Of the four sonatas on this disc, two are almost certainly by Bach: the B Minor and the A Major. The other two are given as “attributed to Bach.” The case of the E-flat Major is particularly interesting. It used to be attributed to Bach’s son Carl Philipp Emanuel but it has since been established that the work is based on a trio sonata by Quantz. The B Minor sonata is the finest work on this disc with its long-breathed melodies and its large intervals. Schultz and Vinikour are fine players and in the B Minor sonata they are at their best.
Early, Classical and Beyond
Like a stepchild, Beethoven’s Triple Concerto in C Major from his middle period (Op.56) is much underrated and seldom played – but it is in fact the most difficult and challenging of all Beethoven’s concertos. One of the reasons is that there are three soloists working almost independently and it is very difficult to find a balanced sound, yet they are still very much a team, like soldiers in a battle. My perennial favourite has been the Karajan on EMI (Oistrakh, Rostropovich, Richter), one of the great recordings of the last century, but this new issue with a stellar team of soloists and up-to-date sound on the French Naïve label is a worthy successor.
In the long and arduous first movement the cello is the real hero. French cellist Anne Gastinel leads all the charges, introducing all the new themes that are always different and very beautiful. Gil Shaham is one the world’s best violinists today and he is the star in the heavenly Largo. The Finale, in Tempo alla Polacca, is delightful and intensely rhythmical in 3/4 time, where conductor Paavo Järvi is full of good humour and jollity (a bit unlike his world-famous but rather austere father Neeme Järvi). The piano part here serves as a connective tissue rather than a leader, but blends in gracefully as played by Nicholas Angelich, the third soloist.
Rounding out the CD, a delicious early Clarinet Trio (Op.11) interestingly includes Andreas Ottensamer, principal clarinet of the Berlin Philharmonic, and that’s no mean credit.
Franz Schubert’s Symphony No. 3 (1815) initially struck me as too slight to be the main work on this Symphony Nova Scotia disc. But an early Romantic sensibility already animated the 18-year-old composer, and I have changed my mind. The light themes of the opening movement undergo minor-key twists in the development, and the Allegretto also contains interesting key digressions. The last movement’s perpetual motion for me anticipates the tremendous energy of Schubert’s finale to the Symphony No. 9 in C Major (featured in William Forsythe’s wonderful ballet The Vertiginous Thrill of Exactitude). Here, Symphony Nova Scotia conductor Bernhard Gueller brings out comparable energies, including confident, incisive playing from the excellent Symphony Nova Scotia strings. And congratulations to the solo winds for sensitive phrasing in the lyrical middle movements.
Orchestral song came to the fore later in the 19th century. Its early proponent Hector Berlioz’s tremendous orchestration of Schubert’s Der Erlkönig appears here, along with Max Reger’s more subdued version. In all the songs, mezzo-soprano Andrea Ludwig conveys text and mood movingly and unfailingly – just listen to the Anton Webern-orchestrated Du bist die Ruh! Canadian composers Brian Current (Im Abendrot/At Dusk) and Kati Agócs (Ständchen/Serenade) fulfilled orchestration commissions successfully for this disc. Current’s use of string tremolo harmonics gives an intriguing otherworldly effect to Im Abedrot, while Agócs deploys piquant winds and an orchestral buildup in her moving Ständchen. The disc is a triumph for all involved.
I was present at the TSO concert in which these works were played. At that time a CD release was promised and here it is. It does not disappoint. There are four works on the disc: the Serenade to Music for four singers (performed here by Carla Huhtanen, Emily D’Angelo, Lawrence Wiliford and Tyler Duncan), chorus and orchestra; a concerto for oboe and strings; Flos Campi, a suite for solo viola (beautifully played by Teng Li, the TSO’s principal violist), small choir and small orchestra (based on the Latin translation of the Song of Songs); and a concerto for piano and orchestra. All of these had originally been dedicated to musicians admired by Vaughan Williams: the Serenade to Music to the conductor Sir Henry Wood, the oboe concerto to Leon Goossens, Flos Campi to the violist Lionel Tertis and the piano concerto to Harriet Cohen. That gives these works a semi-private quality.
Of the works on the disc I liked the piano concerto least. It struck me as loud and strident, an impression which even the virtuosity of the pianist (Louis Lortie) could not efface. On the other hand, I loved the oboe concerto. It needs a first class soloist to do it justice and we have such an outstanding player in Sarah Jeffrey, the TSO’s principal oboist.
Flutist Derek Charke and guitarist Eugene Cormier perform with intelligence and passion in their debut release. Both teach at Acadia University, and are well respected Maritime musical personalities. Here they play, produce, engineer and master terrific, clear, stylistically diverse music.
The track Ex Tempore, composed by Charke, is a composed/improvised work for bass flute and guitar that lives up to its title. Note-bending during lengthy dramatic extended-technique bass flute phrases is heard against the guitar-driven rhythm and tonality, all in a spontaneous yet controlled direction, until the final satisfying guitar tone fades. Turning back the clock, Cormier’s arrangement of four Scarlatti harpsichord sonatas allows the duo’s tight ensemble playing to shine especially in the slow, true-to-Baroque quality, Sonata in F Major, K296, L198. Likewise the Presto of the Sonata in F Major K445, L385 features melodic interchanges between the instruments and well-placed lower guitar detached notes. Cormier arranges Peter Maxwell Davies’ 1980 Farewell to Stromness into a straightforward Scottish folk music-tinged piece with Celtic subtleties.
Nesyba’s arrangement makes for a sensitive performance of Debussy’s piano classic La fille aux cheveux de lin, while Mosoczi’s take on Handel’s four-movement Sonata in A Minor HMV 362, Op.1, No. 4 showcases detached note effects. Machado’s Musiques populaires brésiliennes are six 1980s works for flute and guitar based on traditional Brazilian music encompassing toe-tapping, happy sounds.
This is a fabulous debut!
Bringing unrecorded music to life is exciting, but this disc’s innovative means make it miraculous! Remarkable UK-based Canadian conductor and inventor Shelley Katz leads the Symphonova Orchestra, employing proprietary technologies developed for digital baton control and acoustic design that augment the playing of solo musicians up to the sound of a full orchestra. La Patrie/Our Canada: Canadian Orchestral Music 1874-1943 shows Symphonova making significant and intriguing heritage repertoire available to us for the first time. One example is Ernest MacMillan’s Overture (1924, written for the Toronto Symphony), a substantial post-Romantic work with a Scottish tinge, beautifully harmonized and orchestrated, with sound convincing enough that I was fully drawn into the work.
In the disc’s opener, Calixa Lavallée’s charming concert overture La Patrie (first performed in 1874), it took time to adjust to the string tone: cooler and with less bow presence than that of an orchestra section. But after that, listening went smoothly: Rodolphe Mathieu’s early atonal Trois Préludes (1912-15) are attractive with a hint of mystery; I was ready for the convincing string writing in Georges-Émile Tanguay’s Pavane (1936) and Murray Adaskin’s Serenade for Strings (1934). And now gaps in our knowledge of major Canadian composers are being filled with Violet Archer’s witty, never-played Capriccio for Hand Timpani (1939) and John Weinzweig’s radio suite Our Canada (1943). Seeking out archival-quality orchestral recordings of seldom-heard works I’m used to. But acoustically this CD brings more listening pleasure, and I look forward to listening again.
Canadian accordionist Michael Bridge triumphs technically and musically in all styles in his debut solo album, a recent CBC Album of the Week.
Bridge plays two different accordions, a Pigini Nova acoustic free bass, and a Roland digital instrument. His acoustic accordion features single tones on the left hand, allowing for wide pitch range/combination possibilities. Both Makkonen’s original Tango-Toccata and Friedrich Lips’ transcription of Khachaturian’s Tokkata are virtuosic accordion repertoire mainstays. Their tricky technical and dynamic challenges are performed with ease. Bridge’s composition Intoxicating features upbeat, tango-flavoured dance qualities. All the other tracks are Bridge arrangements. A solid contrapuntal feel, balance of lines, precise ornamentation and steady rhythms make his transcription of Bach’s French Suite No.5 a contemplative listen. Avetisyan’s Tzaghgatz Baleni is a lush dramatic tune with the same mood transcending into Cohen’s widely covered Hallelujah, as an interesting low-pitched start soars higher for more grounded accordion vocalizations. Mancini’s Moon River drifts from simple line statement to flourishes, left-hand chords and a rubato feel fitting to Bridge’s personal take.
Listeners unfamiliar with the Roland’s synthesizer abilities will be shocked to hear how close to the original full symphonic sound one accordion played by one performer in one take is in Tchaikovsky’s 1812 Overture, the more laid-back jazz band drums and bass in Garner’s Misty, and the brief self-explanatory Orchestral Tuning.
As an accordionist myself, what I really appreciate and admire in Bridge’s playing is his conviction, tenacity and dedication in all he plays. Bravo!