set alone. One has the feeling the BBC Symphony Orchestra are also raising their game to meet the heartfelt expressiveness of Campoli’s solo, and the warmth of the accompaniment is present without a doubt, even if the recording is a little on the crisp side. The playful central movement is full of verve and energy, and the final Lento puts the seal on this work as a masterpiece which deserves far wider recognition.
Arnold Bax’s Violin Concerto has appeared in a modern recording from Chandos, as well as Dutton’s historic 1944 version from the BBC with soloist Eda Kersey conducted by Sir Adrian Boult. Made shortly after its première in 1943 and not long before Kersey’s tragic early death, this is a precious recording, but the present performance with Belgian violinist André Gertler is certainly worth having. Gertler was a champion of the music of his time, and this is a colourful and commited performance, the solo violin not quite as closely recorded as with some of the other works in this collection but certainly audible in most essential respects. The heart of the work, the central Adagio is beautifully played and Sir Malcolm Sargent proves a sensitive accompanist, though the consumptive audience is hard to ignore at times.
William Walton’s Cello Concerto is the best known work here by some way, and easily obtainable in numerous more or less recent recordings. Gregor Piatigorsky’s early recordings include one from 1957 with the Boston Symphony Orchestra which you can find on Pristine Audio. This stereo studio recording is an altogether cleaner affair, but as the booklet notes for this Lyrita release argue, this “European premiere … is more rhapsodic and instinctive …” It is indeed the difference between a carefully prepared studio recording and the more edgy excitement of live performance; fans of this work will want to have both. One of the differences is that Piatigorsky’s cello is made to sound rather fluffy and delicious in the Boston recording, and while his instrument is further away and sounding a tad boxy on the Royal Festival Hall stage, you can hear the raw impact of Walton’s energetic central Allegro appassionato and the lyrical expressiveness in the Lento opening of the final movement in different and equally valid perspectives.
We have to be grateful to Richard Itter for his enthusiastic taping of these and many other broadcasts, and I’m sure there is much more to be discovered from this source. Lyrita’s release of this collection of concertos is very valuable indeed, and with informative booklet notes by Paul Conway it is of more than just historical interest. These fine performances and recordings are a snapshot of the BBC’s programming in the late 1950s and early 1960s, and part of the foundation of its hard-earned reputation. Now, let’s see what’s on tonight.
– Dominy Clements, MusicWeb International
These are mono recordings, but the combination of the BBC’s high broadcast standard and Richard Itter’s superb tape recorder, the sound is remarkably good. You can find Arthur Benjamin’s Violin Concerto in modern sound on the Dutton Epoch label (see review), but Derek Collier’s 1961 recording is superbly shaped and much of the orchestral detail comes through. This is a work which was famously admired by Constant Lambert as “a brilliantly executed work”, and the same can be said of this performance. I remember Derek Collier as a teacher at the Royal Academy of Music when I was a student there in the 1980s and having this recording with him clearly at his best is a very fine tribute.
Lyrita’s own 1979 debut commercial recording of the E.J. Moeran very Irish Violin Concerto is inevitably more refined sonically (see review), but even with a little tape hiss and a few extraneous noises this is a very moving performance. Renowned soloist Alfredo Campoli is heard on top form in this recording and is worth the asking price for this set alone. One has the feeling the BBC Symphony Orchestra are also raising their game to meet the heartfelt expressiveness of Campoli’s solo, and the warmth of the accompaniment is present without a doubt, even if the recording is a little on the crisp side. The playful central movement is full of verve and energy, and the final Lento puts the seal on this work as a masterpiece which deserves far wider recognition.
Arnold Bax’s Violin Concerto has appeared in a modern recording from Chandos, as well as Dutton’s historic 1944 version from the BBC with soloist Eda Kersey conducted by Sir Adrian Boult. Made shortly after its première in 1943 and not long before Kersey’s tragic early death, this is a precious recording, but the present performance with Belgian violinist André Gertler is certainly worth having. Gertler was a champion of the music of his time, and this is a colourful and commited performance, the solo violin not quite as closely recorded as with some of the other works in this collection but certainly audible in most essential respects. The heart of the work, the central Adagio is beautifully played and Sir Malcolm Sargent proves a sensitive accompanist, though the consumptive audience is hard to ignore at times.
William Walton’s Cello Concerto is the best known work here by some way, and easily obtainable in numerous more or less recent recordings. Gregor Piatigorsky’s early recordings include one from 1957 with the Boston Symphony Orchestra which you can find on Pristine Audio. This stereo studio recording is an altogether cleaner affair, but as the booklet notes for this Lyrita release argue, this “European premiere … is more rhapsodic and instinctive …” It is indeed the difference between a carefully prepared studio recording and the more edgy excitement of live performance; fans of this work will want to have both. One of the differences is that Piatigorsky’s cello is made to sound rather fluffy and delicious in the Boston recording, and while his instrument is further away and sounding a tad boxy on the Royal Festival Hall stage, you can hear the raw impact of Walton’s energetic central Allegro appassionato and the lyrical expressiveness in the Lento opening of the final movement in different and equally valid perspectives.
We have to be grateful to Richard Itter for his enthusiastic taping of these and many other broadcasts, and I’m sure there is much more to be discovered from this source. Lyrita’s release of this collection of concertos is very valuable indeed, and with informative booklet notes by Paul Conway it is of more than just historical interest. These fine performances and recordings are a snapshot of the BBC’s programming in the late 1950s and early 1960s, and part of the foundation of its hard-earned reputation. Now, let’s see what’s on tonight.
– Dominy Clements, MusicWeb International
In Concert
SteepleChase
CD
$22.99
Aug 15, 2023
William “Count” Basie (1904 – 1984) had a long successful career over a span of six plus decades leaving an enormous legacy in the history of jazz. The existence of this live recording from Copenhagen in 1962 has never been public, not even in the most extensive bio-discography by the late journalist/author Chris Sheridan. The concert here was a part of Basie’ New Testament Orchestra’s frequent European tours in the late 50’s and early 60s, an era that’s called The Atomic Period.
Vasks: Viatore, Violin Concerto, Etc / Andreasson, Et Al
BIS
CD
$21.99
Jun 01, 2004
This disc offers the world première recording of Viatore ('The Wanderer', 2001), which may be described as a representation in sound of 'becoming' or 'passing' - a spiritual journey in familiar Vasks territory. All the works were recorded in the presence of the composer by the Swedish Chamber Orchestra - an ensemble whose previous BIS recordings have all been highly acclaimed. The orchestra's performances on one of their latest offerings - H.K. Gruber's Manhattan Broadcasts BIS-CD-1341) - were termed "masterful" (Gramophone), "a triumph" (BBC Music Magazine), and "superb" (The Times). Under the direction of the orchestra's leader Katarina Andreasson, who also performs the solo part of the violin concerto, the playing on the present disc is no less committed.
Bax, Dyson, Veale, Bliss: Violin Concertos / Mordkovitch, Hickox, BBCSO, BBCNO Wales
Chandos
CD
$21.99
Jul 31, 2015
This two-disc set, offering four, fine British 20th c. violin concertos by the composers Bax, Dyson, Veale and Bliss, is released in tribute to the late violinist Lydia Mordkovitch (1944-2014). • After her 1979 British debut, Ms. Mordkovitch became one of the first artists to record for Chandos, founded the same year. • During her UK residency of nearly thirty-five years, she devoted many of her sixty recordings to British repertoire. • A “charismatic performer and a faithful interpreter of a composer’s wishes.” (Guardian) • “… real flair and richness of tone…” (Gramophone) • Recorded 1995-2006.
Concerti Bizarri
Linn Records
CD
$20.99
Jun 10, 2016
This album is the debut release from the Irish Baroque Orchestra. The tracks chosen take the listener on a journey through the German courts of the 18th century. Concertos by Fasch, Telemann, Heinichen, Vivaldi, and Graupner have been chosen for this programme. “…what really makes the IBO so worth hearing is the unified artistry and joyous, focused energy of its music-making under Huggett.” (The Sunday Times)
BACH: COMPLETE KEYBOARD CONCERTOS
HYPERION
CD
$22.99
Jul 10, 2026
Never has Bach seemed less dry and more full of fantasy, stated The Telegraph. Mahan Esfahani's mammoth project to record the complete keyboard works of Bach reaches it's zenith with The Complete Keyboard Concertos. At every stage in the series, Esfahani has sought to challenge long-held assumptions about the composer we seek to know. By teaming up with the Britten Sinfonia, he dispels any assumptions that the harpsichord might be seen as an "ancient" instrument, eschewing period instruments in favor of modern ones. In his typically scholarly but engaging liner notes, Esfahani writes of Bach the trendsetter, putting the keyboard front and center in a concerto for the first time. In addition to his roles as harpsichordist and director, Esfahani adds a compositional feather to his cap with the first recording of his own reconstruction of the "lost concerto" No. 8 (BWV1059), once available only as a small fragment. 2-CD set.
Mozart: Complete Wind Concertos On Period Instruments
Nimbus
CD
$32.99
May 01, 2010
Doing my usual bit of online research for re-released recordings, I found these CDs in their former incarnation as credited to the ‘Orchestra of the Old Fairfield Academy’. This band was founded in 1985 by Thomas Crawford, and changed its name to the American Classical Orchestra in 1999. Formed from leading period instrument performers in the New York metropolitan area this is a highly regarded orchestra, and positive commentary on these concerto recordings reflects the excellent quality which you can expect throughout this usefully packaged set. All but one of the wind soloists are members of the orchestra, and very good they are too.
This is a period instrument orchestra, so the sound is accordingly fairly gentle, though by no means hair-shirt. The upper strings are perhaps a little thinner than with a conventional modern orchestra, but with what sounds like gut strings and a minimal use of vibrato this is to be expected. In fact the sound is nicely rounded, almost sumptuous at times, and by no means cold. All of the orchestral instruments are listed at the back of the booklet, with makers’ names both modern and ancient, the modern instruments being replicas of early examples.
Eric Hoeprich is the only soloist not listed as an orchestral member, and indeed, I see him often enough wandering around the Royal Conservatoire in The Hague in his capacity as teacher, so this is no surprise. Far from saving the best until last, CD 1 of this set has some of the finest performances here, and the warm tones of Hoeprich’s basset horn or basset clarinet make for a lovely opening. The Clarinet Concerto in A major, K622 is one of Mozart’s late masterpieces – indeed his last major work, and is given a supremely sensitive if un-extrovert performance on this recording. The choice for using a basset horn is based on the instrument owned by the work’s dedicatee, Anton Stadler. This instrument has a lower range than a conventional clarinet, and the version here uses fairly recently discovered historical references to create as accurate as possible a reproduction of Stadler’s solo, right down to the creation of a new instrument replicating that shown in an engraving from a concert programme from 1794. The extra low sonorities do indeed make for an extra layer of sonority and richness which can be quite unexpected. Either way, it is a recording to cherish as well as one to put alongside old favourites for comparison.
From last to first, the Bassoon Concerto in B flat major K191 was Mozart’s first wind concerto, and despite inhabiting the gallant style of composers senior to Mozart the work is ambitious and technically demanding to soloists even today. Denis Godburn’s instrument has a soft and rounded tone whose warmth is both attractive and distinctive, and the recording is mercifully free of key rattle. Oboe soloist Marc Schachman wrote the booklet notes for this first disc, and he goes into some detail on the origins of the Oboe Concerto in C major K314, which we also hear on disc 2 in a version for flute. Historical mystery and obscurity aside, this is yet another excellent performance, with perhaps only an over-long cadenza to momentarily knock the some of the pace and energy from the first movement. The period oboe has a slightly broader, less sinewy resonance than the modern instrument, and this milder tone again makes for an attractive listen.
CD 2 is given over entirely to the flute concertos, of which the Flute Concerto in G major, K313 is arguably the finest. Sandra Miller plays a traverso flute from the period, which has a tone more akin to a recorder than the modern power-flutes we hear in orchestras these days. Unlike a recorder however, the horizontal blowing hole allows for greater flexibility of dynamics, colour and tuning, and Miller’s nicely centred tone rings out over the orchestra with fine projection and excellent intonation, making one wonder why Mozart had such an apparent loathing for the things. The Adagio non troppo central movement is a particular treat, the solo line topping the string texture while also being enveloped in it in a friendly meeting of musical lines and textures. As previously mentioned, the Flute Concerto in D major K314 is a fairly straight transposition of the Oboe Concerto in C major, if anything being given even more lightness and bounce in the flute version of the opening Allegro aperto. Indeed, the flute version shaves nearly two minutes from the oboe version, though this is partly down to cadenzas, all written or improvised by the soloists on these recordings. The Concerto for Flute and Harp K299 is justly popular, though I am sure this has as much to do with the wonderful sonorities created by this combination of instruments as with the actual musical material. Once again the soloists are beautifully balanced in the recording, and well matched even though there are no surviving usable pedal harps from Mozart’s time. The instrument used here must come close to what he would have expected to hear, with a marvellous transparency and gentle articulation and resonance played with fine musicality by Victoria Drake.
CD 3 covers pretty much all of Mozart’s surviving work for horn and orchestra. As far as absolute completeness goes we only appear to be missing the fragment left of a Horn Concerto K494a, and for that matter the Andante for flute and orchestra K315, but this is of little importance. What we do have are some useful notes by Robert D. Levin, which explains which works were written for whom, and how the score of K370b came to be re-united with itself after having been cut into pieces by Mozart’s son Carl. These performances on a natural horn do not bear comparison with the famous recordings made by the more beefy tones of legendary valve instrument players such as Dennis Brain or Alan Civil. The best period recordings I know are those of Anthony Halstead with Christopher Hogwood on Decca, which are admittedly more lively and characterful than these. R.J. Kelly’s tone is nicely rounded, and as to be expected from a well behaved classical natural horn, fairly restrained. The recording seems to emphasise the ‘damped’ nature of the instrument however, and there isn’t a great deal of contrast in the tone from one phrase or movement to the next. The famous quartet of concertos is K412, K417, K447 and K495, in addition to which we are given a version of a Horn Concerto in E flat major K370b/371 completed by Robert D. Levin in 1993. This was in the process of re-arrangement after Mozart had discovered that his soloist, Joseph Leutgeb, was unable to play the lowest notes at the grand age of 59 due to his loss of teeth. Levin has sorted out the confusion brought about by work done on the piece by Franz Xaver Süssmayr after Mozart’s death, and in any case restored the Mozart’s original intentions, “today’s hornist [not being] bound by Leutgeb’s lack of teeth.” The final track on the CD is the original conception of the Rondo K412, with the addition of faux-operatic vocalisations by Eric Dillner, expounding Mozart’s ‘sardonic dialogue’ as directed at Leutgeb, annotated throughout the score. This bit of fun is of little more than novelty value, and thank goodness the text is given with translation in the booklet. That Mozart, he was a naughty boy...
With technical assuredness and musical sensitivity from a fine set of period music specialist soloists this has to be pretty much the top of the heap when it comes to an authentic/historically informed collection of Mozart’s complete wind concertos. I’ve done a trawl for significant competition, but none of the ‘complete’ sets available seem to be on original instruments. Individual CDs can be found which do provide more impact from the music, and for those willing to spend a little more and do some searching around the Decca/L’Oiseau Lyre Academy of Ancient Music directed by Christopher Hogwood do ultimately provide more satisfaction and depth of quality in general, though these American competitors do come very close indeed. There are one or two moments of very minor orchestral scrappiness in some of the accompaniments with the American Chamber Orchestra, but nothing which will offend even professionally tuned ears too much. The horn concertos are perhaps the least inspiring of the set and more serviceable than magical, but with plenty of scholarly work invested in the preparation of all of these performances there is always plenty of fascination in hearing what must be close to what Mozart’s audiences should have heard at the time.
-- Dominy Clements, MusicWeb International
This is a period instrument orchestra, so the sound is accordingly fairly gentle, though by no means hair-shirt. The upper strings are perhaps a little thinner than with a conventional modern orchestra, but with what sounds like gut strings and a minimal use of vibrato this is to be expected. In fact the sound is nicely rounded, almost sumptuous at times, and by no means cold. All of the orchestral instruments are listed at the back of the booklet, with makers’ names both modern and ancient, the modern instruments being replicas of early examples.
Eric Hoeprich is the only soloist not listed as an orchestral member, and indeed, I see him often enough wandering around the Royal Conservatoire in The Hague in his capacity as teacher, so this is no surprise. Far from saving the best until last, CD 1 of this set has some of the finest performances here, and the warm tones of Hoeprich’s basset horn or basset clarinet make for a lovely opening. The Clarinet Concerto in A major, K622 is one of Mozart’s late masterpieces – indeed his last major work, and is given a supremely sensitive if un-extrovert performance on this recording. The choice for using a basset horn is based on the instrument owned by the work’s dedicatee, Anton Stadler. This instrument has a lower range than a conventional clarinet, and the version here uses fairly recently discovered historical references to create as accurate as possible a reproduction of Stadler’s solo, right down to the creation of a new instrument replicating that shown in an engraving from a concert programme from 1794. The extra low sonorities do indeed make for an extra layer of sonority and richness which can be quite unexpected. Either way, it is a recording to cherish as well as one to put alongside old favourites for comparison.
From last to first, the Bassoon Concerto in B flat major K191 was Mozart’s first wind concerto, and despite inhabiting the gallant style of composers senior to Mozart the work is ambitious and technically demanding to soloists even today. Denis Godburn’s instrument has a soft and rounded tone whose warmth is both attractive and distinctive, and the recording is mercifully free of key rattle. Oboe soloist Marc Schachman wrote the booklet notes for this first disc, and he goes into some detail on the origins of the Oboe Concerto in C major K314, which we also hear on disc 2 in a version for flute. Historical mystery and obscurity aside, this is yet another excellent performance, with perhaps only an over-long cadenza to momentarily knock the some of the pace and energy from the first movement. The period oboe has a slightly broader, less sinewy resonance than the modern instrument, and this milder tone again makes for an attractive listen.
CD 2 is given over entirely to the flute concertos, of which the Flute Concerto in G major, K313 is arguably the finest. Sandra Miller plays a traverso flute from the period, which has a tone more akin to a recorder than the modern power-flutes we hear in orchestras these days. Unlike a recorder however, the horizontal blowing hole allows for greater flexibility of dynamics, colour and tuning, and Miller’s nicely centred tone rings out over the orchestra with fine projection and excellent intonation, making one wonder why Mozart had such an apparent loathing for the things. The Adagio non troppo central movement is a particular treat, the solo line topping the string texture while also being enveloped in it in a friendly meeting of musical lines and textures. As previously mentioned, the Flute Concerto in D major K314 is a fairly straight transposition of the Oboe Concerto in C major, if anything being given even more lightness and bounce in the flute version of the opening Allegro aperto. Indeed, the flute version shaves nearly two minutes from the oboe version, though this is partly down to cadenzas, all written or improvised by the soloists on these recordings. The Concerto for Flute and Harp K299 is justly popular, though I am sure this has as much to do with the wonderful sonorities created by this combination of instruments as with the actual musical material. Once again the soloists are beautifully balanced in the recording, and well matched even though there are no surviving usable pedal harps from Mozart’s time. The instrument used here must come close to what he would have expected to hear, with a marvellous transparency and gentle articulation and resonance played with fine musicality by Victoria Drake.
CD 3 covers pretty much all of Mozart’s surviving work for horn and orchestra. As far as absolute completeness goes we only appear to be missing the fragment left of a Horn Concerto K494a, and for that matter the Andante for flute and orchestra K315, but this is of little importance. What we do have are some useful notes by Robert D. Levin, which explains which works were written for whom, and how the score of K370b came to be re-united with itself after having been cut into pieces by Mozart’s son Carl. These performances on a natural horn do not bear comparison with the famous recordings made by the more beefy tones of legendary valve instrument players such as Dennis Brain or Alan Civil. The best period recordings I know are those of Anthony Halstead with Christopher Hogwood on Decca, which are admittedly more lively and characterful than these. R.J. Kelly’s tone is nicely rounded, and as to be expected from a well behaved classical natural horn, fairly restrained. The recording seems to emphasise the ‘damped’ nature of the instrument however, and there isn’t a great deal of contrast in the tone from one phrase or movement to the next. The famous quartet of concertos is K412, K417, K447 and K495, in addition to which we are given a version of a Horn Concerto in E flat major K370b/371 completed by Robert D. Levin in 1993. This was in the process of re-arrangement after Mozart had discovered that his soloist, Joseph Leutgeb, was unable to play the lowest notes at the grand age of 59 due to his loss of teeth. Levin has sorted out the confusion brought about by work done on the piece by Franz Xaver Süssmayr after Mozart’s death, and in any case restored the Mozart’s original intentions, “today’s hornist [not being] bound by Leutgeb’s lack of teeth.” The final track on the CD is the original conception of the Rondo K412, with the addition of faux-operatic vocalisations by Eric Dillner, expounding Mozart’s ‘sardonic dialogue’ as directed at Leutgeb, annotated throughout the score. This bit of fun is of little more than novelty value, and thank goodness the text is given with translation in the booklet. That Mozart, he was a naughty boy...
With technical assuredness and musical sensitivity from a fine set of period music specialist soloists this has to be pretty much the top of the heap when it comes to an authentic/historically informed collection of Mozart’s complete wind concertos. I’ve done a trawl for significant competition, but none of the ‘complete’ sets available seem to be on original instruments. Individual CDs can be found which do provide more impact from the music, and for those willing to spend a little more and do some searching around the Decca/L’Oiseau Lyre Academy of Ancient Music directed by Christopher Hogwood do ultimately provide more satisfaction and depth of quality in general, though these American competitors do come very close indeed. There are one or two moments of very minor orchestral scrappiness in some of the accompaniments with the American Chamber Orchestra, but nothing which will offend even professionally tuned ears too much. The horn concertos are perhaps the least inspiring of the set and more serviceable than magical, but with plenty of scholarly work invested in the preparation of all of these performances there is always plenty of fascination in hearing what must be close to what Mozart’s audiences should have heard at the time.
-- Dominy Clements, MusicWeb International
Cello Concerto / Double Bass Concerto / Moonburst
Naxos
CD
$9.99
$19.99
Save 50%
Nov 27, 2020
David Gompper is an award-winning composer and the recipient of a Guggenheim Fellowship in 2020. His luminously orchestrated and expressive works have attracted admiration throughout the US, Europe and beyond. Opening with relentless energy, the second movement of the Cello Concerto is spectral and dreamlike, while the Double Bass Concerto explores the light effects of a solar eclipse, using the soloist to suggest shadows, auras and glimpses of sound. A partner work to Sunburst (8.559835), the multi-layered Moonburst reflects the transformational imagery of nocturnal sounds and perceptions. David Gompperhas lived and worked professionally as a pianist, a conductor, and a composer in New York, San Diego, London, Nigeria, Michigan, Texas and Iowa. In 2002-03 Gompper was in Russia as a Fulbright Scholar, teaching, performing and conducting at the Moscow Conservatory. In 2009 he received an Academy Award from the American Academy of Arts and Letters in New York City, and a Fromm Commission in 2013. Gompper's compositions have been performed at Carnegie Hall, Lincoln Center and Merkin Halls (New York), Wigmore Hall (London), the Konzerthaus (Vienna) and the Bolshoi and Rachmaninov Halls (Moscow Conservatory).
Beethoven: Piano Concertos / Brautigam, Parrott
BIS
SACD
$21.99
Apr 01, 2009
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
BEETHOVEN Piano Concertos: in E?, WoO 4 (reconst. Brautigam); No. 2 in B?. Rondo in B? • Ronald Brautigam (pn); Andrew Parrott (cond); Norrköping SO • BIS 1792 (58:04)
Few piano recording buffs will have missed the remarkable career trajectory of Dutch pianist Ronald Brautigam. Particularly since his association with the Swedish label BIS began in 1995, the releases don’t seem to quit. Now in his mid-fifties, it’s natural that Brautigam should be at the peak of his powers. His recorded repertoire, if not catholic, demonstrates a healthy musical curiosity. Canonic figures are amply represented alongside those less frequently encountered: Haydn and Mozart with Joseph Martin Kraus; Mendelssohn with Gade; Shostakovich and Hindemith with Duruflé, Martin, and Hahn. But it’s not Brautigam’s enviable technical polish that sets him apart from many of his colleagues, nor his lofty musical grasp. It is his individuality. He has a searching musical intelligence, a disarming self-effacement before the score, and an astonishing conscientiousness that, in combination, make him sound like no one else. Witness, for instance, his complete Haydn set, some 15 discs (BIS 1731) representing essentially all the master’s solo keyboard works currently known, recorded over five years, beginning in 1998. Here the same care and imagination are lavished on the earliest experimental sonatas from the lean, free-lance years that are accorded the mature works representing the summit of Haydn’s achievement. Finally, Brautigam has the uncanny ability to turn in consummate performances, equally compelling in stylistic terms, whether he plays replicas of historical instruments or the modern concert grand. In this aspect he seems an entirely new type of pianist. His on-going Beethoven project with BIS, demonstrates this parallel track aptitude with stunning artistic results: the sonatas are being recorded on period-appropriate fortepiano replicas, while the concertos are played on the modern piano, fully informed by cutting-edge performance practice.
Following the release of the First and Third Concertos (BIS 1692) last year, Brautigam and Parrot turn their attention to the earliest known works of Beethoven for piano and orchestra. Only a manuscript of the piano solo part of the E? Concerto survives, dating from around 1784. Fortunately for posterity, Beethoven incorporated the orchestral tutti into the piano part, along with some subsequent editorial changes. Thus a speculative reconstruction of the lost orchestral score is possible, based on the composer’s unusual instrumentation (calling for strings with two flutes and two horns, but no oboes or bassoons). The reconstruction recorded here is Brautigam’s own, as are the candenzas for both WoO 4 and the Rondo. (Beethoven’s 1809 cadenzas are used in the Concerto No. 2.)
Given its sparse representation in the catalogs, the E? Concerto is of special interest. Little in this charming piece suggests that it is the creation of a 13-year-old. Brautigam brings an air of naive exuberance to the difficult solo part; the delicate fiorituras of the Larghetto are breathtakingly poetic. Here, in Brautigam’s superbly reconstructed orchestral score, as indeed throughout the recording, Parrott and the Norrköping musicians are responsive partners of remarkable sensitivity. Moreover, in the Rondo of No. 2, the give-and-take between soloist and orchestra is nothing short of sublime, imbued with an exhilaration that’s utterly infectious. It follows an Adagio of ethereal tenderness. Without doubt, this is the most dynamic, shapely, and vivid recording of the Beethoven Second one is ever likely to hear. It’s worth mentioning that the Steinway D used here, with lid removed, was placed in the middle of the orchestra, continuo style, which does a lot to explain both the cohesive ensemble and the beautifully blended sound of the recording.
Comparisons? This canonic repertoire boasts more than a few canonic interpretations—Schnabel’s revelatory musicality, Rubinstein’s aristocratic poise, Serkin’s modest edginess, and the lofty humanism of Backhaus come immediately to mind. Let me put it this way, without any denigration of artists whom I respect and admire immensely: listening to two recent wonderful Beethoven cycles, those of Plentnev with Gansch and the Russian National O (DG) and Goode with Fischer and the Budapest Festival O (Nonesuch), I hear the glorious recent past, ripe, insightful, often brilliant, immensely pleasurable; listening to Ronald Brautigam, Andrew Parrott, and the Norrköping SO, I hear the future.
FANFARE: Patrick Rucker
Ronald Brautigam is an excellent Beethoven pianist, and he turns in a performance of the Second concerto's solo part that's as lively and attractive as anyone has yet recorded on a modern instrument. It's especially nice to hear the finale taken at a tempo that permits all of the main theme's rhythmic bounce to register without it ever sounding breathless or frantic. The same holds true of the Rondo in B-flat, the Second concerto's original finale. Indeed, the only caveat in these performances concerns the slow movements, where Andrew Parrott, evidently with the acquiescence of his soloist, encourages the orchestra to indulge in that dry, vibrato-less string tone that is the very opposite of stylishness (and utterly contrary to what their own sources say about sustained lyrical music in slow tempos).
The E-flat concerto is an early work in Mozartian style, here very nicely reconstructed by Brautigam from the existing piano score. Indications of scoring in the keyboard part point to an orchestra of strings, two flutes, and two horns, a very unusual combination, and I'm not convinced that two oboes ought not to have been added as a matter of course. Still, there's no denying the distinctive tone color that the absence of double reeds gives the work's overall sonority, and it would be hard to imagine a more sympathetic performance than this one (never mind Parrott and his scratchy strings). I look forward to further releases in this (so far) very rewarding edition.
--David Hurwitz, ClassicsToday.com
BEETHOVEN Piano Concertos: in E?, WoO 4 (reconst. Brautigam); No. 2 in B?. Rondo in B? • Ronald Brautigam (pn); Andrew Parrott (cond); Norrköping SO • BIS 1792 (58:04)
Few piano recording buffs will have missed the remarkable career trajectory of Dutch pianist Ronald Brautigam. Particularly since his association with the Swedish label BIS began in 1995, the releases don’t seem to quit. Now in his mid-fifties, it’s natural that Brautigam should be at the peak of his powers. His recorded repertoire, if not catholic, demonstrates a healthy musical curiosity. Canonic figures are amply represented alongside those less frequently encountered: Haydn and Mozart with Joseph Martin Kraus; Mendelssohn with Gade; Shostakovich and Hindemith with Duruflé, Martin, and Hahn. But it’s not Brautigam’s enviable technical polish that sets him apart from many of his colleagues, nor his lofty musical grasp. It is his individuality. He has a searching musical intelligence, a disarming self-effacement before the score, and an astonishing conscientiousness that, in combination, make him sound like no one else. Witness, for instance, his complete Haydn set, some 15 discs (BIS 1731) representing essentially all the master’s solo keyboard works currently known, recorded over five years, beginning in 1998. Here the same care and imagination are lavished on the earliest experimental sonatas from the lean, free-lance years that are accorded the mature works representing the summit of Haydn’s achievement. Finally, Brautigam has the uncanny ability to turn in consummate performances, equally compelling in stylistic terms, whether he plays replicas of historical instruments or the modern concert grand. In this aspect he seems an entirely new type of pianist. His on-going Beethoven project with BIS, demonstrates this parallel track aptitude with stunning artistic results: the sonatas are being recorded on period-appropriate fortepiano replicas, while the concertos are played on the modern piano, fully informed by cutting-edge performance practice.
Following the release of the First and Third Concertos (BIS 1692) last year, Brautigam and Parrot turn their attention to the earliest known works of Beethoven for piano and orchestra. Only a manuscript of the piano solo part of the E? Concerto survives, dating from around 1784. Fortunately for posterity, Beethoven incorporated the orchestral tutti into the piano part, along with some subsequent editorial changes. Thus a speculative reconstruction of the lost orchestral score is possible, based on the composer’s unusual instrumentation (calling for strings with two flutes and two horns, but no oboes or bassoons). The reconstruction recorded here is Brautigam’s own, as are the candenzas for both WoO 4 and the Rondo. (Beethoven’s 1809 cadenzas are used in the Concerto No. 2.)
Given its sparse representation in the catalogs, the E? Concerto is of special interest. Little in this charming piece suggests that it is the creation of a 13-year-old. Brautigam brings an air of naive exuberance to the difficult solo part; the delicate fiorituras of the Larghetto are breathtakingly poetic. Here, in Brautigam’s superbly reconstructed orchestral score, as indeed throughout the recording, Parrott and the Norrköping musicians are responsive partners of remarkable sensitivity. Moreover, in the Rondo of No. 2, the give-and-take between soloist and orchestra is nothing short of sublime, imbued with an exhilaration that’s utterly infectious. It follows an Adagio of ethereal tenderness. Without doubt, this is the most dynamic, shapely, and vivid recording of the Beethoven Second one is ever likely to hear. It’s worth mentioning that the Steinway D used here, with lid removed, was placed in the middle of the orchestra, continuo style, which does a lot to explain both the cohesive ensemble and the beautifully blended sound of the recording.
Comparisons? This canonic repertoire boasts more than a few canonic interpretations—Schnabel’s revelatory musicality, Rubinstein’s aristocratic poise, Serkin’s modest edginess, and the lofty humanism of Backhaus come immediately to mind. Let me put it this way, without any denigration of artists whom I respect and admire immensely: listening to two recent wonderful Beethoven cycles, those of Plentnev with Gansch and the Russian National O (DG) and Goode with Fischer and the Budapest Festival O (Nonesuch), I hear the glorious recent past, ripe, insightful, often brilliant, immensely pleasurable; listening to Ronald Brautigam, Andrew Parrott, and the Norrköping SO, I hear the future.
FANFARE: Patrick Rucker
Ronald Brautigam is an excellent Beethoven pianist, and he turns in a performance of the Second concerto's solo part that's as lively and attractive as anyone has yet recorded on a modern instrument. It's especially nice to hear the finale taken at a tempo that permits all of the main theme's rhythmic bounce to register without it ever sounding breathless or frantic. The same holds true of the Rondo in B-flat, the Second concerto's original finale. Indeed, the only caveat in these performances concerns the slow movements, where Andrew Parrott, evidently with the acquiescence of his soloist, encourages the orchestra to indulge in that dry, vibrato-less string tone that is the very opposite of stylishness (and utterly contrary to what their own sources say about sustained lyrical music in slow tempos).
The E-flat concerto is an early work in Mozartian style, here very nicely reconstructed by Brautigam from the existing piano score. Indications of scoring in the keyboard part point to an orchestra of strings, two flutes, and two horns, a very unusual combination, and I'm not convinced that two oboes ought not to have been added as a matter of course. Still, there's no denying the distinctive tone color that the absence of double reeds gives the work's overall sonority, and it would be hard to imagine a more sympathetic performance than this one (never mind Parrott and his scratchy strings). I look forward to further releases in this (so far) very rewarding edition.
--David Hurwitz, ClassicsToday.com
Skalkottas: Chamber Concertos / Chijiiwa, Zymbalist, Et Al
BIS
CD
$21.99
May 01, 2003
BIS's Skalkottas cycle gets better with every release and it started very well' was the Gramophone opinion of one of our previous discs and this new installment will surely confirm them in this view. Two years ago Nikos Samaltanos put everybody in his debt with a double album of the piano music of Skalkattos - 'A timely release, urgently recommended' in the opinion of the Gramophone. Samaltanos returns here with a fascinating disc of concertos for various instruments - a previously unrecorded concerto for two violins as well as concertos for trumpet, oboe and bassoon or combinations of these - and piano. This music gives full reign to the adventurous and individual sonorities that we have learned to associate with Skalkottas. Another BIS/Skalkottas landmark!
Jalbert; Bach; Pärt; Vasks: Violin Concertos / Batjer, Kahane, LACO
BIS
SACD
$15.99
$21.99
Save 25%
Aug 02, 2019
Making their first appearance on BIS, Margaret Batjer and the Los Angeles Chamber Orchestra (LACO) cross great distances in both time and space in this programme of concertante violin works. The disc opens with a Violin Concerto by the American composer Pierre Jalbert (b. 1967), whose music has been described as ‘rich in instrumental color and harmonically engaging’. Composed in 2017, the 26-minute concerto was a commission from the orchestra and here makes its first recorded appearance. The next work takes us to 18th-century Germany, where Johann Sebastian Bach had been busy studying the concertos of his Italian colleagues, and especially Vivaldi. His Concerto in A minor is thought to have been composed around 1730, at a time when Bach had freed himself from his models, producing works richer in both texture and sentiment. For the second half of the programme we return to our own time, travelling northwards to the Baltic countries, as Bach is followed by one of his great admirers in modern music, the Estonian composer Arvo Part (b. 1935). Margaret Batjer and the orchestra offer us their performance of what is probably Part’s most famous piece, Fratres from 1977. Originally written for chamber ensemble ‘without fixed instrumentation’, it soon became a modern classic and exists in numerous versions. The one heard here, for violin, string orchestra and percussion, was made by the composer in 1992. The closing Lonely Angel is by Part’s slightly younger colleague Peteris Vasks (b. 1946) from Latvia. Reworked from a movement for string quartet, the piece was inspired by a particular image: ‘I saw an angel, flying over the world; the angel looks at the world’s condition with grieving eyes, but an almost imperceptible, loving touch of the angel’s wings brings comfort…’
Beethoven: Piano Concerto No. 5 & Works for Solo Piano / Bax
Signum Classics
CD
$9.99
$19.99
Save 50%
May 18, 2018
Alessio Bax returns to recording with the Southbank Sinfonia under Simon Over, in a new album of works by Beethoven centered around the majestic “Emperor” Piano Concerto No. 5. Combining exceptional lyricism and insight with consummate technique, Alessio Bax is without a doubt “among the most remarkable young pianists now before the public” (Gramophone). He catapulted to prominence with First Prize wins at both the Leeds and Hamamatsu International Piano Competitions, and is now a familiar face on four continents, not only as a recitalist and chamber musician, but as a concerto soloist. He has appeared with more than 100 orchestras, including the London and Royal Philharmonic Orchestras, Dallas and Cincinnati Symphonies, NHK Symphony in Japan, St. Petersburg Philharmonic with Yuri Temirkanov, and the City of Birmingham Symphony with Sir Simon Rattle. Alessio has appeared frequently with the Southbank Sinfonia in concerts and recordings – their 2013 disc of Mozart’s Concertos Nos. 24 & 27 was described by Musicweb International’s critic as their “Recording of the Month … and quite possibly my recording of the year”. A live concert of the “Emperor” concerto in 2016 with the orchestra in Tuscany’s Incontri in Terra di Siena festival was met with praise by reviewers: “[Bax’s] capacity for softness and for evenness of touch came beautifully to the fore for the concerto’s many top-keyboard pianissimo flutterings, as his strong relationship with the orchestra also reaped dividends, producing satisfyingly sympathetic chamber pockets amidst the surrounding symphonic excitement.” Bachtrack (Live Concert Review)
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REVIEW:
His playing is consummately lyrical. His expressive molding and the very forward recording quality make for an overall result that is more immediate. All in all, this is an impressive disc, which repays repeated listening and can stand comparison with many of the biggest names.
– Gramophone
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REVIEW:
His playing is consummately lyrical. His expressive molding and the very forward recording quality make for an overall result that is more immediate. All in all, this is an impressive disc, which repays repeated listening and can stand comparison with many of the biggest names.
– Gramophone
Vivaldi: Violin Concertos vol. 10, 'Intorno a Pisendel' / Chauvin, La Concert de la Loge
Naïve
CD
$18.99
Sep 23, 2022
This tenth volume of violin concertos marks the return of Julien Chauvin and his Concert de la Loge to the Vivaldi Edition, with works linked to Pisendel, a major musical figure in the court of Dresden in the 18th century. Julien Chauvin and his Concert de la Loge released a hugely successful volume of Vivaldi concertos with a theatrical theme in 2020. In this new album they perform works focusing on Johann Georg Pisendel (1687-1755), konzertmeister at the Dresden Court chapel, and pupil and friend of Vivaldi, who played a key role in the popularity of the Red Priest’s music in Dresden. It is thanks to the admiration and foresight of this eminent German violinist not only that the city possesses a considerable Vivaldi catalogue, but also that certain signed manuscripts were preserved that are to be found only in Dresden.
This album comprises three concertos composed for him (RV 237, RV 314 and RV 340) and three others copied by his hand (RV 225, RV 226 and RV 369). All the many contrasts which mark Vivaldi’s concerto repertoire – whatever the instrument –are magnified here under the supple bow of Julien Chauvin: his close bond with Le Concert de la Loge flourishes in a free, rich and diverse discourse, fiery and passionate in the external movements, and lyric or gently melancholic in the central parts. Worth mentioning among the many examples are the splendid elegiac song of the Adagio in concerto RV 237 or the delicate slow movements accompanied by the pizzicato of the strings in concertos RV 314 and RV 226.
Bach: Violin Concertos / Eschkenazy, Ogrintchouk, Concertgebouw Chamber Orchestra
PENTATONE
SACD
$21.99
Oct 30, 2012
Bulgarian violinist Vesko Eschkenazy is one of the very good guys of the classical music world and much loved in The Netherlands, from where I am currently writing my reviews. The team of performers brought together for this Pentatone recording is highly promising, with support from leading soloist Tjeerd Top in the Double Concerto, someone I remember from his time as a student at the Royal Conservatoire in The Hague, and oboist Alexei Ogrintchouk who now teaches there, as well as having increasing numbers of distinguished recordings under his belt, including more Bach from BIS.
There is very little to criticise here, and these are all very fine performances. The sound is pretty crisp supporting an historically informed approach with brisk tempi, a discretely balanced harpsichord helping things along and admirable transparency of texture and articulation. Perhaps the orchestral sound could be a little better defined, with the strings behind the soloists sounding a bit generalised even in SACD mode, but this is a minor point. Brisk tempi means we don’t have the same kind of profundity in the beautiful Largo, ma non tanto second movement of the Double Concerto, but we’ve moved on from the kinds of romantic atmosphere beloved of David and Igor Oistrakh. This is a kind of mixture between worlds, with fairly rich vibrato in the solo lines to go along with the early-music flavour of the general approach. Comparing with Monica Huggett and Alison Bury with Ton Koopman on the Erato label shows very similar timings but a far lighter, chamber-music sonority and a reluctance to play with legato lines. Tighter rhythms and a livelier sonic picture can be found on the BIS label, where Masaaki Suzuki’s Bach Collegium Japan make a superb job of these concertos on BIS-CD-961, showing how the orchestra can play a more pro-active role while almost turning the soloists into consort members rather than giving them their more usual prominence.
So much of what will turn you on in such recordings is a question of taste, and to my ears there is nothing which offends in this Pentatone Bach recording. BWV 1043 doesn’t quite bring a tear to the eye as it can do with some versions, but I still like it a great deal. The solo violin concertos BWV 1041 and BWV 1042 move along decently, though the rhythms might have been a bit more bouncy in the outer movements. The first movement of BWV 1041 for instance, has an intensely narrative feel which Suzuki obtains in his BIS recording, but which is a touch soggy here - a sensation which comes from that rather generalised backing to the soloist. Timings are a little longer, but not in any extreme way. I love Eschkenazy’s restraint in the Andante of BWV 1041, and his gorgeously humane solo lines are ultimately the main selling point of this particular set.
The final D minor concerto BWV 1060, the one reconstructed from a C minor concerto for two harpsichords works well in this recording, with Ogrintchouk’s rich oboe tone mixing very nicely with the strings and Eschkenazy’s partnering solo, brought down a little in the balance to combine on an equal footing and keep a realistic balance with the orchestra.
To conclude, this is a highly desirable recording of the Bach violin concertos, but alas won’t become my all-time favourite. I enjoy the period sound and all of the solo playing, but the somewhat anonymous orchestral backing detracts a little from the overall effect. It’s a different prospect, but Masaaki Suzuki’s more inclusive ensemble is more satisfying to my ears, though admittedly fitting less into conventional expectations of the ‘concerto’ format. In the end, there is no real problem with this recording other than that there are so many others jostling for our attention. The SACD aspect is an attraction, but doesn’t solve that mildly beige orchestral tapestry which prevents me from making this a list of purely admiring superlatives.
-- Dominy Clements, MusicWeb International
There is very little to criticise here, and these are all very fine performances. The sound is pretty crisp supporting an historically informed approach with brisk tempi, a discretely balanced harpsichord helping things along and admirable transparency of texture and articulation. Perhaps the orchestral sound could be a little better defined, with the strings behind the soloists sounding a bit generalised even in SACD mode, but this is a minor point. Brisk tempi means we don’t have the same kind of profundity in the beautiful Largo, ma non tanto second movement of the Double Concerto, but we’ve moved on from the kinds of romantic atmosphere beloved of David and Igor Oistrakh. This is a kind of mixture between worlds, with fairly rich vibrato in the solo lines to go along with the early-music flavour of the general approach. Comparing with Monica Huggett and Alison Bury with Ton Koopman on the Erato label shows very similar timings but a far lighter, chamber-music sonority and a reluctance to play with legato lines. Tighter rhythms and a livelier sonic picture can be found on the BIS label, where Masaaki Suzuki’s Bach Collegium Japan make a superb job of these concertos on BIS-CD-961, showing how the orchestra can play a more pro-active role while almost turning the soloists into consort members rather than giving them their more usual prominence.
So much of what will turn you on in such recordings is a question of taste, and to my ears there is nothing which offends in this Pentatone Bach recording. BWV 1043 doesn’t quite bring a tear to the eye as it can do with some versions, but I still like it a great deal. The solo violin concertos BWV 1041 and BWV 1042 move along decently, though the rhythms might have been a bit more bouncy in the outer movements. The first movement of BWV 1041 for instance, has an intensely narrative feel which Suzuki obtains in his BIS recording, but which is a touch soggy here - a sensation which comes from that rather generalised backing to the soloist. Timings are a little longer, but not in any extreme way. I love Eschkenazy’s restraint in the Andante of BWV 1041, and his gorgeously humane solo lines are ultimately the main selling point of this particular set.
The final D minor concerto BWV 1060, the one reconstructed from a C minor concerto for two harpsichords works well in this recording, with Ogrintchouk’s rich oboe tone mixing very nicely with the strings and Eschkenazy’s partnering solo, brought down a little in the balance to combine on an equal footing and keep a realistic balance with the orchestra.
To conclude, this is a highly desirable recording of the Bach violin concertos, but alas won’t become my all-time favourite. I enjoy the period sound and all of the solo playing, but the somewhat anonymous orchestral backing detracts a little from the overall effect. It’s a different prospect, but Masaaki Suzuki’s more inclusive ensemble is more satisfying to my ears, though admittedly fitting less into conventional expectations of the ‘concerto’ format. In the end, there is no real problem with this recording other than that there are so many others jostling for our attention. The SACD aspect is an attraction, but doesn’t solve that mildly beige orchestral tapestry which prevents me from making this a list of purely admiring superlatives.
-- Dominy Clements, MusicWeb International
Schneider: Three Flute Concertos / Riet, Moesus, Württembergisches Kammerorchester Heilbronn
CPO
CD
$18.99
Jun 17, 2022
Georg Abraham Schneider was born in Darmstadt in the same year as Beethoven. His musical talent became apparent at a very early age, and after an educational trip to Rheinsberg, he was engaged by Prince Heinrich of Prussia as a horn player for the Rheinsberg Chapel. The composer Schneider is a representative of the spirit of Haydn and Mozart, who wanted to be understood as their preserver. In the reviews, he was attested to compositional skill and a dignified artistry that was committed to the bourgeois taste of the time. Schneider wrote a remarkably large number of compositions for flute, including four flute concertos, about 90 flute duets, and 60 quartets for flute and string trio. The charming, very light-hearted, three-movement Flute Concerto op. 12 is in classical concerto form, and the Mozart model is clearly audible. His Concerto op. 53 conforms to the classical scheme of the instrumental concerto, with ample opportunity for soloist Gaby Pas-Van Riet to display her virtuosity. The work charms with lovely delicate themes that offer the flute every opportunity to explore the instrument's tonal spectrum. In the Concerto op. 63, printed in Leipzig in 1812, the orchestra is augmented with two trumpets and timpani in addition to the double instrumentation of oboes, bassoons and horns. Schneider here demonstrates his ability to orchestrate a concerto well and to use the winds effectively.
Concertante: Virtuosic Wind Concertos
Challenge Classics
CD
$18.99
Oct 31, 2013
CONCERTANTE • Egils Sefers (cl); Niels Larsen (bn); David Palmquist (hn); Claus Efland, cond; Sinfonietta Riga • CHALLENGE 2621 (69: 13)
BELLOLI Concert for Clarinet, Horn, and Orchestra. F. DANZI Concertino for Clarinet, Bassoon, and Orchestra, op. 47. I. LACHNER Concertino for Horn, Bassoon, and Orchestra, op. 43. JADIN Symphonie concertante for Clarinet, Horn, Bassoon, and Orchestra
You know that favorite phrase of marketers, “Something for everyone.” Well, this disc is very nearly it. For the beginner, and for those whose musical taste remains staunchly conservative, every note on this program will fill the bill. For the experienced and the connoisseur ever in search of something new, I submit that not one reader in 500 knows all four of these composers. (OK, horn players will recognize Belloli. But note, that’s not Franz Lachner in the title; it’s his brother Ignaz.) Most every clarinetist, bassoonist, and horn player will want this disc as a welcome extension of their solo repertory. Lastly, if you are impressed with the whole cult of virtuosity, there is plenty here to engage your interest, and then some. (Wait until you hear the end of the Jadin work!)
The only demographic likely to ignore this disc is the die-hard avant-gardist—and understandably so. Phrases are all four-square, the harmony is totally predictable, the mood is one of infallibly good cheer (there is but a single movement in a minor key; even that lasts barely more than a minute, and is more melancholic than morose). This is music as conservative as can be, all from the late 18th and early 19th centuries by composers who had no interest in pushing the ceiling. No, their aim was solely to please their contemporary listeners and to amaze audiences with displays of virtuosity. This is not to say these works are inferior. Each is full of attractive melodies and appealing instrumental combinations, and none outstays its welcome (the longest is 18 minutes).
This would appear to be a joint Danish-Latvian project. The orchestra and solo clarinetist are Latvian, the conductor and remaining soloists Danish. All three soloists are superb musicians and technical wizards. The horn player in particular knocks off prodigiously difficult passages with the ease of a clarinetist or violinist. The “wow” factor is nearly off the charts. In more than half a century of listening to great horn players, I have never heard anything to top this. Not even Dennis Brain or Barry Tuckwell ever played like David Palmquist.
No two works calls for the same combination of soloists, yet each soloist gets to play in three of the four works. All have gorgeous tones, and play with aplomb, taste, and obvious love for the music. There is not a trace of strain in their playing. A good contender for this year’s Want List.
FANFARE: Robert Markow
BELLOLI Concert for Clarinet, Horn, and Orchestra. F. DANZI Concertino for Clarinet, Bassoon, and Orchestra, op. 47. I. LACHNER Concertino for Horn, Bassoon, and Orchestra, op. 43. JADIN Symphonie concertante for Clarinet, Horn, Bassoon, and Orchestra
You know that favorite phrase of marketers, “Something for everyone.” Well, this disc is very nearly it. For the beginner, and for those whose musical taste remains staunchly conservative, every note on this program will fill the bill. For the experienced and the connoisseur ever in search of something new, I submit that not one reader in 500 knows all four of these composers. (OK, horn players will recognize Belloli. But note, that’s not Franz Lachner in the title; it’s his brother Ignaz.) Most every clarinetist, bassoonist, and horn player will want this disc as a welcome extension of their solo repertory. Lastly, if you are impressed with the whole cult of virtuosity, there is plenty here to engage your interest, and then some. (Wait until you hear the end of the Jadin work!)
The only demographic likely to ignore this disc is the die-hard avant-gardist—and understandably so. Phrases are all four-square, the harmony is totally predictable, the mood is one of infallibly good cheer (there is but a single movement in a minor key; even that lasts barely more than a minute, and is more melancholic than morose). This is music as conservative as can be, all from the late 18th and early 19th centuries by composers who had no interest in pushing the ceiling. No, their aim was solely to please their contemporary listeners and to amaze audiences with displays of virtuosity. This is not to say these works are inferior. Each is full of attractive melodies and appealing instrumental combinations, and none outstays its welcome (the longest is 18 minutes).
This would appear to be a joint Danish-Latvian project. The orchestra and solo clarinetist are Latvian, the conductor and remaining soloists Danish. All three soloists are superb musicians and technical wizards. The horn player in particular knocks off prodigiously difficult passages with the ease of a clarinetist or violinist. The “wow” factor is nearly off the charts. In more than half a century of listening to great horn players, I have never heard anything to top this. Not even Dennis Brain or Barry Tuckwell ever played like David Palmquist.
No two works calls for the same combination of soloists, yet each soloist gets to play in three of the four works. All have gorgeous tones, and play with aplomb, taste, and obvious love for the music. There is not a trace of strain in their playing. A good contender for this year’s Want List.
FANFARE: Robert Markow
Venice And Beyond - Concerti Da Camera & Sonate Concertate / Affinita
Arcana
CD
$11.99
Sep 25, 2020
Venice ca. 1700: having recently arrived from France, the instruments a la mode- the oboe, bassoon, baroque recorder, and flute traversiere- go on to conquer the musical centers of the Serenissima. The versatility of these new woodwinds inspires Vivaldi at the Ospedale della Pieta and his compatriots Caldara and Lotti at San Marco throughout their lives, whether in Venice, Rome, Vienna, or Dresden. This interest in wind instruments also carries over to the next generation of Venetian composers such as Galuppi, whose career plays out in his hometown, or the emigrants Platti and Brescianello beyond the Alps. For centuries, the imperial chapel in Vienna was characterized by a particular affinity for Venice- and it was with an eye to this historical connection between Vienna and Northern Italy that oboist Elisabeth Baumer founded the Austro-Italian Ensemble Affinita with musician friends in 2012. The ensemble’s debut recording brings together imaginative interpretations of well-known works such as Vivaldi’s Concerto RV 103, exciting rediscoveries, and a world premiere recording of a remarkable oboe sonata by Ferrandini.
Mayr: Telemaco / Hauk, Concerto De Bassus
Naxos
CD
$29.99
Mar 10, 2017
Mayr's Telemaco was a product of turbulent political times in the Republic of Venice, which had been occupied by Napoleon's troops in late 1796. Military elements, with incorporated marches, feature strongly in a score that brought to contemporary Venetian theatre many of the innovative elements that were in vogue on the operatic stages of Paris. Taking classical Greek mythological material, Mayr fashioned an opera full of colour, interweaving instrumental interludes and dances into his arias, cavatinas and choruses, and crafting his own very personal vision of the nwe Italian opera seria.
Ridil: Music for Orchestra
Genuin
CD
$20.99
Oct 04, 2024
To celebrate his 80th birthday in 2023, GENUIN releases it's fourth album featuring compositions by the outstanding Christian Ridil. The Leipziger Symphonieorchester, under the direction of chief conductor Robbert van Steijn, has recorded Ridil's orchestral works, all world premiere recordings. FAZ once described this music as "rhythmically sophisticated, technically and formally perfect." These qualities are evident in the flute concerto "Les jardins de Pan," the First Symphony, and the bassoon concerto "Brahms en France" - contemporary music that leaves you wanting more!
