Terrific playing from Evelyn Glennie on a fascinating and worthwhile disc of works by John Corigliano, recently issued by Naxos

Italian American composer John Corigliano www.johncorigliano.com was born in 1938 New York City to a musical family. His father was, for many years, concertmaster of the New York Philharmonic.

He studied composition at Columbia University and at the Manhattan School of Music after which he worked as assistant to the producer on the Leonard Bernstein Young People's Concerts, and as a session producer for classical artists such as André Watts.

Corigliano first came to prominence in 1964 when, at the age of 26, his Sonata for Violin and Piano (1963) was the only winner of the chamber-music competition of the Spoleto Festival of Two Worlds in Italy. He composed his Vocalise (1999), Concerto for Clarinet and Orchestra (1977) and Fantasia on an Ostinato (1986) for the New York Philharmonic and his Poem in October (1970) for the Chamber Music Society of Lincoln Centre. His Oboe Concerto for the New York State Council on the Arts followed in 1975 and his Promenade Overture for James Galway in 1981. His Symphony No. 2 was commissioned by the Boston Symphony Orchestra to celebrate the 100th anniversary of Symphony Hall in 2001.

In 1991 he was awarded the University of Louisville Grawemeyer Award for Music Composition for his Symphony No. 1 (1991) and the Pulitzer Prize for his Symphony No. 2 (2001).

Most of Corigliano's work has been for symphony orchestra. He employs a wide variety of styles, sometimes even within the same work, but aims to make his work accessible to a relatively large audience. To date he has written three symphonies, as well as works for string orchestra and wind band. Corigliano has also written film scores, various chamber and solo instrument works and the opera, The Ghosts of Versailles as well as concerti for clarinet, flute, violin, oboe, piano and Conjurer – a Concerto for Percussionist and String Orchestra with optional Brass (2007)

It is this last work that features on a new release from Naxos www.naxos.com together with Vocalise (1999).

 

8.559757

David Alan Miller www.albanysymphony.com/discover/miller conducts the Albany Symphony Orchestra www.albanysymphony.com with the percussionist Evelyn Glennie www.evelyn.co.uk and soprano Hila Plitmann http://hilaplitmann.com .

Conjurer is written in three movements each separated by a cadenza. Cadenza I opens with little percussion taps across a range of instruments developing a real sense of anticipation until eventually arriving on the xylophone with running scales and a variety of little motifs. With Movement I: WOOD the orchestra finally arrives with an incisive theme. The marimba enters dancing over the orchestral theme before the quieter opening tapping sounds return but they soon become more animated as the orchestra increases in intensity. There is some terrific playing from Evelyn Glennie.

Cadenza II: follows without a break, announced by the tam tam. Tubular bells sound in a very striking moment before flourishes from the cymbals and various metallic sounds. Tubular bells sound again, played so sensitively, creating a wonderful atmosphere before we are led into Movement II: METAL where the hushed string orchestra introduces an exquisite melody. Eventually, hushed notes on the vibraphone appear against the beautiful string melody that slowly moves forward. This is a glorious moment. Eventually the music becomes more animated leading to a climax with the tubular bells and cymbals re-appearing before calming to a hushed orchestra with gentle sounds from the vibraphone – a sumptuous sound, beautifully conceived and played to perfection.

Cadenza III features the ‘Talking Drum’, a drum that is played by the hands and can be squeezed to change pitch, and kick drum that enters over a sustained string chord from the preceding movement. The music slowly builds in tempo and rhythm to a climax as it leads into Movement III: SKIN where the orchestra imitates the slow build-up of the preceding drum cadenza. Drums enter as the music builds, moving slowly forward. The music suddenly quietens with bass strings, before a little string melody emerges from the mists with deep tympanum sounds. The orchestra starts to build again against drumming with Glennie again providing such controlled playing, combining so well with the orchestral sounds. As the music slowly builds again Glennie provides massive drum strokes leading to a final cadenza, a massive virtuoso performance as she pushes the music ahead to the coda, with a terrific end from orchestra and drums.

Evelyn Glennie is terrific in this work, often blending subtle percussion sounds into the fine orchestral sounds of the Albany Symphony Orchestra.

Vocalise was first performed by the New York Philharmonic Orchestra conducted by Kurt Masur in 1999 following their commission of the work.

A mournful voice opens Vocalise, almost with the feel of a native chant. As the music broadens, bell sounds appear and electronic sounds slowly emerge. Soprano, Hila Plitmann, shows tremendous textual range. A plaintive piccolo enters before orchestral and electronic sounds add a glittering accompaniment. As the vocalising continues, strange sounds accompany the voice. Plitmann builds up her vocal sounds dramatically as does the orchestra, becoming quite passionate. A quieter section follows before agitated orchestral phrases lead to an increasingly romantic melody that leads to a dramatic orchestral climax. As the soprano re-joins the orchestra, the music leads to an increasingly dramatic build up where her voice is captured by a microphone ‘loop’ and echoed around the venue in a strikingly unusual effect. The orchestral outbursts are treated the same way before leading to a terrific climax of swirling orchestral sounds that dies away to the voice with brass and woodwind accompaniment. The orchestra leads to a gently swaying melody with strange wiry electronic accompaniment. Plitmann’s voice is echoed again with the tiniest tinkling accompaniment, quite ethereal in sound. The soprano adds strange pulsating sounds as her voice is ‘looped’ around before fading out.

Hila Plitmann’s singing in this unusual and attractive work is wonderful, seemingly effortless and very finely controlled.

David Alan Miller and the Albany Symphony Orchestra are first rate on this fascinating and worthwhile disc. A special mention should be made of the highly effective electronic sounds produced and performed by Mark Baechle.

The recording made in the beautiful acoustic of the Troy Savings Bank Music Hall, Troy, New York is excellent and there are informative notes by composer.

See also: 

http://theclassicalreviewer.blogspot.co.uk/2013/09/concertos-by-jaakko-kuusisto-and-john.html

BIS follow up the Prom première of Britten’s Elegy for Strings with a Première recording by the Camerata Nordica on a fine new Britten release

As the centenary year of the birth of Benjamin Britten (1913-1976) continues,  www.britten100.org/home  BIS Records www.bis.se have released a new recording by the Camerata Nordica www.camerata.se under their Artistic Director Terje Tønnesen with Catherine Bullock (viola) http://sparebankstiftelsen.no/en/Dextra-Musica/Musicians/Catherine-Bullock  in performances of the Variations on a Theme of Frank Bridge, Op.10 and Simple Symphony, Op.4.

This new release also has Britten’s arrangement for viola and string orchestra of his Op.48 Lachrymae as well as the early Two Portraits (1930) and a world première recording of his Elegy for Strings (1928). 

 

SACD
BIS 2060

There is a beautifully controlled transition from the Introduction into the Theme of the Variations on a Theme of Frank Bridge, Op.10 before a finely paced Adagio where the Camerata Nordica provides an unusual amount of passion. There is a vivid March with playing of terrific precision, something which is brought to the Aria Italiana and Bourrée Classique. A really rumbustious Wiener Walzer has playing of great flair with the Moto Perpetuo showing just how fine this orchestra is. A similar passion and depth as the Adagio is given to the Funeral March, with the players really biting into the phrases. The Fugue and Finale brings more terrific playing, full of swagger, flair and precision – a great finale. It is wonderful how this orchestra handle the transition to the quieter section, before slowly building back up, passionately, with lovely string tone to a finely nuanced coda.

Terje Tønnesen and the Camerata Nordica give a terrific performance in this frequently recorded work.

Whilst not plumbing the depths, the Simple Symphony Op. 4 (1933-34) receives a crisp and lively Boisterous Bourrée, a terrific Playful Pizzicato, full of fun. The Sentimental Saraband is given all the thought and care possible to bring out the ardour of this lovely melody whilst the Frolicsome Finale brings a fine conclusion to this performance.

Britten originally wrote Lachrymae, Op. 48a (1950, arr.1976) for viola and piano in 1950. Towards the end of his life he arranged it for viola and small string orchestra. It is subtitled ‘Reflections on a song of Dowland and, indeed, the earlier composer remains pretty well veiled until toward the end of the work. The rising motif that opens Lachrymae is expertly done by the Camerata Nordica, a misty opening before a real theme appears. These players handle all the subtle harmonies and textures brilliantly. When, at last, Dowland’s song appears on the viola it is a wonderful moment played here by Catherine Bullock with much the feel of a viol. This is a moment of pure genius from Britten.

The sixteen year old Britten didn’t call his two early sketches Two Portraits for string orchestra (1930); this was done by later editors. The first ‘portrait’, D Layton (David Layton) refers to a student at Trinity College whom Britten met and E B B was, of course, a self-portrait (Edward Benjamin Britten). Britten had planned a trio of sketches but the third remained incomplete. D Layton: Poco Presto whilst having all the hallmarks of early Britten, is extremely tonally free as though Britten was playing with new ideas. Exactly what character is being displayed is hard to judge;  however, given its nature Layton must have been a somewhat complex character. E B B: Poco lento features a solo viola of Catherine Bullock, a far more restrained piece, quite introverted at times, certainly thoughtful, with a traditional feel to the melody. This was a remarkably mature work from the young composer.

Britten’s Elegy for Strings was written in April 1928 whilst having regular lessons with Frank Bridge www.cph.rcm.ac.uk/CPHBridge . It received its first performance at a BBC Prom concert on 31^st August this year (2013) by the Camerata Nordica conducted by Terje Tønnesen that included Britten’s Simple Symphony and Lachrymae with solo violist Catherine Bullock. This BIS recording is its première recording and is the earliest work on this disc. Rich string sonorities open with a timeless melody. After the opening theme, the orchestra peps up with a buoyant theme that dances along before descending to a quieter, gentler passage before moving ahead again. The music once more slows and darkens before leading to a quiet coda. Whilst there are no really obvious Britten fingerprints, this work seems a remarkable achievement for the fourteen year old composer.

With a world première recording and such fine performances, this is an extremely attractive Britten release. This generously filled disc has a remarkably vivid recording made in Algutsrum kyrka, Sweden as well as excellent booklet notes from Arnold Whittall.

 

See Also:

http://theclassicalreviewer.blogspot.co.uk/2013/10/paul-mccreesh-and-his-team-provide-one.html

A highly recommended new release of works for flute by Pēteris Vasks from Naxos

The Latvian composer, Pēteris Vasks www.schott-music.co.uk/shop/persons/featured/peteris-vasks/index.html , was born on 16 April 1946 in Aizpute. The son of a Baptist minister, he began his musical education at his local music school before studying as a violinist at the Jāzeps Vītols Latvian Academy of Music and later as a double-bass player with Vitautas Sereikaan at the Lithuanian Academy of Music and Theatre. Vasks played in several Latvian orchestras before entering the State Conservatory in Vilnius in Lithuania to study composition with Valentin Utkin.

Vasks’ orchestral career began as early as 1961 as a member of various symphony and chamber orchestras, including the Latvian Philharmonic Orchestra (1966 to 1969), Lithuanian Philharmonic Chamber Orchestra (1969 to 1970) and the Latvian Radio and Television Orchestra (1971 to 1974). From 1973 to 1978, Vasks studied composition with Valentin Utkin at the Latvian Music Academy in Riga. During the following years, he was a music teacher in Salacgriva, Zvejniekciems und Jelgava and has taught composition at the Emils Darzins Musikschule in Riga since 1989.

Vasks started to become known outside Latvia in the 1990s and now is one of the most influential and respected European contemporary composers. His compositions incorporate archaic, folklore elements from Latvian music and place them within the language of contemporary music. Rather than merely a poetic view of nature, his works incorporate such themes such as the complex interaction between man and nature.

Vasks was created as an honorary member of the Latvian Academy of Sciences in 1994 and a member of the Royal Swedish Music Academy in Stockholm in 2001. In 2002, the composer became an honorary senator of the Latvian Cultural Academy in Riga. In 2005, he received the Cannes Classic Award for recordings of his Violin Concerto Distant Light and his Second Symphony. Vasks was Composer in Residence at the Presteigne Festival, Wales.

Vasks’ compositions include choral works, vocal works, orchestral works including three symphonies, works for wind ensemble, chamber works, piano works and concertos including a flute concerto that is included on a new release of his works from Naxos www.naxos.com .

 

8.572634

Also on this new recording, that features the Sinfonia Finlandia Jyväskylä www.jyvaskylasinfonia.fi  conducted by Patrick Gallois www.patrickgallois.com  with flautist Michael Faust www.mfaust.de  and pianist Sheila Arnold www.sheilaarnold.de , are Vasks Flute Sonata, Aria e danza for Flute and Piano and his work for solo flute Landscape with Birds.

Vasks’ distinctive sound world is clearly shown in the magical opening Cantabile of his Concerto for Flute and Orchestra (2007/08 rev. 2011) with shimmering strings and ethereal sounds as a rising motif emerges. The flute enters, taking on the upward reaching melody, before the music slows to a more thoughtful section with the orchestra introducing a melancholy theme, which is then taken up by the flute rising and falling in intensity. The music eventually reaches a climax with timpani underpinning the drama before dropping to a lovely woodwind passage. As the flute re-joins, the music leads to a gentle end.

Percussion points up a strident opening to the Quasi una Burlesca before the flute joins in this rapidly moving piece, dancing forward with an unstoppable quality with some intensely brilliant playing from Michael Faust. Swirling patterns emerge as the flute plays an intricate, fast flowing theme before the full orchestra interrupts to drive the music forward. Various percussion instruments add to the texture and interest. The flautist is given no rest as the music grows even faster until suddenly arriving at an extended cadenza. Faust is a fine flautist coping with all the difficult demands of the composer, creating strange and beautiful sounds. The orchestra rejoins to push the music forward and, as the soloist rejoins, the music continues inexorably to the coda.

Brass gives a characterful and melancholy opening to the Cantabile finale, a lovely melody for orchestra in which the woodwind join. The flute joins this wonderful melody with occasional brass adding a lovely underlying texture. The music slowly rises towards an orchestral climax before falling suddenly to a calm as the flute re-enters leading to a hushed coda.

Written for the soloist on this disc, this is a glorious concerto, superbly played and to which I will return often.

Vasks’ Sonata for Flute and Alto Flute Solo (1992) was written for the flautist Petri Alanko but first performed by Imants Sneibis in Helsinki later that year. It has a similar three movement construction opening with Nakts (Night): Misterioso with quiet, dark sounds from the alto flute before livelier flourishes appear using the dark hues of the alto flute to great effect. The flute continues to rise up from its quieter, darker sounds to create brighter colours and textures but continually falls back. With Lidojums (Flight): Agitato we hear the standard flute with Vasks allowing the flute to take off in some terrific flourishes, brilliantly played by Faust, with some brilliantly controlled playing. This leads to a loud shrill outburst as a kind of climax before a hushed end with strange sounds conjured on the flute. Nakts (Night): Misterioso returns us to the darker sounds of the alto flute producing low dark sounds and some lovely textures as the music descends to a sombre close.

Aria e danza for Flute and Piano (1972 rev. 2010) is one of Vasks’ earliest works. In two movements Aria opens with the piano playing a gentle melody before the flute joins in this simple flowing melody, slowly drawing out the theme. Eventually the music arrives at a livelier central section before returning to the opening melody. The music becomes more impassioned before slowly falling to a gentle coda. The syncopated rhythm of the Danza: Giacoso opens with the flute before the piano enters, leading to a gentle, flowing, middle section, with Faust weaving a lovely melody before the return of the rhythmic opening theme.

This is an attractive little work played to perfection by Michael Faust and Sheila Arnold.

Landscape with Birds for Flute Solo (1980) was written for Imants Sneibis and first performed by him in Riga in 1980. The work opens with distinctive sounds that Vasks asks of the flute, low in the register, creating a wonderful atmosphere, with so many unusual timbres. It rises to some wonderful trills, flourishes and arabesques as the atmosphere of a strange landscape is created. The music becomes more animated with some terrific playing from Faust, before the darker sounds of the opening intrude. Brighter sounds try to dominate, however, the music returns to the opening dark sounds before ending on an ascending note.

These very fine works should tempt listeners to investigate Vasks further. Patrick Gallois and the Sinfonia Finlandia Jyväskylä provide a first rate orchestral contribution in the Flute Concerto. With informative booklet notes and an excellent recording this new release is highly recommended.

The Silk Road Ensemble celebrates its 15th anniversary with a new album entitled A Playlist Without Borders just released by Sony Masterworks

Silk Road Project www.silkroadproject.org is a not-for-profit organization, initiated by the cellist Yo-Yo Ma in 1998, promoting collaboration among artists and institutions, promoting multicultural artistic exchange, and studying the ebb and flow of ideas among different cultures along the Silk Road. At its height, from the second century BC until the 14th century, the Silk Road was a vast network of trade routes that connected China to the Mediterranean through Greater Iran. The Project encompasses a number of artistic, cultural and educational programs and has been described as an ‘arts and educational organization that connects musicians, composers, artists and audiences around the world’ and ‘an initiative to promote multicultural artistic collaboration.’

The Silk Road Ensemble www.yo-yoma.com draws together distinguished performers and composers from more than twenty countries in Asia, Europe and the Americas. Since the Ensemble formed under the artistic direction of Yo-Yo Ma, these innovative artists have eagerly explored contemporary musical crossroads. The Ensemble describe their approach as experimental and democratic, founded on collaboration and risk taking, on continual learning and sharing. Members explore and celebrate the multiplicity of approaches to music from around the world. They also develop new repertoire that responds to the multicultural reality of our global society.

The Silk Road Ensemble has performed to critical acclaim throughout Asia, Europe and North America. In 2009, the Project began an educational pilot program, called Silk Road Connect, for middle-school students in New York City public schools, developed with help from education experts at the Harvard Graduate School of Education. In July 2012, the Silk Road Project and Harvard Graduate School of Education presented ‘The Arts and Passion-Driven Learning,’ an arts education institute that models the Silk Road Connect arts integration approach.

The Silk Road Project has been affiliated with both Harvard University and the Rhode Island School of Design in the USA, having its offices on the Harvard campus in Boston, Massachusetts.

The Silk Road Ensemble is now celebrating its 15^th anniversary with its seventh album entitled A Playlist Without Borders just released by Sony Masterworks www.sonymasterworks.com
 

88883 71092 2

The title of this new release is drawn from the first work on this disc, written by Vijay Iyer http://vijay-iyer.com , Playlist for an Extreme Occasion. Effectively a dance suite, it features Mike Block (cello), Nicholas Cords (viola), Sandeep Das (tabla), Johnny Gandelsman (violin), Joseph Gramley (percussion), Cristina Pato (piano, gaita), Shane Shanahan (percussion) and Wu Tong (sheng) it opens with Part Zero, in music that is jazzy rhythmic and pulsating, headed by the cello of Mike Block and providing interesting sonorities with a repeated motif around the rhythmic underlay.

In Part One the cello weaves around the free jazz sounds of the ensemble before Part Two, which opens quietly and slowly with an Indian sounding cello over a bass ground provided by the ensemble. There are hints of a rhythmic theme that slowly begins to emerge as the terrific sound of the gaita, a traditional kind of bagpipe, joins. The music by now has become insistently rhythmic as the string instruments weave around. Later on there is some great drumming from Joseph Gramley.

Part Three opens with the sound of an insistent piano as the ensemble slowly join, providing rich sonorities as the motif is repeated. Soon the strings weave a tapestry of sound over the rest of the orchestra until building to a pitch. Eastern sounds open Part Four with deep cello sounds before drums slowly give a rhythmic pulse. A piano theme appears, classical in feel but with an eastern inflection. This theme is taken up by the other members of the ensemble to form quite a hypnotic and intoxicating feel.

Part Five again features the gaita against a strong rhythmic background in music with a jazzy Indian feel, a real fusion and really building to a frantic pitch. I love the discordant sounds the gaita can make. Cristina’s Interlude is a lovely little piano solo, a thoughtful sequence that leads into Part Six where the piano continues in a little skipping motif, until slowly joined by the rest of the Ensemble in a repeated theme that grows louder whilst subtly developing.

Night Thoughts is a piece by Wu Man www.wumanpipa.org , arranged by her in collaboration with Dong-Won Kim and Kojiro Umezaki and featuring Dong-Won Kim (jang-go), Wu Man (pipa) and Kojiro Umezahi (shakuhachi). Inspired by an archaeological discovery and interpretation of a ninth century Buddhist melody, the pipa, a four-stringed Chinese instrument similar to a lute, opens this piece with a slow eastern theme played beautifully by Wu Man. The Jang–go, a two heads drum, joins before the mellow tone of the shakuhachi (Japanese bamboo flute) takes over bringing a truly nocturnal sound. All three eventually combine in this atmospheric piece. There is some really fine playing here as the music builds to a frantic pitch before a quiet end.

Saidi Swing, a piece rooted in a traditional Arabic rhythm known as Saidi, was written by Silk Road member, Shane Shanahan www.shaneshanahan.com  and features Sandeep Das (tabla), Joseph Gramley (percussion), Mark Suter (percussion) and Shane Shanahan (percussion) himself. Drums open in an offbeat rhythm that drives forward, developing all the time with many textures, rhythms and colours. Lovers of percussion will find much to delight here.

Ahmed Adnan Saygun www.aassm.org.tr is a Turkish composer who, in his Allegretto from Partita, Op.31 for cello solo brings a fusion of Turkish musical tradition to a classically constructed piece for solo cello, beautifully played by Yo-Yo-Ma. He weaves some really fine melody throughout in this atmospheric piece and appears to be a composer worth seeking out.

Another member of the Ensemble, Colin Jacobsen www.colinjacobsen.com/web/home.aspx , was inspired to write Atashgah following a visit to an ancient fire temple, or atashgah, near the city of Esfahan in Iran. Featuring Jeffrey Beecher (bass), Nicholas Cords (viola), Johnny Gandelsman (violin), Colin Jacobsen (violin), Kayhan Kalhor (kamancheh), Yo-Yo-Ma (cello) and Shane Shanahan (percussion) it opens quietly with more players slowly joining until the rhythmic motif becomes more imposing. Soon the evocative sounds of the kamancheh, a Persian bowed string instrument, joins against a background of droning strings. The music develops through many lovely sounds as it rises in power. I loved this piece with its beautiful sonorities and rather a hypnotic pull, capturing one’s ear with its changing textures and sounds.

David Bruce’s www.davidbruce.net Cut the Rug was written for the Silk Road Ensemble and was inspired by not only the concept of the Silk Road, but also the broad embrace of gypsy music. In four sections or movements, it features Kinan Azmeh (clarinet), Jeffrey Beecher (bass), Nicholas Cords (viola), Sandeep Das (tabla),Patrick Farrrell (accordion), Johnny Gandelsman (violin), Joseph Gramley (percussion), Colin Jacobsen (violin), Kayhan Kalhor (kamancheh), Yo-Yo-Ma (cello), Wu Man (pipa), Shane Shanahan (percussion) and Mark Suter (percussion).

Drag the Goat opens with the pipa before being joined by the other instruments in this fast moving, rhythmic, swirling piece, full of changing textures and sonorities and a haunting coda. Bury the Hatchet again commences with the sound of the pipa in a theme that slowly develops with drums joining in, then the accordion, as the rhythm drives the music inexorably forward. The lovely sound of the gaita arrives before vocal outbursts bring the piece to a tremendous pitch before suddenly dropping to the solo pipa to conclude.

Move the Earth opens quietly, full of gentle harmonies and an Eastern flavour. The music does become more animated as it progresses with some terrific textures and sonorities from this ensemble, who provide some impressive sounds and some fine individual playing. A clarinet features in the opening of Wake the Dead, the final section of this work that rhythmically dances forward to the conclusion.

John Zorn’s https://myspace.com/johnzorn Briel (From Book of Angels) is arranged here by Silk Road member, Shanir Ezra Blumenkranz. John Zorn is an American composer whose compositions range across jazz, cinema, classical, klezmer (dance music from the Jewish tradition) to rock. Percussion opens this piece before the whole ensemble join to bring this disc to a joyous end. There are certainly jazz influences as well as other ethnic sounds. Yo-Yo-Ma (cello) shows how he can really swing in this piece as can the whole Silk Road Ensemble. This is a joyous and atmospheric end to a fine celebration of their 15^th anniversary.

First rate performances of chamber works by Michele Esposito from Mia Cooper (violin), William Butt (cello) and Lance Coburn (piano) on a new release from Champs Hill Records

Michele Esposito (1855-1929) www.cmc.ie/composers/composer.cfm?composerID=40 was born at Castellamare di Stabia, near Sorrento, Italy and studied at the Music Conservatory in Naples as a piano pupil of Beniamino Cesi (1845-1907) himself a pupil of Thalberg. He also studied composition under Paolo Serrao (1830-1907). In 1879 he married Natalia Klebnikoff (1857-1944), a native of St Petersburg whom he met in Naples. After his studies he moved to Paris before moving on to Dublin where, in 1882, he became Professor of Composition at the Royal Irish Academy of Music, remaining there for more than forty years. He was very active in Dublin, founding the chamber series at the Royal Dublin Society in 1886 and founding and directing the Dublin Orchestral Society, as well as being active as pianist, concert promoter and adjudicator at musical competitions.

Esposito conducted concerts with the London Symphony Orchestra on a visit by them to Ireland and performed his piano concerto with them under the baton of Hamilton Harty. In 1897, Esposito conducted the Moscow premiere of Modest Mussorgsky's opera Khovanshchina with the Russian Private Opera at the Solodovnikov Theatre and, later that year, conducted the world premiere of Nikolai Rimsky-Korsakov's opera Sadko again with the Russian Private Opera at the Solodovnikov Theatre. After his retirement in 1928 he returned to Italy, dying in Florence in 1929.

As a composer, Esposito’s works include two one Act operas, The Tinker and the Fairy and The Post Bag, a cantata for soli, chorus and orchestra Deirdre, orchestral works including an Irish Symphony, Op. 50 (1902), Poem for orchestra, Op. 44 (1899), an Irish Suite for orchestra, Op. 55 and a Neapolitan Suite for orchestra, numerous solo piano works, songs and folk-song arrangements and chamber works including a String Quartet in D, Op. 33 and a String Quartet in C minor, Op. 60.

Of his chamber works Esposito also wrote a Sonata in G for violin and piano, Op. 32, a Sonata in E minor for violin and piano, Op. 46, a Sonata for violin and piano, Op. 67 and a Sonata in D for cello and piano, Op. 43 all of which feature on a new release from Champs Hill Records www.champshillrecords.co.uk played by Mia Cooper (violin) www.riam.ie/mia-cooper , William Butt (cello) www.williambutt.com/Welcome.html and Lance Coburn (piano) www.lancecoburn.com .

CHRCD066

 

Although his music is rooted in the late-nineteenth-century romantic tradition, Esposito was influenced by Irish folk-song and dance, something which occasionally seeps into his music.

Esposito’s Sonata for violin and piano in G major, Op.32 was dedicated to Guido Papini (1847-1912), who was also a professor at the Royal Irish Academy of Music, teaching violin. An expansive melody opens the Moderato with the violin and piano weaving around each other and reflecting the theme before intensifying and building to a fine climax before a lovely quiet coda.

The piano opens the Lento before the violin joins in a simple melody. The music tries to become more intense but falls back, nevertheless the greater emotional content has its way, subtly pushing forward until reaching a climax before quietening to a hushed coda with the violin concluding on a high E so beautifully played by Mia Cooper.

A lively dance like theme opens the Allegro vivace finale, with some terrific playing from both Mia Cooper and Lance Coburn. The second subject is more lyrical and flowing before the piano tentatively leads the music back to the lively opening theme with more, fine playing as it leads to a frantic coda. There is never a dull moment in this work, so well played by these artists.

The Sonata for violin and piano in E minor, Op.46 gained a prize from La Société Nouvelle when played in Paris, in 1907. The Allegro moderato opens with a flourish from both players, before a rather intricate melody is introduced, with many little motifs for both instruments. When the second subject arrives it is more lyrical before Esposito develops all the material. The second subject again appears and the music broadens to a passionate coda. This is certainly a more complex construction than the earlier violin sonata.

Pizzicato strumming from the violin, against a little melody piano motif, opens the Andantino. Soon the violin plays the theme against piano accompaniment leading to a more flowing passage. As the music develops, the violin produces some strident cords leading to a darkening of tone. However, the melodic theme returns. Staccato chords from the piano lead to the return of strumming from the violin to end this movement.

An attractive melody opens the final movement, marked Confuoco. Slowly the music builds becoming faster before falling to a slower section, quite romantic in feel. This leads to a restatement of the opening theme that develops before the slower second subject re-appears leading to a sparkling coda. Both artists seem to be really inside this fine music.

Esposito’s Sonata for violin and piano in A major, Op.67 is a late work, dating from 1920/21 and dedicated to the Irish conductor/composer Hamilton Harty (later Sir Hamilton Harty). Unlike the first two violin sonatas, this work is in four movements. The Affettuosamente opens with a lilting melody, quite wistfully romantic in nature; this eventually giving way to a faster theme built on the opening three note motif to form a rhythmic, dramatic section that hurtles forward. After a climax the music becomes slower and tentative before a more passionate version of the opening theme appears leading to a calm coda. This is rather a sprawling first movement but, nevertheless, is full of interesting ideas.

The Allegretto moderato opens as a gentle waltz but soon becomes enlivened as the violin and piano develop the theme. There are some lovely ideas here with some unusual piano writing against which the violin moves around before ending gently.

The Andante cantabile is more conventional, though, as it develops, it often has a bittersweet feel as it becomes more earnest. With the Allegretto grazioso the violin introduces an attractive theme with piano accompaniment before the theme is given to the piano. The second subject is introduced with a five note motif before the music develops quite passionately leading to the coda.

These are first rate performances from Mia Cooper and Lance Coburn.

In 1899, Esposito’s Sonata for cello and piano, Op.43 also won a prize, this time from the London Incorporated Society of Musicians. A deep, rich motif on the cello opens the Allegro moderato, repeated by the piano, leading to a rich melody. A faster, rhythmic second subject appears with William Butt producing some deep glowing cello sounds. After a re-appearance of the opening motif, a quiet passage with a brief cello solo leads to a romantic section full of stirring piano writing and a lovely cello part, before leading to the coda that quietly creeps to an end.

For the first time on this disc a definite Celtic lilt in the form of a Scotch snap is introduced by the cello as the Lento opens. This unusual movement moves between the rhythmic Scottish snap and a longer melody. There is a central melody that is allowed to flow with some beautiful cello playing from Butt and a lovely piano accompaniment. The Celtic melody slowly re-appears, deep on the cello, before rising with pizzicato notes to reveal the snap motif more fully and rhythmically before falling to end quietly.

The Allegro moderato has a confident swaying melody for cello and piano that is developed and becomes more passionate. There is a short central quiet section for piano before the drama returns, eventually leading to a quiet coda.

It is a pity that there are not more recordings of Esposito’s attractive music. Míċeál O'Rourke has recorded Esposito’s piano works for Chandos but on the evidence of these sonatas it would be good to hear some of his orchestral works.

This excellent disc, well recorded in the Music Room, Champs Hill, West Sussex, England has excellent notes by Malcolm MacDonald. With performances that couldn’t be bettered this new release is well worth investigating.

Brahms recordings to treasure from Riccardo Chailly and the Gewandhausorchester on a new release from Decca

It is often said that Johannes Brahms (1833-1897) came late to the symphony, yet he wrestled with his first symphony from as early as 1862, taking some fourteen years to bring it to fruition in 1876. Thereafter three more symphonies came far more quickly, the second in 1877, the third in 1883 and the fourth in 1884/85.

Following on from his acclaimed Beethoven symphony cycle, Riccardo Chailly  www.riccardochailly.com  and the Gewandhausorchester, Leipzig  www.gewandhaus.de have turned their attention to Brahms. Decca  www.deccaclassics.com/gb have just released a handsome new set of the Brahms symphonies together with the Tragic Overture, Haydn Variations and Academic Festival Overture. Also included are 9 Liebeslieder-Walzer, 3 Hungarian Dances, two Intermezzo from his Opp.116 and 117, as well as the revised opening to the fourth symphony and the first performance version of the Andante of the first symphony making the three well filled discs something of a Brahms feast.



478 5344 - 3CD

 

Brahms’ Symphony No.1 in C minor, Op. 68 was first performed in Karlsruhe on 4^th November, 1876 by the Großherzogliche Hofkapelle conducted by Otto Dessoff.

Chailly makes a purposeful start in the opening of the Un poco Sostenuto – Allegro with playing that is muscular, taut and flexible. He creates so much tension in the music. There is also great clarity, not only because of the fine recording, but from the way Chailly and the orchestra reveal the instrumental detail. It is remarkable the way he pushes the music forward yet allows the orchestration to be clearly revealed. His flexibility of tempi, moving from muscular playing to tender moments is superb.

A wonderful Andante Sostenuto, beautifully judged, allows the music to ebb and flow so naturally. The Gewandhausorchester are on glorious form producing some lovely sounds, with little brass details sounding through and some fine woodwind passages. There is a wonderfully fleet footed Un poco Allegretto e grazioso again with some lovely woodwind contributions. Brahms’ cross rhythms are so well handled and, at times, in this movement there is an enveloping mellowness to the Gewandhausorchester’s playing that is so appealing.

Well contained passion opens the Adagio – Allegro non troppo, ma con brio, with wonderfully taut playing before the Allegro arrives. There are some lovely, long drawn horn phrases with Chailly getting it so right as he draws the music along. The more moderately paced passages aren’t allowed to drag and soon Chailly whips the music up as it leads to the final climax before a terrific coda.

Of all the symphonies of Brahms, this is the one that underwent the most revision after that first performance. The major revisions took place just before publishing in 1877 when the entire second movement was restructured. Brahms destroyed the score and orchestral parts of the original version, however, an extra set of string parts held in the Gesellschaft der Musikfreunde, Vienna www.a-wgm.com  has enabled a reconstruction of the original Andante second movement which is included on Disc 3 of this set. Most listeners will soon notice the differences in this fascinating supplement to the first symphony performance.

Disc 1 continues with Brahms’ Symphony No.3 in F major, Op.90 where Chailly again hits the perfect tempo for the opening of the Allegro con brio – Un poco Sostenuto. As the music quietens he extracts such lovely, detailed playing from the Gewandhausorchester with musical phrases that are so beautifully turned. There are terrifically powerful string sounds and some great rubato

The winds of the Gewandhausorchester play superbly in the opening of the Andante as do the strings, so sonorous. As the music progresses there is a lovely freedom to their playing, taut yet free and a lovely glowing coda. In the Poco allegretto the strings of the Gewandhausorchester again show their terrific sonority with Chailly pointing up the details in the wind section. The Allegro has a terrific opening, full of anticipation before the orchestra suddenly erupts, truly joyful and triumphant. The magical coda is finely done.

The second disc in this set brings Symphony No.2 in D major, Op.73 with rich flowing sounds from the Gewandhausorchester before the Allegro proper arrives. There are lovely pointed woodwind passages and more taut playing from this fine orchestra. The woodwind decoration is beautifully done and there are some lovely glowing passages. Chailly builds to some fine climaxes. It is wonderful how he keeps such a momentum whilst not glossing over the detail and poetry of the music.

What Chailly brings to what must be one of Brahms’ finest Adagios, is the ability to slowly allow the music to feel its way, creating a feeling of great anticipation. He can really whip up a storm, as in the central section, but can quickly move from taut drama to reflection so naturally. There are some magical moments in this movement and a great climax before the peaceful coda.

There is a lovely, almost relaxed, Allegretto grazioso (Quasi Andantino) with a rhythmic litheness is so appealing. Chailly has got Brahms’ precise tempo marking just right. Suddenly the Presto ma non assai arrives with superb articulation and precision, given a somewhat Mendelssohnian feel. The final movement brings a real Allegro con spirito. Chailly allows the quieter passages just enough room to breathe without losing momentum - quite wonderful. He also makes the most of Brahms’ string sonorities here, whilst keeping a light touch, as the music surges forward. And what a glorious coda – triumphant.

The Allegro non troppo of the Symphony No.4 in E minor, Op.98 opens with some lovely flowing string playing, slowly increasing in intensity with fine shaping of phrases. The quieter interludes help build the expectation, always purposeful, never flagging. There are so many little orchestral details that show through.

What a terrific Andante moderato there is, full of lovely sonorities in the gentle melody and some great, incisive playing at the central climax after which Chailly paces the slow down so well with another glowing coda. The Allegro giocoso shows the terrific ensemble from the Gewandhausorchester in this joyful and ebullient performance, full of energy, finely controlled.

How Chailly handles the tempi changes in the Allegro energico e passionato is remarkable, his control is wonderful, with the Gewandhausorchester playing with the flexibility and tautness of a small ensemble. Chailly really lets rip in this finale with superb playing, full of drama.

After completing the fourth symphony, Brahms added four bars of music as a prefix to the first movement Allegro, a typically Brahmsian wind chord that falls away into the opening music that we all know. Chailly and the Gewandhausorchester open this extract by playing the last few bars of the first movement followed by the alternative opening thus giving us a chance to compare the cadence that ends the movement that was reflected in the revised opening. Brahms was obviously not convinced about this new opening as it did not appear in the published edition.

It would be easy, after such wonderful performances of the symphonies, to overlook the works contained on the third disc of this set. As well as the original first performance version of the Andante to the first symphony there is a fine Tragic Overture, Op.81, full of drama, taut energy and fine detail and atmosphere, arguably one of the finest on disc; and a finely wrought Academic Festival Overture, Op. 80, to which Chailly brings real verve and some lovely brass timbres.

Two worthwhile shorter pieces, beautifully played, are included, the Intermezzo, Op. 116 No.4 (Adagio) with a lovely Brahmsian lilt and a warmly glowing account of the Intermezzo, Op.117 No.1 (Andante) both orchestrated by Paul Klengel (1854-1935)

Brahms’ Variations of a Theme of Joseph Haydn, op.56a (Variations on St. Antoni Chorale) highlight Chailly’s ability to move so naturally from one tempo to another as he does between the variations of this work. The Gewandhausorchester follow every nuance and turn with Chailly breathing life into the music.

There is a lovely interlude with eight of the Op.52 and one of the Op.65 Liebeslieder-Walzer in Brahms’ own orchestration, nicely shaped, some full of gentle charm and others, at times, bringing a darker depth as well as some terrific energy. It is Brahms’ own orchestration of three of his Hungarian Dances that conclude this magnificent set, superbly played, taut and full of panache.

This, in my view, is the finest Brahms symphony cycle to arrive for many years and must become a top recommendation. This generously filled set is superbly recorded in the Gewandhaus, Leipzig.

The three discs are contained in a bound CD size book with excellent booklet notes and illustrations that include photographs of the autograph full score of the first page of the fourth symphony and the last page of the first movement of that work, showing the revised opening.

 

These are recordings to treasure. 

Surrey Opera’s fine new production of George Lloyd’s Iernin is a triumph

I was fortunate to have been present at Surrey Opera’s www.surreyopera.org production of George Lloyd’s opera Iernin www.georgelloyd.com   at the theatre of Trinity School www.trinity-school.org , Croydon, Surrey, England on Friday 25^th October 2013.  

It was the Cornish landscape that truly inspired the 21 year old George Lloyd’s first opera Iernin. Not staged since its première in 1934 and its London run in 1935, George Lloyd's Iernin, based on a Celtic legend inspired by the Nine Maidens stone circle near Penzance, tells the story of a maiden turned to stone by puritanical priests, only to reawaken hundreds of years later and ensnare the heart of a betrothed Cornish nobleman. This is set against the backdrop of a soon to be occupied Cornwall and the struggle of its leader and people to retain their independence from the Saxon overlords

At the time the Cornishman and Cornish Telegraph reported ‘Scenes of great dramatic intensity and moments of lyricism are embodied in the Cornish grand opera, Iernin which was produced for the first time at the Pavilion, Penzance on Monday night.’ The Times music critic, Frank Howes, was present at the first performance and it was his glowing review that enabled it to be transferred to the Lyceum, London where it achieved great success.

The Surrey Opera production has had three performances in Croydon before transferring to St. John’s Hall, Penzance, Cornwall for two more performances on 1^st and 2^nd November 2013, effectively taking the opera home.

Jonathan Butcher www.operatalent.com/Safe/People/JonathanButcher59975833.asp?persona=98  conducted the chorus and orchestra of Surrey Opera together with a strong cast consisting of Catherine Rogers (Iernin), Edward Hughes (Gerent), Felicity Buckland (Cunaide), Håkan Vramsmo (Edyrn), James Harrison (Bedwyr), Jon Openshaw (Priest), James Schouten (huntsman), Robert Trainer (Saxon thane), Tim Baldwin (old man) and Georgina Perry (little girl).

Producer, Alexander Hargreaves www.stagejobspro.com/uk/view.php?uid=468773 , has seen in the libretto of this opera more than simply a love story but selflessness and love of an ideal, drawing on connections with the composer’s own Second World War experiences. Certainly if one reads the libretto in this context one can see that the librettist, the composer’s father, William Lloyd, must surely have had his own First World War experiences in mind.

Even though the composer may not have had twentieth century dress in mind for his opera set in the 10^th century, he would, I know, have approved of the simple but effective stage sets. In Catherine Rogers this production had a first rate Iernin, an extremely taxing role to which she brought her fine voice.

Alexander Hargreaves’ direction provided many fine moments, though, when the huntsmen appear on stage, it was perhaps rather too busy with the chorus too centre stage. I was also not entirely convinced by the modern dress version of the Saxon Thane when he appears early in Act 2. However, these were small matters in this fine production. The orchestra and chorus were first rate in the huntsman scene with a fine horn solo from the principal horn.

There were many musical highlights including a wonderful first Act duet from Edward Hughes (Gerent) and Håkan Vramsmo (Edyrn) as well as Gerent’s following aria ‘Long years ago’. Both these singers showed fine voices as well as great dramatic presence.

The spoken dialogue in Act 2, Scene 1 was particularly effective with Tim Baldwin as the old man, holding this section together brilliantly. In Scene 2 Jon Openshaw made a fine priest, full of presence and stature, also having to sing offstage for an indisposed James Harrison (Bedwyr) who, nevertheless acted his role on stage.

Catherine Rogers brought tremendous strength to her final aria ‘Hear me, thou Shining Power’, finely building the drama in a piece that is by turns affectingly beautiful and dramatic. How she sustained the power and sensitivity was remarkable in this taxing aria. In the transition to the orchestral storm sequence there was some very fine string playing.

Act 3 brought a terrific duet from Catherine Rogers and Edward Hughes with some more fine playing from the orchestra as well as the trio from Felicity Buckland (Cunaide), Edward Hughes (Gerent) and Catherine Rogers (Iernin), so wonderfully done.

Felicity Buckland was a fine Cunaide particularly in the Act 2 ‘What if I have their love’ one of the great arias that she has in this opera and, perhaps the greatest aria in the whole work when, towards the end of the final Act, she sings ‘The spell is passed.’ Into this final scene Director, Alexander Hargreaves, brings soldiers in twentieth century uniforms. Iernin, now returned to her form as a stone, is finally revealed as a war memorial and Gerent as an injured soldier. Whilst not what the composer would have expected, Cunaide had already prepared us for this moment when, in her preceding aria she sang ‘Who willingly gave their breath that you and yours might be free’. I found this scene almost unbearably poignant.

In some ways this production risked the usual controversy over the use of modern dress yet the effect when the end of the final Act arrived surely justified this view. There can be no doubt in all other respects that this production was musically a triumph.

If you are able to get to Penzance for the final two performances you will be assured of a memorable evening.

If you are unable to make the journey then the complete opera conducted by the composer can be obtained from Albany Records UK www.georgelloyd.com/index.php/2012-10-29-20-23-41/recording-catalogue/items/view/troy121-122-123