Early, Classical and Beyond

Musical Remembrances
Neave Trio
Chandos CHAN 20167 (chandos.net/products/catalogue/CHAN%2020167)

Recorded in 2021 at Potton Hall, England and released on Chandos Records, their fourth for the label, Musical Remembrances by the Neave Trio (Anna Williams, violin; Mikhail Veselov, cello; and Eri Nakamura, piano) captures the trio in a reflective mood. The album is inspired by remembrance, both in terms of repertoire selection (Ravel’s Piano Trio in A Minor, Op.67 captures the French composer “remembering” his native Basque musical tradition) and in terms of remembering what a pre-pandemic world of touring and concertizing was like for musicians of the calibre and renown of the Neave Trio. And while speculative as this recording may be, it is anything but maudlin or melancholic – the dynamic chosen repertoire pops from the stereo speakers with the same clarity, purpose and confidence of delivery that earned their previous recording, Her Voice, a best recording of the year designation by both The New York Times and BBC Radio 3. 

Although the entire recording is excellent, it is the Brahms Piano Trio No.1 in B Major, Op.8 where the chamber group, to my ears, shines brightest, bringing out a range of musical emotions and drawing listener ears towards new musical ideas over four movements that always centre around excellence, but leave room for new discoveries. On the faculty now at the Longy School of Music of Bard College, let us hope that this terrific trio continues to find the time to mine the depths of the great chamber music repertoire of Western Art Music and make recordings such as this that both delight and surprise.

Virtuosa Project
Infusion Baroque
Leaf Music LM246 (leaf-music.ca)

The piquant new release by Virtuosa, a period ensemble form Quebec, is part of their notable Virtuosa Project, a series of concerts, lectures and web videos dedicated to women musicians prior to the 20th century. In itself, this is an impressive undertaking featuring 14 compositions, stylish interpretations and tons of heartfelt energy. Almost all of the female composers on this album remained in the shadows of their male counterparts but brought just as much knowledge, skill and talent to the European courts and concert stages. Many were courageous and imaginative performers and composers who led financially independent lives and acquired noble reputations. This album features an all-star list of powerful and talented women composers, some of whom remain relatively unknown to audiences today: Anna Bon, Anna Amalia of Prussia, Wilhelmine von Bayreuth, Maddalena Lombardini Sirmen, Elisabeth-Claude Jacquet de la Guerre, Leopoldine Blahetka, Teresa Milanollo, Hélène Liebmann and the better-known Clara Schumann. 

Ensemble Virtuosa is daring in both their programming and performance. The beauty of structure and phrasing is emphasized through a fantastic array of colours; the ensemble and their guest artists perform with a great sensitivity to each of the individual compositional languages. The inclusion of the contemporary piece Versailles written for Baroque instruments by Canadian Linda Catlin Smith is perhaps a surprising inclusion, but it works well as it binds together meditative and enigmatic feminine qualities, resulting in uniquely beautiful textural layers. 

Intuitive and reflective, Infusion Baroque celebrates the vibrant creativity and lives of these women.

Listen to 'Virtuosa Project' Now in the Listening Room

Lisztomania Vol.2
Hando Nahkur
HN Productions (handonahkur.com)

Hando Nahkur is a remarkable American pianist of Estonian origin. Actually, he has been enthusiastically reviewed on these pages in 2018 – his Lisztomania Vol.1 – and with this Vol.2 I can only reiterate and add to those accolades.

Nahkur’s credentials are too numerous to mention. As soloist and accompanist he has enchanted audiences, won competitions and received international awards. Franz Liszt is his favourite composer, and listening to this recording he certainly does more than justice to the repertoire. In fact since Estonians and Hungarians (and the Finns) are related, coming from the same roots, he must have some Magyar blood in him as he has such tremendous affinity and love for the great Hungarian composer.

According to our pianist the key to understanding Liszt is “from darkness to light” and nowhere is this more apparent than in his iconic Hungarian Rhapsodies inspired by folk tunes he picked up during his many visits to his homeland. Actually Rhapsody as a musical genre was invented by Liszt and later used by many composers. Generally these start out slowly (Lassu’) in the lower registers and gradually work toward sunlight when the pace quickens and turns into some frenetic Hungarian dance like the Csárdás and becomes an extremely difficult virtuoso piece with a spectacular ending. Hando does two of these, No.10 and my favourite No.12, played with gusto, total Romantic abandon and astoundingly perfect technique. Typical Liszt, those grace notes, rapid decorative passages that are cascading up and down the keyboard, paced perfectly evenly and light as a feather. The Liebestraum No.3 is played with loving tenderness and ardent passion and the big guns come out at the end in the Spanish Rhapsody that will lift you out of your seat.

Listen to 'Lisztomania Vol.2' Now in the Listening Room

Stravinsky – L’Oiseau de feu; Apollon Musagète
Luxemburg Philharmonic Orchestra; Gustavo Gimeno
Harmonia Mundi HMM905303 (store.harmoniamundi.com/release/318357)

In June of 2019, Gustavo Gimeno conducted the Toronto Symphony Orchestra in a powerful performance of Stravinsky’s 1945 suite from The Firebird. Last May, he led them in an even more memorable Firebird. This time, he took the podium as music director of the orchestra. And the version he chose was the less frequently programmed original that Stravinsky wrote in 1910 for Diaghilev’s legendary Ballets Russes. It’s more than twice the length of any of the three concert suites Stravinsky later made. But this performance left me with no doubt – more was better.

On his standout new recording of The Firebird with the Orchestre Philharmonique du Luxembourg (where he is also music director), Gimeno again opts for the original full-length ballet score. Every moment speaks persuasively. Stravinsky’s tapestry of evocative Russian folk melodies, angular textures and infectious rhythms becomes an edge-of-the-seat experience. Colourful solos, like the rhapsodic flute welcoming the 13 captive princesses, and the volcanic timpani driving the frenzied dance of the evil sorcerer Koschei’s subjects, enhance the drama.

The pairing with Stravinsky’s equally groundbreaking ballet Apollon Musagète, written 18 years later, works brilliantly. Like The Firebird, it draws on ancient tales. But these tales are from Greek mythology. In The Firebird, goodness must overcome evil to triumph. Here, goodness prevails unchallenged. Instead of conflict there’s serenity. Instead of mystery, there’s clarity. It’s all conjured up luminously by Gimeno and the exquisite strings of the Orchestre Philharmonique du Luxembourg in gorgeous, sweeping brushstrokes.

Nazareno – Bernstein; Stravinsky; Golijov
Chris Richards; Katia and Marielle Labèque; London Symphony Orchestra; Sir Simon Rattle
LSO Live LSO 0836 (lso.co.uk)

Sir Simon Rattle and the LSO have released, concurrent with their Stravinsky: Early Ballets collection, a record offering a brief survey of the Afro-Latin influence on “serious” music of the last century. It includes two curiosities for clarinet: Prelude, Fugue and Riffs (1949) by Leonard Bernstein, and Ebony Concerto (1945) by Stravinsky. Both were commissioned by Woody Herman, and each lasts under ten minutes. They remain somewhat overlooked, perhaps on account of their offhand treatment of the solo instrument, or the fact that they both feature big band, not full orchestra. The two works are given a lively ride by LSO lead clarinetist Chris Richards and the decidedly non-orchestral backup, mainly of brass and saxes. 

Most of the disc is taken up by Nazareno (2009) a beautifully rendered adaptation (by Venezuelan composer Gonzalo Grau) of Osvaldo Golijov’s scintillating La Pasión según San Marcos (2000); this new rendering omits the vocals of the original cantata. Commissioned by Katia and Mireille Labèque, it’s scored for two pianos, Latin percussion section, plus winds and cello. Without text, I still hear how the music conveys the story of the Christian sacrifice. Powerful rhythmic dances abound, but behind the upbeat samba movements lies a much more sombre tone, especially in the slow ballad Sur. I won’t be surprised if a choreographer selects this score for a new dance work. It might serve as an answer to Stravinsky’s pagan vision of the sacrifice, made roughly a century ago.

The LSO, or the sections performing on this disc, give the selections punch and vigour. The soloists and percussionists are stars.