Early, Classical and Beyond

Berlioz – Intrata to Rob-Roy; Reverie et Caprice; Harold en Italie
James Ehnes; Melbourne Symphony Orchestra; Sir Andrew Davis
Chandos CHSA 5155

The Intrata to Rob-Roy was written as an introduction to Rob-Roy but was so badly received in the first and only performance in 1833 that Berlioz burned the score after the concert. Fortunately there was another copy, but Berlioz had also used two of the melodies in a new work, Harold in Italy, the following year. The two themes are easily recognized and it is rather pleasant to hear them in their earlier setting, particularly as they are given to the winds whose playing is quite angelic.The Reverie and Caprice (1841) is Berlioz’ only work for solo violin and owed its existence to the initial failure of Benvenuto Cellini. It was a soprano aria that was replaced before the first performance. Clever Berlioz made a transcription of it for violin and orchestra which, in longer concerts,  he would give to his concertmaster.

A lifetime addiction to Harold in Italy gives me some license to be critical of any performance and it gave me great pleasure to realize from the opening pages that this orchestra has the texture for Harold. In the first movement, as the melancholy Harold, inspired by Byron’s Childe Harold (the viola), wanders in the mountains, Sir Andrew Davis is not simply beating time but moving the episodes along. The Pilgrims’ March has a comfortable swagger with the viola weaving comfortably through the procession. The Serenade is an appropriately jaunty scene of an Abruzzo and his amore. The last movement, Orgy of the Brigands, should describe just that, with fond memories of the previous episodes. These are not an unruly bunch but take their brigandizing seriously in an orderly, professional manner.

The viola (Harold) is not intended to be part of any event but is merely a wanderer, which is possibly why Paganini, who commissioned the work, found it not to his taste (at the time). James Ehnes’ take on this role is ideal, imparting quiet enjoyment at the events around him. Quite perfect. British conductors have an established tradition as great Berlioz interpreters and Davis may soon join them.

The sound is extraordinarily fine, impressive as a CD but if you have the multi-channel equipment, the SACD layer is encoded with five-channel surround sound.

Chopin Volume 4 – Waltzes; Nocturnes
Louis Lortie
Chandos CHAN 10852

The early waltzes that Chopin composed were meant to be small personal gifts and tributes – most of them were not even intended for publication. That changed somewhat after the composer’s visit to Vienna in 1831. The precocious 21-year-old reported back to Warsaw with breathless astonishment: “Waltzes are regarded as works here!” By “works” he meant recognized musical pieces, worthy of publication. That he could have doubted that astonishes us equally – these are not throwaway ditties, despite their slender size. Somehow, Chopin managed to squeeze into a space of three to four minutes compositions with their own mutable rhythms and containing micro-movements within their minute frames.

To master Chopin’s waltzes, one needs an equally mutable, mercurial talent. Louis Lortie, the incredibly accomplished Montrealer now residing in Berlin, possesses such talent. For many of us, Lortie is not the first name that comes to mind when you think of master pianists. Yet it is enough to start listening to him play these waltzes to realize the magnitude of his gift. They virtually cascade from his fingers, simultaneously inviting us into a reverie whilst invoking a desire to dance along. Only on a couple of occasions does Lortie rush the tempi, perhaps as if he could not believe that the impulsive, romantic Chopin had really marked them as “moderato.”

Mahler – Symphony No.2 “Resurrection”
Catherine Wyn-Rogers; Ailish Tynan; Royal Liverpool Philharmonic Orchestra; Gerard Schwarz
Artek AR-0061-2

I must admit to a certain leeriness when I first laid eyes on the hideous artwork that adorns this recording. Gerard Schwarz and Gustav Mahler facing off, mano a mano, in some sort of grudge match? Has the conductor noted for his advocacy of neglected American music turned a new leaf? As it turns out, the provenance of this live recording is misleading. Though bearing a 2015 copyright, it is actually unreleased material from a Mahler cycle intended for the RLPO Live label, an enterprise launched shortly before Schwarz’s five-year reign in Liverpool that began in 2001. A sponsorship has now brought these tapes back to life. And what of the interpretation? A decent first movement, distinguished only by the unusually broad tempo afforded the secondary theme, followed by a so-so Menuetto. Suddenly from the Scherzo onward the orchestra rallies and everything thereafter is admirably compelling. When we finally arrive at the finale the rafters are shaking!

The sonic quality captured in Liverpool’s Philharmonic Hall is most impressive (courtesy of David Pigott, a member of the horn section) and the contribution of the choir is simply outstanding. There remain a few anomalies: the second disc contains only the finale, though the fourth movement vocal solo is designated to be followed without a break by the finale. Usually the break between discs (if needed) occurs after the first movement, where Mahler specifically asks for an extended silence. The editing of the booklet is also frustrating. Schwarz’s accomplishments receive a four-page paean, while the generic description of Mahler’s work rates a mere two, with the remainder devoted to dreary accounts of the secondary roles the singers have appeared in over the years and a page’s worth of white space. Judicious pruning would have easily made room for the pithy, indispensable lyrics for the vocal sections of the work. Recommended nonetheless.

Rachmaninov – Piano Concertos 2 & 3
Stewart Goodyear; Czech National Symphony; Heiko Mathias Förster
Steinway & Sons 30047

Rachmaninov’s Piano Concerto No.2 owes its existence to a renowned neurologist by the name of Dr. Nikolai Dahl. At the time, the young composer was despondent over the failure of his first symphony in 1897. But under the good doctor’s guidance, he regained his confidence and creative urge – and the result was the most famous of his four piano concertos. To many people’s ears, the piece has almost become too well known since its premiere in 1901. But this fact certainly didn’t deter Canadian pianist Stewart Goodyear on this Steinway recording featuring both the second and third concertos performed with the Czech National Symphony, with Heiko Mathias Förster conducting.

Since concluding his studies at the Curtis Institute and the Juilliard School, this Toronto-born artist has earned an international reputation, and this CD provides ample proof. From the opening measures, his approach to the familiar repertoire is bold but elegant, demonstrating a flawless technique that never succumbs to empty virtuosity. Absent too, is any trace of overt sentimentality, something that is all too easy to do with Rachmaninov. The poignant and wistful Adagio and buoyant finale also prove to be a perfect pairing of artist and orchestra, with the CNS performing with a confident assurance under Förster’s baton.

In many ways, the Concerto No.3 from 1909 is an extension of the second, but even more so – larger in scope and perhaps even more technically demanding. Nevertheless, Goodyear and the CNS rise to the occasion with a polished performance certainly equalling – but not necessarily surpassing – established recordings by Argerich and Ashkenazy. Again, soloist and orchestra produce a warmly romantic sound, particularly in the second movement Intermezzo where the delicate interplay between strings and soloist is particularly admirable.

These are fine performances all around – kudos to Goodyear, Förster and the musicians from Prague for tackling this familiar music and for doing it justice in a very compelling way.

Great Ballets from the Bolshoi –
The Nutcracker; Sleeping Beauty; Giselle;
The Flames of Paris
Bolshoi Ballet
BelAir Classics 306103

The scores of the two Tchaikovsky ballets, particularly The Nutcracker, should be familiar to ballet enthusiasts and Adam’s Giselle to a lesser degree. The choreographer in all three is Yuri Grigorovich, a name that may be familiar to patrons of the “Live from the Bolshoi” ballets shown as special events at the Cineplex theatres that show the “The Met: Live in HD” operas.

However, The Flames of Paris, Stalin’s favourite ballet, may be known of in name only. It was “a classical ballet with music by musicologist and composer Boris Asafyev based on songs of the French Revolution, and originally choreographed by Vasili Vainonen.” It was premiered in November 1932 by the Kirov Ballet and the Bolshoi mounted it in July of 1933. Its original agitprop elements were communist propaganda showing in no uncertain terms the decadence of capitalism leading inevitably to chaos. Of course, the revolutionaries slaughter the aristocrats and there is general rejoicing. In 2008, the original choreography and staging were reconstructed for the Bolshoi by Alexei Ratmansky, who added a love story and expanded the choreography with his own. The company has very recently toured with it to much acclaim, from Hong Kong to London. The 2010 live production is seen here.

The Russians’ astronomical standards of ballet are on full display in every piece. Not only is every dancer in perfect form but each is also of uniform size, which is visually impressive in itself. All the dispositions and angles achieved by the ensemble, once seen, cannot be imagined being done differently. Not only are the visual elements stunning; the sets, the choreography, the costumes and the orchestral renditions all exceed every expectation. There are four different conductors with possible variations in the orchestral personnel, always producing a very Russian sound which could easily and comfortably compete with the best studio productions from elsewhere. The power and authority of the playing is constantly thrilling. The sound is stunning, and in terms of musical reproduction supremely satisfying to even the most critical and jaded ears.

So you don’t care to watch ballet? Then don’t watch and simply listen. You will never hear finer interpretations and productions of this music anywhere in the recorded repertoire.