01 SokolovSchubert & Beethoven
Grigory Sokolov
Deutsche Grammophon 479 5426

Review

Although not the most recognized figure by the record buying public, to pianophiles Sokolov is an icon on the same short list that would include Richter, Argerich and few others. A first prize winner of the 1966 International Tchaikovsky Piano Competition, it was Emil Gilels, who headed the jury that unanimously awarded him the Gold Medal. This new release is his second on DG, following the sensational Salzburg Recital issued last year which included an unequalled performance of the 24 Chopin Preludes (DG 4784342, 2 CDs). As he does in that first set, he transforms each and every track into a listener’s instantaneous personal favourite. Sokolov is capable of making the piano sing in a very particular way. He demonstrates breathtaking sensitivity, a seamless pianistic style and a low key projection that sweeps the listener away.

Sokolov’s Schubert Impromptus Op.90 D899 are quite different from the same music in other hands. If one listens without any distractions there are feelings of the realization of his mortality and his struggles against it. Simple but profound in spirit. Similarly the Three Piano Pieces D946 convey the same story. These performances were recorded in concert in Warsaw on May 12, 2013.

All Sokolov’s unique qualities make his performance of the Hammerklavier a breathtaking event, and I am curious to hear him in the other 31 sonatas of Beethoven. This performance and the Rameau and Brahms encores were recorded at the Salzburg Festival on August 23, 2013. The Rameau encores are very interesting as Sokolov maintains a quasi-Romantic approach that happens to work very well. A splendid choice exposing his versatility. The Brahms Intermezzo Op.117 No.3 takes us home.

Mention must be made of the astonishing dynamic sound from both concerts. Although the engineers are different the sound is remarkably similar. As realistic as I’ve ever heard.

02 Lisiecki SchumannSchumann
Jan Lisiecki; Orchestra dell’Accademia Nazionale di Santa Cecilia; Antonio Pappano
Deutsche Grammophon 4795327

Review

There are so many recorded versions available of the Piano Concerto in A Minor Op.54 that any newcomer has to be extraordinary to justify itself. This enticing performance is just that. Jan Lisiecki, the 20-year-old born in Calgary, came into prominence as a child prodigy, making his orchestral debut aged nine. Today he is internationally acclaimed and is one of the most respected pianists of this generation.

The first hearing was most disappointing. Lisiecki seemed to be uninvolved and somehow unresponsive to the score…a non-starter. Easy to understand, as we are so firmly imprinted with the usual bravura performances that anything less energetic sounds injudicious and/or simply wrong. The following week listening again to make sure, I heard a very convincing performance, thoughtful and searching. Lisiecki’s Schumann is so natural and unforced that his playing does not come between composer and listener.

Also, I was playing it softly at the “audition” level and now, at a more robust volume, the true character emerged.

There are many attributes of this performance; excitement, communication, delicacy and tonal beauty. It is such a perfect blend and unanimity of soloist and orchestra that it sounds as if were executed by one mind. There is cross inspiration between piano and the solo instruments of the orchestra, particularly the creamy winds that, in spite of perfect ensemble, still sound spontaneous. The recording is a model of a naturally balanced soloist and these delectable orchestral textures. The two shorter and less familiar, later-concerted works – Introduction and Allegro appassionato Op.92, Introduction and Concert Allegro Op.134 – receive similarly attentive performances, making this release even more attractive. Time stands still during the little encore, Träumerei, adding a thoughtful adieu on this attractive CD.

03 Mahler 6Mahler – Symphony No.6
Symphonieorchester des Bayerischen Rundfunks; Daniel Harding
BR Klassik 900132

Daniel Harding makes all the right moves in this new recording of Mahler’s mighty Sixth Symphony, scrupulously following the letter of the score and observing every indicated tempo fluctuation with considerable élan, but what really caught my attention was the magnificent, totally committed playing of the Bavarian Radio Symphony Orchestra. It more than compensates for the missed opportunities (particularly in the first movement) for Harding to set his stamp on this work as decisively as a Bernstein or Kubelik. My only frustration is that this recording uses the New Critical Edition of the score, which swaps places between the Andante and Scherzo of the middle movements. Though there are good historical arguments for doing so, musically I prefer Mahler’s original conception. Perhaps in his own performances of the work Mahler found it less taxing for the musicians of the day to perform the slow movement second; or possibly he was keen to stress the traditional symphonic order as a purely musical structure, though it is far more than that. Nonetheless thematically the scherzo serves as a relentless expansion of the previous movement in a relationship consistent with that of the first two movements of his Fifth Symphony.

The four movements have been shoehorned into a single disc for this release and the applause excised from the live performances recorded in Munich in March of 2014. The mixing is superb and finely detailed. The booklet oddly features electrocardiac diagrams of the response of the percussion section and the conductor at the second cataclysmic hammer blow of the finale. Big spike from the musicians, flat line from the conductor. That sums it up nicely. As a member of the Vienna Philharmonic once remarked of a certain music director, “We like him. He doesn’t get in the way.”

04 French FluteBucoliques: French Album III
Richard Sherman; Minsoo Sohn
Blue Griffin Records BGR 379 (bluegriffin.com)

Kudos to flutist Richard Sherman and pianist Minsoo Sohn for this selection of little-known music for flute and piano by four more or less forgotten 20th-century composers. Sherman’s readings are disciplined and spirited. Sohn’s, to my ears anyway, somehow capture the French-ness of the music.

The title Bucoliques raises questions about the composers, their intentions and the world in which they lived. Neither the lives of the composers, Gabriel Grovlez (1879-1944), Raymond Gallois Montbrun (1918-1994), Louis Durey (1888-1979) and Alfred Desenclos (1912-1971), nor Paris, the city where they lived and worked, were bucolic. “Bucoliques” is borrowed from the title of the work by Desenclos. The program notes suggest that “the classical titles of its movements recall those of 19th-century academic forebears, such as Théodore Dubois, and reflect the academic rigour of his work.” I don’t quite get the connection between Arcadian allusion and academic rigour, although it may reflect a taste for irony and self-deprecating humour!

The notes also bring to light something of Desenclos’ approach to composition: “...I do not deny the past on the pretext of creating the future.” The turbulence of Durey’s career is hinted at, with the references to his involvement in left-wing politics and the French Resistance; and we are also told of Montbrun’s rise “to the top of the French musical establishment.”

Bucolic or not, their music gives us a glimpse into the ideals and accomplishments of another time, so close and yet so remote.

05 French TrumpetThe French Influence: Music for Trumpet and Piano
Gerard Schwarz; Kun Woo Paik
Delos DE 1047

Review

Celebrated trumpet virtuoso and conductor Gerard Schwarz revisits his roots in this release – a 1971 New York concert with collaborative pianist Kun Woo Paik. Schwarz has woven together an attractive series of works and explained in excellent program notes the interrelated developments of trumpet performance, composition, and manufacture in 19th- and 20th-century France. A limitation is the disc’s length of only 42 minutes.

The recording opens with Arthur Honegger’s Intrada, a staple of the trumpet repertoire in which Schwarz demonstrates excellent tone and technique. George Enescu’s Légende is the disc’s highlight for me. Well-known as a virtuoso violinist, Enescu remains underrated in composition, which he studied with Fauré and Massenet in Paris. The work’s originality shows in an atmospheric and meditative opening, soft trumpet filigree passages, and a complex yet effective piano part. Eugène Bozza’s Caprice is idiomatic to the instrument, as is always the case with this prolific composer. Schwarz is more than equal to sprightly technical passages including challenging triple tonguing, but the duo also capture mysterious Debussy-like flavours elsewhere in the piece, including muted and echoed fanfares. Brief pieces represent other well-known 20th-century French composers: Jacques Ibert (Impromptu) and André Jolivet (Air de Bravoure). The two earlier works on the disc are Theo Charlier’s Solo de Concours and Henri Senée’s Concertino; I particularly like Senée’s composition for the cornet, especially the Romance movement, whose attractive melody is capped with a sudden pianissimo climax that Schwarz achieves impeccably.

01 Osborn SchubertSteven Osborne has no fear of intimacy. In his latest recording, Franz Schubert (Hyperion CDA68107) Osborne plays the Impromptus D935 and Three Piano Pieces D946, as if he were the composer. He adopts a modest posture, lingers in the shadows of the music and emerges only when Schubert coaxes him out. He is never rushed. Assured and playing at a relaxed pace, he maintains a strong sense of forward motion especially in the slower sections. He also has a sense for melodic lines and gives them wonderful clarity over Schubert’s accompanying harmonic pulse. Osborne makes the well-known Impromptus D935 seem new again. He seems to understand their true scale and never overplays them.

He uses the same approach to the Three Piano Pieces D946, where No.2 in E-flat Major is substantially longer than the others and requires more attention to thematic development. He begins it softly and finishes it even more so. Magical. The Hüttenbrenner Variations D576 are playful and entertaining. Built on a short and simple idea, Schubert’s 14 iterations find an affectionate and capable performer in this pianist. The Steinway used in this recording is beautifully voiced and has the perfect colours for this repertoire.

Concert note: Osborne performs the Schubert Impromptus Nos.1 & 4 D935 in Toronto on Tuesday, March 1 as part of Music Toronto’s Piano Series, in the St. Lawrence Centre for the Arts.

02 Rachmaninoff DuetsHélène Mercier and Louis Lortie are longtime piano partners who’ve played and recorded together since the 1980s. Whether playing four hands or two pianos, they always impress with a profoundly unified approach to the music. One simply can’t imagine a significant difference of interpretive opinion between them. Their newest CD, Rachmaninoff Piano Duets (Chandos CHAN 10882) is another example of this mature musical relationship where one cannot distinguish either of them from the other. Their keyboard techniques are identically matched and their sensibilities deeply shared.

Here the wide sweeps of Rachmaninoff’s musical imagination find their voice on the keyboards of two Fazioli grand pianos. The vocabulary is unmistakable and even surprisingly whole quotes from works like the Piano Concerto No.3 appear in the Suite No.2 Op.17 for Two Pianos. The Fantaisie (Tableaux), Op.5 opens the recording in a very dramatic way with Mercier and Lortie pulling the listener right to the edge of the seat with some very edgy playing.

This music is written to be big. While the first two repertoire items have plenty of familiar orchestral allusions, the real showstopper is Rachmaninoff’s transcription for two pianos of his Symphonic Dances Op.45. The versatility required here is remarkable. The first movement contains a musically threadbare middle section where the pianists obviously enjoy the contrast to the rest of the piece. The third movement is a long slow build to a truly blazing finish. On any decent sound system, this recording makes you tingle with the pianists’ energy. You can only imagine the effect Mercier and Lortie have in live performance.

We are given to appropriate wonder when we encounter child prodigies whose keyboard skills and musical maturity seem demonstrably beyond their years. Rarer still are those musicians who have lived into old age with their gift still largely undiminished by the decades. Their experience and insights give them a freedom not entirely available to the younger. I recall the documentary film of Vladimir Horowitz making his long-awaited return to Moscow to perform at the conservatory, watching him hunched over the piano and gliding through a Chopin valse as if he were only 20.

03 Wilde ChopinAnother such elder pianist is David Wilde, who at age 80 is still performing, recording and teaching, as he has done all his life. On listening to Wilde plays Chopin Vol. III (Delphian DCD34159) one is immediately struck by the dexterity and power of this pianist. He is definitely in command, not only of the music’s demands but also of its content. It’s as if Chopin has surrendered licence to Wilde to reshape his phrases, alter his tempi and dynamics to reflect who this pianistic sage is.

Wilde’s performance of the Valse in D flat Major, Op.64 No.1 “Minute Waltz” is amazing for its speed. The Scherzo No.2 in B-flat Minor, Op.31 is a monumental and powerful statement as is the “Military” Polonaise. All through this CD one is struck by the enormous expressive freedom that Wilde has at his disposal. It’s an inspiring recording.

04 Barabino ChopinListening to Adolfo Barabino – Chopin Volume 4; London Symphony Orchestra; Lee Reynolds (Claudio CR 6021-2) it’s tempting to believe that this pianist has found that secret, internal place from which only Chopin can come. It’s a place of great fragility. Barabino’s own liner notes speak of delicacy, elegance, nuances and slender sound. His performance of the Berceuse Op.57 gives the impression that some of the notes are actually too shy to be played. The six Mazurkas are far more meditative than they are dancelike. Even with the London Symphony Orchestra his performance of the Piano Concerto No.2 is never very large and always seems ready to become reclusive at the next pianissimo. While the second movement is particularly beautiful for Barabino’s treatment of the main theme, the outer movements sparkle more like an aurora than fireworks. It’s altogether a remarkable interpretation. The Steinway he plays surrenders the loveliest of colours in the many passages of light touch.

This is his fourth volume in what is to be a complete recording of all of Chopin’s piano works. It’s a set worth collecting.

05 Lori Sims BachAnother Bach Goldberg Variations BWV 988 (TwoPianists Records TP1039244) is competing for attention and its performance by Lori Sims offers good reasons for making this a valued addition to those who collect Goldbergs.

Most importantly, Sims understands the architecture of the work and how Bach proceeds through his canons with ever-widening intervals. She addresses this and other structural complexities in her brief but very well-written liner notes. Also, Sims has committed to observing all the repeats and using the baroque practice of more elaborate ornamentation in them.

Finally, she has made this recording in live performance with an audience that, after a few initial coughs, quickly settles into an astonishingly silent awe at the feat unfolding before them, all 80 minutes of it. This changes the pace of things, because the performer needs to keep the harmonic core of the variations alive in the listener’s ear as the idea evolves through its often challenging forms.

Sims does a terrific job at holding Bach’s many threads together while still applying her own nuances to phrases, individualizing her ornaments, playing with a light clear touch and avoiding the sustain pedal altogether. The better you know the Goldberg Variations, the more you’ll appreciate this live performance. It’s an exciting document.

06 Zhu BachAnother pianist who has recorded the Goldberg Variations live, albeit as a video, is Chinese-born Zhu Xiao Mei. She has also recorded Bach’s The Art of Fugue, but most recently the J. S. Bach Inventions and Sinfonias (Accentus Music ACC30350).

It’s familiar music to most keyboard players. The 15 Inventions and as many Sinfonias have been, as Bach intended, a staple in the keyboard study repertoire for centuries. Zhu is a performer, teacher and frequent jurist at major piano competitions. She offers a passionate argument in her liner notes for the higher regard that these pieces deserve. While dealing mostly with just two and three polyphonic voices, she nevertheless believes they contain an “extraordinary density of music.”

Zhu’s playing is sensitive, articulate and precise. It’s obvious she takes this music very seriously. She argues that Bach wanted players to learn how to play polyphonically and so, be able to highlight the dialogues between voices. She also believes Bach wanted young players to experiment with different approaches by varying tempos and phrasings. Her interpretations reflect this as they move gently and fluidly through what many students deliver as merely dutiful finger exercises. It’s a very satisfying performance and convincingly raises this collection of Bach keyboard works to a significantly higher level.

This recording is a timely reminder about the reverence we need to nurture around the act of making music, even with the simplest of works.

Review

07 Beethoven GiltburgLittle more than a year into his exclusive contract with Naxos, Boris Giltburg has recorded his second CD, Beethoven Piano Sonatas No.8 “Pathétique,” No.21 “Waldstein” and No.32 (Naxos 8.573400). Whether he aspires to recording all 32 sonatas remains to be seen. Still, his first Beethoven disc gives us a good sampling of the early, middle and late periods and of Giltburg’s understanding of how Beethoven’s expression in this form evolved.

His overall approach is one of rather intense carefulness. Giltburg is patient. Never rushing unnecessarily, he takes his time, pausing and hesitating to highlight the intimacy of the music. Speed and power are, however, no obstacle to him and he shies away from nothing.

The opening of the Pathétique is quite deliberative and in considerable contrast to the speed of the final movement. He begins the Waldstein with barely contained energy that spills out quickly over the rhythmic pulse of the left hand. The second movement seems wonderfully expanded in time as if he wants us to find something new in the open spaces between the notes. Giltburg then crafts some lovely sounds around the final movement’s bell-like main idea.

The Sonata No.32 Op.111 is Beethoven in completely new territory. Giltburg delights in the moments that appear unstructured and so modern for the period but he also plunges with feverish delight into the passages with fugal elements that Beethoven wrote for effective contrast. The jewel in this crown is unquestionably Giltburg’s performance of the final movement. The long opening arietta is memorably tender and the movement’s close, even more so.

08 Hough SciabinAn enlightening quote by the performer opens the notes of Scriabin – Janáček, Sonatas & Poems (Hyperion CDA67895). In it Stephen Hough explains his reason for alternating these two eccentric Slavic composers throughout the program of the CD. Describing Scriabin’s music as horizontal and Janáček’s as vertical, and further explaining how the two are essentially dissimilar, we have the rationale for the contrasting placement of all the music on this recording. Hough’s argument is that too much of either detracts from itself. But he also calls their voices contrasting and compelling, and this view is borne out in his playing.

Scriabin’s two sonatas, Nos.4 and 5, as well as the two Poèmes have that distinctive French impressionistic drift that is as seductive as it is hypnotic. Hough understands this form well and blends his lines with superb fluidness.

His approach to Janáček is, by necessity, very different. While somewhat programmatic the music is a demanding mix of romanticism, occasional moments of minimalism and plenty of modern form. Hough reflects the imagery beautifully in On the overgrown path – Book I. He captures the darkness of the Piano Sonata 1.X.1905, From the street, recalling the grim political events it marked as well as the composer’s deep personal struggles.

This recording is a mature and challenging project and is extraordinarily well done.

09 Bax Scriabin MussorgskyA new recording by young Italian pianist Alessio Bax, Scriabin, Mussorgsky (Signum Classics SIGCD426) brings yet another Scriabin piano sonata to the marketplace. The Sonata No.3 Op.23 is a considerably earlier work than its successor, with 16 years between them. The flowing impressionism of the 4th and 5th sonatas is only moderately evident in the slow movement of the 3rd sonata while the rest of the work is fairly classical in structure. Alessio Bax plays this work with a great deal of affection and his opening liner notes explain his fondness for the piece.

Bax is young, powerful and a capable interpreter with a natural instinct for drawing out the beauty of a melodic line. This is obvious in the Etude in C sharp Minor Op.2 No.1. The Prelude for the left hand alone, Op.9 No.1 is as beautiful as it is amazing to contemplate. One should like to see it in performance.

If we needed to be more impressed, we might reserve judgement until hearing Bax’s performance of Mussorgsky’s Pictures at an Exhibition, but the decision would be a foregone conclusion. Each of these little vignettes is superbly played. Ballet of the Unhatched Chicks and The Market Place sparkle with energy and the Great Gate of Kiev towers over the Pictures in pianistic grandeur.

Contemporary music has long used unconventional sound sources, among them the “prepared” piano. This usually involves some physical change in the mechanism or tuning of the instrument. Digital technology has, however, opened new opportunities to take this approach much further. The possibilities are limited only by imagination.

10 Beyond 12OnBeyond 12 – Reinventing the Piano (MicroFest Records MF3) pianist Aron Kallay performs works commissioned from eight American composers. They were given two ground rules to follow in composing their works. First, retune the 88-note keyboard to represent just a single octave. Second, remap the keyboard so that high/low or left/right can be interchangeable and pitches can be in any order.

What has emerged is a body of works playable on a digitally conceived model that uses software to reconfigure a traditional digital keyboard to meet these requirements. The eight composers are mostly professional musicians and academics with a strong inclination for technology in their music writing.

It’s surprising to hear how much of this music has a strong tonal centre and uses familiar rhythmic patterns to drive it forward. Also intriguing is the way the ear quickly adjusts to the very small differences of pitch between adjacent notes. It’s as if the brain resets and quickly begins to make melodic and harmonic sense out of this unconventional music model. This is a truly fascinating disc and worth hearing for both pleasure and debate.

11a Into the MilleniumAmerican harpsichordist Elaine Funaro has made a career of championing new music for the harpsichord. In 1996 she recorded Into The Millennium – The Harpsichord in the 20th Century (Gasparo GSCD-331). Twenty years later the recording is as exciting as it was when first committed to DAT in the beautiful and cavernous Duke University Chapel (North Carolina).

Two tracks deserve special mention. The Postlude of Dan Locklair’s dance suite The Breakers Pound will lift you right out of your seat. The raw energy coming from such a traditionally non-dynamic instrument is indescribable. It has the feel of Khachaturian’s Sabre Dance. Also, Tom Harris’ Jubilate Deo is extraordinary for the way it builds tension with increasing stacks of harmonies. It’s wonderful to see this older recording reissued.

11b Platti sonatasAlso among Elaine Funaro’s recently reissued recordings is Giovanni Benedetto Platti “il grande” Sonatas for Clavicembalo (Wildboar WLBR 9901). Here, the repertoire is material from the early 18th century. Funaro plays two modern instruments, a harpsichord and a fortepiano, copies of originals from that period. The fortepiano in particular, produces an unusual and pleasant timbre not often heard in recordings.

Funaro has audio and video samples of her work at funaroharpsichord.com.

 

 

Goodness only knows how many attempts at string quartets Johannes Brahms destroyed before he finally felt able to present a completed work to the world in 1873 – there may have been as many as 20 – but at least the three quartets we do have are real gems.

01 Brahms New OrfordThe two quartets Op.51, in C Minor and A Minor, were followed by the B-flat Major Op.67 in 1876, but with each of the three works being about 35 minutes in length it’s simply not possible to include more than two on a single CD. Still, as the song says, two out of three ain’t bad, especially when the performances are as beautiful as those on Brahms String Quartets Op.51, Nos.1&2 by the New Orford String Quartet (Bridge 9464).

Just about all of the Brahmsian qualities you would want to hear are present: these are warm, passionate, nuanced, beautifully judged and balanced performances, full of that almost autumnal, nostalgic introspection so typical of the composer and with a lovely dynamic range. Jonathan Crow and Andrew Wan play first and second violin respectively in the Op.51 No.1, changing places for the second quartet.

The warm and resonant recording quality should come as no surprise, given that the location was the Multimedia Room at McGill University’s Schulich School of Music in Montreal.

02 My ArmeniaThe outstanding Armenian brother and sister duo Sergey and Lusine Khachatryan are back with another superb violin and piano recital on My Armenia (naïve V5414), dedicated to the 100th Commemoration of the Armenian Genocide.

The program of works by Komitas Vardapet, Eduard Bagdasaryan, Edvard Mirzoyan, Aram Khachaturian and Arno Babadjanian gives both performers ample opportunity to shine. Lusine Khachatryan is excellent in the piano solos that account for almost half of the very generous running time of the CD – close to 80 minutes – but the disc really takes off in the duos, with Sergey’s impassioned, brilliant playing taking the music to new heights and emotional depths.

There’s a lovely recorded sound and balance right from the opening two short-but-lovely duo pieces by Vardapet before Lusine features in his Seven Folk Dances for Piano Solo. The three duo pieces at the centre of the CD – Bagdasaryan’s Rhapsody and Nocturne and Mirzoyan’s Introduction & Perpetuum mobile – are also the heart of the recital. The Rhapsody is a truly rhapsodic and beautiful piece, and the short Nocturne an absolute gem. The Mirzoyan work is a real showstopper, with a simply dazzling second half.

Khachaturian, probably the best-known of the composers on the disc, is represented by three short pieces, including the familiar Sabre Dance in a typically showy transcription by Jascha Heifetz.

The CD ends with Babadjanian’s Six Pictures for Solo Piano, a challenging work both technically and harmonically, with a brilliant Toccatina movement straight out of the same drawer as Prokofiev’s Seventh Piano Sonata. It’s another dazzler.

All in all, it’s wonderful playing and musicianship from a wonderfully gifted duo. This is music that is clearly deeply ingrained in their hearts and souls as well as in their fingers.

Regular readers will know how I feel about reviewing complete sets of the Bach unaccompanied solo works, be it the Sonatas & Partitas for violin or the Cello Suites: the sheer size, scope, depth and complexity of the music, together with the wide range of versions available, makes any in-depth review almost impossible. All you can really do is note the arrival and try to give some idea of the stylistic approach and overall effect.

03 Midori BachThe latest addition to the already lengthy list of available versions of the Bach Sonatas & Partitas for Solo Violin is a beautiful 2-CD set by Midori (Onyx 4123). Again, as with the recent Gil Shaham release, there is a clear sense of these wonderful works having been a constant in the performer’s life, together with a reluctance to create a permanent record of what is essentially only one in a continually developing and changing series of interpretations. “After thirty years on stage,” says Midori, “the time felt right for me to fully embrace these most daunting and invaluable compositions.”

The recordings were made in Cologne in August 2013 as a result of Midori’s Bach Project that marked the 30th anniversary of her 1982 debut with Zubin Mehta and the New York Philharmonic. Presumably made for broadcast on German radio – the booklet cover has WDR The Cologne Broadcasts as a sub-heading – the recorded sound is clean and clear, with a natural presence.

There is much to comment on here: the compactness of the chords in the G Minor Fugue; the brightness, speed and sense of pulse in the uptempo dance movements in the Partitas; the lightness and ease of the multiple-stopping, without ever obscuring the line; the light and warmth in the tone, combined with a strength and richness.

It’s easy to see why violinists hesitate to commit performances of these works to disc: the more you play them and live with them, the more the challenges and possibilities, both technical and emotional, continue to grow and not diminish.

All we can do is sit back and enjoy the journey, albeit a different one each time, and feel grateful for the privilege.

04 Podger BiberMany of the same problems for a reviewer are presented by the Mystery Sonatas (also known as the Rosary Sonatas) of Heinrich Ignaz Franz von Biber, now available in a beautifully judged 2-CD set by the outstanding period-performance violinist Rachel Podger (Channel Classics CCS SA 37315). David Miller, Marcin Świątkiewicz and Jonathan Manson supply the excellent continuo.

The sonatas depict the mysteries in the life of Jesus and the Virgin Mary. Anyone familiar with Biber’s descriptive piece Battalia will know how startlingly inventive he can be, but nothing prepares you for what he does in these 16 sonatas.

Scordatura (from the Italian word that gives us “discordant”) is a technique in which the strings of a string instrument are tuned differently from the usual arrangement. It’s not that uncommon, but in these sonatas Biber takes it to simply astonishing lengths, radically altering the violin’s normal GDAE tuning in all but the outer movements by retuning anything from one to all four of the strings by intervals as large as a fifth. Every tuning is different, and some – GGDD, DFB-flatD and BF-sharpBD, for instance – are simply eye-popping. The result is essentially a different instrument for each movement, with enormous possibilities for radically different chordal work and multiple-stopping.

These astonishing sonatas have long been a favourite with baroque specialists – a quick online search produced almost two dozen CD sets currently available – and while Podger is up against some stiff competition (including an outstanding set by Tafelmusik’s Julia Wedman) these are performances of works that stretch both the violin and the violinist to the limit that will hold their own against any.

05 Igbragimova BachWhen Hyperion released the Russian violinist Alina Ibragimova’s recording of the Bach Sonatas & Partitas in 2009, Gramophone magazine noted that “… her Bach comes as something of a revelation … all her stylishness and technical refinement is at the service of an ingrained understanding of the music.” Add another six years, and it should come as no surprise that in her latest Hyperion release, Bach Violin Concertos with the string ensemble Arcangelo under their founder Jonathan Cohen (CDA 68068), Ibragimova delivers terrific performances of consummate skill and style.

Arcangelo plays with a lute and harpsichord continuo, but it’s the lute that predominates in the balance here, giving the performances a soft, warm background that provides a perfect setting for Ibragimova’s sensitive interpretations. The booklet notes point out that this music comes from an age when the distinction between star soloist and ensemble player was more blurred than it is today, and Ibragimova really seems to have taken that to heart. Her imaginative playing is full of sensitive phrasing and dynamics, but is quite laid back, sounding more like a thread running through a tapestry than an out-front solo performance. Everything is light and spacious, and never heavy or routine.

The two standard solo concertos – in A Minor BWV1041 and E Major BWV1042, both of which were transcribed for keyboard by Bach – are here, but not the D Minor Double Concerto. Instead, we have three solo concertos that are described as “back-transcriptions,” being reconstructed solo versions of keyboard concertos that were themselves transcriptions of solo works. The Concerto in A Major BWV1055 is from Keyboard Concerto No.4; the Concerto in G Minor BWV1056 is from the transposed Keyboard Concerto No.5 in F Minor; and the Concerto in D Minor BWV1052 is from the Keyboard Concerto No.1.

The original A Major concerto may have been for oboe d’amore, and the original G Minor for violin or oboe; the D Minor, however, was described by no less an authority as Donald Tovey as “the greatest and most difficult violin concerto before the time of Beethoven.”

It makes a fine ending to an immensely satisfying CD.

06 Cyril ScottHowever much you may know about the music of the English composer Cyril Scott, whose Lotus Land was transcribed and recorded several times by Heifetz in the 1920s and 1930s, you’re almost certainly not going to know either of the works on the CD Dawn and Twilight – The First and Last Violin Sonatas of Cyril Scott (Affetto AF1504) unless you’ve already heard the CD: both works are world premiere recordings.

Scott, who died in 1970 at the age of 91, wrote close to 400 works in a wide range of genres but his music was largely neglected at his death, although there has been a resurgence of both interest and recordings since the turn of the century. He wrote four numbered violin sonatas, only the first of which is a youthful work: written in 1908, it was heavily revised and shortened in 1956. The revised version, along with the second and third sonatas from 1950 and 1955 respectively, was featured on a 2010 Naxos release, but Dawn and Twilight pairs the original version with the unpublished Sonata No.4, written in 1956, the same year as the revision of No.1, and provided in a photocopy of the original manuscript by the composer’s son Desmond Scott.

Violinist Andrew Kirkman and pianist Clipper Erickson are the performers here in works that are difficult to compare because, as Desmond Scott notes, there is a world of stylistic and other differences between them. Certainly the 1908 version of the First Sonata, almost a third longer than the revised version, shows a composer already leaving behind the influences of Debussy and Strauss and moving away from tonality and regular rhythm, and not surprisingly attracting a fair amount of uncomprehending attention from contemporary reviewers. To our ears it’s a stylish and finely crafted rhapsodic four-movement work, with a simply beautiful slow movement, and what the booklet notes call “a bravura disregard for the kind of formal control that informed its later revision.”

The Fourth Sonata, the direct contemporary of that revision, is another fine work that also shows the formal control and precise musical thought process of a mature composer then in his late 70s.

Kirkman and Erickson started performing the original No.1 in 2011, and gave a few concert performances of the unpublished No.4 before recording it for this release. There are times when Erickson seems to be playing with more emotional commitment and dynamic range than Kirkman, but overall these are fine performances of two works that fully deserve to be added to the standard repertoire of 20th-century violin sonatas.

07 Alexander QuartetThere are two outstanding CDs this month featuring the works of American women composers. Patagón (Foghorn Classics CD2015) features the Alexander String Quartet in three works by Cindy Cox, now in her mid-50s and very active as a pianist as well as a composer.

Cox’s music here is quite fascinating, quite varied and not easy to describe.The composer Robert Carl, writing in Fanfare Magazine, said that “Cox writes music that demonstrates an extremely refined and imaginative sense of instrumental colour and texture … this is well wrought, imaginative, and not easily classifiable music.” It’s exactly that.

The Alexander String Quartet was formed in 1981, and performed and recorded Cox’s first string quartet, Columba aspexit, after Hildegard von Bingen, some 20 years ago. It’s performed here along with the title work, Patagón, a five-movement work written in 2011 on commission from the Alexanders to celebrate their 30th anniversary and dedicated to them. Inspired by a trip to the Valdes peninsula nature preserve in southern Argentina, it employs some quite remarkable effects, including sliding harmonics, col legno (playing with the wood of the bow), sul ponticello (playing near the bridge), sul tasto (playing above the fingerboard) and overbowing, where the bow is pressed hard but slowly against the strings. Imagine these sounds and then look at the title of the third movement – Southern right whales and Magellanic penguins – and you will have some idea why these effects seem so perfectly suited to the music.

The quartet’s first violinist Zakarias Grafilo opens the CD with the short but lovely 1990 solo violin work Elegy, dedicated to the memory of Cox’s fellow compositional student Eric Heckard, who died in 1989 at the young age of 26.

The ASQ and Cox have been collaborating ever since that early recording of the Columba quartet, and it’s hard to imagine more satisfying or better-informed performances of these lovely works.

08 Jessie MontgomeryAll of the works on Strum: Music for Strings, the first album dedicated solely to the music of the young African-American composer and violinist Jessie Montgomery (Azica ACD-71302) were written in the past three years, and they display a remarkable self-assurance and confidence together with a striking musical inventiveness and imagination.

Starburst is a short work for string orchestra that plays on rapidly changing musical colours. Source Code for string quartet began life as sketched transcriptions of various sources from African American artists prominent during the peak of the Civil Rights era; it’s played here by the Catalyst Quartet. Break Away, a five-movement work for string quartet, was written for the PUBLIQuartet, who perform it here; born out of a series of improvisations the ensemble was working on while in residence at the Banff Centre, it requires the players to literally break away from the score and improvise, especially in the final movement.

The Rhapsody No.1 for solo violin gives Montgomery the chance to display her outstanding violin playing, and Banner for solo string quartet and string orchestra, with the Catalyst Quartet and the String Orchestra conducted by Julian Wachner, is a rhapsodic tribute to the 200th Anniversary of The Star-Spangled Banner.

Strum, the title track of the album, is the final version of a work started in 2006, but revised and partially rewritten in 2012 for the Catalyst Quartet, whose performance rounds out an impressive debut disc of Montgomery’s compositions.

This is clearly a significant talent, and definitely someone to watch. Expect to hear a lot more from this artist.

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