Early, Classical and Beyond

Schubert - Piano Sonatas in A Minor D784; B-Flat Major D960
Boris Zarankin
Doremi DHR-71153

If the listener didn’t know it before, this CD confirms that Boris Zarankin possesses an ardent empathy with Schubert. From the opening bars of the first movement of the great Sonata in B-Flat Major, marked molto moderato, there is almost a quasi religious awakening and, as the music unfolds, further dimensions are revealed that one does not hear in other versions of this familiar work. Well, not quite. Hearing Zarankin conjured up the performance by Valery Afanassiev recorded live at the Lockenhaus Festival in 1986 that has lingered in my memory as an interpretation with the same intense, poetic introversion. However, listening to that performance once again, as attractive as it is, Zarankin is the more poetic, realizing the tragedy of Schubert playing out the last chapter of his life.

In both sonatas Boris Zarankin is in a class of his own, fully justifying his venturing into such frequently charted repertoire. Zarankin has his own ideas about playing these sonatas but I sense that they are also Schubert’s.

These recordings were made last August in Glenn Gould Studio in Toronto and engineered by Clive Allen who is responsible for the eminently truthful and dynamic, wide-range sound.

Il Progetto Vivaldi 2
Sol Gabetta; Cappella Gabetta; Andres Gabetta
Sony Classical 88697932302

Vivaldi - Cello Concertos
Jean-Guihen Queyras; Akademie fur Alte Musik, Berlin
Harmonia Mundi HMC 902095

These are two lively and exuberant recordings of the music of Vivaldi and his contemporaries, focussing on the Venetian composer’s rich and somewhat varied cello concertos. There are 27 cello concertos by Vivaldi that have come down to us and a strong cross-section is represented here. Gabetta and Queyras are two of the world’s leading cellists and belong to a generation of modern European musicians who have fully integrated baroque style into their musical philosophies.

The “Argentine French Russian-born” Sol Gabetta has been garnering rave reviews for her playing since finishing her studies in 2006. She maintains a busy performing and recording schedule and a wide repertoire, from Bach and Vivaldi to Shostakovich, Elgar and Ginastera. Her playing on this recording – her second CD of Vivaldi concertos - is exquisite and the orchestral playing (directed by her brother, violinist Andrew Gabetta) is exciting and elegant. Of special interest is the Concerto in D Major by Leonardo Leo, which looks forward stylistically to the galant music of the later 18th century, and the world premiere recording of the Concerto in D Minor by Giovanni Benedetto Platti, an interesting and dramatic work that we should hear more often.

Jean-Guihen Queyras was born in Canada, but brought up in France. He was the winner of the 2002 City of Toronto Protégé Prize as chosen by Glenn Gould Prize laureate Pierre Boulez and his playing is possessed of a remarkably burnished and gorgeous tone. His interest in chamber music is apparent in the program of this CD, which features sinfonias and orchestral concertos by Vivaldi in addition to the concertos for solo cello. The Berlin Akademie provides tasteful and profound support, exploiting a wide range of string colours. Of special note is the playing of lutenist Simon Martyn-Ellis. Included are two sinfonias by Antonio Caldara, to my ears not as musically interesting as the Vivaldi works.

Of the two recordings, the one by Queyras feels a little more rehearsed, steady and thoughtful. The Capella Gabetta has the feeling of being a pick-up band, albeit one made up of very fine players. Both recordings are full of life and youthful energy and are highly recommended.

Vivaldi - Return of Angels
Ensemble Caprice; Matthias Maute
Analekta AN 2 9995

This CD builds on Ensemble Caprice’s first recording of Vivaldi’s sacred music, Gloria! Vivaldi and his Angels. Once again, we are transported into the confines of the Ospedale della Pietà, the orphanage where Vivaldi taught orphaned girls violin and singing, and composed concertos and sacred music.

Vivaldi’s charges enjoyed great fame throughout Europe, a fact made even more amazing by the thoroughly demanding quality of the compositions. Listeners even included the English traveler Edward Wright, who states that the girls “have a eunuch for a master, and he composes their music!” It is a unique description of Vivaldi!

Ten lady singers are assembled by Matthias Maute; not a male voice is to be heard even though the opening “Coro” from Juditha Triumphans is inspired by a military theme. Less warlike are the “Coro O quam vaga” and the aria “Armatae, face” (both sung with distinction by Shannon Mercer).

Other soloists make their mark: Laura Pudwell, contralto, in Si Fulgida, and Gabriele Hierdeis in the motet O qui coeli terraeque serenitas. Also on the CD, perhaps strangely, are two pieces by Zelenka (the soloists Mercer and Pudwell once again) and even two concertos by Vivaldi; perhaps it was Vivaldi’s custom to spare the voices of his charges from over-exposure and Maute is following suit.

In fact, the Ensemble’s interpretations, solo or otherwise, present a spiritual and intense selection of Vivaldi’s compositions for his orphaned girls. This reviewer looks forward to a third CD.

A French Soirée
Trio Settecento
Cedille CDR 90000 129

Name any truly great French baroque composer and you will find him on this CD. Trio Settecento has recorded a selection of the finest music of its type, the antidote to those jaded souls who believe baroque music all sounds the same.

The program starts with Jean-Baptiste Lully’s Ballet Royal de Flore; those distinctive names that typify Lully’s ballet movements are conspicuous by their presence: “Entrée pour les Jardiniers et quatre gallants” is one such. The trio may use a 1983 replica of a harpsichord, but a 1770 violin and a 1743 seven-string bass viol provide authenticity throughout the CD, not to mention the inspiration for passionate playing.

Solo music for baroque viol is personified by Marin Marais: John Mark Rozendaal imparts a playful quality to La Guitare, which is after all a joyful imitation of a joyful baroque instrument. More restrained is the Chaconne for all three players.

François Couperin is bound to feature on a compilation of this kind. Seven movements from his Troisième Concert are played. Enjoy the Courante and Muzette for their rural evocations but be moved by the Sarabande and Chaconne.

Far less well-known is Jean-Féry Rebel and a mere seven minutes can only hint at Rebel’s demanding violin scores. A full CD to bring Rebel to a wider audience, Trio Settecento?

Finally, Rameau, as may be expected. Rameau’s pieces here are portraits of the Commedia dell’Arte, a gossip, and even the Rameau household with its musical rehearsals and barking dog!

And if you want to hear baroque music from either Italy or Germany, the Trio has already recorded it – Italian Soujourn (sic) and German Bouquet.

@bach
Evan Shinners
New Cull Records (www.evanshinners.com)

Evan Shinners’ début recording – he graduated from Juilliard in 2010 – comprises an unedited recording of two live concerts of Bach’s music. We even hear the orchestra tuning and sounds from the intermission – and there is no post-production to divert us from this interpretation.

Shinners’ first piece is Bach’s own first piece – the Partita in B-flat BWV825. Shinners is his own man as he plays the Allemande and Courante with an equally joyful quality and the second Minuet with the vigour of which Bach must have dreamt when he composed the work. The audience’s applause affirms everything.

Improvisation is Shinners’ driving force behind two Toccatas – and as he explains to his audience, he is keeping that tradition of the toccata alive. A thoughtful interpretation of the E Minor BWV914 is followed by the C Minor BWV911 with its own swift changes and heavy demands on the player. The audience was impressed.

Shinners does not shy away from including pieces which some might dismiss as being typically baroque. In fact, there is nothing stilted or restricted or confined about his interpretation of the French Suite BWV816. Shinners plays all seven movements according to the original qualities of the French dances that became stylized in the Baroque.

And so to the final work, the Concerto in D Minor BWV1052. Here we find the sheer power of the first Allegro, the pleading and almost sombre quality of the Adagio, the further vigour of the second Allegro, and Evan Shinners shining supreme.