A Ring of Bronze

Quintessence Handbell Ensemble

Independent QHE200901 (www.quintessencebells.ca)

“Drats! If only I had listened to this CD before Christmas!” was my first reaction – it would have made a perfect gift for many of my friends. Handbell ringing is a dying art – usually ridiculed on par with the kazoo and ukulele. There is nothing to ridicule here however, as the Quintessence members are very talented musicians and arrangers. The selections range from classical (Jesu, Joy of Man’s Desiring) to spirituals (Swing Low, Sweet Chariot) to seasonal and original tunes – all superbly and precisely rendered by the five member ensemble. The amateur musicians, whose spiritual and musical home is the St. Andrew’s Presbyterian Church in Scarborough, are joined by a talented trio of professional musicians, Svetla Dybenko on cello, Kevin McChesney on guitar and Joanne McLennan on piano. Almost regardless of the tune, the sound is all Christmas – shimmering lights and joy, invoking the magic that captivates us so about the season. Do yourself (and your friends) a favour and start you Christmas 2010 shopping early at www.quintessencebells.ca.

Robert Tomas

The Melody of Rhythm - Triple Concerto and Music for Trio

Bela Fleck; Zakir Hussain; Edgar Meyer; Detroit Symphony Orchestra; Leonard Slatkin

E1 Music KOC-CD-2024

A trio of stars creates a musical galaxy of sound, ideas, patterns and rhythm, that gives a new meaning to the words “classical crossover” – the Grammy nomination in this category pretty well sums up the high quality of “The Melody of Rhythm”

Bela Fleck (banjo), Zakir Hussain (tabla) and Edgar Meyer (double bass) are each stars in performance and composition. Their ensemble work as a trio is brilliant. Theirs is a trustworthy conversation in the six trios presented here. The music is a quilt of styles – the short rhythmic and tonal melodic ideas create amazing counterpoint.

Add the symphony orchestra in the Triple Concerto The Melody of Rhythm and a fascinating mix of the Western classical, world music and American jazz/folk is created. The best part of the three movement concerto is that not a single musician is asked to be something they are not. No uncomfortable stylistic boundaries are crossed. The symphonic musicians’ parts, though indicative of the banjo, tabla and double bass parts, provide more of a different viewpoint than an accompaniment to the soloists. It is clever writing with respect for the different genres from everyone involved.

Fleck, Hussain and Meyer are phenomenal as always. The Detroit Symphony Orchestra under Leonard Slatkin rises to the musical challenge. The production is clear, with the concise liner notes a dream to read. This is entertainment and musical genius to be applauded!

Tiina Kiik

In 1998 Deutsche Grammophon published their Centenary Collection celebrating its first 100 years of sound recordings. The first track on the first disc was of the voice of Emile Berliner from a spoken letter to his sister in 1897. There were seven sets containing 63 discs occupying 700 cms (27½”) of shelf space. A new set, celebrating their first 111 years, contains 55 CDs in one box and occupies only 40cms (5½”) (DG 4778176).

For this new set, the editors selected works in critically acclaimed performances and recordings from 1951 on, covering a broad spectrum of music from virtually every era and style. They have, in effect, produced a basic repertoire of a somewhat sophisticated taste, eminently of interest to both beginners and collectors alike.

Going through the recordings I sampled some of my old favourites, such as the superlative Carmina Burana with Eugen Jochum; Dvorak’s 9th with Kubelik sounding fresher than ever and the Dvorak Cello concerto with Rostropovich and Karajan. There’s Igor Markevitch’s brilliant and articulate Symphonie Fantastique and Carlos Kleiber’s supercharged Beethoven Fifth. Ferenc Fricsay is heard in his acclaimed Verdi Requiem; while Furtwangler’s renowned Schumann’s Fourth Symphony is coupled with his Haydn 88th. As expected, Karajan’s unsurpassed 1963 Beethoven Ninth is included as is today’s hot ticket, Gustavo Dudamel and his Youth Orchestra playing the Mahler Fifth.

No such a collection would be complete without an example of Fischer-Dieskau singing Schubert. Here is Winterreise with Gerald Moore. Other singers include Domingo, Kozenà, Netrebko, Quasthoff, Terfel, Villazón, and Wunderlich.

From a long list of great instrumentalists I was happy to see organist Helmut Walcha playing Bach and cellist Pierre Fournier in the complete Unaccompanied Suites of Bach. David Oistrakh plays the Tchaikovsky concerto in the 1954 Dresden recording with Konwitschny conducting and Richter plays the Rachmaninov second concerto in Warsaw. Martha Argerich plays all 26 Preludes of Chopin and Pollini plays both sets of the Etudes while Benedetti Michelangeli plays Volume 1 of the Debussy Preludes. Horowitz in a memorable Moscow concert in 1986 still impresses. Wilhelm Kempff’s ever classical Beethoven is heard in the Fourth and Fifth Concertos with Leitner and the formidable Emil Gilels, at his peak, is heard playing Beethoven’s Walstein, Les Adieux & Appassionata sonatas. Maria João Pires’ performance of the complete Chopin Nocturnes remains a special experience and the once controversial Ivo Pogorelich plays Scarlatti sonatas.

Today’s generation is represented by Anne Sophie Mutter playing the Brahms concerto with Karajan, her mentor, while Hillary Hahn plays Bach Concertos and Lang Lang plays concertos by Tchaikovsky and Mendelssohn. The Emerson String Quartet turns in a stunning performance of Bach’s Art of the Fugue. Quoting the cellist of the quartet, “I don’t know if there’s scientific evidence to support it, but when I listen to this music I feel my brain cells being re-aligned.” I truly believe him.

The above discs are just a selection from this exceptional collection, for which space constraints preclude a complete listing. Each of the discs is in a fine cardboard sleeve bearing a replica of the cover of the original issue. That’s how 55 of these plus a 134 page booklet fit nicely into a cube measuring only 40 centimetres. Branded a “limited edition,” the retail price is absurdly low and cheaper by far than downloading. Even if someone has more than quite a few of the discs the package is still a bargain. Also each recording sounds as if it were re-mastered to “Originals” standard.

There is a companion set of DVDs for 111 years of Deutsche Grammophon (0734566, 13 DVDs). The editors selected the making of West Side Story with Leonard Bernstein and two Beethoven concertos with Pollini and Bohm; Carmen with Vickers and Karajan, also Mutter playing and directing Mozart’s fourth and fifth concertos. There are Furtwangler’s Salzburg Don Giovanni, Carlos Kleiber’s Der Rosenkavalier and La Traviata with Anna Netrebko. The Swan Lake ballet stars Fonteyn and Nureyev and Karajan’s Verdi Requiem has Pavarotti. Boulez’s Die Walküre from Bayreuth still impresses and finally a charming Peter and the Wolf with Sting and Claudio Abbado.

The late Eduard van Beinum who succeeded Mengelberg as conductor of the Concertgebouw Orchestra produced scores of extremely fine recordings for Philips and Decca beginning in 1946 with the Leonora 2 on two 10” 78s. His admirers, count me in, are always delighted to acquire CDs of unreleased performances. Tahra has two piano concertos with Dame Myra Hess recorded in concert (Tahra TAH672), the Beethoven 4th from 1952 and the Schumann A minor from 1956. These are marvellous performances that confirm that Hess’s exalted reputation was well earned. The sparkle and exuberance of these live performances from two of their generation’s acknowledged masters are timeless and not one wit ‘old hat’. The recorded sound is remarkably fine and I’d happily take this one to that desert island of imagination.

For decades Magda Taglieferro (1893-1986) was one of the most influential and noted pianists before the public. Born in Brazil to French parents, her father was her first teacher; she was taken to France at an early age, won the Premier Prix in the Paris Conservatoire in 1907 and was accepted by Alfred Cortot as a pupil. Noted for her individuality, flamboyance and charisma in performance, she also had an illustrious recording career spanning more than half a century, with composers active in Paris at the time, Ravel, Poulenc, Milhaud, d’Indy, Hahn, and Ibert writing works dedicated to her or with her in mind. EMI and others have issued parts of her legacy but there remain many recordings not yet on CD, including those recorded in Brazil during her frequent stays there. A new set from DOREMI (DHR-7961-3 2CD+DVD) includes material new to CD. Included are studio recordings from Brazil and live concerts from Paris, featuring Chopin, Mozart, Prokofiev, Debussy and Hahn. Her personal approach to Chopin is quite fascinating, never tentative. The same assuredness is heard in her brilliant Prokofiev and her crisp and stylistic Mozart. The package includes a DVD of the Prokofiev 3rd concerto and two Debussy pieces. The sound throughout is pleasant.

Thomas Hampson sings Schumann

Thomas Hampson; Wolfram Rieger

Medici Arts 2072508

American Baritone Thomas Hampson has proven himself a formidable presence on both opera and recital stages. His credibility portraying a character or presenting an art song is rooted in his personal and artistic maturity. He has demonstrated his ease with a wide range of repertoire reflecting his conviction that singers should sing what they want and what they can.

This DVD recording presents a 2007 concert in Munich where the audience listens with palpable intensity to a cultural foreigner performing German music and poetry that has no equal in the American experience. Hampson’s spiritual kinship with Schumann’s music and his poets (Kerner, Heine) afford him the access to the deeper nuances that German audiences expect.

Intriguing too is the fact that Hampson’s own research on the 20 Lieder und Gesange, Op.48 uncovered an early Schumann manuscript which predates the cuts and changes made to the commonly published editions we have known for decades. Hampson adds four recovered songs and restores both text and music to Schumann’s original.

Fans of Op. 48 will enjoy the well known Ich grolle nicht to which Hampson brings more intensity than is commonly expected. Curiously though, Hampson opts to avoid the optional high note in the latter portion of this brief Lied. As a baritone with a reputation for a strong upper range, and having demonstrated that very ability in the first half of the recital (Zwolf Gedichte Op.35), one can only assume that fatigue commended the choice of the lower note.

The performance is altogether a very serious one and accurately captures Schumann’s melancholy mindset allowing only occasional rays of sunlight to appear. Accompanist Wolfram Rieger is a superb companion for Hampson in this performance and deserves the equal place he takes with Hampson in the final bows.

Schubert - Die Schöne Müllerin

Jonas Kaufmann; Helmut Deutsch

Decca 478 1528

Tenor Jonas Kaufmann is a remarkably versatile singer, with a broad repertoire. But his greatest operatic successes have so far been in Italian and French romantic opera, and Schubert’s Die Schöne Müllerin (The Beautiful Miller-girl) is unusual fare for a Cavaradossi or a Don José. Yet, as this winning disc makes clear, Kaufmann is thoroughly at home in the world of lieder – and not just because he is German.

Kaufman’s distinctive lyricism, agility and dark timbre are all used to great effect in this cycle of twenty songs. Though his approach is dramatic, he manages to avoid exaggerated interpretations and intense dynamic levels. In fact, he achieves an intimate and natural style here.

The detailed nuances that he uncovers in Wilhelm Müller’s texts contribute to a vivid portrait of the love struck young miller. In Der Neugierige (The Curious Man) when the miller sings, “O stream of my love, how silent you are today!”, Kaufmann’s tender pianissimo suggests the tragedy awaiting him. Even the ebullient Mein! (Mine!) is coloured with shades of foreboding.

Some of the most moving passages occur in the dialogues with pianist Helmut Deutsch, whose playing provides a worthy match for Kaufmann’s beautiful singing. Together Kaufmann and Deutsch tell a compelling story. The booklet has texts and translations, an interview with Kaufmann, and a terrific cover.

Pamela Margles

Puccini - Edgar

José Cura; Amarilli Nizza; Julia Gerseva; Marco Vratogna; Teatro Regio Torino; Yoram David

ArtHaus Musik 101 377

Ricordi, the great Milan music publisher and impresario must have been hard pressed to recoup the losses from his investment after the young Puccini’s second opera Edgar’s disastrous premiere at La Scala in 1889 a year before the overnight sensation of that true verismo masterpiece Mascagni’s Cavalleria Rusticana. Edgar was not to recover for over 100 years until rediscovered, with a lost 4th act added, in this performance. Ironically Puccini made a quantum leap of true genius, turning out nothing but masterworks thereafter, while Mascagni stagnated unable to duplicate his initial success.

Edgar is an unfortunate opera, an interesting failure as it were, suffering from a weak libretto, but it does contain some beautiful melodies, arias and choral scenes. Puccini already had a sense of theatre, knew how to create suspense, resolve tension and develop insight into character, mainly Edgar. I would call him a ‘poor man’s Tannhauser’ struggling between carnal and pure love, bringing tragedy upon both.

This performance, honouring Puccini’s 150th, is headed by the great Argentinean José Cura, so successful in Italian ‘heldentenor’ repertory (Trovatore, Otello). He is heartrending in his immersion into Edgar’s character. The two ladies representing two sides of love are soprano Amarilli Nizza and mezzo Julia Gertseva, both in spectacular voice and characterization. Gertseva perhaps steals the show in the role of the aptly named Tigrana, the gypsy girl who is somewhat reminiscent of Carmen. Noted Israeli-born Yoram David conducts with verve and passion contributing much to the success of this performance.

Handel - Clori, Tirsi e Fileno

Suzie LeBlanc; Jörg Waschinski; David Cordier; Lautten Compagney; Wolfgang Katschner

NCA New Classical Adventures 60188

This is a reissue of a 1997 recording from the Handel festival in Halle. Handel’s Clori, Tirsi e Fileno is a secular cantata composed in 1707 for the Italian nobility. Though a fairly obscure work, many of the arias sound familiar as they were indeed reworked as some of the central arias for the composer’s later operas. This sweet little pastorale tells the story of a shepherdess (Suzie LeBlanc, soprano) who strings along suitors Tirsi (Jörg Waschinski, sopranist) and Fileno (David Cordier, alto) until they tire of her two-timing machinations. The singers are suitably matched and the combination of the three treble voices paints a light and carefree comic impression. While the liner notes include an English translation, unfortunately, the text does not, although from the performance and musical language, it is easy to imagine the events. That the piece is an early piece of Handel’s is demonstrated by the fluid alternation of dialogue between characters, dialogue with the orchestra, arioso and da capo forms. Purity, vocal clarity, the expressiveness of obbligato sections and the precision of the seven-member ensemble are hallmarks of this performance, well worth its revival.

Sacrificium - La Scuola dei Castrati

Cecilia Bartoli; Il Giardino Armonico; Giovanni Antonini

Decca 478 1521

Castration is the final obstacle to truly authentic vocal performance of repertoire written for unwilling mutants. The ranks of early music zealots have, however, produced no volunteers willing to make the necessary sacrifice to reproduce the legendary qualities of the Castrato voice. Until then, the Castrato repertoire remains an unknown frontier explored only occasionally by adventurous counter tenors and female voices.

“Sacrificium” is a 2 disc collection of period arias written exclusively for Castrati. Decca has produced a miniature tome with fine historical notes and photographs documenting the age of the Castrato. The choice of Neapolitan and Venetian composers reflects the fact that the mutilation of young boys for the sake of music was principally an Italian phenomenon, albeit one that northern European courts eagerly imported.

Cecilia Bartoli’s hallmark vibrato and intense emotional style make these recordings (11 of them world premieres) truly impressive. She sustains long melismatic passages effortlessly and negotiates leaps from head to chest voice in rapid succession. And while her display of vocal technique is confident, even brazen at times, some of the finest moments in these 2 discs come in the tender passages of slow descending sequences where she draws out the beauty or anguish of the text in a way that is both simple and intense.

You’ll find familiar composers like Handel, Caldara, Porpora, Broschi and Giacomelli along with the lesser known names of Graun, Araia and Vinci. They all, however, share a gift for crafting both dynamic vocal lines and exquisite melodies that leave a listener wondering how the castrati must actually have sounded and understanding why they were worshipped.

A new performance of Gurrelieder, Schoenberg’s Tristanesque narrative, is not so rare these days, but still of interest. Earlier this year Esa-Pekka Salonen conducted it with the Philharmonia Orchestra in the Royal Festival Hall. Among the soloists is soprano Soile Isokoski singing Tove. Salonen appears to be less Romantic than, say Stokowski or Ferencsik, but achieves some exquisite balances between soloists and orchestra in the third part. The speaker in “Herr Gänsefuss...” is Barbara Sukowa who is also in Abbado’s version (DG) in the role usually spoken by a male voice. The recording, issued by Signum (SIGCD173, 2 CD/SACDs) is lucid and dynamic.

Paavo Järvi has just finished a complete Beethoven Symphony cycle with the Deutsche Kammerphilharmonie, Bremen, for RCA. These are electrifying performances, bringing new life to these perennial warhorses. Violinist Janine Jansen joins this same cast in the Violin Concerto with stunning results in a new Decca release (4781530). Her performance belongs to the “perfect” group emerging from young performers but, unlike most of them, she maintains the listener’s undivided attention. Jansen combines ease and elegance with authority, conveying Beethoven’s genius directly. The Britten Violin Concerto follows with Järvi at the helm of the London Symphony. They make a perfect pairing and complement Jansen’s previous Decca recordings of core repertoire.

The Mariinsky Ballet’s performance of the meticulous re-construction of Nijinsky’s choreography and Roesch’s sets and costumes of the first performance of Le Sacre du Printemps, so enthusiastically reviewed here a few months ago, is now available on Blu-ray (BelAir BAC441). The high definition video makes an enormous difference, affecting a 3-D illusion, brilliantly drawing the viewer onto the stage… mighty impressive, indeed. Fokine’s original Firebird of 1911 is included, as is the documentary on the extensive research to realise the originals.

Collectors know that there are many live performances of Pictures at an Exhibition played by Sviatoslav Richter, each being individual and different from the others, no two the same. Richter was known to abhor the studio and therefore most of his recordings are drawn from live performances. In 1958 however, Melodiya managed to record him in the studio under ideal conditions. That recording has recently re-appeared (Melodiya MEL CD 1000515) and I had the opportunity to re-visit this exuberant reading. Here one can appreciate the finger work that is sometimes blurred in the live recording. Comparing it to the 1958 Sofia live performance for instance reaffirms what we already know about Richter, namely that never plays the same piece the same way twice.

A MUST HAVE: The late Herman Prey, one of the last century’s greatest baritones, singing the three Schubert song cycles, Die Schöne Müllerin, Schwanengesang, and Winterreise (C MAJOR 700208, 2 DVDs). Prey was known for his perfect delivery of German art songs including, of course, Schubert. Not only did he have the voice, he was a consummate musician. The living room settings here are ideal and the sound appropriately intimate. How much nicer this is than a concert hall.

Two Films, Christopher Nupen’s celebrated 1989 video on Tchaikovsky’s life and music, is, at last, available on DVD (Allegro Films A10CND). Presented in two segments; Tchaikovsky’s Women deals with his relationships with women who passed through his life and their effect on his mental well-being, segueing nicely into Fate, his states of mind and the ensuing compositions. This is not presented as an entertainment but as a journal of his life and some major works. As is usual, Nupen provides the narrative, deftly drawing the viewer (me) into watching the entire 156 minutes without interruption. This is an important document and I liked it a lot.

The Mariinsky Orchestra’s third CD on their own label is devoted to the music of Tchaikovsky (MAR 0503, CD/SACD). The 1812 Overture which opens the program is mighty impressive with the added cannons and bells heard as if from afar and not vying with the entire orchestra for sonic dominance. The Moscow Cantata, scored for soloists, chorus and orchestra, follows then the Marche Slave (sic), opus 31, the Festival Coronation March, and the Festival Overture on the Danish National Anthem, opus 15. Recorded in their own hall earlier this year this album is outstanding in the excellence of the recorded sound, presenting a wide and deep sound stage, with every instrument and voice in natural perspective. The dynamic range, too, is impressive. Credit must go to the producer, James Mallinson, who is also responsible for the recordings of both the London Symphony and the Chicago Symphony orchestras on their own labels.

Mahler’s Second Symphony with Chicago Symphony under Bernard Haitink continues their ongoing Mahler cycle with an outstanding performance recorded live earlier this year (CSO-RESOUND CSOR 901916, 2 CD/SACD discs). This is not an angst-ridden performance but a well considered interpretation from a Mahler conductor who has performed this work countless times and has already two performances in the catalogue. This is one of the very greatest orchestras and their playing is outstanding by any standards. Again, the recording itself is state-of-the-art, dynamic with breathtaking three dimensional perspectives that transports listeners to the best seats in Symphony Hall.

The San Francisco Ballet’s production of The Nutcracker is but one of the countless different ways Tchaikovsky’s perennial favourite is offered to delight young and old alike. The 2008 staging was seen on PBS last year but Blu-ray enthusiasts will be delighted with the release on OpusArte, looking and sounding better than witnessed on TV (OA BD7044 D). In addition to an illustrated synopsis, there are interviews with the choreographer, the scenic designer and the costume designer. Also a documentary on the 1915 World’s Fair in San Francisco. A good package.

Tchaikovsky - Souvenir de Florence

I Musici de Montreal; Yuli Turovsky

Analekta AN 2 9954

It was during his second visit to Italy’s sunny skies in 1890 that Tchaikovsky composed his string sextet in d minor, Op.70, appropriately titled Souvenir de Florence. Initially dissatisfied with it, he ultimately revised the piece and we have it here as arranged for string orchestra, along with the much earlier String Quartet Op.11 with I Musici de Montréal under the leadership of Yuli Turovsky.

What a fresh and vigorous sound IMM achieves on this recording! While always displaying a formidable precision, the group also demonstrates a keen sensitivity to the counterpoint. Melodic lines are carefully delineated, and there is none of the muddiness that can characterize string playing from time to time. This element of clarity is nowhere more evident than in the lively finale, which to me, always sounds more Slavic than Italian.

The String Quartet in D major is a considerably earlier work, written in 1871. Today, the piece is most famous for the well-known slow movement, the “Andante Cantabile”. Here, the augmented size of the ensemble, resulting in a lusher sound, seems particularly suited to this lyrical music which apparently brought Leo Tolstoy to tears upon first hearing it!

Kudos should also go to the engineering team for its fine technical work, and also for their decision (if indeed it was theirs) to record the disc at the Église Saint-Mathieu de Beloeil. The acoustics in this venerable 113-year old building are sublime and give a wonderfully resonant sound throughout, an element that further enhances an already great performance.

Sarasate - Virtuoso Violin Works

Gil Shaham; Adele Anthony

Canary Classics CC07

By all accounts, Pablo de Sarasate must have been quite spectacular. One of the post-Paganini European virtuosi of the late 1800s, he dazzled audiences, critics and contemporaries alike, and not just with his playing. Like several of his fellow violinists – Vieuxtemps and Wieniawski in particular – Sarasate produced many outstanding compositions, and their warmth and brilliance is testimony to his playing ability.

Gil Shaham took the opportunity afforded by the centenary of Sarasate’s death in 2008 to present several concert performances of his works, culminating in the Sarasateada festival in Valladolid, Spain, last November. This latest CD on Shaham’s own Canary Classics label was recorded at the festival, and also features Shaham’s wife, the Australian violinist Adele Anthony.

Ysaÿe noted that it was Sarasate “who taught us how to play exactly”, and precision is certainly the first requirement if these pieces are going to be performed successfully. No worries here on that score. Shaham is brilliant in the four live orchestral performances with the Orquesta Sinfonica de Castilla y Leon under Alejandro Posada: the Carmen Fantasy; Zigeunerweisen; a somewhat bland Leo Blech orchestration of Zortica; and – with Anthony - the scintillating duet Navarra.

Anthony plays three of the eight outstanding tracks with pianist Akira Eguchi – Song of the Nightingale; Airs Ecossais; and Introduction and Tarantella - and certainly isn’t ‘second fiddle’ here in any respect. Shaham’s solo tracks are Habanera, Zapateado, Romanza Andaluza, Capricho Vasco, and Gavota de Mignon, and his playing standard never waivers.

Both players use a Stradivarius violin – Shaham the 1699 “Countess Polignac” and Anthony a 1728 instrument - and their richness in the lower register and brightness in the upper, while possibly more contrasted in Shaham’s playing, are very similar.

The booklet notes are by the always-reliable Eric Wen and nicely complement this delightful disc.

Liszt; Rachmaninov - Sonatas

Nareh Arghamanyan

Analekta AN 2 8762

Many years back I was fortunate to see young a Martha Argerich in concert and I recall hardly being able to sleep that night. So when I first listened to this debut recording of 20 year old Armenian pianist Nareh Arghamanyan I had only one wish and that was to see her performing in person as I had hopes of a new divine Martha. Fast forward now to the miracle of the Internet.

I‘ve already enjoyed three of her video performances seeing how she becomes symbiotic with the music, swaying her girlish, fragile body. Her seemingly gentle hands produce titanic sounds without any of the mannerisms and showiness of some pianists of great commercial appeal I don’t want to mention.

Her latest achievement is winning the 1st prize (piano) of the prestigious Montreal International Music Competition in 2008, but she has been winning competitions since age 11. In fact Analekta is fortunate in securing this young lady at this time as I predict her fame will skyrocket and the big recording giants will be clamouring to get her.

Both of the sonatas she plays are murderously difficult, “alternately passionate, desperate, energetic and tender with hurricanes of octaves seething with raw energy” (Lucie Renaud). They are prime examples of the Romantic sonata invented by Liszt and furthered by Rachmaninov. The strict sonata form is replaced by an inner subliminal logic, of ebb and flow, but it must be kept in balance. This is something only the greatest pianists like Ms Arghamanyan with her God given gifts are capable of.

Schubert - Complete works for Violin and Piano, Volume 1

Julia Fischer; Martin Helmchen

PentaTone PTC 5186 347

Julia Fischer is outstanding in this Super Audio CD. The three sonatas featured on this disc – D.384 in D, D.385 in A minor, and D.408 in G minor – date from 1816, but despite being early works they exhibit all the characteristics of the mature Schubert. The Rondo Brillant D.895 from 1826 completes the disc.

Despite the constant flow of irrepressible melody there is always a sense of wistfulness and drama lying just beneath the surface of Schubert’s music, and Fischer’s beautifully-judged performance captures this perfectly, with a beautiful clear tone, sensitive vibrato, and a fine range of dynamics. The recording balance is excellent, with clean and intelligent piano support from Martin Helmchen.

The booklet notes unfortunately scream “Translation!” at times – the Pseud’s Corner column in the old Private Eye magazine would have had a field day with lines like “In truth, renewed energy slumbers within the tangled web of the dialogue interwoven in the chamber music” – but the notes that matter are on the CD… and they’re just wonderful.

Volume 2 is slated for release in April 2010; as the remaining Schubert works for violin and piano aren’t sufficient to fill a CD, it will apparently feature Fischer in a Schubert piano duet. Shouldn’t be a problem - she performed the Grieg Piano Concerto in Frankfurt last year!

Bach - Clavierubung II

Alexander Weimann

ATMA ACD2 2603

Seldom can there have been a more sombre cover than on this CD. Dressed in black, soloist Alexander Weimann is photographed against a dark green/black background. One wonders why.

The theme of Clavierubung II is duality, some would say polarity. Bach chooses two works in highly contrasting keynotes but even then neither work can be described as entirely solemn.

The Italian Concerto in F Major starts with a spirited movement - for which no indication is given. It may not have been written to equal the exhilarating speed of the Presto but its demands on the player are still great. The Andante, the middle of the three movements, does demonstrate polarity within a single work. It is slow, almost out of place on this CD.

Bach’s Overture in the French style in B Minor, much the greater part of the CD, starts with an Ouverture; if anyone expects a gentle introduction to the main work, they will find this movement breath-taking.

Next are the movements named after the great French country dances of the Renaissance and Baroque. Here are the Gavotte, Passepied, Sarabande and others. All make their transition from countryside to court, recognisable for their mainly cheerful and lively characteristics.

Enjoy Bach’s interpretation of duality and Alexander Weimann’s skills which have made him one of the most sought-after baroque instrumentalists - and ignore that depressing cover.

Telemann - The Baroque Gypsies

Ensemble Caprice; Matthias Maute

Analekta AN 2 9919

Telemann’s compositions were so prolific they beg the question whether he turned to other influences to help maintain his output. His own memoirs contain the answer: temporary exile led to his discovering Poland and Moravia (and their “barbaric beauty...”).

Not so barbaric that he could not be captivated by Eastern European gypsy music though. How imaginative, then, of Ensemble Caprice to intersperse works by Telemann with extracts from the 1730 Uhrovska Collection of 350 gypsy melodies.

For those rarefied souls who believe that baroque music is in some way superior to contemporary folk music, this CD will shake them. The Uhrovska Collection melodies initially overshadow their more grandiose counterparts. The rousing opening track, a Romanian traditional melody, leads the way, followed by the Uhrovskaya’s haunting instrumental C91 and Netrap zradna song.

By track 10 (out of 28) we realise how much Telemann was influenced by gypsy music. The Gypsy Sonata in D Minor and Sonata à la gitane brought the vitality of gypsy music to courtly audiences by way of conventional baroque instruments: recorder, violin and continuo. Above all, Telemann’s Gigue for solo violin leaves no-one in doubt as to its inspiration.

Telemann and the gypsies weave their way through in the order assigned by Ensemble Caprice’s artistic director Matthias Maute. The Ensemble helps us share in Telemann’s own gratitude to the gypsies: “In only a week, a composer could be inspired for an entire lifetime.” These sixty-eight minutes are all that are needed to learn why.