Early, Classical and Beyond

Berlioz: Symphonie Fantastique op.14;
Le Carnaval Romain
Anima Eterna Brugge; Jos van Immerseel
ZIG-ZAG CD ZZT100101

• I am always leery about ‘period instrument groups’ tackling post 1800 repertoire. Although I am not about to change my prejudice, right from the first bars this recording impressed me as something very special. The uniqueness of this performance is not so just because of the period instruments; conductor van Immerseel brings a fresh approach in colour, tempo, balance, articulation, phrasing and dynamics.

For rabid fans of this symphony (myself included) the experience of first hearing this performance is startling. The presentation is so transparent that details of the scoring, invariably obscured in modern performances, are revealed, particularly from the winds, affirming that Berlioz was a peerless innovative genius.

And what about the ‘period instrument’ component? The Anima Eterna Orchestra, particularly the winds, are superb, playing with joie de vivre, gorgeous sound and beautiful tone colours. As a group they create an irresistible, luminous texture throughout the work. Listeners will be surprised to hear, not the usual bell sounds in the Witches Sabbath but the sustained piano chords as specified in the Berlioz manuscript. The piano strings blend with the orchestra to solemn effect adding a new sense of gravitas with a sobering subterranean effect, quite different from the mood of the tolling bells.

Without any doubt, Van Immerseel and his group daringly demonstrate the originality and genius of the composer. The recording, captured in faultless sound, was made in the sonically impressive Concertgebouw in Bruges to which this group is very well attuned. For me, this has been an unexpected and rewarding discovery.

Biber – Mensa Sonora; Battalia
Baroque Band; Garry Clarke
Cedille CDR 90000 116

Pity the poor composer who needs must provide music meant to be ignored! Such is the case for Biber’s collection of genteel pieces for dining, the six suites for strings entitled Mensa Sonora (Sonorous Table) served up in 1680 for the gustatory delectation of his then employer, the Archbishop of Salzburg. Not initially expecting anything special, I was pleasantly surprised at the cunning of Biber’s art. He manages by dint of the off-kilter asymmetries of his melodic craft to project a sub-text of sophistication completely over the head of his patron. Biber marvellously subverts the conventions of the genre, concluding the whole enterprise with a disjointed denouement worthy of Haydn. He proves himself a visionary as well with the celebrated, outlandish Battalia in 10 parts of 1673 in which one finds innovations not to be exploited again until centuries later: the snap-pizzicato of Bartok; playing with the wood of the bow à la Berlioz; and, in the loopy inebriation of a scene depicting drunken soldiers, the polytonality and collage technique of Charles Ives. As director and concertmaster Gerry Clarke mentions in his liner notes, Biber (1644-1704), the Bohemian-Austrian violin virtuoso and composer, was regarded by Paul Hindemith to be “the most important Baroque composer before Bach”, yet it is only in recent decades that his music has seen a significant revival. The Chicago-based Baroque Band, formed in 2007, plays this music to perfection with a highly effective blend of subtlety and precision. Truly delicious!

Viola D’Amore
Hélène Plouffe
Analekta AN 2 9959

The viola d’amore was demanding. It has the complication of resonating strings, is crafted as if it were a viol but is played like a violin, and is the size of the already-existing viola. And yet it survived throughout the Baroque and has even inspired modern composers.

Hélène Plouffe’s selection shows how sensuous this instrument is, notably in von Biber’s Partia VII, with its soothing praeludium, allamande and aria. The skill it requires is demonstrated in the concluding arietta variata.

If the viola d’amore is rare in North America, try finding a bass chalumeau - the link between recorder and clarinet. Hélène Plouffe did so and Graupner’s Trio in F major is the result, the allegro and vivace above all expressing both instruments’ qualities.

Bach’s St. John Passion allows us to see the viola d’amore supporting the human voice but those wishing to hear the instrument at its plainest will enjoy Ah que l’amour, an extract from Milandre’s Méthode facile pour la viole d’amour. This exercise proves that the instrument does indeed have an individual sound.

And so to Petzold’s Partita in F major, a collection of early baroque dances. As with the Milandre piece, the music for solo viola d’amore played here best shows off what the instrument can bring to its audience, particularly with Hélène Plouffe’s interpretations.

Although resident in Quebec since 1993, Paris-born Patrice Lare studied in Moscow for 8 years, and is steeped in the Russian piano school tradition. His playing provides a massive foundation for the Complete Rachmaninov Piano Trios (XXI-CD 2 1700) with his wife, cellist Velitchka Yotcheva (also Moscow-trained), and Canadian violinist Jean-Sebastien Roy. Rachmaninov’s Trios Elegiaques are both early works in his Romantic, post-Tchaikovsky mold. No.1 is a single-movement trio in G minor from 1892, and No.2 a three-movement work in D minor, written after the death of Tchaikovsky in late 1893 and dedicated “To the Memory of a Great Artist”. This is big but always sensitive playing, perfectly attuned to the style and nature of the music. Recorded at the Radio-Canada studios in Montreal, the sound quality matches the tremendous performances.

I’ve sometimes wondered if the technical heights reached by Lang Lang are always matched by the depths of his interpretations, but he certainly does his artistic reputation no harm with his first chamber music CD, Tchaikovsky and Rachmaninov Piano Trios with Vadim Repin and Mischa Maisky. Presumably this is his final major release from Deutsche Grammophon (477 8099), following his $3 million signing with Sony; if so, it’s a fascinating farewell, suggesting chamber music as a new field with huge potential for him. The Rachmaninov trio is the G minor, and both here and in the Tchaikovsky A minor trio Lang Lang really seems to avoid “showy” playing, getting to the heart of the music and clearly sharing the interpretative view of his Russian colleagues. Again, the standard of the recording matches that of the two outstanding performances.

At first sight, there doesn’t seem to be any connection between the works on the latest CD from faculty members at McGill University’s Schulich School of Music (XXI-CD 2 1699), but they are in fact closely related. Jonathan Crow (violin), John Zirbel (horn) and Sara Laimon (piano) open with a beautifully warm reading of the Brahms E flat Horn Trio. This was the first work written for this instrumental combination, and was inspired by the death of the composer’s mother. Brahms chose to use not the newly-developed valve horn but the natural waldhorn, with its sentimental ties to his family and his youth in Hamburg. It was, in turn, a request from a Hamburg pianist for a horn trio to be played along with the Brahms that led György Ligeti to write his own Horn Trio in 1982; moreover, Ligeti had also lost his own mother earlier that year. Sub-titled “Hommage à Brahms”, it is a demanding, complex and multi-layered work in the same four-movement form. Again, the performance is exemplary. Brahms’ mentor Schumann wrote his Adagio & Allegro for horn and piano in 3 days in February 1849; the first substantial solo work to fully explore the potential of the new valve horn, it is still a demanding piece, and Zirbel and Laimon are terrific. Recorded at the acoustically-excellent Schulich School, the sound quality is outstanding.

Stravinsky - Pulcinella; Symphony in Three Movements

Chicago Symphony Orchestra; Pierre Boulez

CSO RESOUND CSOR 901 920

At the ripe old age of 85 Pierre Boulez remains as fit as a fiddle and twice as stringy. This recording from the Chicago Symphony’s own Resound label captures a concert from February 2009 featuring Boulez, currently celebrating his 15th season as CSO principal guest conductor, in fine form in familiar works by Stravinsky with an exceptionally attentive and virtuosic Chicago Symphony. The largest work here is the complete ballet score of Pulcinella, Stravinsky’s strategic retreat into neo-classicism from 1920. The work for small orchestra includes vocal contributions from a trio of fresh-faced singers, mezzo Roxana Constaninescu, tenor Nicholas Phan, and bass-baritone Kyle Ketelsen, with Phan making the lasting impression. I am happy to see that the texts and multiple translations have been provided.

Though this is certainly not Boulez’s preferred period of Stravinsky’s oeuvre, he provides a genial performance nonetheless, though rather insouciant compared to the composer’s own account of it. It is bested by a magnificent performance of the Symphony in Three Movements of 1945, which revives the old spark of Stravinsky’s early rhythmic drive, and the enigmatic Four Études from 1914. The notably desiccated acoustic of Chicago’s Symphony Hall complements both the laser-like precision for which Boulez is celebrated and the dry champagne that is Stravinsky’s music.