A highly recommendable new recording of violin concertos by Britten and Shostakovich from James Ehnes on a new release from Onyx Classics

James Ehnes www.jamesehnes.com was born in 1976 in Brandon, Manitoba, Canada. He began violin studies at the age of four, and at age nine became a protégé of the noted Canadian violinist Francis Chaplin. He later studied with Sally Thomas at the Meadowmount School of Music before studying at The Juilliard School.

He has won numerous awards and prizes, including the first-ever Ivan Galamian Memorial Award, the Canada Council for the Arts’ Virginia Parker Prize, and a 2005 Avery Fisher Career Grant. In October 2005, James was honoured by Brandon University with a Doctor of Music degree (honoris causa) and in July 2007 he became the youngest person ever elected as a Fellow to the Royal Society of Canada. On July 1st 2010, the Governor General of Canada appointed James a Member of the Order of Canada.

James Ehnes has already recorded the Tchaikovsky, Mendelssohn, Elgar, Barber, Walton and Korngold concertos for Onyx www.onyxclassics.com as well as Paganini’s 24 Caprices. His Elgar concerto disc won the Gramophone Concerto Award 2008.

Now Ehnes turns his attention to Britten’s Violin Concerto and Shostakovich’s First Violin Concerto in a new release from Onyx Classics with the Bournemouth Symphony Orchestra www.bsolive.com conducted by Kirill Karabits www.kirillkarabits.com .

 

ONYX 4113

Benjamin Britten (1913-1976) www.brittenpears.org  got to know Dmitri Shostakovich (1906-1975) www.shostakovich.ru  www.shostakovich.org  through his friendship with the great Russian cellist Mstislav Rostropovich http://rostropovich.org . This was not until the 1960’s so it is strange that one hears occasional hints of Shostakovich in this early work by Britten.

Kirill Karabits and the Bournemouth Symphony Orchestra provide a poetic opening before a sweet toned Ehnes enters in the Moderato con moto of Britten’s Violin Concerto, Op.15.  In the second subject, Ehnes never loses his beauty of tone whilst delivering a more cutting edge. As the music develops, Ehnes is lovely in the quiet delicate passages. The BSO under Karabits provide first rate accompaniment in the rather Shostakovich sounding Vivace second movement. Ehnes is on top form making light of all the technical difficulties in a really dynamic performance. The cadenza is marvellously done, Ehnes bringing out all the various violinistic effects to great effect. In the Passacaglia: Andante lento (Un poco meno mosso), Ehnes, Karabits and the BSO build the music brilliantly. The moody interludes have a wonderfully strong atmosphere. The loose structure is well held together so that, when the big tune arrives it sounds natural, as though all that preceded it has come together. There is some great orchestral playing here and, when Ehnes joins after the climax, what a lovely tone he has. In the coda, Ehnes provides some superb sounds with those lovely harmonics.

Surely Shostakovich’s Violin Concerto No.1 in A minor, Op.77 is one of his greatest works. There is a rich dark orchestral opening to the Nocturne: Moderato before Ehnes enters, full of emotional tension in this brooding music.  Ehnes draws lots of little subtleties from the music with some beautifully hushed moments from both violin and orchestra. This movement is terrifically well paced as the music builds with the brooding atmosphere never far away.  There is a bubbly but almost grotesque opening to the Scherzo: Allegro  with the orchestra, particularly, adding to this feel. Ehnes is superb in this pretty challenging movement as it builds to its gypsy rhythms with never any let up for the soloist. Shostakovich’s wonderful Passacaglia: Andante third movement is so well played by the BSO under Karabits, an enormous outpouring of feeling, grief even, and superbly handled by Ehnes.

As if any further proof was needed of Ehnes’ technique, here is a further evidence of what a superb violinist he is in this extended cadenza. It is no obvious showpiece, but there is a display of great musicianship and technique. There is a fabulously played Burleque: Allegro con brio – Presto Allegro – Presto that for all its unstoppable momentum and breathtaking virtuosity is perfectly paced.

Though this new release cannot replace the legendary Oistrakh it is up there with the best currently available. With a recording from the Lighthouse, Poole, that is stunningly vivid, and with excellent booklet notes by Malcolm MacDonald, this new release is highly recommended.

See also: 

http://theclassicalreviewer.blogspot.co.uk/2013/03/passionate-playing-from-matthew-barley.html

http://theclassicalreviewer.blogspot.co.uk/2013/03/naxos-releases-world-premiere.html

Some Beethoven to treasure as The Allegri Quartet celebrate their 60th anniversary with the first issue of a new Beethoven quartet cycle for Vivat Music

The legendary Allegri Quartet www.allegriquartet.org.uk celebrate their 60^th anniversary this year. Britain’s oldest chamber group, the Allegri Quartet was founded in 1953 by Eli Goren, William Pleeth, Patrick Ireland and James Barton.

Successive generations have sustained the Quartet over six decades, the current members being Ofer Falk and Rafael Todes (violins), Dorothea Vogel (viola) and Vanessa Lucas-Smith (cello). Over the decades the Allegris have worked with composers such as Benjamin Britten, Michael Tippett, Elizabeth Maconchy, John Woolrich, Anthony Payne, James MacMillan, Matthew Taylor and Alec Roth. The Allegris have premièred more than 60 works since 1964, including specially commissioned pieces.

The Quartet has collaborating with other artists including such illustrious names as Jack Brymer, Clifford Curzon, Dame Thea King, John Ogden and Gervase de Peyer. Their numerous international festival appearances have included Aldeburgh, Edinburgh, Prague Spring, Berlin, Hong Kong, and Stavanger.

The anniversary celebrations will include complete Beethoven cycles in Switzerland and in the UK, two World Premieres of quartets by Alec Roth, for the Salisbury International Festival and Malvern Club and a host of celebration concerts throughout the UK.

Vivat Music http://vivatmusic.tumblr.com will release this week a new Beethoven quartet cycle with the Allegri Quartet. This new release will feature the String Quartets Op.18 No’s 3, 4 and 5.

VIVAT 103

 

Beethoven began work on his Op.18 quartets in 1798 but, due to extensive preparation and revisions, they were not ready for publication until 1801. The order of composition appears, from Beethoven’s sketchbooks, to have been No.3 in D major, No.1 in F major, No.2 in G major, No.5 in A major and No.6 in B flat. No.4 in C minor is difficult to place given that there are no sketches for it in any extant sketch books, but some Beethoven scholars believe that it may date to earlier than the other five of the set.

The Allegris open the Allegro ma non tanto of the Quartet in C minor, Op.18 No.4 with a remarkable care and crispness.  They bring a classical feel to this quartet together with some lovely singing string tones, full of passion when required.

There is an exquisitely played Andante scherzoso quasi Allegretto with more of the Allegri’s finesse and care and some lovely little dynamics and a beautifully taut Menuetto: Allegro, so joyful with a lovely, shimmering trio section. When the first subject reappears the contrast is lovely. In the Allegretto,  the Allegris loosen their grip and really bite into the music, with some terrific sounds and  a lovely rubato. There is terrific interplay between players and, when the coda is reached you realise how well the Allegris have paced this performance.

What a beautiful opening there is to the Allegro of the Quartet in D major, Op.18 No. 3 with lovely sonorities and fine dynamics. These players seem to enjoy playing together as they weave around each other. There are some lovely, long drawn phrases and wonderful dynamic playing at the climaxes, full of lovely timbres. The Andante con moto brings such superb playing. The Allegris have so much finesse in the quiet moments, yet the rich textures they bring as they move along reveal a power that so affectively contrasts. After a lithe little allegro, with fabulous phrasing and ensemble, there is a sunny Presto with superb playing, full of energy, yet observing every little nuance and turn, bringing such life to the music. There is terrific playing as the music dashes towards the coda with a real lightness of touch.

In the Quartet in A major, Op.18 No.5, the Allegris bring some lovely rhythmic playing in the unusual phrasing of the allegro. They have a real bounce to their playing. There is a lovely classical poise from the Allegris in the Menuetto with a trio section that brings an earthier feel, somewhat Haydnesque.  The beautiful Andante cantabile receives such a sensitive, beautifully drawn opening with the Allegris bringing an almost playful character to some of the variations. They seem in their element extracting all the little details and changes that these variations bring. In the beautifully paced Allegro they really move the music on, with some terrific playing that brings this quartet to a close.

There is some Beethoven playing here to treasure. Whilst the playing of the Allegri Quartet has so much finesse they are never lacking power and emotion.

They are given a first rate recording in the intimate acoustic of The Menuhin Hall, Stoke d’Abernon, England that brings out every texture from these fine artists. 

Rare performances from Jacqueline du Pré and Bruno Leonardo Gelber on a historic release from Audite

Whilst the name of the great British cellist Jacqueline du Pré (1945-1987) is known to everyone who has at least a passing interest in classical music, the name Bruno Leonardo Gelber (b. 1941) will be less known. I remember hearing this Argentinian pianist some years ago in a Chopin Piano Concerto and remember being completely bowled over by his playing.

Little needs to be said about the career of Jacqueline Du Pré www.jacquelinedupre.net/jdupre/whoisjdp.htm . She was born in Oxford, England, studied under the cellist William Pleeth, participated in a Pablo Casals masterclass and undertook short-term studies with Paul Tortelier in Paris. Du Pré made her Wigmore Hall debut in March 1961, at age 16, playing sonatas by Handel, Brahms, Debussy and de Falla, and a solo cello suite by Bach. Her concerto début was on 21^st March 1962 at the Royal Festival Hall playing the Elgar Cello Concerto with the BBC Symphony Orchestra under Rudolf Schwarz. Her brilliant career was tragically cut short, in the early 1970’s, by the onset of multiple sclerosis. Du Pré died in London on 19^th October 1987 at the age of just 42.

Bruno Leonardo Gelber www.valmalete.ch was born in Buenos Aires, of Austrian and French-Italian parents. His father was a violinist and his mother a pianist. He made his first public appearance at age five and later studied with Vincenzo Scaramuzza. At the age of fifteen he played the Schumann Concerto under Lorin Maazel. He later studied with Marguerite Long in Paris and went on to win 3rd Prize in the Long-Thibaud Competition. Gelber has played under the direction of conductors such as Ferdinand Leitner, Klaus Tennstedt, Eric Leinsdorf, Kurt Masur, Sergiu Celibidache, Sir Colin Davis, Charles Dutoit, Bernard Haitink, Lorin Maazel, Mstislav Rostropovich, Riccardo Chailly, Christophe Eschenbach and Esa-Pekka Salonen.

Both of these fine artists are brought together on a new release from Audite www.audite.de who are celebrating their own 40^th anniversary this year. Audite have continued to issue historic recordings using original master tapes. On this disc we have Du Pré playing the Schumann Cello Concerto coupled with Gelber playing the Brahms First Piano Concerto. Both are accompanied by the Radio Symphony Orchestra, Berlin conducted by the young Gerd Albrecht (b.1935).

 

Audite
95.622

Both of these recordings were made on the same day, live in Berlin. Although the recordings are both mono and have a slightly hollow sound, they come up extremely well and, such is the acoustic, the lack of stereo is hardly noticeable. A special point of interest in the Schumann is that Du Pré adds a third movement cadenza, something not included in her 1968 EMI recording.

Right from the start of the Schumann Cello Concerto in A minor, Op.129 you just know that this is something special, with Du Pré drawing so much emotion from the music. But it is not just emotional pull that dominates; it is Du Pré’s sheer technique and bravura that stands out. There is nicely taut and attentive orchestral accompaniment from Albrecht and the Radio Symphony Orchestra, Berlin, seemingly at one with every nuance from Du Pré. Those lovely deep cello notes struck by Du Pre are terrific. The music just sings magnificently and, of course Du Pre’s tone is wonderful. The second movement Langsam is gorgeously done where all of Du Pré’s sonority is matched by Albrecht and his orchestra and in the finale, Sehr lebhaft, Du Pré seems even more to throw her all into the music. The dovetailing of cello and orchestra is brilliantly done.  The substantial cadenza just before the coda is superbly played.

Being something of an admirer of the Bulgarian born pianist, Alexis Weissenberg  (1929-2012) I have always placed his performance of  Brahms’ Piano Concerto No.1 in D minor, Op.15 with Guilini and the London Symphony Orchestra as the finest currently available. It was with this in mind that I was keen to hear Gelber.

Gerd Albrecht opens with a granite-like maestoso, carefully paced, letting it unfold naturally, like a brooding beast waiting to be unleashed. When Bruno Leonardo Gelber enters there is a lovely flow and swell to the music before it soon builds in some magnificently craggy playing. When it subsides, Gelber is curiously clipped in his phrasing but this only serves to create more tension. There is poetry galore and times when Gelber really lets the music flow forward almost falling over itself. When, halfway through, the opening theme is re-stated, those chords are tremendous, such power and a formidable technique.  Albrecht works so well with Gelber, with some lovely orchestral touches. At times Gelber rivals Weisenberg in his colossal reading.  Albrecht works wonders in the adagio drawing some lovely playing form the RSO, Berlin, such lovely phrasing. Gelber creates a beautiful flow, pushing ahead just enough to create a pull on the music. In this movement, more than anywhere else, Gelber shows his sensitivity and control, with playing of subtlety and poetry. Such is the intensity that he never loses focus and always takes you along with him. In the Rondo allegro, Gelber nicely points up the music with some rhythmically clipped phrasing, building to some fearsomely dramatic playing. The coda is terrific.

The 22 year old Gelber certainly had a formidable technique with such freedom and fluency. There is audience noise between the movements of the Brahms and the final applause is kept in. Whether this performance can dislodge Weisenberg I’m not sure. It certainly runs him close.

Audite have done a great service in making these performances available. No admirer of these artists will want to miss these great performances.

A terrific collection of British works for piano quartet brilliantly played by the Cappa Ensemble on a new release from Nimbus

After their success at the 2007 Royal Over-Seas League Competition, the Cappa Ensemble www.musicnetwork.ie/artists/details/cappa_ensemble went on to win Music Network's Young Musicwide Award in 2009. Concert tours around Ireland, appearances at the West Cork Chamber Music Festival, Edinburgh Fringe Festival, Radio France-Montpellier Festival, Verbier Festival and broadcasts on RTÉ Lyric FM, BBC Radio 3 and Radio France followed.

The ensemble has enjoyed collaborative projects with artists such as Nicholas Daniel http://nicholasdaniel.co.uk  , Pekka Kussisto  www.harrisonparrott.com/artist/profile/pekka-kuusisto  and Jörg Widmann www.schott-music.co.uk/shop/persons/featured/joerg-widmann/index.html  and its repertoire has evolved with a strong focus on both the piano quartet and string trio. They have toured extensively in Australasia and Japan and they made their Wigmore Hall début in December 2008. In 2009, Cappa Ensemble studied with the Artemis Quartet www.artemisquartet.com at the Queen Elizabeth School of Music, Belgium and hold a Fellowship at the Guildhall School of Music & Drama. They have also performed in masterclass with renowned musicians Gabor Takacs-Nagy http://gabortakacsnagy.com , Ralf Gothoni www.gothoni.com and Alfred Brendel www.alfredbrendel.com . The ensemble takes its name from the famous 17th century Italian violin-maker Gioffredo Cappa.

The members of the Cappa Ensemble are Michael McHale (piano) www.michaelmchale.com , Bartosz Woroch (violin) www.bartoszworoch.com , Adam Newman (viola) and Brian O’Kane (cello)http://briancellokane.com/aboutus.php .

Their first release on the Nimbus Alliance label www.wyastone.co.uk   features four works for piano quartet from British composers.

 

NI 6230

This new release makes an excellent concert in itself having, as it does, works ranging from Frank Bridge (1879-1941) www.cph.rcm.ac.uk/CPHBridge , through Arnold Bax (1883-1953) http://arnoldbax.com and William Walton (1902-1983) www.waltontrust.org  to Ian Wilson (b.1964) www.ianwilson.org.uk.

Bridge’s Phantasie Piano Quartet in F♯ minor, H.94 was written in 1910 and comes at the end of what is considered to be his first period, showing early Bridge at his finest. It opens with a very typical Frank Bridge swirl from piano and strings, before a beautiful section for solo piano. The strings re-enter in a lovely melodic passage finely played by the Cappa Ensemble before a lively section with nicely sprung rhythms and some particularly fine playing from Michael McHale. The Cappas show superb ensemble and, in some of the sections that follow, some entrancingly lovely string sounds. In the emotionally intense section, towards the end, the Cappas are terrific and what a lovely coda, perfectly played, gently and quietly tailing away.

Bax wrote his dark Piano Quartet, in one movement in 1922 and dedicated it to Bessie Rawlins, the violinist who had given the first performance of his Second Violin Sonata. The Piano Quartet received its première on February 9, 1923, performed by the Meredyll Quartet in the Aeolian Hall, London.

Bax’s Piano Quartet is particularly interesting in that it was written around the time that he was working on his tempestuous First Symphony, a work developed from a Piano Sonata in E flat. It opens in a troubled manner before changing to a more wistful theme. Mysterious harmonies appear before the strings try to resurrect the main melody. The Cappa Ensemble really seems to have the measure of this strange, troubled work with some really fine playing. This work certainly anticipates the first symphony with its feeling of conflict and mysticism. As the work progresses the Cappas build up a tremendous tension, full of superb playing, before the music suddenly relaxes.

Ian Wilson’s Noct for Piano Quartet was written in 2011 following a commission from Music Network and was first performed in October 2011 in Sligo, Ireland. As its title suggests, Noct is a nocturne inspired by the constellations and the idea of gathering darkness. Whilst we enter a different world with this work it does have some of the strange harmonies and sounds of Bridge and Bax. The structure alternates sections titled Constellation with sections titled Encroachment, Crepusculum and Veiled nebula.

As the work opens, the piano and strings mull over a motif before a rhythmic theme enters. The Cappa Ensemble brings much sensitivity to the delicate passages as the music becomes quieter and sparer. There is some superb playing from this ensemble in the quiet magical moments that ensue. The final section constellation (-less) 4 brings a gentle melodic end.

Walton’s Piano Quartet in D minor is an early work dating from 1918/19. One does not very much associate Walton with chamber music yet he wrote two string quartets, No.1 from 1919–1922 and No.2 in A minor from 1944–1947; a Toccata in A minor for violin and piano (1922–1923); 2 Pieces for violin and piano (1948–1950); Sonata for violin and piano (1949) and a Duettino for oboe and violin (1982) as well as a number of works for solo instruments.

The Allegramente of the Piano Quartet has a quite wistful opening before the music speeds up. There is much emotional pull in this movement to which the Cappa Ensemble respond so well, following all the twists and turns of this attractive music. The Allegro scherzando brings a hint of the mature Walton with some fine ensemble and superb detail from the Cappas. There are some broader passages before the spikier music of the main theme re-appears. Towards the coda the two themes combine. The beautiful Andante tranquillo opens quietly and gently with a lovely piano part over the strings. There is some lovely playing from the strings with pizzicato and harmonics. Eventually the music tries to become more volatile but fades. Again the music gently rises but there is a hushed ending. The Allegro molto comes as something of a shock after the gentle andante with a strident, rhythmic theme for both piano and strings. This soon falls to a gentler section but the natural forward thrust re-appears with the main theme again showing hints of Walton’s mature style. This is rather a special performance of the Walton, beautifully played.

This is a terrific collection of British works for piano quartet brilliantly played by the Cappa Ensemble who have been given one of those fine recordings that is so completely self-effacing, one finds oneself not even thinking about it, so natural and detailed is it. There are excellent booklet notes.

Sir Mark Elder and the Hallé Orchestra in great Sibelius performances, showing a conductor and orchestra at their peak.

There is no shortage of recordings of the music of Jean Sibelius (Johan Julius Christian Sibelius) (1865-1957). www.sibelius.fi/suomi/index.html yet newly issued recordings from Sir Mark Elder and the Hallé Orchestra on the Hallé label www.halle.co.uk/products.aspx have had me hearing Sibelius afresh.

Following up on his recordings of Sibelius’ Symphonies 1 and 3 http://www.halle.co.uk/products.aspx?view=page&pageno=3 , this new release from Sir Mark Elder and his fine orchestra www.halle.co.uk  features Pohjola’s Daughter, Op.49; The Oceanides, Op.73 and Symphony No.2 in D, Op.43.

 

CD HLL 7516

Pohjola’s Daughter, Op.49 was completed in 1906 and received its first public performance in St Petersburg, 29th December of that year with Sibelius conducting the Orchestra of the Mariinsky Theatre. Though it has become one of Sibelius's most popular works it took scholars until the 1990s to work out its stages of composition. Sibelius had been working on a number of compositions at the time including an oratorio Marjatta.

Somewhere from this material he began composing what was to become Pohjola’s Daughter. Initially he called the earliest form of the work "Luonnotar" (Daughter of Nature) but this was not his later work, from 1913, of the same name. Although by 20th August 1905 Sibelius was writing to a friend that he was composing ‘a work in a ‘quasi oratorio style’ (Marjatta), by the end of August the plan had changed. Sibelius was invited to Heidelberg to conduct his works there in November, and he decided to prepare Daughter of Nature for the occasion. It appears that the start of Marjatta may have been eventually used for what was to become Pohjola's Daughter, completed by summer 1906. The scholar Timo Virtanen has studied the drafts and shown that during the last weeks of composition Sibelius made changes to the work, apparently in order to adapt it to the Kalevala story of Väinämöinen and Pohjola's Daughter.

The tone poem, taking a story from the Finnish epic Kalevala, depicts the old, white-bearded Väinämöinen who spots the beautiful daughter of the North, Pohjola, seated on a rainbow, weaving a cloth of gold while he is riding a sleigh through the dusky landscape. Väinämöinen asks her to join him, but she replies that she will only leave with a man who can perform a number of challenging tasks, including building a boat from fragments of her distaff. Väinämöinen attempts to fulfil these tasks, through his own expertise in magic, but he is eventually thwarted by evil spirits when attempting to build the boat and injures himself with an axe. He gives up, abandons the tasks and continues on his journey alone.

The rich cellos of the Hallé open Pohjola’s Daughter setting the atmosphere, dark and brooding. Elder brings subtlety in the way he slowly brightens the constantly fluctuating mood whether dark and brooding, lighter, or cold and glacial. There is lovely detail in the central section where Väinämöinen has his first sighting of Pohjola’s Daughter and some terrific playing from the Hallé as the climax is built up. The coda is superbly controlled. This well recorded performance was made in 2007 at Bridgwater Hall, Manchester.

Unlike Pohjola’s Daughter, Sibelius’ Oceanides, Op.73 (Aallottaret) does not draw on the Kalevala. The Oceanides of the title refer to the nymphs who inhabited the waters in Greek mythology. Dating from 1914, immediately before his Fifth Symphony, it was commissioned for the Norfolk Festival in Connecticut, at which Sibelius conducted the premiere performance.

In this tone poem, Elder again shows how superbly he treats every little mood and nuance in the music. Right from the beginning we have tremendous emotional pulls in different directions. Elder maintains a terrific tension right through, building it inexorably to its climax when suddenly the tension breaks and we have a dark resigned coda. This is a great Oceanides. The recording from BBC Studio 7, Manchester in 2006 is extremely good.

Symphony No.2 in D major, Op.43 dates from 1902, though a theme from the finale is thought to date as early as 1899. It is known for certain that Sibelius was sketching a motif which ended up in the slow movement of the second symphony while he was in Rapallo, Italy, in February 1901.

It was in its first version that it was first performed in Helsinki on 8th March 1902 with the Orchestra of the Helsinki Philharmonic Society under Sibelius. A final version was first performed in Stockholm on 10th November 1903 conducted by Armas Järnefelt.

Elder opens the Allegretto with an underlying tension and control that, despite the relatively relaxed quality of the music, hints at something deeper. Elder observes little dynamics and rubato that add so much to the drama and when he ratchets up the tension, the Hallé respond magnificently with the brass bringing cragginess. Elder shows just how much variety there is in this movement, pausing then surging forward, at times quiet and gentle, then dramatic.

In the second movement Tempo andante, ma rubato, a feeling of Finnish magic is brought to the pizzicato opening, as though depicting some kind of mythical scene.  Elder’s pacing is beautifully done, holding back to produce a wonderfully tense atmosphere, yet providing terrific climaxes. Some other performances seem like a run through by comparison, such is Elder’s control of this great movement.

The strings of the Hallé are first rate in the Vivacissimo. The timing as we go from the faster strings section to the lovely woodwind second subject is brilliantly done. The music reaches a lovely swell in the orchestra before leading to the Finale: Allegro moderato with a wonderful sweep. Control and tension appear as the music drops with Elder keeping the pace under control, slowly restraining until allowing brass outbursts. He really whips up a storm as the music surges forward, halfway through, to top out in the wonderful heroic theme. There is a terrific coda where it is good to hear such a top world class orchestra on top form.

This is great Sibelius from a conductor and orchestra at their peak. The live recording made in 2012 at Manchester’s Bridgwater Hall is first rate, with the lower frequencies particularly well caught. The tremendous applause at the end of the symphony is kept in – as indeed it deserves to be.

Remarkably fine songs by Stephen McNeff in some superb performances by Clare McCaldin on a new release from Champs Hill Records

The British composer Stephen McNeff (b.1951) www.stephenmcneff.co.uk was born in Northern Ireland and grew up in Wales.  He studied composition at the Royal Academy of Music and undertook post-graduate work at the University of Exeter.  After working in theatres throughout Britain including Associate Director at the University of Manchester’s Contact Theatre, he became Composer in Residence for the newly-formed Music Theatre Ensemble at the Banff Centre in Canada writing a number of works before becoming artistic director of Comus Music Theatre in Toronto. His opera The Secret Garden won a Mavor Moore Award. 

On his return to Britain he won a Scotsman Award at the Edinburgh Festival for his opera Aesop, written with his long-time collaborator, the Cornish poet Charles Causley www.charlescausleysociety.org .  As his reputation grew in England his work was performed in major concert halls like the newly opened Bridgewater Hall in Manchester, but it was his quirky take on T S Eliot’s The Wasteland, presented operatically as a film noir thriller , that caught the attention of the London critics at the 1994 Covent Garden Festival.

McNeff went on to write a number of other music theatre works including Matins for the Virgin of Guadalupe. In 2004 his opera Clockwork, based on the book by Philip Pullman www.philip-pullman.com was a major success at the Linbury Theatre at the Royal Opera House, Covent Garden.  The Royal Opera House commissioned him to write Gentle Giant, a work from the book by Michael Morpurgo www.michaelmorpurgo.com  which has been revived twice and is in the ROH repertoire. In 2007 he won the British Composer Award for his opera, Tarka the Otter.

Despite a focus on opera and music for the theatre and voice he has written important instrumental pieces, including a Cello Sonata, a Piano Quintet and a large number of works for wind ensembles.  In 2005 he became Composer in Residence with the Bournemouth Symphony Orchestra where principal conductor Marin Alsop gave premieres of three new symphonic works, Heiligenstadt, Secret Destinations and the Sinfonia all recorded by Dutton Vocalion www.duttonvocalion.co.uk . Other works for the BSO included Weathers for chorus and orchestra (based on the poems of Thomas Hardy), and Echoes and Reflections, premiered by Yan Pascal Tortelier.   He also completed works for the BSO’s new music ensemble Kokoro, notably LUX and Counting 1 and 2.

In 2008 he wrote Near Avalon for the Ulster Orchestra and Choir (commissioned by the BBC) and recent works include the ConcertO Duo, (a double percussion concerto for the O Duo) commissioned by the BBC Symphony Orchestra and the Borletti Buitoni Trust. 

A Voice of One Delight was premiered at the Presteigne Festival and in London in December 2010 and is one of the works included on a new release from Champs Hill Records www.champshillrecords.co.uk featuring some of McNeff’s works for voice with various instrumental ensembles. Mezzo soprano, Clare McCaldin www.claremccaldin.com  is joined by Andrew West (piano) www.ram.ac.uk/find-people?pid=220 and members of the Orchestra Nova Ensemble www.novamusic.org.uk  conducted by George Vass  www.georgevass.co.uk

 

CHRCD053

Madrigali Dell’Estate is a large song cycle, setting eleven poems by the Italian poet, Gabriele d’Annunzio (1863-1938) www.gabrieledannunzio.net  and commissioned by Clare McCaldin with support from the RVW Trust.

Implorazione (Supplication) has a striking opening for the mezzo-soprano before Andrew West (piano) enters in some florid writing. Mezzo Clare McCaldin shows great sensitivity and passion in this setting of a subtly erotic text. La sabbia del Tempo (The Sands of Time) is a lovely setting with McCaldin providing a warmth that is most suitable for the text. L’orma (The footprint) opens with the piano in a more sombre mood before the mezzo enters. McCaldin is so flexible, following the line of the music so well. The piano writing is extremely effective particularly as played by Andrew West. There is a lively piano opening to All’alba (At dawn), with McCaldin entering to a skittish little piano motif. This is a difficult setting, wonderfully sung, with McCaldin following the various mood changes so well.

McCaldin opens alone in A mezzodi (At midday) and, when the piano enters, it is with discords. There is some fine singing, controlled and flexible, powerful in the climaxes. In sul vespero (Towards evening) opens with rapid piano phrases in which the mezzo joins, the music scurrying around. There is a gentle piano opening to L’incanto circeo (Cirecean enchantment), creating, as McNeff seems to always do, an atmosphere for the piece. Again Clare McCaldin is just right in this setting that speaks of ‘dead calm’ and ‘calm water’ with the piano just creating a slight sway of the waves – great playing with some lovely sounds.

Il vento scrive (The wind writes) has a light rippling piano opening before the mezzo enters alone in a setting that would be a test of any mezzo’s voice. McCaldin is superb with wonderful control and accuracy. Eventually the music settles with more gentle rippling piano sounds. McCaldin’s upper mezzo range is terrific. Le lampade marine (Sea Lanterns) opens quietly with the piano reflecting on the mood before the mezzo gently enters on the words ‘The jelly fish are luminous like dim lanterns…’ in such an evocative setting. This is a quite wonderful song, superbly performed by Clare McCaldin and Andrew West. McCaldin opens Nella belletta (In the slime) with a forceful, angry voice with quiet piano accompaniment, before settling to an intense, emotional performance with more fine singing, falling to sprechgesang at the end. There is a delicate piano opening to L’uva greca (The Grecian grape) and, when the mezzo enters, a feeling of Mediterranean warmth, slightly sultry. This is a fine conclusion to this cycle of songs.

Farfalle di Neve (Butterflies like snowflakes) for mezzo soprano and string trio was the first work written by Stephen McNeff with Clare McCaldin’s voice especially in mind. Another setting of words by Gabriele d’Annunzio, it was first performed at the Royal Opera House by Clare McCaldin in 2007. Dissonant strings open quietly before a melody slowly appears from out of the rising and falling motif of the strings in a most effective piece. The mezzo enters to this melody with the instrumentalists providing an intricate accompaniment. McCaldin again shows her wonderful flexibility in this lovely setting. There is superb playing from the string trio, Philippa Mo (violin), Sarah-Jane Bradley (viola) and Jonathan Byers (cello). This is a lovely setting.

A Voice of One Delight for flute, viola and harp sets texts by Shelley combining quasi recitative and spoken narration. The spoken text is taken from Edward John Trelawny’s (1792-1881) eye witness account of the recovery of Shelley’s body and subsequent cremation after drowning while sailing back from Livorno to Lerici, Italy.

Part 1 Livorno 1 opens slowly with the harp which is soon joined by the flute, then viola in this quiet introduction. Harp and pizzicato viola accompany the mezzo soprano when she enters. McCaldin gives a virtuosic performance of this moody setting.  The spoken text, with instrumental accompaniment, appears between verses one and two and between verses three and four. There is some terrific playing from the instrumentalists, Kathryn Thomas (flute), Sarah-Jane Bradley (viola) and Suzanne Willison-Kawalec (harp) who, with McCaldin, point up every feeling and nuance of the text.

Part 2 Livorno 2 is a gentler setting with lovely flute accompaniment. The range of McCaldin’s voice is exceptional throughout. There is spoken text between verses two and three with a most effective instrumental accompaniment. Part 3 Lerici opens with plucked strings flowed by the flute as the mezzo enters in this restless setting. There is some fine instrumental writing particularly accompanying the spoken text between verses two and three.

Part 4 Via Reggio includes a telling account of the finding of Shelley’s mutilated body on the beach. There is a spare instrumental accompaniment to the spoken text before a gentle setting of ‘The keen stars were twinkling, And the fair moon rising among them.’ follows, as if countering the trauma of the preceding text. There is a lovely instrumental accompaniment, wonderfully evocative. There are spoken texts between verses two and three and towards the end that are really rather poignant.

Three Abruzzo Folk Songs, written in 2012, to act as a coda to the other Italian songs on this disc, were conceived after seeing a family group sitting outdoors after dark on a summer evening in Gabriele d’Annunzio’s home region of Abruzzo .

For solo mezzo soprano, these songs open with Lu Sant’Antoine (Saint Anthony) with a tremendous performance from Clare McCaldin, again so flexible, rich and warm, with a terrific range. Tutte li fundanelle (All the springs) has a gentler second verse, a lovely setting of the words ‘My love, I’m thirsty, so very thirsty’. La fija me (My daughter) allows no hiding place for the soloist in this demanding setting with superbly accomplished singing from McCaldin.

There are some remarkably fine songs on this disc, performed beautifully, so much so that I want to hear more of both Stephen McNeff and Clare McCaldin.

The recording made in the Music Room, Champs Hill, West Sussex, England is spot on. There are excellent booklet notes together with full texts and translations.

An engaging disc full of memorable music from Miklós Spányi and Concerto Armonico on BIS in Volume 19 of their CPE Bach keyboard concerto series

Earlier this month I reviewed a recording of keyboard sonatas by Wilhelm Friedemann Bach (1710-1784) the eldest son of Johann Sebastian Bach by his first wife Maria Barbara, whose later instability prevented him achieving his potential. http://theclassicalreviewer.blogspot.co.uk/2013/05/julia-brown-makes-excellent-case-for.html

There were no such problems for Carl Philipp Emanuel Bach (1714-1788), the younger brother of Wilhelm Friedemann by four years. He went on to become the most famous and most prolific son of Johann Sebastion Bach (1685-1750). One of Carl Philipp Emanuel’s godfathers was Georg Philipp Telemann (1681-1767) and was only nine when his father became Kantor of Leipzig Thomasschule. Carl Philipp Emanuel always made it clear that his only teacher was his father. He appears not to have seriously studied any instrument other than the keyboard, being able to play his father’s pieces at sight by the age of eleven.

Carl Philipp Emanuel studied law at Leipzig University and later at the University of Frankfurt, where, his studies completed, he stayed for a while supporting himself by giving keyboard lessons, composing and directing concerts. In 1738 he received an offer from the Crown Prince of Prussia, later to become Frederick II of Prussia, to become his harpsichordist in Berlin. Carl Philipp Emanuel stayed in the service of Frederick the Great for nearly thirty years. He later remembered that he ‘had the honour of accompanying in Charlottenburg, alone at the harpsichord, the first flute solo played by Frederick as king.’ There exists a famous painting by Adolph von Menzel (1815-1905) in the Neue Nationalgalerie, Berlin of a candlelit musical evening where Carl Philipp Emanuel and a few other musicians accompany Frederick as soloist.

In 1768 Carl Philipp Emanuel, now 54 years of age and the most famous keyboard player and teacher in Europe took up a new position in Hamburg as Kantor of the Johanneum and director of music at the five principal churches, succeeding his godfather, Telemann. His responsibilities were colossal in that he had to provide around 200 musical performances annually between the five churches, including ten Passions within 13 days).

However, Carl Philipp Emanuel thrived on all this activity and even found the onerous administrative duties relatively easy. One of the visitors to his home in Hamburg was the Austrian Ambassador to Prussia, Gottfried van Swieten (1733-1803) who was later responsible for performances of Carl Philipp Emanuel’s music in Vienna, becoming a source of inspiration for Mozart.

Another link between Carl Philipp Emanuel Bach and the later tradition of Mozart and Beethoven was Beethoven’s teacher, Christian Gottlob Neefe (1748-1798), who was a great admirer of Carl Philipp Emanuel whose works were basic to his teaching of Beethoven.

By the time that Carl Philipp Emanuel died on 14^th December 1788, such was his fame that Haydn, returning to Vienna from London, stopped at C P E Bach’s house hoping to meet him. Sadly it was too late.

It is this link between the keyboard concertos of Johann Sebastian Bach and those of Mozart and Beethoven that makes Carl Philipp Emanuel Bach’s works in this form so important.

Back in 1995, BIS Records www.bis.se started recording the complete Keyboard Concertos of Carl Philipp Emanuel Bach with the Hungarian organist and harpsichordist, Miklós Spányi http://miklosspanyi.de , who has himself edited several volumes of C.P.E. Bach’s solo keyboard music. The latest release, Volume 19, as with all in this series, features Concerto Armonico, Budapest, directed by Spányi. www.concertoarmonico.com/hu

 

BIS 1957

All the concertos on this disc are fairly late works, dating from his time in Hamburg.  Carl Philipp Emanuel’s Concerto in G major Wq 43/5 dates from 1772, the first movement of which is marked Adagio – Presto. Miklós Spányi plays a harpsichord built in 2007 by Michael Walker of Neckargemünd, Germany after Joannes Daniel Dulcken, Antwerp 1745 with the addition of a swell device. Spányi opens with a short languid adagio before the vibrant presto arrives with some terrific playing, full of vibrancy and clarity. Concerto Armonico are spot on with terrific ensemble and crisp playing. Just before the end there is C P E Bach’s own little cadenza. The short Adagio repeats the opening of the first movement before developing the material in this lovely movement, made especially attractive by Spányi’s sensitive playing and a gorgeous instrumental sound from Concerto Armonico. The lively Allegro dances forward with an appealing joyfulness. Spányi is excellent, combining detail and a feeling of forward flow, with nicely sprung rhythms. This is such an attractive theme that sticks in the mind.

The Walker harpsichord is used in the Concerto in C major Wq 43/6 (1772), the Allegro di molto of which opens with Concerto Armonico and the lovely sound of the natural horns. There is an attractive musical conversation between harpsichord and ensemble as this terrific allegro rolls along. Spányi, directing Concerto Armonico, play so well together with great ensemble. Towards the end of this movement there is the composer’s own cadenza, brilliantly played.  A somewhat serious Largetto follows where the harpsichord shares the theme with the ensemble, Spányi drawing out much feeling before the movement suddenly comes to an end.  A confident Allegro sweeps away any gloom with an opening for instrumental ensemble. When the harpsichord enters, in this steadily paced, flowing allegro it is clear that Spányi really has the measure of this piece with his tempo contrasting with the first movement allegro di molto. Again there is Carl Philipp Emanuel’s attractive dovetailing of harpsichord and orchestra and a lovely hushed section near the end.

In the Concerto in G major Wq 44 (1778) Spányi opts for a 1798 Broadwood fortepiano. In his booklet note on the choice of keyboard instruments, Spányi takes note of the keyboard textures of Wq 44 and its suitability for the fortepiano. Carl Philipp Emanuel may well have used either a harpsichord or fortepiano but, in this performance, the choice of fortepiano certainly pays off, with the distinctive sound of the instrument coming through the orchestral texture right from the start of the Allegretto. The Broadwood has a fine articulation in Bach’s rapid notes, in this attractive opening movement. What also works so well is the sense of drama between fortepiano and ensemble, surely anticipating Beethoven, though with a Mozartian keyboard flow. There is a terrific little solo before the coda. A leisurely Andantino follows, that shows off some of the Broadwood’s lovely timbres with some fine playing from Spányi, who himself provides an attractive cadenza. The Allegro suddenly opens, with a lively little motif on the fortepiano before the orchestra soon joins to develop the theme, progressing with lovely little fits and starts.

Spányi seems to have had to decide between harpsichord and fortepiano for the Concerto in D Major Wq 45 (1778), either of which were probably used by the composer. Spányi settled on the Walker harpsichord again, mainly because of its swell device that makes subtle dynamic variations possible. There is an instrumental opening to the Allegretto with some lovely sounds from Concerto Armonico, with the harpsichord subtly joining. Again there are those lovely natural horns sounding through. Spányi’s phrasing is spot on yet never losing the flow. The harpsichord does have the advantage of greater clarity with a sense of flow and articulation in this attractive allegretto. There is a terrific cadenza brilliantly played by Spányi.  A quiet and gentle Andantino follows where Spányi uses so much of the harpsichord’s various sounds to great effect. A really vivacious, lively Allegro has Spányi and Concerto Armonico providing superb playing, at turns mellow and flowing then dynamic and gutsy.

This is an engaging disc full of memorable music as well as pointing towards the developments of concerto form. The recording is first rate and there are excellent booklet notes.

See also:

http://theclassicalreviewer.blogspot.co.uk/2013/05/a-very-fine-telemann-lukas-passion-from.html