A new recording from Naxos of Bottesini’s attractive Requiem

Giovanni Bottesini (1821-1889) was a celebrated virtuoso double bass player, as well as conductor and composer. Born at Crema in Lombardy, he was the son of an able musician and clarinet player, sang in the chapel choir and displayed an early talent for music. At the age of eleven, an application was made for him to study at the Conservatorio in Milan. The only place available was to study double bass thus settling the young musician’s choice of instrument.

Bottesini’s teachers were Rossi for double bass and Basilio Basili and Nicola Vaccaj for harmony and composition. On leaving the Conservatorio he travelled with his fellow student, Signor Arditi (a violinist), eventually visiting America before obtaining a lucrative post as principal double bass in the orchestra in Havana, Cuba, a post that he kept for a number of years. It was here that his opera Christophe Colombe was first produced. He visited England in 1849, gaining a great reputation as a double bass player. Interestingly he played a three stringed instrument, somewhat smaller than a standard double bass, preferring this for its sonority.

From 1855 to 1857 Bottesini was conductor of the Italian opera in Paris and from 1861 to 1863 was director of the Italian opera in Cairo, being Verdi’s choice of conductor for the first performance of Aida. In 1871 he conducted a season at the Lyceum in London. In addition to many works for his own instrument, he also wrote fourteen operas, chamber works including eleven string quartets, a Messa di Requiem and an oratorio The Garden of Olivet, performed for the first time at the Norwich Festival. Bottesini died in Parma.

Bottesini’s Messa di Requiem was composed in 1877 after the death of his brother Luigi. It was first performed, in an adapted version, in the Capuchin chapel in Cairo, the first complete performance being at Turin’s Teatro Regio in 1880.

Naxos www.naxos.com have just released a new recording of the Messa di Requiem performed by the London Philharmonic Orchestra www.lpo.co.uk with the Joyful Company of Singers www.jcos.co.uk conducted by Thomas Martin, himself a double bass player and instrument maker www.thomasmartin.co.uk/bass-services/thomas-martin-conductor , and the soloists Marta Matheu (soprano) www.martamatheu.es, Gemma Coma-Alabert (mezzo-soprano) www.gemmacomaalabert.com/gca.php, Agustin Prunell-Friend (tenor) www.agustinprunell.com and Enric Martinez-Castignani (baritone) www.emcastignani.com . Although this new release is not billed as a premiere recording, I can find no other recordings currently available.

 

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Bottesini’s opening Introit and Kyrie: Requiem aeternam, an adagio, immediately draws one in. As the four soloists join together the music rises to a brief Verdian climax before the flowing music continues, the soloists blending well with each other. There is another brief climax before the soprano and mezzo-soprano join followed by the tenor and baritone. There is a grander climax with choir and a fanfare from the brass. This is a fine requiem aeternam, with some glorious climaxes; and The Joyful Company of Singers on fine form. The four soloists continue before the choir joins and brings this section to a stirring, uplifting conclusion.

There is a slightly Mendelssohnian Dies irae with choir and orchestra, an allegro full of drama and imaginatively scored, with lovely descending woodwind above the orchestra. Perhaps the choral writing tends towards the ordinary at times but this is never less than attractive writing.  In the lovely Quid sum miser, Agustín Prunell-Friend doesn’t always sound very strong in this recording yet, in his upper register, his voice can be lovely.

Quaerens me, for choir and orchestra alone, is a very attractive setting, stirring, vibrant and full of life. In the Ingemisco I couldn’t help hearing Mendelssohn again in the orchestration. Bass, Enric Martinez-Castignani has a firm and attractive voice in this lovely andante that has attractive orchestral touches. In the Confutatis the choir opens with the orchestra in a sprung rhythm marked moderato. The four soloists appear in the central section before the choir and orchestra conclude.

The Lacrymosa is a flexible, flowing adagio with the soprano, mezzo, tenor and baritone with orchestra. As a vocal ensemble these four voices work well. There is a faster central section for choir and orchestra.  After an orchestral introduction to the Offertory: Domini Jesu, the soprano, Marta Mathéu, joins. She has a firm, attractive voice, flexible, with a lovely upper register in this nicely paced andantino.

In the Sanctus and Benedictus, the short sanctus, an allegro, opens with orchestra and trumpets full of grandeur. This section, for choir and orchestra, is full of display and, dare I say without invoking too much of Verdi’s influence, theatre. There is a rather pastoral sounding benedictus with the four soloists and orchestra in a gently flowing andantino con moto. The Agnus Dei has an attractive orchestral opening before the soprano and mezzo enter. Marta Matheu and Gemma Coma-Alabert blend well in this andante.

Choir and orchestra slowly speed up to a dramatic little climax in the Requeim aeternam before speeding off in music that is nevertheless marked grave, prior to the music again building to a climax. Female voices alone open the Libera me before the full choir join. These forces alternate until the orchestra joins followed by a solo mezzo-soprano with orchestra. Gemma Coma-Alabert has quite a wide vibrato but provides some beautifully characterful singing in this lovely well-judged setting.

The earlier dies irae then re-appears in dies illa, again slightly Mendelssohnian in character but full of brilliance and gusto with cymbals crashing. The four soloists enter in a quieter section before the choir return to speed up the former theme. Tension is built by quieter sections as the music swirls to a triumphant conclusion with upward orchestral motifs.

I have to say that I enjoyed this Requiem immensely with the imaginative orchestration ensuring that there is never a tedious moment. The recording made at the Henry Wood Hall, London is excellent. There are full Latin texts and translations.

Songs by Per Nørgård in an excellent new release from Dacapo

The Danish composer Per Nørgård (b.1932) www.pernoergaard.dk was born in Gentofte, Denmark. His father, born into a working class family in Esbjerg, started as an apprentice shop assistant, later opening a drapers' in Copenhagen. Per Nørgård studied with Vagn Holmboe at the Royal Danish Academy of Music in Copenhagen, and subsequently with Nadia Boulanger in Paris. His early influences were Sibelius, Nielsen and Vagn Holmboe.

In the 1960s, Nørgård began exploring the modernist techniques of central Europe, eventually developing a serial compositional system based on the "infinity series". The infinity series is a series of numbers, therefore has to be called a serial technique, but Nørgård uses it to create a melodic line, but not at the same time to control rhythmical and dynamic aspects as used in Central European serialism.

He used this method in his Second and Third Symphonies and other works of the late 1960s and 1970s. It was his interest in the Swiss artist Adolf Wölfli  www.adolfwoelfli.ch/index.php?c=e&level=17&sublevel=0    that inspired many of Nørgård's works, including the 4th symphony, the opera Det Guddommelige Tivoli and Papalagi for solo guitar.

Nørgård has composed works in most genres including six operas, two ballets, eight symphonies and other pieces for orchestra, several concertos, choral and vocal works, many chamber works including ten string quartets and several solo instrumental works. Nørgård’s eighth symphony was premiered on 19 September 2012 in the Helsinki Music Centre, Finland, by the Helsinki Philharmonic Orchestra conducted by John Storgårds.

Dacapo Records www.dacapo-records.dk have just released a new recording of songs by Nørgård with the  mezzo soprano, Helene Gjerris www.helenegjerris.dk  and an instrumental ensemble directed by Casper Schreiber comprising of Ulla Miilmann (flute), Johannes Søe Hansen (violin), Lotte Wallevik (viola) Toke Møldrup (cello), Jesper Lutzhøft (guitar), Tine Rehling (harp) Anne Marie Abildskov (piano) and Gert Sørensen (percussion).

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The first settings are Two recitatives Op.16 (1955-56) for alto with obbligato solo cello settings of verses by Par Lagerkvist. Jag lyssnar till vinden (I listen to the wind) opens with the solo cello in a plangent melody. When alto, Helene Gjerris enters the raw atmosphere has already been established. She has a really fine melodic voice so this chilled song never sounds astringent. The cello and alto are hushed in Gammal Genius (Old Genius) where occasionally Gjerris verges on sprechgesang. These two settings are wonderful in their austere brilliance.

Nørgård sets Ranier Maria Rilke in his Entwichlunger (1986) two songs for alto, flute, guitar, percussion and cello.  In Kindheit (Childhood) the alto sings alone before a brief rumble of timpani points up the words ‘Still we recall them – maybe in a rain shower’. The other instruments enter at the words ‘then we lived lives like theirs’. This is a bleak, lonely setting of Rilke. The instrumental ensemble accompanies Gjerris from the beginning in Die Genesende (The convalescent). The precision of the instrumental ensemble is terrific in this wistful, sad setting. Helene Gjerris gives an amazing performance and there are so many little points made by instruments and voice.

Plutonian Ode (1980-84) a recitative and aria for soprano and cello is quite a different proposition. A setting of words by Allen Ginsberg, it is described as a threnody to plutonium with all its possibilities for destruction yet set against the human spirit with its ability to create ‘connections and meaning’. It is an intensely angry work in three parts. The first Recitation (Introduction) is spoken by Gjerris as is Recitation right up to the words ‘…blast of Disillusion?’ when she breaks into song after becoming increasingly vehement. From here until the end of this part, Gjerris moves in and out of song until at ‘Sophia’s reflection glittering thoughtful galaxies’ the song receives some exquisite singing. The final line is nevertheless spoken. When the cello enters in Aria, Toke Møldrup makes some particularly fine sounds. The words are rapid, sung with increasing passion and anger, almost too much to take. At the final words ‘oh doomed plutonium’ Gjerris’ voice is hushed.

This setting makes for a tough and unsettling experience but there can be no doubt of the integrity, passion and anger of this work.

Nørgård’s Trois Chansons de L’Amour Le Poésie (1967) arrangées pour voix d’alto et flûte en sol commences with Le sommeil (Sleep) which makes for an inspired song setting to follow the rigours of Plutonian Ode. There is a suitably drifting, ethereal feel to the song. The halting, faltering Les corbeaux (The Raven) is a masterly setting evoking ravens scouring the countryside, whilst La Terre (The Earth) is more passionate with a subtle flute accompaniment that adds just the right amount of colour and emphasis to the sung words, a setting of Paul Éluard.

Three Love songs (1963-65 rev. 2010) for mezzo-soprano, flute, percussion, harp, piano, violin, viola and cello starts with the larger instrumental ensemble directed by Casper Schreiber in a setting of words by Arthur Rimbaud.  In L’étoile a pleuré rose (The Star has wept Pink) the flute again has an important role in accompanying the alto in this finely drawn setting. Helene Gjerris sings sensitively, bringing out every little aspect of this setting. Again there is such imaginative instrumental writing. The climaxes are truly stunning with the alto’s range and flexibility truly impressive. After an instrumental opening Gjerris enters in a stirring Wie soll ich meine Seele halten (How shall I keep my soul) with some lovely flute decorations. With Opfer (Sacrifice) Nørgård manages to make the listener feel slightly off balance with his writing thereby creating a strange atmosphere, concluding ominously.

Day and Night (1982) are two short songs for low voice and piano with cello (ad lib) and are settings of Ted Hughes and William Shakespeare. A Kill is a spiky piece with Nørgård allowing sprechgesang to seep out of the fragmentary writing where the words fragment across phrases. Silver-sweet Sound is a brief setting of Shakespeare with inspired cello and piano accompaniment.

The combination of flute and strings provides a fine setting of verse by Jess Ornsbo, Solen Så Jeg (I Saw the Sun) (1953 rev. 2010), against which Helene Gjerris sings ‘I saw the sun, thought nothing was any longer mind, human. After us no one comes.’

Sånger Från Aftonland (Songs from Evening Land) Op.17 (1956) for alto, flute, violin, viola, cello and harp has a beautiful instrumental opening to Part I again showing Nørgård’s ear for fine instrumental sounds. As Helene Gjerris enters the setting of Allt är så fjärran idag (Everything is so strangely far away today) we are already far into the atmosphere of this lovely song. She nevertheless adds the final texture, blending beautifully with the instruments, full of expressiveness. This song is a gem. Du människa som står vid stranden av mig (Oh human, you who stand upon my shore) is another exquisite setting with an instrumental opening with harp flourishes before the alto enters. There are so many little textures to add to the atmosphere. In Det är om aftonen man bryter upp (It is at evening that we depart) Per Nørgård again manages such a perfect setting, every little instrumental touch adds to the alto’s superb voice.

Part II of Sånger Från Aftonland has a dominant cello part in the instrumental Preludio that effectively divides Parts I and II. It is an impassioned section displaying some of the best of Nørgård’s instrumental writing.  A livelier Nu är det sommarmorgon (Now it is summer morning) raises the mood with delicate harp phrases adding to the instrumental accompaniment. Gjerris slows at the words ‘Far off are cold stars, far off is boundless space’ becoming slightly thoughtful but she concludes with more warmth. There is a wistful, searching feel to the opening of Tacka vill jag (I will thank) before the alto joins with the words ‘I will thank the flowers and the clouds.’ This is a gorgeously lovely setting with the alto voice so much part of the whole, Gjerris singing with such conviction and understanding.

Part III of Sånger Från Aftonland consists of just one song, the return of Det är om aftonen man bryter upp (It is at evening that we depart) giving fine a balance between melancholy and wonder in the final part of this beautiful song cycle.

Schlafen Gehen, Schmerz Und Not (Off to Sleep, pain and Trouble) (2012) for vocals and percussion is an arrangement of an earlier work, Abendlied, from 1980. Helene Gjerris has her voice dubbed to sing the four parts of  this work, which has the ‘voices’ and percussion strangely distant and giving an ethereal conclusion to this remarkable collection of songs.

Helene Gjerris sings with great control, flexibility and perception. These are remarkable settings, most are very beautiful; just the Plutonian Ode is taxing in its passion and anger. The songs are finely recorded and there are interesting notes on the composer and the music, as well as full texts and translations. This is an excellent new release.

Audite is voted Label of the Year at International Classical Music Awards

Audite www.audite.de  have been voted Label of the Year by the jury at the International Classical Music Awards (ICMA) www.icma-info.com . Audite also won the Baroque/Vocal category for their recording Polychoral Splendour, featuring music by Giovanni Gabrieli and Heinrich Schütz spectacularly recorded from the four galleries in the Abbey Church of Muri, Switzerland by Cappella Murensis
www.audite.de/en/ensemble/69-cappella_murensis_choir.html  and the ensemble Les Cornets Noirs. www.lescornetsnoirs.com    www.audite.de/en/product/SACD/92652 .

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The artists featured on this CD, Les Cornets Noirs, will perform at a Gala Concert at the Auditorium during the evening of the awards ceremony along with another Audite artist, clarinettist Laura Ruiz Ferreres who has recorded Brahms Complete Chamber Music for Clarinet (audite. 91.662).

The Awards Ceremony will be taking place this year in Milan, Italy, on 18^th March when Audite and other winners will receive their ICMA Trophies. The orchestra for the evening Gala Concert will be the Orchestra LaVerdi, conducted by Principal Conductor John Axelrod. Through the European Broadcasting Union (EBU), the concert will be available to radio stations all over the world.

The ICMA are the successors of the MIDEM Classical Awards and the only independent, international awards for classical music. Altogether nine Audite productions were nominated for the ICMA 2013; among them the new productions with the Mandelring Quartet www.mandelringquartett.de, the Swiss Piano Trio www.schweizer-klaviertrio.ch, American clarinettist Arthur Campbell www.arthurcampbell.net and violinist Judith Ingolffson www.judithingolfsson.com, and the historic releases Otto Klemperer: The RIAS Bach Cantatas Project and the Second Viennese School Project.

I have enthusiastically reviewed many of these nominated recordings including the Mandelring Quartet’s on-going Mendelssohn complete Chamber Music for Strings, The Swiss Piano Trio’s recordings of Mendelssohn Piano Trios and Piano Trios by Robert & Clara Schumann, and the historic recordings of the Second Viennese School Project.

http://theclassicalreviewer.blogspot.co.uk/2013/01/highly-recommended-audite-release-of.html

http://theclassicalreviewer.blogspot.co.uk/2013/01/the-mandelring-quartet-delivers-more_4.html

http://theclassicalreviewer.blogspot.co.uk/2012/11/historically-important-recordings-of.html

http://theclassicalreviewer.blogspot.co.uk/2012/07/superb-playing-by-mandelring-quartet-in.html

http://theclassicalreviewer.blogspot.co.uk/2012/04/mendelssohn-lightweight-composer.html

The Band of Instruments perform The Four Seasons by Vivaldi’s fellow countryman, Giovanni Antonio Guido

Little is known about the Italian composer and violinist Giovanni Antonio Guido (c.1675-c.1728). My old set of Groves doesn’t have an entry for Guido or Antonio, the alternative that Guido was thought to sometimes use. He was probably born in Genoa and from 1683 he studied violin at the conservatory in Naples.

From 1702 he was in Paris at the service of the Duke of Orleans, where he remained until at least 1728. There is an account of a concert performed at Fontainebleau in front of the English Queen Anne in November 1703, where Guido is referred to as an excellent violinist in the service of the Duke of Orleans, a supporter of Italian music.

Through his connection with the Duchess du Maine Sceaux, a favourite of Louis XIV, Guido gained the attention of the King. In1707 he was granted a privilège général enabling him to publish his works. That year a collection of six motets was printed in Paris and, a few years later, two sonatas for two violins and basso continuo were published. From 1714 to 1724 he took part in concerts organized in the home of the financier P. Crozat. These evenings were attended by writers, artists, musicians, as well as members of the aristocracy, including the Duke of Orleans. Among these was Jean-Antoine Watteau (1684-1721) who painted some of those present at the concerts including Guido whose portrait dated, Paris Sept. 30. 1720, is now in the Louvre, Paris.

There is no known information about Guido after 1728 and the place and date of his death is unknown. Guido had greater fame as a violinist than as a composer, but in his compositions he was able to combine the Italian style with the French.

It is not known when Guido wrote his four concerti Le Quattro Stagioni (The Four Seasons) but they were certainly very popular in France.

Divine Art Recordings www.divine-art.co.uk have just released a new disc of Guido’s Le Quattro Stagioni played by the Band of Instruments directed by Roger Hamilton with Caroline Balding (violin) www.thedivisionlobby.co.uk/biographies. Interestingly, this new release has a reproduction of Watteau’s portrait of Guido in the CD booklet.

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The five movement Concerto No.1 Le printemps (Spring) opens with a movement marked Le temps vole: Presto – La nuit: Adagio e piano – Chant des coucous: presto. It begins very much in the Italian style, with rapid bowing in the opening presto. There are some rich bass textures in the adagio of this movement and with the second allegro we have sunny Italian string sounds.

Marked Les ruiseaux Andante-Adagio – Les oiseaux: Adagio the second movement is introduced by solo harpsichord in a beautifully decorated passage taken up by the strings that has much of a French feel to it. In the andante, one could imagine dancers at the French court.  Air de trompette: Allegro is a lively movement with incisive playing and bowing from Caroline Balding. This is a lovely rhythmic movement with great playing. The fourth movement, Muzette: Tendrement, a little muzette has some lovely timbres and in the final movement, Danse de bergers: allegro there is a lovely bouncing allegro to conclude this concerto.

The Italian style is certainly here in this work but with subtle French inflections. This band of six players is absolutely top notch.

Concerto No.2 L’esté (Summer) is in ten movements starting with L’air s’enflame: Spiritoso – Zephire disparoit: Adagio e piano – Chant des coucous: Presto which has a varied and lively spiritoso, a short Adagio e piano and a presto, bright and joyful with lovely playing. The second section marked Vole a notre secour a Ceres adorable: adagio has a wistful adagio somewhat reminiscent of Corelli and the Descente de Ceres: Spiritoso has some terrific interplay of strings in the spiritoso – a lovely movement.

Danse des moissoneurs Allegro - Allegro has a bass drone below a lively string tune. There is great invention here with even a Scottish feel. The largo has a beautiful working out of a simple little descending motif before the six movement Dance des faunes:  Allegro, a crisp allegro with great ensemble throughout.

Menuet des nimfes is a slow menuet, full of charm and grace, with a lovely tune, full of feeling and sensitivity. A short preludio introduces the ninth movement Serenade: L’amant respectueux: Allegro. Here the Italian influence shows again. There are slow sections that alternate and lovely little figurations on the violin. The final movement marked Un violant orage: Prestissimo has a fiery final prestissimo almost outdoing Vivaldi in its panache.

The Concerto No.3  L’Automne (Autumn) returns to the five movement format and opens with Celebrons le retour de l’automne: Allegro assai – Les cris et ris des baccantes: Allegro assai. Autumn really comes in with the brisk flowing allegro assai with a lovely little rising counter melody. The second allegro assai is full of invention, beautifully done where strings answer the solo violin.

A moderately paced, light and varied second movement allegro shows the variety in this music, but never rushed. Sommeil: Adagio e piano – presto – adagio has a finely wrought adagio with some lovely playing and a short presto central section.

The fifth movement Allegro has some lovely phrasing from the violins as they follow one another in this attractive movement before the final La Chasse: allegro – Fuite ducerf: presto – Mort du cerf: adagio – prestissimo – allegro. La chasse has a slow galloping rhythm which soon gives way to a faster trot in the presto. A chill arrives in the adagio which slowly begins to move forward until the prestissimo banishes the cold and leads back to the opening allegro theme.

Concerto No.4 L’hiver (Winter), again in five movements, opens with La saison des frimats: Largo – Le Cruel Aquillon nous declare la guerre: Prestissimo where winter creeps in with a tentative largo in short string phrases (and do I detect the tune to twinkle, twinkle little star?), before the prestissimo arrives, full of energy, blowing aside everything.  Prenez soin de vos jours: Adagio is a slightly mournful adagio and the third movement Marche des guerriers: Vivace is a sprightly piece with a bounce to the rhythm that seems to give a warmth and a glow.

Les riantes fêtes: allegro is an expansive, lively allegro full of instrumental weavings followed by the last movement Laissons gronder les vents – Brannissons la tristesse: Prestissimo a joyful prestissimo that concludes this concerto with a richness of sound that belies the size of this little band. There are two lovely, almost Handelian, sections, the last forming the coda.

Whether Guido has his own voice is difficult to say without hearing more of his music. He certainly knew how to write attractive music, full of invention and lovely sonorities. There are apparent influences of other composers but they are more generalised than specific.

If anyone is tired of Vivaldi’s Four Season, and I suspect many will be, then this new disc provides a refreshing alternative with thrilling playing. The recording made in New College, Oxford, is first rate.

Fresh and appealing works by Percy Sherwood on a new release from Toccata Classics

Percy Sherwood (1866-1939), born in Dresden, was the son of Englishman John Sherwood, a lecturer in English at Dresden University and a German mother Auguste Koch, a successful soprano.

After his studies at the Dresden Conservatoire with Theodor Kirchner, Felix Draeseke and Herman Scholtz, he became a major figure in the music life of Dresden before the First World War. In 1889, his Requiem won the Mendelssohn Prize. In 1911he became a professor at the Dresden Conservatory. Shortly before the First World War he and his wife left Dresden to visit England. Being almost unknown in England, he made a living as a private teacher in London and travelling weekly to Oxford and Cambridge. He never returned to Germany and eventually faded into complete obscurity before dying in 1939.

Dutton Vocalion www.duttonvocalion.co.uk have already recorded Sherwood’s Piano Concerto No.2 in E flat major (1932/33) with the Royal Scottish National Orchestra conducted by Martin Yates with Hiroaki Takenouchi (piano). (CDLX 7287).

A recent release from Toccata Classics www.toccataclassics.com includes the complete works for Cello and piano with Joseph Spooner (cello) www.josephspooner.net and David Owen Norris (piano) www.davidowennorris.com

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Sherwood’s Cello Sonata No.1 in D major Op.10 was written in 1891and published seven years later in Leipzig. Whilst Sherwood’s teacher, Felix Draeseke, appears to have been a strong influence on this relatively early work, it opens with a richly attractive allegro moderato with a lovely romantic melody and wonderful interplay between instruments. There is a second subject built on the opening rhythmic theme before the return of the first subject, which undergoes some subtle twists and turns before the opening theme once more appears in a transformed version, to quietly end the movement. There is some boldly impassioned playing here from Joseph Spooner and David Owen Norris, making the most of the ebb and flow of Sherwood’s themes.

In the adagio the piano opens with a straightforward theme but soon the cello enters bringing a wistful feel. When the second subject arrives it heralds more impassioned playing and the eventual return of the opening theme. The impassioned theme returns once more before a quiet coda.

The final Finale presto is introduced by the piano before a lively theme ensues.  A lyrical second subject follows which goes through some development before the opening theme reappears, only to drop back to the second subject leading to the coda, a forcefully dramatic end. Sherwood couldn’t have had better advocates than Spooner and Norris.

Drei Stucke Op.14 In Legende: Andante the solo cello opens with a rather tragic theme before the piano joins leading to a graceful melody with an impassioned central section, played impressively by Spooner. The opening theme returns before the end. The short Intermezzo: Allegretto, temperamente is a light, nicely sprung piece before a bold and rhythmic Saltarello: Presto that has a more expansive central section. Towards the end the music fairly hurtles to a conclusion, in a terrific coda, with Spooner and Norris providing some fabulous playing in the difficult writing.

Sherwood’s Cello Sonata No.2 in A major Op.15 was written in 1900 and is a much more mature piece. There are lovely expansive, rippling piano passages at the opening to the Allegro vivace. The cello quickly enters in a lovely rising theme and there is very much an outdoors feel to the writing. The second subject brings some virtuoso writing for both instruments at its climax before dropping back with the piano playing against pizzicato cello. The music develops to another powerful climax with more virtuoso writing and some terrific playing from both Spooner and Norris. The coda brings some lovely playing as it gently rises to a climax and a final restatement of the opening theme.  The short Legende: Andante semplice has a simple flowing theme, which is developed a little more intensively, before returning to its quiet flowing opening. The Minuetto:Allegretto grazioso has a syncopated theme with a free flowing trio section. The Finale: Allegro molto opens boldly and expansively on cello and piano with great forward momentum. It has a faster, lithe, central section and a resounding coda. What playing there is from these two instrumentalists.

The 5 kleine stucke are early works written around 1886 to 1887. They are light pieces but, nevertheless, extremely attractive. There is a little molto moderato with a lovely central section; a Menuett: Grazioso, non troppo allegro that has a pointed rhythm, complete with a flowing trio section and an Adagio with a straightforward but beautiful melody. Sherwood seems to have been able to write such lovely melodies with such simple means. The fourth piece is a rich flowing andante before the final Serenade: Andantino, a kind of waltz with a lyrical central section.

These are works that I have been very glad to have heard, particularly the second cello sonata. Whilst Sherwood breaks no new ground, what he does provide is a freshness to his compositions that is very appealing.  This new release deserves a firm recommendation to all interested in British music and, indeed, those who love fine music making.

Oliver Knussen conducts works by Alexander Goehr on a terrific new release from Naxos

In the 1950s five remarkable musicians came together as students at the Royal Manchester College of Music (now the Royal Northern College of Music).

These were the composer Harrison Birtwistle, the conductor and composer, Elgar Howarth, the great pianist and composer, John Ogdon, the composer, Peter Maxwell Davies and the composer, Alexander Goehr. They came to be known as New Music Manchester group.

Alexander Goehr was born in Berlin in 1932, the son of the conductor Walter Goehr, himself a pupil of Schoenberg.

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Goehr came to England in 1933 and studied with Richard Hall at the Royal Manchester College of Music. He later studied with Olivier Messiaen and Yvonne Loriod in Paris. In the early 1960's he worked for the BBC and formed the Music Theatre Ensemble. From the late 1960’s onwards he taught at the New England Conservatory Boston, as well as at Yale University and Leeds. In 1975 he was appointed to the chair of the University of Cambridge, where he remains Emeritus Professor. He has also taught in China and has twice been Composer-in-residence at Tanglewood.

Although, in the early sixties, Goehr was considered a leader of the avant-garde, Paul Driver has rightly said that he is ‘…unburdened by ideology and technical schemata, Goehr’s works fly free of their conceptualisation with the energy of pure artistic discovery.’ Goehr has written music in many genres including opera (five to date), vocal works, orchestral works, chamber works and piano works.

Naxos has just issued a new release of recording of Goehr’s orchestral music in fine performances by the BBC Symphony Orchestra www.bbc.co.uk/orchestras/symphonyorchestra  and London Sinfonietta www.londonsinfonietta.org.uk conducted by Oliver Knussen www.harrisonparrott.com/artist/profile/oliver-knussen with pianist Peter Serkin http://www.ingpen.co.uk/artist/peter-serkin/ 
www.cmartists.com/artists/peter-serkin.htm.
These are BBC Radio 3 live and studio recordings made in 2003 and 2012.

 

8.573052

When Adam Fell Op.89 for orchestra, written in 2011for the BBC Symphony Orchestra and dedicated to Oliver Knussen, takes its title from a Bach chorale Durch Adam's Fall ist alles verderbt. Woodwind and percussion dominate the hesitant opening before the strings enter in a broader melody before alternating with the opening theme. Throughout, there are lovely woodwind and percussion passages and richer string melodies. As the work progresses the two combine. There are still hesitant passages that add a feeling of uncertainty to the music before it ends suddenly. Goehr has Messiaen’s ear for instrumental light and colour and pinpoint instrumental sounds. This is a wonderful work.

Pastorals Op.19 (1965) for orchestra has the unusual orchestration of alto flute, clarinet in C, horns, trumpets, trombones, tuba, percussion, timpani, twenty four violins and twelve celli (though on this recording there are eight celli and four double basses). It was commissioned by South West German Radio, Baden-Baden and was first performed at the Donaueschingen Music Festival in 1965 with the South West German Radio Orchestra conducted by Ernest Bour.

The work opens with a sustained note for the brass before the woodwind enter. The music goes through a series of variations, then the opening theme returns on brass, woodwind, and drums before the material is further developed. The brass begin to dominate with percussion in stabbing phrases then echoed by the orchestra. As the work progresses there are richer sounds on the low brass and a section where quiet timpani rolls herald a wonderfully evocative opening to a brilliant section for brass where the various brass instruments seem to have a conversation with each other, set as they are, antiphonally. The strings and percussion then have their say before a dynamic final section where the brass and timpani sound out before a quiet ending. Whilst this is a less obviously melodic piece than the preceding one, it is full of interest, with some appealing writing, lovely sonorities and exciting brass outbursts.

Marching to Carcassonne - Serenade for piano and 12 instruments Op.74. (2002). This work was apparently inspired by a short story called Carcassonne by the Irish writer Lord Dunsay concerning an ‘invincible army that departs from an ‘infinite castle’, subjugates kingdoms and sees monsters and crosses deserts and mountains, but never reaches Carcassonne’. It was commissioned jointly by the London Sinfonietta and the Koussevitsky Music Foundation and is dedicated to Serge and Natalie Koussevitsky.

Marching to Carcassonne opens with a March written for a string quartet and two horns. This march reappears as the fifth and eighth movements as well as six times in the ninth movement, with each appearance being half as long as the previous appearance; presumably representing the difficulty of moving forward from the infinite. After the March, there follows a short Introduction that opens with piano and woodwind leading to Invention where the piano is joined by the instrumental ensemble in a lively, exuberant section.  Chaconne is a more extended movement with lovely textures from harp, strings, woodwind and brass with a central short section for solo piano. The March returns in its shortened length, on string quartet and horns, before the sixth movement, Night; a haunting nocturnal movement, in the form of a passacaglia, inspired by Schoenberg.

Burlesque is a short lively section full of movement and rhythm that is followed by a return of the March as it reappears in an even more curtailed form. Labyrinth, at over eleven minutes, is a large movement that opens with an extended passage for piano and harp. Soon the strings enter in a beautifully impassioned theme, followed by woodwind then strings and piano in a more animated section. There are lovely passages for flute and harp, rapid passages for strings and brass, exciting passages for piano and woodwind and, towards the end, a passage for piano, delicate strings and percussion. The piano and instrumental ensemble leads to a sudden and brilliant coda. Peter Serkin is excellent in this piece, drawing all the magic and elusive beauty from this music.

This terrific new release is an excellent way to get to know the music of Alexander Goehr but if you already know and enjoy his music then you will not wish to miss this new disc  The recordings are excellent and the booklet notes by Alexander Goehr are authoritative. There are also excellent biographical notes by Ivan Hewett.

Martin Jones is the ideal interpreter of piano works by the Spanish composer Óscar Esplá on a new release from Nimbus

The Spanish composer Óscar Esplá y Triay (1886/9-1976) was born in Alicante. The exact year of his birth is unknown as his birth certificate no longer exists. Many sources give the year as 1886 but other writers believe that 1889 is more likely. At the wishes of his father, he studied engineering and philosophy at the University of Barcelona. In 1911, after winning the award of the National Music Society of Vienna with his Suite Levantina, he decided to devote himself to music.

Esplá studied in Meiningen and Munich with Reger and in Paris with Saint-Saëns and, from 1932, was a professor at the Madrid Conservatory, later, in 1936, becoming its director. His music, the style of which owes something to Debussy as well as Spanish folk music, began to be performed both in Spain and abroad. He became part of a group of intellectuals that included the writer Gabriel Miró, the economist Germán Bernácer, the painter Emilio Varela and the architect, Juan Vidal, who were all attracted to the region around the Guadalest valley just inland from the Costa Blanca.

At the outbreak of the Spanish Civil War, Esplá left with his family for Belgium not returning to Spain until 1951. In 1956 he was elected Academician of the Académie des Beaux-Arts in Paris and in 1959 he was awarded the Grand Cross of Alfonso X.

Esplá was interested in Spanish Levantine folk music. The Levante (literally ‘the East’) is a name used to refer to the eastern region of the Iberian Peninsula, broadly including Valencia, Catalonia, eastern Andalusia, southern Aragon and the Balearic Islands. Moorish Spain developed a musical form that influenced the folk music of the Levantine region. Esplá developed a personal musical scale, inspired by this folk music, which permeates many of his piano works.

Amongst his works are the symphonic poems El sueño de Eros (1910), Don Quijote velando las armas (1924), Suite levantina (1911), a cantata La Nochebuena del Diablo (1923), a Symphony ‘Aitana’ (1958), a Symphony in D, two String Quartets, a Piano Trio, a Piano Quintet and works for piano. There are also a number of stage works, some of which are incomplete.

Nimbus Records www.wyastone.co.uk/all-labels/nimbus/nimbus-alliance.html  have released a two CD set of Esplá’s piano works played by Martin Jones www.owenwhitemanagement.com/pianists/Martin-Jones/ , who has already made many fine records for Nimbus. The works on these discs are arranged chronologically.

NI 5889/90

 

The languid Romanza Antigua (1905), that opens the first CD, was written when Esplá was only in his teens and is influenced by Chopin. Impresiones musicales Op.2 (1905-09) is a series of five very attractive light pieces, not especially Spanish in feel, which open with En el hogar (at Home). Barba Azul (Bluebeard) is great fun, with sudden rapid passages on the piano, no doubt invoking the sub-title ‘Sister Ana, run to the top of the tower’. Caperucita Roja (Little Red Riding Hood) has some lovely harmonic touches, quiet and wistful in character. It is a lovely piece, as is Cenicienta (Cinderella), a lovely flowing melody with a fast, intricate middle section. Antano (Long Ago) concludes the set and is rather a nostalgic piece with an attractive theme subjected to varying treatment.

Esplá’s Scherzo Op.5 (1909) is a flowing, rippling piece beautifully played by Martin Jones. Such is the broad sweep of this piece that it hardly seems a scherzo at all. Crepúsculum (twilight) Op.15 (1912) opens slowly with, for the first time, the subtle atmosphere of Spain. It is full of interest with shifting tonality and first class playing from Martin Jones.

The five movement Suite de pequeñas piezas (Suite of small pieces) (1913) has a terrific preludio where Bach appears to peer out through Esplá’s idiom. The Canción de cuna is a lovely lullaby that even has a kind of trio section and the Arie de Danza Pastoril touches on Scarlatti though with a dissonant edge.  An elusive, rather fragmented Ronda Levantina is full of little variations and the final Paso de Opereta is an affectionate take on Offenbach, a fast, comic piece.

Levante Melodias y temas de danza (1916) consists of ten short pieces, ‘melodies on dance themes’ that pull together as a set much more than the earlier pieces on this disc. In particular there is an andante which has a lovely Spanish tune, an allegro non molto that seems to hint at a familiar tune, a beautiful little allegretto, and a lively dancing tune to finish. These pieces are at turns thoughtful, dancing, joyful and full of nostalgia. Martin Jones knows just how to bring out all their charm and feeling.

La pájara pinta, Piezas Infantiles (1916-20) A Game of Forfeits opens with El Conde de Cabra,  a simple little melody, followed by Doña Escotofina, more sophisticated than the first piece and concludes with a light sparkling piece, Anton Pirulero, that has a slight French feel.

In Tres Movimientos para piano (Three movement for piano) (1921) the Estudio (Study) again has a slightly French feel, almost Faure, but beautifully done. Danza Antigua (Ancient Dance) is a very attractive piece with just the odd Spanish inflection and Pasodoble is a lively piece to round off. This is a lovely little work, lasting around twelve minutes, played to perfection by Martin Jones.

The second disc in this set opens with Cantos de antaño, Piezas Infantiles (1930) Old Songs with a beautifully written Danza, full of lovely harmonies, a Cancion de cuna (Cradle Song), a beautifully flowing piece and the lightly dancing Trana.

Esplá ‘s La Sierra (1930-36) is subtitled Suite folklorica. It opens with Canto de vendimia (Song of the vintage), an apparent reference to wine vintages. There follows Aire Pastoral and Danza levantina making an attractive little collection of pieces invoking Esplá’s own particular Spanish idiom, never too obvious or overdone.

Esplá wrote a number of Lírica Española in the 1930’s of which numbers I, II, IV and V are recorded here. The exact date of their composition is not known. Lírica Española I Bocetos levantinos (Levantine sketches) opens with a beautifully evocative Evocación costeña (Evocation of the coast) before Danza de Valle (Dance of the Valley), a subtly Spanish dance. Canción de cuna is a gently lilting piece followed by a rhythmic, gently galloping dance, Paso de baile Serrano (Highland dance). Canto de la Umbria, nocturne is atmospheric and slightly nostalgic and the concluding Ritmos de la huerta (Rhythms of the orchard) is a lively, yet at times expansive, piece.

Lírica Española II Tonadas Antiguas (Old melodies) has just a gently lilting Romance (Castilla), a restrained, nostalgic Canto de trilla (Levante) (Song of the Threshers) and Conseja (Conte) that has a hesitating theme framed by a more flowing melody.

Lírica Española IV (1930’s) is, like Lírica Española II, a short work consisting of three pieces, a flowing and free Aire andaluz, a lovely haunting Cadencia balear and Ritmo de bolero that has a gentle rhythm, interrupted by stronger outbursts.

Lírica Española V Suite característica, although again consisting of three pieces, is a longer work. The Habanera grows from gentle rhythms to a lovely rich piece with lovely little dissonances. The following Ronda serrana has some beautiful Spanish inflections and the concluding sonatina playera is an attractive piece that could well stand alone.

Finally in this set there is the Sonata Española Op.53 Homenaje a Chopin (1949). This set opened with the Romanza Antigua that showed the early influence of Chopin on the young Esplá. Now the composer, in his later years, pays homage to Chopin. The opening andante romantico starts quietly and darkly before allowing a little Mediterranean warmth and passion to enter. Towards the end there are some little trills reminiscent of Chopin. In the Mazurca sopra un tema popolare, Chopin looms large before Esplá varies the mazurka turning this into a wildly varied piece, full of fun. The work concludes with a fiendishly difficult allegro brioso where there is some terrific playing from Martin Jones.

These attractive, rarely recorded, works are well worth exploring particularly some of the later pieces which are really quite beautiful. Martin Jones is an ideal interpreter, never allowing the slightest little piece to fail to register. The recording is excellent and there are interesting booklet notes on the composer.