Early, Classical and Beyond

Amadeus et l’Imperatrice - Montgeroult | Mozart
Elisabeth Pion; Arion Orchestre Baroque; Mathieu Lussier
ATMA ACD2 2885 (atmaclassique.com/enproduct/amadeus-et-limperatrice)

One of the great anecdotes involving the premiere of Felix Mendelssohn’s iconic String Octet in E-flat Major, Op.20 tells us that an audacious listener, not recognising Mendelssohn, is believed to have commented, “Surely that was written by Beethoven?” Jump-cut to a blindfold test – to listen to this disc Amadeus et l’Impératrice without being told these works are by the Hélène de Montgeroult (and Mozart) – to determine who composed each work. 

Indeed, all Montgeroult’s works represented here, particularly her superb Concerto pour pianoforte No 1 en mi bémol majeur evoke a genius not unlike Mozart’s. This Concerto as performed here by the Arion Orchestre Baroque conducted by Mathieu Lussier, with Élisabeth Pion eloquently laying out the solo parts on fortepiano, is a flawless performance, worthy of heralding the composer’s unbridled genius vis-à-vis Mozart. 

Montgeroult enriches orchestral sonority by employing a wide range of instruments. The clearly defined wind section in this concerto, emphasises the conversational exchanges between wind and strings in the outer movements. Throughout Pion parades a graceful and tender style while displaying the marvellous rapport between soloist and orchestra. 

In a masterstroke, the sandwiching of Mozart’s grand and dark Concerto No 24 en do mineur K491 between Montgeroult’s eloquent works suggests that she is – if nothing else – every bit as adventurous and ingenious as Mozart, Amadeus et l’Impératrice indeed…!

Listen to 'Amadeus et l’Imperatrice: Montgeroult | Mozart' Now in the Listening Room

Haydn Symphonies - Mercury & La Passione
Tafelmusik; Rachel Podger
Tafelmusik Media TMK 1041CD (tafelmusik.org/meet-tafelmusik/recordings)

Over 30 years ago, when Tafelmusik was coming into its own as a world-class period instrument orchestra, they signed a multi-record deal with Sony Classical and set out on an ambitious voyage to record Haydn symphonies (and other repertoire) with the jovial German conductor Bruno Weil and the legendary producer Wolf Erichson. The relationship with Weil was transformative and I would argue that their collaborative exploration bred an innate flair for – and deep understanding of – Classical style that continues today.

 Their newest recording – on their own Tafelmusik Media label – of symphonies 43 and 49 is full of attention to the minute details of Haydn’s quirky writing and is a welcome reminder of the ensemble’s virtuosity and breadth of expression. Haydn wrote the Symphony in F Minor No.49 (“La Passione”) in 1768, during what is known as his “sturm und drang” period, one that saw an astounding growth in his technique, planting the seeds and foreshadowing the German Romantic era that was to come decades later. Tafelmusik’s performance – directed from the violin by newly-appointed Principal Guest Conductor Rachel Podger – absolutely nails the colour, transparency, dramatic energy and harmonic tension present in every measure of this fantastic work.

The so-called “Mercury” Symphony No.43 was actually written three years later and is a sunny contrast to the broodiness of “La Passione.” It’s still packed with innovation and angst and the orchestra brings this out beautifully. How fabulous that one can compare this performance with Tafelmusik’s 1992 studio recording with Weil: both powerful, wonderful and full of life in quite different ways.

Beethoven
Marc-André Hamelin
Hyperion CDA68456 (hyperion-records.co.uk/dc.asp?dc=D_CDA68456)

Given Marc-André Hamelin’s unimpeachable technical prowess, it is no surprise that he tackles the epic Hammerklavier Sonata for his first recording of music by Beethoven. Hamelin’s tempos are rapid, though well under Beethoven’s unreasonably fast metronome markings. This allows lyrical passages to breathe expressively, and for Hamelin to apply a variety of colouring to Beethoven’s many surprising harmonic shifts. Hamelin’s Steinway piano has been recorded in a very reverberant acoustic, and while this creates a flattering halo around slower-moving cantabile passages (the slow movement’s opening and the D major central section in the finale), it also obscures the detail of fast passagework and the thorny counterpoint of the outer movements, while blurring the edges between Beethoven’s very frequent sudden dynamic changes. Hamelin’s generous use of pedal further clouds the texture and results in the occasional disregard for rests and note lengths.

Unsurprisingly, the wild fourth movement fugue of the Hammerklavier is dispatched with exciting technical security. More surprisingly, this does not conclude the album, but instead we jump back 23 years to continue with Beethoven’s third published sonata, Op.2 No.3 in C Major. This early work benefits from Hamelin’s crisp articulations and sparkling passage work – though again the reverberant acoustic blunts some impact. The first movement is suitably muscular, the second serene though with a marked agitation in the contrasting minor section, the scherzo is confidently playful and the finale sparklingly virtuosic. Caveats: The close recording results in a harshness of tone in the loudest moments, and purists may not approve of Hamelin’s adding of bass octaves not available on the pianos of Beethoven’s time. 

Mahler – Symphony 3
Jennifer Johnston; Women of the Minnesota Chorale; Minnesota Boychoir; Minnesota Orchestra; Osmo Vanska
BIS 2486 (minnesotaorchestra.org)

Mahler – Symphony No.8
Soloists; Minnesota Chorale; National Lutheran Choir; Minnesota Boychoir; Angelica Cantanti Youth Choir; Minnesota Orchestra; Osmo Vanska
BIS BIS-2496 (minnesotaorchestra.org)

The final two installments of Osmo Vänskä’s ongoing Mahler cycle have landed and the box set is now on sale. (Caveat: the Cooke version of the fragmentary Tenth Symphony is included, but there is no performance of Das Lied von der Erde.) These two recordings were patched together from live performances from Vänskä’s final appearances in 2022 after 19 years at the helm of the Minnesota orchestra.

Judging by the performance of the Third Symphony, this orchestra and its conductor have developed a fine rapport over the years and deliver some very lovely playing. Winds and brass are outstanding and the string section is extraordinarily supple, though Vänskä’s party trick of pulling back the orchestra to near inaudibility remains an annoying SACD inspired gimmick to my ears. Initially won over by the exceptional recording from the BIS recording team, certain aspects of the interpretation now strike me as less admirable. Beautiful though the recording may sound, there is an atmosphere of directorial micro-management that loses sight of the over-arching structure of the work. There are beautiful trees to behold indeed, but nary a view of the forest. 

Of the six movements of this, the longest symphony in the active repertoire, the performance of the short inner movements fare best. But as to the lengthy first and sixth movements, Vänskä’s reach is beyond his grasp. Nowhere is this more evident than in the final six pages of the concluding Adagio; from figure 28 preceding the reprise of the main theme Mahler writes “Langsam anschwellen” (slowly swelling); the effect in, for example, Leonard Bernstein’s landmark performance, is a thrilling, painful struggle to the summit of glory. Here we find a routine ritardando that somehow wanders into a pedestrian fortissimo. Amongst recent recordings I would suggest seeking out Manfred Honeck’s 2010 Pittsburgh performance on the Exton label instead, a fine example of what a true Mahler evangelist can bring to this score.

I must confess to an abiding ambivalence about Mahler’s Eighth Symphony, the so-called “Symphony of a Thousand.” Teeming with what T.W. Adorno called “the ceremonial pretensions of the obviously fugal manner,” the two parts of the work are set to the Catholic hymn Veni Creator Spiritus and the closing scene of Goethe’s Faust, a pair of uncharacteristically crowd-pleasing choices from a man whose works are essentially about his inner self. It’s as if Mahler was saying to his carping, anti-Semitic critics, “Don’t you see? I am one of you!” Composed swiftly in the span of six weeks, he proclaimed the work his “gift to the nation” and dedicated it to his wife Alma.  

Successful performances of this monumental work depend very much on the casting of the seven vocal soloists and in this case they are well chosen indeed. Sonically however the massive choral forces, recorded at the height of the covid panic, are constrained by the wearing of masks. Despite discreet tweaking by the BIS recording team the softer portions of the work remain distinctly muffled. I was also disappointed by the woefully underpowered contributions from the organ. Within the context of this Mahler cycle it is one of the more successful efforts, but Vänskä’s direction again strikes me as intrinsically unfocused.

Prokofiev: Piano Concertos 2 & 3, Piano Sonata No.7
Stewart Goodyear; BBC Symphony Orchestra; Andrew Litton
Orchid Classics ORC100335 (orchidclassics.com/releases/orc100335-stewart-goodyear-prokofiev)

Sergei Prokofiev began his musical career as a concert pianist, so perhaps it should come as no surprise that his extensive output would include six piano concertos and ten sonatas in addition to innumerable other piano works. This splendid recording on the Orchid Classics label presents the second and third concertos and the Sonata No.7 featuring Canadian pianist Stewart Goodyear with the BBC Symphony under the direction of Andrew Litton.

Concerto No.2 was completed in 1912, but was revised and not premiered for another 12 years when it was met with both praise and derision from the audience. Deviating from the traditional concerto form, the piece comprises four contrasting movements. Throughout, Goodyear plays with a polished assurance, demonstrating an impeccable technique particularly in the horrendously difficult cadenza concluding the first movement and the relentless Allegro tempestoso finale.

The third and most famous of Prokofiev’s concertos was premiered by the composer in Chicago in 1921. Opening with a lyrical introduction, the piece soon launches into a brisk Allegro performed here at a slightly faster tempo than is sometimes heard. Again, Goodyear demonstrates immaculate virtuosity, emphasizing the work’s mischievous nature while under Litton’s competent baton, the BBSO is a solid and sensitive partner delivering a lively and joyful performance.

The second of three sonatas Prokofiev composed during the Second World War, the Piano Sonata No.7 was very much a product of its time. The first movement is marked by a dark and angry tone, while the second is a calm respite before a strident perpetuum mobile brings the recording to a dramatic conclusion.

Kudos to you, Mr. Goodyear – you indicated in the notes you had wanted to record Prokofiev since the pandemic and now was the right time. Most decidedly, it was well worth the wait.