mozart martin frostMozart - Clarinet Concerto; Kegelstatt Trio; Allegretto 
Martin Frost; Deutsche Kammerphilharmonie Bremen
BIS 1893

Clarinetist Martin Frost can play anything anyone puts in front of him. He’s that kind of monster. He can conduct and dance and who knows maybe serve toast and tea while doing so. He’s musical, he’s tall and Swedish, and he works with really good musicians on this release of Mozart works for the clarinet. So it’s heartening to this envious hack that even he can’t make me like the basset-clarinet, an ungainly extended clarinet with an out-of-proportion lower range that somehow makes me think of Jennifer Lopez.

It is the fashion to try to reproduce the lost or stolen manuscript version of the clarinet concerto K622 by revising the first edition such that certain passages make use of the extra four semitones at the bottom of the basset extension. To this ear that range is an ugly ostrich-ling, and the pitch wonkiness of a normal clarinet is exponentially worsened by the physical length of the lower joint.

Who besides Mozart wrote for the instrument? Franz Sussmeyer, that’s who. The guy who completed the scores of late Mozart works. After that… (deafening silence). Never mind, Frost is wonderful, his musicianship  impeccable and the orchestra he leads is a flexible and united band. I say the rondo is too fast, but after that J Lo crack who’s listening?

Once you’ve enjoyed the concerto, hit pause and let things settle a bit before you jump into the Kegelstadtt Trio K498. The jump in key from A major to E-flat is likely an unintended jolt; some might like aural palate cleanser before continuing. Too rarely-recorded, the trio is a genial conversation. Written for his buddy Anton Stadler, like the quintet and the concerto, Mozart’s trio is named for the hangout where he may have spent many a dissolute hour: a bowling alley. He wrote the piano part no doubt to test a favoured student; it is a mini-concerto for the keyboard, especially the final rondo. The group makes interesting decisions regarding a problem posed by the piece: how to vary the pulse from one movement to the next. Their sense of ensemble is fantastic. The final selection is a reconstruction by Robert Levin of a fragment (93 bars) of a work Mozart began for clarinet and string quartet: a welcome addition to the chamber rep for clarinetists, and a terrific vehicle for Frost’s virtuosity, it’s full of lovely late-Mozartian surprises and innovation.

 

03 early 01 jose lemosIo Vidi In Terra
José Lemos; Jory Vinikour; Deborah Fox
Sono Luminus DSL-92172
sonoluminus.com

Seventeenth-century Italy presents us with images of love, debauchery, power games, murders and ruthless ambition — but at least there were some great Italian composers around to set the romantic elements to music!

Brazilian José Lemos displays his in-depth love for Italian vocal music by selecting not only giants of the period but also lesser-known composers. It is, indeed, a less-well-known composer, Tarquinio Merula, with whom José Lemos opens his recital. His rendition of “Su la cetra amorosa” draws on a very wide range of skills as it combines an almost rushed score with a sometimes highly exhilarating one.

“Io Vidi in Terra” sets lines by Petrarch, and it is a tribute to both Marco da Gagliano and José Lemos that poetry and song of such beauty and sensitivity are to be found on this CD. Just as anguished by love’s pains is “Ardo” by Benedetto Ferrari, bringing out the best in Lemos’ longer notes and drawing on Vinikour’s harpsichord and Deborah Fox’s theorbo.

Instrumental solos feature. Spagnoletta was one of the most popular and longest-lived pieces of the entire Renaissance. Vinikour gives a spirited interpretation of Storace’s complex score — the most demanding this reviewer has heard. And for good measure there is the exuberant Balletto by the same composer.

Lemos starts and finishes his recital with songs by Merula, who deserves to be better known. Listening to this choice of songs, it is easy to see why — this is a wonderful collection of early Italian baroque music.

03 early 02 veneziaSplendore a Venezia – Music in Venice
from the Renaissance to the Baroque
Various Artists
ATMA ACD2 3013

This compilation disc was created to accompany the exhibition presented at the Montreal Museum of Fine Arts this season from October to January focusing on the interrelationship between the visual arts and music during the 16th, 17th and 18th centuries, In addition to paintings, the show features historical instruments, musical texts and manuscripts. For the recording, the ATMA label draws from its catalogue works by composers who figure in the exhibition, including Monteverdi, Gabrieli, Rossi, Vivaldi andAlbinoni, performed by local Montreal artists and their guests. There is a cornucopia of instrumental and vocal works offered, bringing to life the rich, festive tapestry of Venetian society. The Académie baroque de Montréal offers a stunning performance of a Vivaldi concerto with the late Washington McClain as oboe soloist. Perhaps in honour of the string instruments on display at the gallery, such as the Koch archlute, a lovely Ballo secondo by Kapsberger features chitarrone and harp.

Vocal ensemble Les Voix Baroques and Tragicomedia perform Gabrieli’s madrigal Due rose fresche and Monterverdi’s Laetatus sum. Charles Daniels and Colin Balzer delight in Monterverdi’s whimsical Zefiro torna and the superb voice of Karina Gauvin soars through the lovely Vivaldi aria “Addio Caro. A delightful surprise is Benedetto Marcello’s setting of Psalm 15 gorgeously sung by Israeli mezzo Rinat Shaham. For those looking for a reason to brave the cold in Montreal this winter, the exhibit is a must-see; for all others, vicarious enjoyment through the music, complete with a full-colour booklet illustrated with several of the works presented in the MMFA exhibition.

03 early 03 harp concertosHandel; Boieldieu;
Mozart – Harp Concertos
Val
érie Milot; Les Violins du Roi;
Bernard Labadie
Analekta AN 29990

The three concertos on this recording remain a major part of the harp repertoire today even though they were written at the time when the harp was not considered much more than a salon instrument, due to the defects of the single pedal mechanism. Interestingly enough, it was Sébastien Érard, a roommate of Boieldieu, who invented the double-action pedal mechanism that greatly improved the sound and the ability of the harp. All three concertos, featuring Valérie Milot as soloist, were recorded on the modern harp thus adding an array of colours and textures that would have been impossible to achieve at the time they were composed.

Handel’s Concerto in B flat Major is my personal favourite on this recording. It was premiered in 1736 at Covent Garden in London, at a concert dedicated exclusively to Handel’s compositions. This concerto has a wonderfully intimate sound throughout. Elegant baroque phrasing of Les Violons Du Roy complements the crispy, sparkling harp sound — creating an atmosphere that is not overly dramatic yet containing a wide range of emotions.

François-Adrien Boieldieu (1775–1834) may not be a familiar name but he was a popular opera composer and piano teacher at the Conservatoire de Paris. His love for opera is evident in his concerto for harp — dramatic orchestra opening of both the first and second movements and many ornaments in delicately virtuosic harp lines. The last movement has a very enjoyable swaying momentum, evoking the spirit of the times.

Mozart wrote the Concerto for Flute and Harp in C, K299 while he was visiting Paris and happened to become a composition teacher for the Duc de Guines’ daughter, who, in turn, occasionally played the harp accompanied by her father on the transverse flute. This concerto is signature Mozart, bursting with melodies and brightness. The flute soloist, Claire Marchand, plays with sensitivity and clarity, and the two instruments blend very well. Milot has composed cadenzas for both Handel’s and Mozart’s concertos, in keeping with the practices of the times and contributing more authenticity to this recording.

04 classical 02 brahms symphoniesBrahms – The Symphonies
Gewandhausorchester; Riccardo Chailly
Decca 4785344

The Four Symphonies including some revised and original material: Tragic Overture, Haydn Variations, Academic Festival Overture; Intermezzi, Liebeslieder Waltzes, Hungarian Dances (3 CDs in a hard-bound book). Here are some notes to myself as I made them listening to this set in preparation to write a review:

Hits the ground running ... Not traditional weighted-down performance ... Keeps moving ... The music flows ... Thrilling ... Could be the Beethoven Tenth ... Hearing with new ears ... Perfect balances ... Translucent ... Clearly hear the pluck in the plucked basses.

Vivid recording, you can see the orchestra ... Outstanding string section that doesn’t swamp the woodwinds ... Instruments clear without spotlighting ... Clearly hear the inner instrumentation in true perspective.

Feels like hearing the works for the first time ... Outstanding dynamics ... Texture in the horns reminiscent of Szell ... Tempos fluid and forward-looking ... Well-rehearsed but no sense of hearing a routine performance ... No trudging through well-worn paths ... Not dutiful or obligatory.

Gorgeous singing winds ... Excitingly fresh ... Spectacular ... Confident ... Brahms restored ... Chailly, the orchestra a perfect match ... Brings to mind Toscanini’s 1951 recording of the First ... Unique interpretations ... Enthusiastic, firm, clear, articulate, translucent ... This is how Brahms was heard at the first performances before there were any coats of traditions to wear.

I guess what I’m saying is “Highly recommended!”

04 classical 03 yuja wangRachmaninov #3; Prokofiev #2
Yuja Wang; Simon Bolivar Symphony Orchestra of Venezuela; Gustavo Dudamel
Deutsche Grammophon B0019102-02

This CD is a wonderful pairing of two of the greatest piano concertos ever written and two young superstars, Yuja Wang and Gustavo Dudamel. The orchestra, a third superstar, is made up of young players mainly in their 20s. The combined energy of these artists explodes in these live recordings made in Caracas, Venezuela. Yuja Wang impresses with her intensity and spectacular technique. She performs the Rachmaninov with passion but her playing is also refined and polished. She listens to the orchestra and in Dudamel she has a most sympathetic accompanist. In fact, pianist, conductor and orchestra were so in tune together that some of the concerto even sounded like chamber music and many nuances were brought out that are not normally heard. Reactions to performances of this piece can be sentimental and we all have our favorites. However, Wang’s CD will certainly join my top ten list.

The Prokofiev Second Piano Concerto is a dark masterpiece in four movements. It is an extremely challenging work both for the pianist and the orchestra. Wang gives a thrilling performance. Her voicing of chords in quiet introspective moments achieves a bell-like sonority. Her virtuosic power never overwhelms but enhances the music and her astounding technique is used to shape and sculpt the music. Wang’s intensity and the fiery emotion of the orchestra is hard to resist. This CD is highly recommended, especially for pianists who long to play these two great masterpieces.

Concert Note: The Toronto Symphony Orchestra presents “The Year of the Horse: A Chinese New Year Celebration” hosted by Dashan, featuring Yuja Wang with a special appearance by Song Zuying Monday, February 3 at Roy Thomson Hall.

04 classical 04 tso rite of springRachmaninoff – Symphonic Dances; Stravinsky – The Rite of Spring
Toronto Symphony Orchestra;
Peter Oundjian
TSO Live
tso.ca/tsolive

TSO Live is a self-produced label of live concert recordings, established in 2008 by the Toronto Symphony Orchestra and its music director Peter Oundjian. Their newest release features Rachmaninov’s Symphonic Dances and Stravinsky’s The Rite of Spring, two works that share a common thread of experimental harmonies and prominent rhythms.

Rachmaninov composed this orchestral suite in three movements in 1940, shortly after escaping the war in Europe and moving to the United States. It was originally conceived as a ballet; its final version retained complex rhythms but also became very symphonic in nature. The first movement starts with a marching fast section, with beautifully rendered dynamic contrasts in the orchestra. Shifting harmonies and elements of sarcasm continue in the second movement, combining folksy melodies with waltz-like lilts. The last movement is inspired by the chants of the Russian Orthodox Church and the Gregorian chant of the dead. In a way, it was as if Rachmaninov had a premonition — Symphonic Dances was to be his last original composition. The TSO maintains a cohesive expression with many beautiful textures throughout this piece.

The star of this recording, in my opinion, is The Rite of Spring. It is dark, it is pagan, it is mystically powerful. It contains complex rhythms and metres, experiments in tonality and dissonance. Stravinsky wrote it 100 years ago, in 1913, for a Paris season of Sergei Diaghilev’s Ballets Russes company. The premiere caused a riot in the audience — many were escorted outside and the reaction barely subsided by the end of this 35-minute ballet. It was said that Nijinsky, who choreographed this piece, had to keep shouting the number of steps to the dancers as they could not hear the orchestra at times. It was a pleasure hearing the TSO playing with such gusto and precision. The avant-garde elements that caused a disturbance 100 years ago are almost certainly the same elements that appeal to the contemporary audience. It is not a surprise that The Rite of Spring remains one of the most recorded works of the classical repertoire. This recording has a freshness that captivates the listener.

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