Del Aguia DA 55306 (www.beethovenpianoworks.com)
Although Beethoven lived to age 56, he wrote his last piano sonata at the age of 52 – a period when his everyday existence was marked by deteriorating health and total deafness. Nevertheless, he was still able to rise above the complexities of his daily existence, creating some of his finest music, where he pushed the boundaries of tonality and form as he never had before. This fine 6-disc set on the Del Aguila label featuring pianist/musicologist Luisa Guembas-Buchanan and cellist Philip Weihrauch is an examination of the products of Beethoven’s final years, taking as its premise that these late works have numerous stylistic qualities in common. And what a wealth of music is included! Not only are there five late piano sonatas (#28 through #32) but also the Diabelli Variations, 11 Bagatelles Op.119 and 6 Bagatelles Op.126, in addition to numerous smaller pieces all from the sketchbook, plus the two Cello Sonatas Op.102 – enough to keep a Beethoven connoisseur happy for weeks!
I admit the name Luisa Guembas-Buchanan was not one familiar to me. Originally from Lima, Peru she studied in her native city at the Conservatorio National de Musica, and later at the Manhattan School of Music before concluding her studies at New York and Boston Universities. Since then, she has held teaching positions at Amherst College and the New England Conservatory, where she has assumed the dual role of musicologist and pianist perhaps not unlike that of Charles Rosen 40 years ago. The scholarly notes she provides in the attractive 60-page booklet are impressive (they are in both English and German and even contain end-notes), but there is certainly more to Ms. Gumbas-Buchanan than scholarship. To anyone who might initially dismiss this recording as an example of a musicologist who “also happens to play the piano”, this is clearly not the case! From the serene and reflective opening measures of the Sonata Op.101 to the bravura of the Diabelli Variations, Guembas-Buchanan demonstrates an effortless command of this demanding repertoire. Her playing is noble and majestic, coupled with a flawless technique - quite clearly an artist who not only performs admirably, but possesses a deep understanding of the music and is keen to share that knowledge with others.
The two Cello Sonatas presented here, Op. 102 #1 and #2 were composed during the summer of 1814, the very beginning of Beethoven’s late period. Just as in the works for solo piano, Beethoven was also “pushing boundaries” through his use of counterpoint and extensive modulations. Together with cellist Philip Weihrauch, Guembas-Buchanan approaches the music with a bold assurance and both demonstrate a deep affinity for the music.
The pleasure in this set is indeed two-fold – apart from the illuminating information provided, it is also great listening - a treat both for Beethoven scholars and those who simply love and admire the music of “the great mogul”.
Directed by Bruno Monsaingeon
Ideale-Audience DR 2109 AV 127 (www.ideale-audience.com)
If I mention the name Grigory Sokolov and you give me a blank stare, I wouldn’t be surprised. The reclusive Russian pianist, winner of the 1966 International Tchaikovsky Competition, regarded as a true successor to the giants, Gilels and Richter and who gives about 60 recitals a year to sold out houses in Europe, is almost unknown in North America. He hasn’t recorded much as he distrusts recordings unless they are made live and in one take. So this DVD is likely as close as you will get to seeing him live.
The remarkable program starts off with 2 Beethoven early sonatas (Nos.9 & 10) played with an exquisite lyrical and romantic touch and a fine dynamic and emotional range. A more complex work, the Pastoral Sonata (No.15), is a true adventure especially the 2nd movement with its understated yet poignant ostinato staccato left hand and the beautifully shaded virtuoso Rondo finale.
Sokolov’s phenomenal gift is getting inside the composer’s head and intuitively finding the right style although he never plays anything the same way twice. The 6 Armenian dances by Komitas that follow all sound similar yet different from one another. They are languid, soft, using exotic oriental rhythms to a mesmerizing, hypnotic effect.
The final work is the monumental and fiendishly difficult Sonata No.7 by Prokofiev. The masterful interpretation winds up with ‘Precipitato’, a monstrous physical effort with an incessant toccata in steady ff and yet the pianist still manages to increase the crescendo to an overwhelming culmination.
The ecstatic audience simply refuses to leave and Sokolov tirelessly keeps giving encores one after the other, five in all. Much more can be said, but let the music speak for itself.
Souvenir d’un lieu cher
Janine Jansen; Mahler Chamber
Orchestra; Daniel Harding
The Dutch violinist Janine Jansen is rapidly rising to the very forefront of the international ranks, and this outstanding CD, her second full concerto recording, clearly demonstrates why.
Recorded live in July 2008 at the Festival Via Stellae in Santiago de Compostela, Spain, it is Jansen at her best: intelligent, articulate phrasing; stunning technique; a full, warm tone; and a rich sweetness with that characteristic underlying steely strength.
I had high praise for the Vadim Gluzman recording of this concerto last year, and if you ever needed proof of the need for contrasting interpretations, then this is it. There may perhaps be less sheer excitement here at times, but Jansen presents a beautifully thoughtful, introspective and fully committed performance that I actually find more satisfying. Nothing is rushed or glossed over, and the somewhat slower tempos are well-balanced in the overall structure. Clearly Jansen and Daniel Harding are of one mind here, a sentiment borne out by even a cursory glance at the DVD footage of their rehearsals and performance for this recording that is currently viewable on YouTube.
The three pieces that comprise Souvenir d’un Lieu Cher make an obvious coupling choice, as the first piece, Meditation, is the concerto’s original slow movement which Tchaikovsky rewrote for violin and piano. The version heard here is not the usual Glazunov orchestration but a smaller and extremely effective arrangement for violin and strings by the Romanian-Dutch conductor Alexandru Lascae.
London Symphony Orchestra;
LSO LIVE, the London Symphony Orchestra’s own label, is well into its Mahler cycle recorded ‘live’ in The Barbican, their home venue. The label has been remarkably successful since its introduction in 2000 with selected concert performances conducted by Colin Davis, Bernard Haitink, Mstislav Rostropovich, and now Valery Gergiev. The discs are usually hybrid-SACD discs and are, as this Mahler cycle, state of the art technically with extraordinary dynamic range and true to life timbres. Tuttis never become congested. Acoustically, the Barbican is not an ideal venue but producer James Mallinson’s recordings are articulate with a sparkling clarity.
Valery Gergiev is one of the busiest conductors around today, in demand everywhere it seems. He has brought his Kirov Orchestra to Thomson Hall, treating us to stunning performances of Russian music, each work given definitive performances. His Le Sacre du Printemps was both illuminating and shattering ... an unforgettable performance; his Scheherazade electrifying. However his performances certainly did not reveal the essence of some non-Russian repertoire which brings us to this ongoing Mahler cycle.
It has become standard practice for conductors who ‘understand’ Mahler and ‘feel his pain’ to wear their hearts on their sleeve and subtly, or not so subtly, convey this empathy to the listener, whether live or from recordings. Leonard Bernstein comes immediately to mind. But can a conductor simply play what is written when every reading is a new decoding of the composer’s notation?
Gergiev’s Mahler may well be the most articulate on disc! There can be no doubt that the LSO is one of the very finest on the planet and under the proven eye of their current principle conductor they have turned in inspired, immaculate performances.
However, Mr. Gergiev does not, as yet, have the special insight that leads to Mahler’s anima which would have elevated these acclaimed performances from outstanding into Mahler’s inspired visions. Still, acknowledging this shortcoming, these five initial releases are so well performed and recorded that I look forward to the balance of the cycle.
By Terry Robbins