Early, Classical and Beyond

Mozart - Piano Concertos 17 & 27
Angela Hewitt; Orchestra da Camera di Mantova; Hannu Lintu
Hyperion CDA67919

There is a cute little story attached to Mozart’s G major concerto. Apparently he acquired a little bird, a starling who quickly picked up the rondo theme of the third movement and sang it day in and day out, adding some of its own bits to it which pleased Mozart, a bird lover, immensely. No doubt, this helped him composing.

Canada’s own stellar pianist, Angela Hewitt chose this and the last, the B flat major concerto to follow-up on her previous Mozart concerto issue on the distinguished Hyperion label and what a fine recording this is. In coupling the G major, which comes from a very happy and successful period of the composer’s life with the B flat major, his last statement in this form, Hewitt traverses  a cross section of emotions, from joyful happiness to sad resignation and premonition of death.

My own experience with Hewitt’s exceptional pianism began with Bach and later with immense enjoyment of her beautiful set of Chopin Nocturnes (that were probably easier to interpret), so she came to Mozart relatively late. It was worth the wait. She approaches Mozart like a scholar with exceptional intelligence and a thoroughly sympathetic heart. Her playing has graceful elegance, impeccable technical prowess; the emotional content is deeply felt and compositional structure is fully understood. The orchestra and the conductor Hannu Lintu are wonderfully compatible and in perfect balance with the angelic tones of the Hewitt’s celebrated Fazioli piano. The recording is superlative.

Chopin - Etudes
Jan Lisiecki
Deutsche Grammophon 4791039

Young male pianists all too often try their audiences with a few years of brash playing where speed and volume overshadow their muse. Although impressed with divine keyboard technique, one nevertheless waits patiently for music to emerge – which it eventually and thankfully does.
More rarely, however, comes a young man for whom impeccable technique is merely a tool in the search for music’s kernel of meaning. This is Jan Lisiecki.

Since his early public appearances 5 years ago (in his mid-teens) this young Polish-Canadian has somehow managed to avoid this testosterone trap. He is capable of the most ethereal pianissimos, a blazing and accurate technique and breathtaking power at the keyboard.

The two dozen Etudes of Chopin’s Op.10 and 25 seem the perfect repertoire for Lisiecki at this point in his career. His playing shifts convincingly from transparent lightness to earnest melancholy. His tempi and dynamics feel more understood than learned. His own comments in the CD notes reveal a young mind with a remarkably mature interpretive grasp of Chopin’s music. He thinks with his heart.

As impressive as his playing is his recording technique in which each of the Etudes was recorded as a complete “take.” Technology today offers performers digital perfection with undetectable manipulations of speed and other values, but Lisiecki wanted his audience to have the real thing, start to finish. He allowed no edits. This speaks to a commendable honesty in performance. We should anticipate many years of truly extraordinary recordings from this young man. But we might also hope that his gift finds expression in teaching… we need such mentors.

L'Opera Concertante (Opera transcriptions by Ernest Alder)
Trio Hochelaga
ATMA ACD2 2652

Transcribing arias from the popular operas of the time was one of the favourite practices of 19th century composers. Those transcriptions ranged from faithful reductions to variations, fantasies and potpourris, and were usually done for one or two pianos, trios and quartets. The public enjoyed the more intimate, chamber setting of these transcriptions and took pleasure in the idea of bringing the opera into their salons.

Richard Ernest Alder (1853-1904) was a Swiss composer who studied at the Paris Conservatory and spent most of his life in France. He wrote a number of pieces for piano, as well as choral and orchestral works. He is being rediscovered today as a transcriber and arranger.

This CD features seven of Alder’s trio transcriptions of the beloved operas by Camille Saint-Saëns (Samson et Dalila), Ambroise Thomas (Mignon), Daniel-François-Esprit Auber (La Muette de Portici), Giacomo Meyerbeer (La Pardon de Ploërmel and Les Huguenots) and Jules Massenet (Le Cid and Werther). The transcriptions are skilfully done and adopt the same formula consisting of a brief introduction, followed by alternating sequences of fast and slow segments ending in a dramatic climax. Even though the composers are different, the music feels like one cohesive piece. Alder brings out both the sweetness and the drama in these transcriptions, combining virtuosic practices of 19th century-writing with more serene and sonorous parts, while using the craftsmanship firmly rooted in the German Romantic tradition.

Trio Hochelaga (Anne Robert, violin; Paul Marleyn, cello; Stéphane Lemelin, piano) is a distinguished Canadian ensemble whose repertoire places an emphasis on lesser known works of French music. Their interpretation of Alder’s transcriptions is playful, sensitive and polished. The ensemble’s use of colours and textures truly captures the romantic essence of these operas.
It is not necessary for the listener to know the operas that inspired Alder – one can just enjoy the wonderful chamber music on this CD and, like the 19th century audience, be entertained by it.

My Lucky Life  
Christopher Lee; Jacqueline Goring; Alexa Wilks        
Manor House Records MH2125 (christopherlee.ca)

In recordings of flute music, more often than not the focus is on the technical skills of the performer. Toronto flutist Christopher Lee has no need to concentrate on such a display; it is evident in all of his work. This CD shines a different light. With a few exceptions, for this recording Lee has selected well-known arias from operas. I was immediately attracted to this CD because it contains a flute and harp rendition of my all-time favourite operatic aria: Mon couer s’ouvre a ta voix from Saint-Saëns’ opera Samson et Dalila. In the opera Dalila seduces Samson so that he may be captured. All of the emotion of this work is brought to us though the warm and full-bodied tone of the artist’s flute enhanced by the beautiful counterpoint of the harp (Jacqueline Goring). Throughout the many rubato passages these two are in perfect synchronism as if they were reading each other’s emotions. While the violin (Alexa Wilks) plays a lesser role on this CD, it fulfills a significant role in the fabric of the arrangements.
           
Much of the recording contains similar renditions of familiar arias from the operas of Verdi, Puccini and Weber. The balance contains incidental music for plays by Grieg and Nielsen as well as the familiar serenade Ständchen from Schubert’s song cycle Schwanengesang. The disc leads off with Godard’s Berceuse from his opera Jocelyn. This is one of those enduring melodies which has stood the test of time long after the opera and composer have been forgotten.
           
With the exception of the work by Nielsen all of the arrangements were crafted by Lee. The program notes on the music and the performers are concise and informative.

Concert Note: Christopher Lee is one of a myriad performers featured at the Canadian Flute Convention being held in Oakville June 30 to July 1 (canadaflute.com/convention).

D'Indy - Symphonie sur un Chant montagnard français; Saugefleurie; Medée
Louis Lortie; Iceland Symphony Orchestra; Rumon Gamba
Chandos CHAN 10760

At the time of writing, spring has finally arrived, so a disc which includes Vincent d’Indy’s Symphony on a French Mountain Air seems particularly appropriate in celebration of the season. The disc in question is the fifth volume in a series on the Chandos label presenting music by the Parisian-born composer performed by the Iceland Symphony under the direction of Rumon Gamba.

Born in 1851, d’Indy was a controversial figure during his lifetime, his strong right-wing political views frequently going against the mainstream. Nevertheless, he was regarded as a composer of considerable stature, and his eclectic and romantic style exerted considerable influence on later composers, such as Eric Satie and Albert Roussel.

In addition to the Symphonie with renowned pianist Louis Lortie as the soloist, the disc also features Saugefleurie, Medée, and the Prelude to Act One of his opera Fervaal. The Symphonie is surely one of d’Indy’s most famous compositions, and is treated here with the joyous spirit it deserves. Based on a folk song from Tourtous, the work is a large and lush canvas with Lortie forming a perfect musical partnership with the orchestra. Saugefleurie had its origins in a poem by Robert de Bonnières and here the prominent use of horns and chromatic harmonies shows the clear influence of Wagner. (Unlike many of his French contemporaries, d’Indy was a staunch Wagnerite). Also with a literary connotation is the orchestral suite Medée, written for a tragedy by Catulle Mendès. The Iceland Symphony performs with a sensitive assurance, ably capturing the orchestral colours and contrasting moods in this story of doomed love, thus rounding out a most satisfying recording.

This is a fine addition in the series devoted to the “Samson of Music,” one which is helping bring to light certain works that up to now have unjustly languished in obscurity. D’Indy would be gratified!