02_lang_lang_lisztLizst - My Piano Hero

Lang Lang; Vienna Philharmonic; Valery Gergiev

Sony 88697891412

For the Liszt bi-centennial most of the major record companies have issued new releases and re-releases of his work. One of these is “Liszt - My Piano Hero” by Sony Classical featuring Lang Lang. The celebrated young Chinese pianist, a former child prodigy, is now 29 years old. Over the last 10 years he has developed enormously from a dazzling showman somebody referred to as “the J.Lo of the piano,” to a maturing artist whose playing never ceases to touch your heart. Lang Lang’s main attributes, I think, are his communication skills and exuberant love of playing the piano. Recently I saw him with 100 kids playing Schubert’s March Militaire at the Philharmonie Berlin under his inspiring direction to a result of overwhelming success.

This selection contains some of Liszt’s most popular pieces like La Campanella, Hungarian Rhapsodies Nos. 6 and 15, Grand Galop chromatique and many others of similar vein, plus the Piano Concerto in E flat major with Valery Gergiev conducting the Vienna Philharmonic. A good cross section of Liszt’s works from the dazzling virtuoso pieces to the more introspective romantic, dreamy compositions (Liebestraum No. 3, Consolation No. 3, Un Sospiro) which are played with exquisite touch and delicacy. There is idiomatic playing in the Rhapsody No. 6 especially in the slow mid section (Lassu) where he captures the Hungarian spirit with the characteristic rubatos and accelerandos. La Campanella sounds like a little bell the piece was named after.

This fine recording will convert many sceptics to accept Liszt to be Chopin’s equal as a keyboard giant.

Concert note: Valery Gergiev conducts the Mariinsky Orchestra at Roy Thomson Hall on October 21. Lang Lang performs all five Beethoven Concertos (one per night) with the Toronto Symphony Orchestra November 9, 10, 12, 17 & 19.

franz_liszt_articleTwo hundred years ago, on Oct 22, 1811 in the Hungarian village of Doborjan, later renamed Raiding in today’s Burgenland (Austria), one of the most influential figures in the history of Western music, Franz Liszt, was born. Although from Hungarian ancestry he never learned to speak the language as he spent most of his life in France, Germany and Italy. His father was a talented musician who worked for the Eszterhazy family and was well acquainted with Haydn. The little Liszt at age of seven already knew how to write music and played Bach fugues and transposed them while “his parents ate their dessert.” At the age of nine he gave his first concert and at the age of 10 he studied under Czerny and Salieri. His fame grew quickly and as a child prodigy his father took him on European tours.

In the French capital he met Chopin and many other prominent figures of the music world. He quickly developed into a phenomenal pianist and was idolized throughout the salons. As a glamorous society beau he fell in love and ran away with a married woman, the beautiful Countess Marie d’Agoult, and had three children with her. (One of them, Cosima later married Richard Wagner.) But the love affair didn’t last. Later he met Princess Carolyne von Sayn-Wittgenstein, a divorcee whom he wanted to marry but the ceremony was cancelled in the last minute by order of Pope, Pius IX. Instead he lived with her in Weimar where as Kapellmeister for the Saxon princes he reshaped musical life and attracted all the upcoming composers to his “court.”

He became a “conqueror of Europe” and his fame and fortune knew no bounds. He was also a most generous man: he returned regularly to Pest-Buda (now Budapest) and gave many concerts for charity. He was also instrumental in the creation of Wagner’s Bayreuth Festspielhaus with a large contribution of funds.

This age bred many Romantic heroes like Lord Byron, Robbie Burns, Benvenuto Cellini, Niccolo Paganini, and Hector Berlioz whose colourful lives imitated their art. Liszt was one of these but he did not die young like the others and lived to a relatively healthy 75.

Being a pianiste extraordinaire he composed mainly for the piano. His output was prolific and many pieces such as the Hungarian Rhapsodies, the Paganini Etudes, Années de pèlerinage and the b-minor Sonata have become immortal masterpieces, staples of the repertoire and difficult hurdles for any aspiring pianist. He revolutionized the piano concerto by compressing the traditional three movement structure into a single, free flowing, long movement, but still maintaining, in the form of episodes, the usual introduction, allegro, andante, scherzo and presto finale sequences.

Later in life he concentrated on orchestral writing and invented a new form, the symphonic poem. He wrote 12 of these of which Les Preludes became the most often played but according to critics, some of the others like Héroïade Funèbre, Orpheus, Mazeppa and Hamlet are superior. Following the footsteps of Berlioz’ Symphonie fantastique Liszt further developed the romantic symphony with his Faust and Dante symphonies, which rival Berlioz.

Disappointed in being unable to marry his Princess, Liszt took on monastic orders and retired in a monastery near Rome. He became an Abbé and lived in a cell with minimal furnishings and an old out of tune piano with the middle D missing. Monastic life, however did not suit him. He continued to travel, visiting the Princess who lived in Rome. His journeys were mainly to Bayreuth, Budapest and of course, Rome. In his seventies his health began to fail and after catching a bad cold on one of his train journeys he died in Bayreuth in the midst of his daughter’s family in 1886 at the age of 75. Ironically, his much younger son-in-law Richard Wagner had died three years earlier in 1883.

All life must come to an end, but Liszt certainly made the most of it. A dashing romantic hero idolized by women everywhere he went, he was a magician of the piano who took pianism to a level never before imagined. As a composer he revolutionized and extended, along with Berlioz, the symphony orchestra with instrumentation and orchestral effects never heard before. His influence as a composer on his contemporaries and the next generation cannot be overestimated. Franz Liszt enriched the history of music and it is unlikely there will be another like him ever again.

04_petric_victorianA Victorian Romance - Music for the English Concertina

Joseph Petric; Boyd McDonald

Astrila AST2322652-2 (www.midtownmedia.ca/joseph)

The concertina is a distant relative of both the accordion and the bandoneon. All three were “invented” in the 19th century. Thanks to the phenomenal success of Astor Piazzolla, his tango Nuevo bandoneon compositions and performing style is popular with accordionists around the world. Now internationally renowned Joseph Petric tackles the intricacies of English concertina music from the British Victorian era on the accordion, with help from pianist Boyd McDonald.

Two multi movement works by Bernhard Molique are featured as well as George MacFarren`s melodramatic Romance. These are not deep or challenging works but are all pretty compositions that were very much the style during the 1800s. Accordion and piano as a duet often results in a tuning and intonation nightmare, but the superb fortepiano accompaniment of Boyd McDonald tosses any such fears immediately out the window. His performance provides a solid and steady support to Petric’s musical viewpoints and exceptional phrasing and bellows control.

The sound quality superbly replicates the salon atmosphere. Petric has written comprehensive liner notes that provide historical explanations. Readers interested in more information should check out the book Victorian Music for the English Concertina available at the Toronto Public Library.

I enjoy how Joseph Petric plays. However, I am a bit disappointed in his performance on “A Victorian Romance.” Stylistically I would have liked to hear more dynamic differentiation and “attachment” to the musical flow, but that’s just a personal thing. This is still an excellent release with fine performances.

 


05_brahms_brassBrahms on Brass

Canadian Brass

Opening Day Records ODR 7415 (www.openingday.com)

Though raised on Brahms’s keyboard music, I was surprised by these wonderful adaptations and performances of the Sixteen Waltzes, Op. 39, Ballade, Op. 10, No. 1, and Eleven Chorale Preludes, Op. 122. Brahms was a multifaceted composer indeed. Canadian Brass trumpeters and adapters Brandon Ridenour and Chris Coletti note on their website how easily the piano waltzes became brass music. Both bumptious waltzes and tender ones like the famous Waltz no. 15 in A Flat come off well in these spotless renderings, recorded in the clear, resonant acoustics of Christ Church Deer Park. Considering the German brass bands of his time, the settings also seem historically appropriate. The Ballade evokes a sterner tradition of medieval knights and battles in Ridenour’s adaptation for brass octet. Augmented musical forces enable a wide dynamic range, building through fate-haunted clashes to a tremendous climax.

The disc’s greatest works are Brahms’ last, the beloved 11 organ chorale preludes (adapted by Ralph Sauer) reaching back to the sacred music of Bach and further (in which brass instruments were also prominent). Along with the two trumpeters, the Canadian Brass’s personnel include Eric Reed, horn, Keith Dyrda, trombone, and original member Chuck Daellenbach, tuba. All contribute equally in such gems as O God, thou righteous God and O World, I must now leave thee, in performances that promise many fruitful hours of listening and contemplation.


07_mahler1-10Wagner – Prelude; Elgar - Cello Concerto; Brahms - Symphony 1

Alisa Weilerstein; Berlin Philharmonic Orchestra; Daniel Barenboim

EuroArts DVD 2058068 or 2058064 Blu-ray

I ordered this disc to hear a new performance of the Elgar. The Brahms enjoys a satisfying, substantial performance but does not quite displace the top few favourites. Recorded live in the Sheldonian Theatre, Oxford in 2010 it is the performance of the Elgar that sets new standards in every respect.

The premier of the profoundly beautiful Elgar Cello Concerto in 1919 was a fiasco. Elgar had not been given enough time to adequately or even inadequately rehearse the London Symphony Orchestra. Cellist Felix Salmond knew his part but the orchestra was unprepared. The critics were merciless and Elgar wanted to withdraw the work but Salmond’s devotion to the score persuaded him otherwise.

The first recording was of a truncated version with cellist Beatrice Harrison conducted by Elgar in 1920. She recorded the complete score with Elgar and the LSO in 1928. The sensitive and fragile nature of the music seems to particularly suit female performers. This is best demonstrated by the young Jacqueline du Pré, who recorded it in 1965 with cellist-turned-conductor, Sir John Barbirolli and the LSO for EMI. She tuned the world into Elgar’s most introspective statement. As an aside, Barbirolli was in the cello section of the LSO in the disastrous 1919 premier.

Who could have imagined that du Pré’s mantle would have passed to Alisa Weilerstein. Weilerstein was born in 1982 and has played cello since she was four. Her father founded the Cleveland Quartet and was concert-master of the Cleveland Orchestra. Her mother is a professional pianist and well known in musical circles. In the performance captured on this video, she plays the concerto with such assurance that it sounds like she owns it. Her musicality, sensitivity and competency as a performer are complemented by a strong, electrifying stage presence. She is at one with her instrument. A paragon. Her rapport with Barenboim and the Berliners is splendid and the performance is nothing short of spectacular, certainly worth many listenings. Unquestionably, a must have. Do it now.

Editor's note: Alisa Weilerstein receives MacArthur Fellowship - Alisa Weilerstein will receive $500,000 in no-strings-attached support over the next five years after being named as a MacArthur Fellow. The 29-year-old cellist was awarded the so-called “genius” grant by the John D. and Catherine T. MacArthur Foundation.

07_mahler1-10Mahler - Symphonies 1-10

Tonhalle Orchestra Zurich; David Zinman

RCA Red Seal 88697 72723 2

Until recently Switzerland’s Tonhalle Orchestra Zurich had little international prominence and, by comparison with Ernest Ansermet’s renowned Suisse Romande orchestra, a sadly meagre discography. That all changed with the arrival in 1995 of American conductor David Zinman. He brought an injection of fresh blood to this venerable ensemble and soon hit a home run with of a swiftly-paced, revisionist box set of Beethoven symphonies which sold over a million copies. The rejuvenating effect of his stewardship is confirmed by the genuine optimism and esprit-de-corps expressed in interviews with the members of the orchestra in an accompanying documentary covering the recording of the Sixth Symphony and the story behind its composition. (Incidentally, this DVD includes a visit to the control room where the producers claim with a straight face that they aren’t adjusting the balance through the mixing board. Not when the cameras are running, anyway.)

Few boxed sets of Mahler symphonies have ever proven themselves outstanding in all respects, though the Bernstein and Kubelik collections from the 1960s remain worthy contenders despite their age. Though Zinman’s excursion to the nine planets of Mahler’s known universe contains more hits than misses, there are a few disappointments along the way. The bulk of the ebullient First Symphony (Zinman includes the excised Blumine movement as an appendix) falls flat, the genial Fourth fails to smile, and the infinite longing of the first movement of the Ninth Symphony fails to register emotionally due to clumsy or non-existent tempo adjustments and less than subtle dynamic gradations.

The more objective middle symphonies fare best, with an excellent Third and Fifth and highly effective Sixth and Seventh symphonies, the latter two distinguished by the sweetest, most contented cowbells I’ve ever heard. The choral symphonies, Two and Eight, feature world-class vocal soloists including Juliane Banse, Anna Larsson, Birgit Remmert and Anthony Dean Griffey backed by the magisterial WDR Rundfunkchor Köln.

The set concludes with the incomplete Tenth Symphony in the rarely-heard Clinton Carpenter version, an interventionist realization that attempts to flesh out the harmonies of Mahler’s extant sketches and incorporates quotations from his previous symphonies. I’m not entirely convinced by the results but it’s fascinating to hear this alternate to the prim and proper Deryck Cooke version. My reservations aside, the mid-range price, ample documentation and exemplary sonics (including an offbeat 4.1 (sic) SACD layer for ye boys what have such toys) make this an attractive proposition and a leading contender among the avalanche of recent releases in the ongoing Mahler celebrations.


The Honens International Piano Competition, based in Calgary, commenced in the early 1990s and occurs every three years. Its next edition will take place in 2012, with a prize advertised as the largest anywhere: $100,000 cash, plus three years of management and concerts, for the first-place winner.

Another angle to the Honens Competition is the occasional issuing of CDs of past winners. Four releases have just appeared, each recorded in 2010 at the Banff Centre. They are an homage to the recently deceased Andrew Raeburn, who directed the Honens for a decade, and earlier in his career ran classical record labels in England and the US. Raeburn is listed as producer on one of these discs, the Bach release by Minsoo Sohn, a follow up to Sohn’s Liszt recording as First Laureate of the 2006 competition. The other three, featuring the 2009 laureates, were produced by Banff recording engineer Theresa Leonard.

The piano sound captured is uniformly fine, closely miked yet resonant. Music choices are diverse, and avoid much of the customary core piano repertoire - no Beethoven, Schumann, Chopin, Liszt, Scriabin, or Rachmaninoff.

08b_honens_starodubtsevRussian Evgeny Starodubtsev presents the most interesting recital, clustered around the 1920s: Karol Szymanowski’s three bracing Masques, Paul Hindemith’s jazzy Suite (1922), Schoenberg’s Five Pieces, Op. 23 and Stravinsky’s Sonata (1924). His playing is objectivist in spirit, which may suit a neoclassical milieu.

08c_honens_tchaidzeRussian Georgy Tchaidze offers a lovely Schubert program with warmth and care. He plays the songful A Major Sonata, Op. 120, the Wanderer Fantasy, and four short character pieces like he loves them.

08d_honens_vonsattelAmerican Gilles Vonsattel delivers a compelling, mostly French recital: Ravel’s Sonatine and Gaspard de la Nuit, five selections from Debussy’s Images, and short pieces by Arthur Honegger and Heinz Holliger (b. 1939). His playing is notably colorful and expressive.

08a_honens_sohnKorean-American Minsoo Sohn’s rendering of the lofty Goldberg Variations is gentle and pianistic, with fleet tempos, lyrical counterpoint, and occasional zest. Sohn observes the repeat signs in each variation, yet almost decoration-free: his Bach journey stretches to a sobering 75 minutes, when it could have been more pleasant at under 40.

While not issued as a set, all four black-and-white CD jackets and booklets look exactly alike: sternly modern in design, with frustratingly small type. Eric Friesen, the CBC classical radio broadcaster, has supplied brief conversational liner notes, taken from his interviews with the performers. For more information visit www.honens.com.

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