Early, Classical and Beyond

Jack Liebeck Ysaÿe sees the outstanding English violinist finally recording Ysaÿe’s Six Sonatas for Solo Violin Op.27, works which have long fascinated him (Orchid Classics ORC100179 jackliebeck.com).

“I always knew I would have to climb this mountain,” says Liebeck, and the recent COVID lockdowns provided the right moment. He describes Ysaÿe’s style as monumental, with gothic themes, drama and poignancy, and the music as the pinnacle of harmonic and technical challenge, which nevertheless fits a violinist’s hand like a glove.

Liebeck is joined by pianist Daniel Grimwood in the rhapsodic Poème élégiaque in D Minor Op.12, and as always draws a sumptuous tone from his 1785 J. B. Guadagnini violin in superlative performances.

In March 2020 violinist Elena Urioste and pianist Tom Poster decided to record and share one music video for every day spent in isolation. The expected two to three weeks of their #UriPosteJukeBox project turned into 88 days – one for each piano key. The resulting studio CD The Jukebox Album is simply one of the most heart-melting and breathtakingly beautiful discs you could imagine (Orchid Classics ORC100173 orchidclassics.com/releases/jukebox).

From the opening Look for the Silver Lining through a program including standards like La vie en rose, Begin the Beguine, A Nightingale Sang in Berkeley Square and Send in the Clowns, all in superb arrangements by Poster and with occasional sumptuous multi-tracking by Urioste, to Kreisler arrangements, pieces by Carlos Gardel, Lili Boulanger, Fauré and six new pieces commissioned for the project, the standard never drops for a moment. 

“This is the music we’ve loved our whole lives,” says Poster, and it shows in every note of an absolutely gorgeous CD.

Cellist Daniel Müller-Schott is in superb form on Four Visions of France – French Cello Concertos with the Deutsches Symphonie-Orchester Berlin under Alexandre Bloch (Orfeo C988211 naxosdirect.com/search/c988211).

Saint-Saëns is represented by his 1872 Cello Concerto No.1 in A Minor Op.33 and the Romance in F Major Op.36. Honegger’s fascinating 1929 Cello Concerto and Lalo’s 1877 Cello Concerto in D Minor are the other two major works, with Fauré’s Élégie in C Minor Op.24 in the 1901 orchestral version completing the disc.

A lovely recorded ambience captures the luminous textures and sensual orchestral colours typical of French music, on an outstanding CD.

British Solo Cello Music features the always-wonderful Steven Isserlis (Hyperion CDA68373 hyperion-records.co.uk/dc.asp?dc=D_CDA68373).

Britten’s Tema ‘Sacher’ and Cello Suite No.3 Op.87 open the disc, with Isserlis being joined by pianist Mishka Rushdie Momen for the three Tchaikovsky settings of the folk-song themes used in the Suite. Other works are Walton’s Theme for a Prince and Passacaglia, John Gardner’s Coranto pizzicato, Frank Merrick’s Suite in the eighteenth-century style and the brief Sola by Thomas Adès.

As always, Isserlis’ booklet essay is erudite and fascinating, with its personal reminiscences of John Gardner (1917-2011) and – in particular – the astonishing Frank Merrick (1886-1981) an absolute delight.

Violinist Patricia Kopatchinskaja and cellist Sol Gabetta celebrate 20 years of friendship on Sol & Pat, a recital of duos for violin and cello built around two 20th-century masterpieces (ALPHA757 naxosdirect.com/search/alpha757).

Ravel’s Sonata and, in particular, Kodaly’s Duo Op.7 draw terrific playing from the duo, with shorter pieces ranging from the dazzling opening gypsy dance of Leclair’s Tambourin: Presto through a pizzicato C.P.E. Bach Presto to the J. S. Bach keyboard Prelude No.15 in G Major, with brief contemporary works by Jörg Widmann, Francisco Coll, Marcin Markowicz, Xenakis and Ligeti.

An unexpected gem, though, is La Fête au village Op.9, a 1947 affectionate depiction of Swiss National Day by Swiss composer Julien-François Zbinden, who was still alive and emailing the performers in 2018 aged 101.

On his new CD Hope violinist Daniel Hope presents a personal collection of classics featuring music largely based on songs or sung melodies that he describes as “an attempt to send out a ray of hope and to provide people with a sense of support and perhaps even consolation” (DGG 28948605415 deutschegrammophon.com/en/artists/danielhope).

He is joined by an array of artists including the Zürcher Kammerorchester, the vocal ensemble Amarcord and baritone Thomas Hampson in a program that opens with Ariel Ramírez’s beautiful Misa Criolla and travels through pieces by Dowland, Schubert, Giazotto, El-Khoury, Pärt, Elgar and Stephen Foster to Danny Boy, Dream a Little Dream and Amazing Grace.

As always with Hope and friends, the standard of arrangements and performances is of the highest level.

Baroque, the new CD from violinist Nicola Benedetti marks her first Baroque recording with period set-up and gut strings. She is joined by the Benedetti Baroque Orchestra, a new ensemble of freelance Baroque musicians that she assembled and directs (Decca Classics B0034187-2 nicolabenedetti.co.uk).

Geminiani’s Concerto grosso in D Minor H143 “La Folia”, a transcription of Corelli’s Violin Sonata Op.5 No.12, opens an otherwise all-Vivaldi program of the Violin Concertos in D Major RV211, E-flat Major RV257, B Minor RV386 and the Andante middle movement from the Concerto in B-flat Major RV583.

The 1717 Gariel Stradivarius that Benedetti has played since 2012 sounds warm and bright, with top-notch performances from all concerned, contributing to a lovely CD.

With violinist Tianwa Yang you can always count on a mixture of dazzling technique, colour, tone and musical intelligence, and so it proves again on Prokofiev Violin Concertos Nos.1 and 2, her latest release on the Naxos Classics label with the ORF Vienna Radio Symphony Orchestra under Jun Märkl (8.574107 naxosdirect.com/search/8574107).

Performances of the Concertos No.1 in D Major Op.19 and No.2 in G Minor Op.63 are both particularly strong on the lyrical aspects of the works, with some beautifully expansive playing. The Sonata for Solo Violin in D Major Op.115 completes an excellent disc.

Violinist Renaud Capuçon recently became artistic director of the Orchestre de chambre de Lausanne, and Arvo Pärt Tabula Rasa is his first recording as soloist and conductor of the ensemble (Erato 9029502957 warnerclassics.com/release/tabula-rasa).

The seven works here are: the double concerto Tabula Rasa; the 1992 version of Fratres for violin, string orchestra and percussion; Summa and Silouan’s Song, both for string orchestra; Darf ich… (May I); Spiegel im Spiegel (with piano); and For Lennart in memoriam.

Capuçon says that the music takes us from darkness to light, but there’s very little change of mood across the CD. Still, the playing is first class, and if you love Pärt’s music you’ll love this disc.

Andreas Brantelid is the cellist on Times of Transition, a CD of three cello concertos from the second half of the 18th century, when Baroque polyphony and fugue were giving way to the early classical galant style of melody with accompaniment. Lars Ulrik Mortensen conducts the Concerto Copenhagen (Naxos Denmark 8.574365 naxosdirect.com/search/8574365).

C.P.E. Bach’s Concerto in A Major Wq.172 with its familiar finale dates from 1753. Haydn’s Concertos in C Major Hob.VIIb:1 from 1761-65 and the purely classical D Major Hob.VIIb:2 from 1783 are the only two indisputably by him, the finale of the C major work drawing particularly fine playing from Brantelid, who for this disc plays an Emil Hjort, Copenhagen cello from 1887 with gut strings.

He’s not a composer you readily associate with violin sonatas, but on Heitor Villa-Lobos Complete Violin Sonatas, the new CD from Naxos Classics in their Music of Brazil series violinist Emmanuele Baldini and pianist Pablo Rossi present three delightful pieces which should be much better known (8.574310 naxosdirect.com/search/8574310).

The works – the single-movement Sonata No.1 Fantasia “Désespérance” and the three-movement Sonatas No.2 Fantasia and No.3 – were written between 1912 and 1920, a key period in Villa-Lobos’ career in which he was maturing as a composer, establishing a personal style and achieving his first professional successes.

There’s influence of French late-Romanticism here (especially Debussy in No.3) and a wealth of melodic invention, with excellent performances making for a delightful disc.

Jurgis Karnavičius String Quartets Nos.3 & 4 is the final volume in the complete string quartets by the Lithuanian composer, in world-premiere recordings by the Vilnius String Quartet (Ondine ODE1387-2 naxosdirect.com/search/761195138724). 

These quartets are more expressive and modern in nature than Nos.1 & 2, warmly reviewed here in May/June of this year, and were composed in St. Petersburg in 1922 and 1925 before Karnavičius returned to Lithuania in 1927. After their premieres they were not heard again until 1969 and the 1980s respectively, with No.4 still unpublished. It’s hard to understand why – described as a stylistic link between the quartets of Tchaikovsky and Shostakovich and as a “chromatically saturated musical fabric” they’re outstanding works given wonderfully rich and empathetic performances by the Lithuanian ensemble.

The string quartets of Samuel Barber and Charles Ives are featured on Barber – Ives in excellent performances by the Escher String Quartet (BIS-2360 bis.se).

Barber’s String Quartet Op.11 features the original inception of his Adagio for Strings as its central movement, beautifully played here. The original third movement, discarded by Barber in favour of a shorter ending, is also included for reference.

Ives’ two quartets have various composition and revision dates from 1897 to 1915. His String Quartet No.1 “From the Salvation Army” (A Revival Service) is played with the reinstated first movement, discarded by Ives but re-attached – and not to everyone’s approval – by Ives scholar John Kirkpatrick after the composer’s death. His String Quartet No.2 is more dissonant and atonal, but makes similar use of American hymns and folk tunes. The spiky Scherzo: Holding Your Own from 1903-04 completes a terrific disc.

Joseph Haydn The Last Three String Quartets Op.77 & Op.103 is the new CD from the Czech Pražák Quartet (Praga PRD250420 pragadigitals.com).

In 1799 Haydn started a projected set of six quartets dedicated to Prince Lobkowitz but completed only two – Op.77 Nos.1 and 2. In 1802/03 he wrote two middle movements for an unfinished third quartet; these are now known as Op.103. The Op.77 quartets in particular, described here as “bold and full of wit” make a fitting farewell to a musical form that Haydn had almost single-handedly established and developed.

The performances are full-blooded but insightful and sensitive, putting one – if you are old enough – in mind of the great Czech quartet ensembles of the 1960s Supraphon LP recordings. 

Ciaconna is Russian violinist Ilya Gringolts’ first solo recording of music of his own time with a tribute to its inspiration – Johann Sebastian Bach (BIS-2525 bis.se). 

Heinz Holliger’s brief Drei kleine Szenen intertwines Gringolts’ voice in the Ciacconina first movement. Roberto Gerhard’s Chaconne, inspired by Bach’s D-Minor Chaconne is a 12-tone work of 12 short movements, but with highly individual use and adaptation of the basic tone row.

The major work here is Kontrapartita by the French composer Brice Pauset, its seven movements – Preludio, Allemande, Corrente, Sarabande, Loure, Giga and Ciaccona – interspersed with the seven Bach movements from the three Partitas that inspired them. 

The D-Minor Chaconne also turns up on Bartók, J. S. Bach, Schneeberger, a recital CD from the Russian violinist Dmitry Smirnov featuring Bartók’s Sonata for Solo Violin, Bach’s Partita No.2 in D Minor and the 1942 Sonata for Solo Violin by the Swiss violinist Hansheinz Schneeberger, who died two years ago at the age of 93 (First Hand Recordings FHR117 firsthandrecords.com). 

There are some interesting ornamentation choices in the Bach (especially in the Sarabande), but the Bartók and – in particular – the Schneeberger are given convincing performances.

Joseph Bologne, Chevalier de Saint-Georges – Symphonies Concertantes, Opp.9, 10 & Op.11, No.1
Pavla Honsová; Michael Halász; Yury Revich; Czech Chamber Philharmonic Orchestra Pardubice; Libor Ježek
Naxos 8574306 (naxosdirect.com/search/+8574306)

An émigré to France, he was a brilliant swordsman, an accomplished musician and reputedly handsome – how could the French music-loving public not embrace such a well-rounded individual? Joseph Boulogne Chevalier de Saint-Georges was born in Guadeloupe in 1739, the son of a wealthy French landowner and a Black servant. He was taken to Paris at the age of ten where he studied with Gossec and by age 30, he was leader of the musical organization Le Concert des Amateurs. Saint-Georges was also a fine composer, and among his prolific output are several symphonies concertantes – concertos for more than one instrument. Four of them, Opp.9 and 10 scored for two violins (plus a viola in the Op.10) and orchestra are presented on this splendid Naxos recording featuring the Czech Philharmonic Chamber Orchestra Pardubice conducted by Michael Halász.

In style, this music owes much to Haydn and typically, these works have only two movements – a spirited allegro followed by a gracious rondeau. All of them contain attractive thematic material and ample opportunity for the soloists to display their technical ability. The two violinists – Russian-born Yury Revich, playing on a 1709 Stradivarius, and Libor Ježek, deputy leader of the Czech Chamber Orchestra – are joined by violist Pavla Honsová and together they comprise a formidable trio, delivering polished and assured performances in solid partnership with the CPCO.

The Symphony Op.11/1 is the first in a pair of symphonies first published in Paris in 1779. Again, the spirit of Haydn is ever-present – this could almost be a precursor to the “Paris” symphonies, and the performance – like the music itself – is refined and elegant. 

A delightful recording of music deserving greater attention – Marie Antoinette would surely have approved!

Stimme aus der Ferne – A Voice from the Distance
Andrea Botticelli
Independent 01 (andrea-botticelli.com)

Canadian pianist Andrea Botticelli developed an interest in historical instruments early on, and since then, has been the recipient of numerous awards and grants for her work and research into early performance practices. In this recording, titled A Voice from the Distance, she again opens the door to the past, presenting works by Schubert, Czerny and Schumann on a replica of an 1830s Viennese pianoforte.

The disc opens with Schubert’s Sonata in A Major D664, music composed during the summer of 1819 when he was all of 22.This genial score is clearly that of a youthful composer and Botticelli displays particular warmth of tone and a fluid sense of rhythm and pacing. The music of Czerny is not often encountered today, but during his lifetime, he was renowned as a composer and pedagogue. His Variations on a Theme by Rode Op.33 is a fine example of his creative ability, the five variations a true study in contrasts and certainly not without considerable technical challenges. Schumann’s charming suite, Papillons Op.2 from 1831, is intended as a musical depiction of a masked ball. Once again, Botticelli demonstrates a real affinity for the music and throughout the listener is struck with the robust and full sound she achieves on the instrument. Added bonuses are Clara Schumann’s Notturno from her Soirées musicales Op.6 and the eighth movement from Schumann’s Novelletten Op.21 which bring the CD to a fitting conclusion.

This disc is a delight. Not only does Botticelli deliver a compelling performance – breathing new life into traditional repertoire – but she proves without a doubt that Romantic-period repertoire is as satisfying to the ear when played on an early pianoforte as it is on a modern concert grand.

Listen to 'Stimme aus der Ferne: A Voice from the Distance' Now in the Listening Room

Chopin – Complete Nocturnes
Jan Lisiecki
Deutsche Grammophon 4860761 (deutschegrammophon.com/en/catalogue/products/chopin-complete-nocturnes-lisiecki-12377)

Recently I watched an orchestral concert from Zurich recorded some years ago. The soloist was Jan Lisiecki. He played an encore, Chopin’s Nocturne Op.48 No.1 in C Minor. The piece begins with a deceivingly simple pianissimo melody, but soon another melody in a major key insinuates itself in the bass line, barely noticeable at first, but keeps mounting with tremendous chords. The pace quickens with a formidable crescendo masterfully controlled and developed into fortissimo. At that point the piano roars and seems to explode and Lisiecki becomes a lion, a total master of the instrument. When it was over, the audience, the orchestra and the conductor were spellbound, the applause deafening and for me Lisiecki then became one of my piano heroes.

Lisiecki was a teenager at that time, a lanky boy from Calgary, very tall with bushy hair. Now he is literally conquering Europe. Deutsche Grammophon picked him out very quickly at age 15 and this is his eighth recording for the Gesellschaft, having already recorded the Concertos and the Etudes of Chopin. Now he turns to the Nocturnes, the composer’s most intimate and some of the most beautiful and best-loved pieces ever written for solo piano. Perhaps his Polish origins give Lisiecki a natural affinity to Chopin; with his youthful energy, impeccable technique, exquisite touch and profound insight he certainly does justice to these masterworks.

Some highlights are of course the famous and popular Op.9 No.2 in E-flat Major, the Op.15 No.2 in F-sharp Major with its haunting, chromatic melody and agitated mid-section, the tremendous Op.27 No.2, in D-flat Major with a grand melody and passionate outbursts, and the wistful, yearning Op.37 No.2 in G Major with its barcarolle-like mid-section and more. Happy listening!

Brahms – Piano Concerto No.1; 16 Waltzes
Emmanuel Despax; Miho Kawashima; BBC Symphony Orchestra; Andrew Litton
Signum Classics SIGCD666 (signumrecords.com)

Brahms’s Piano Concerto No.1 is a renowned masterpiece, frequently performed by orchestras and soloists since its premiere in 1859. Expansive and majestic, this work combines classical-period form with distinctly Romantic harmonies and progressions to create a captivating and large-scale concerto that ranks among the finest works of its time.

This recording, featuring the BBC Symphony Orchestra and pianist Emmanuel Despax, acknowledges the weightiness of Brahms’ writing, choosing an approach to tempo and style that accentuates the depth and density of the concerto’s progressions and development. For example, the first movement, marked Maestoso, is performed in 24’28”, a minute or two slower than many modern recordings (but faster than Glenn Gould’s infamous 25’37” performance of the same with Leonard Bernstein), while the following two movements fit within the slower averages. 

Rather than coming across as drab and dull, however, the melodiousness that is revealed by this slightly lugubrious opening tempo is captivating and made utterly logical by the clarity revealed in the fleeting piano part towards the middle of this first movement – every keystroke is audible, resulting in gestures made up of distinct yet rapid notes rather than a murky approximation of the notated score. Expression is paramount in late-Romantic music, and Despax’s pacing allows for great clarity and sincerity in his interpretation.

Despax is joined by pianist Miho Kawashima for the 16 Waltzes, presented here in their original version for piano four hands. These are short works, the longest lasting only 2’01”, yet their beauty is remarkable. An essay in compositional dexterity, the diversity present in these 16 pieces, all based on the same form, is a delight for the listener; it is difficult to take in only one of these charming, bite-size pieces at a time.

Covering both the orchestral immensity of the Piano Concerto No.1 and the levity of the 16 Waltzes, this disc is highly recommended to anyone who appreciates Brahms’ music and the pluralities present therein: joyful solemnity and tragic sweetness.