Terrific new performances of Schumann’s second and third symphonies from Heinz Holliger and the WDR Sinfonieorchester, Köln on Volume II of Audite’s complete symphonic works series

Heinz Holliger www.heinzholliger.com continues his survey of the symphonic works of Robert Schumann (1810-1856) for Audite www.audite.de with Symphony No.2 in C major and Symphony No.3 in E flat major again with the WDR Sinfonieorchester , Köln www.koelner-philharmonie.de 
 

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I was particularly enthusiastic about Holliger’s first volume in this series (see http://theclassicalreviewer.blogspot.co.uk/2013/12/heinz-holliger-and-wdr.html) and this new issue is no less fine.

Holliger uses an orchestra of the size that Schumann would have expected when early performances took place in Leipzig and Dusseldorf. In particular the string sections are smaller than modern orchestras. This certainly has a significant effect on the clarity of sound.

Those who have acquired the first volume in this series will be aware that the numbering of Schumann’s symphonies is very misleading. Symphony No.2 dates from 1845/46 and Symphony No.3 from 1850, effectively making them the last two to be written.

The Sostenuto assai that opens Symphony No.2 in C major, Op.61, one of Schumann’s fine melodies, is nicely paced and mellow, a kind of calm before the Allegro. There are finely turned phrases from Heinz Holliger and the WDR Sinfonieorchester, Köln as well as a lightness of touch as the Allegro ma non troppo arrives, with Holliger gradually building the orchestral weight. There is some nice pointing up of staccato phrases; indeed, it is Holliger’s fine phrasing and orchestral rubato that makes this performance so special. This is music full of vigour. There is a weight to the orchestra but without any density of textures. Holliger seems to have a thoroughly fresh conception of this symphony. The WDR Sinfonieorchester have a terrific tautness of ensemble as well as some really fine instrumental contributions. Holliger certainly whips up a terrific coda.

The WDR’s strings are on fine form in this almost Mendelssohnian Scherzo. Allegro vivace, fleet of foot with Holliger expertly guiding his forces around every twist and turn. There are two beautifully shaped Trio sections that flow so well.

In the Adagio espressivo, Holliger gives an emphasis to the orchestral rubato thus pointing up the expressivo marking. He brings out many details of the orchestration, often glossed over. The slowly rising theme is allowed a lovely natural flow yet the transparent textures make it sound fresh and new. When the rhythmic theme is overlaid by the flowing, rising theme it is beautifully done. When the rising theme appears a second time it receives added passion, a beautiful touch.

The orchestra brings a fine weight to the Allegro molto vivace, again with fine clarity of texture revealing Schumann’s attractive orchestration as the theme is shared around the orchestra. There is an appealing slow section part way through, beautifully shaped, with some very fine orchestral playing before the affirmative coda.

The Lebhaft of Symphony No.3 in E flat major, Op.97 ‘Rhenish’ leaps of the page full of confidence. Such is the clarity of performance and recording, I don’t think I’ve ever heard some of the orchestral detail so clearly before. Indeed, this is occasionally disconcerting as one now clearly hears the line of the music crossing over. Holliger keeps up the drama with carefully controlled dynamic contrasts which, together with the taut orchestral playing, lifts this movement. There is a fine horn contribution as indeed, there is from all the brass in this movement. Holliger and his players bring such vibrancy to this music.

The Scherzo. Sehr mäßig has a lovely forward pulse with contrasting, almost balletic, interludes such is the lightness of touch, with a real sense of freedom towards the coda. These players bring much character to the third movement, Nicht schnell, with lovely shaping and attention to dynamics. Again so many fine details emerge.

Gravity arrives in Feierlich with some lovely harmonies from the WDR Orchestra, particularly the woodwind and trombones. The way Holliger builds these sonorities, pointed up by the timpani is very fine, subtly bringing out the drama. The brass chorales are beautifully done, set against a lovely, quiet orchestral contrast. Holliger shapes the orchestral sonorities so well. This is terrific playing. A light-hearted Lebhaft moves off at a fine pace. Again it is remarkable how Holliger and his players carefully build the structure leading to the joyful coda.

These terrific new performances are full of so many fine things and should provide an ideal choice of recording for these works. The recordings made in the Philharmonie, Köln are absolutely first class and add so much to the clarity of detail.

With excellent booklet notes this new release must receive the strongest recommendation.

Dmitry Vasilyev and the Siberian Symphony Orchestra bring an important addition to the Weinberg discography with a recording of Symphony No.21 on a new release from Toccata Classics

The revival of interest in the music by Mieczysław Weinberg (1919-1996) http://orelfoundation.org/index.php/composers/article/mieczyslaw_weinberg continues apace with another new release from Toccata Classics www.toccataclassics.com of his Symphony No.21 coupled with his earlier Polish Tunes.

 

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Weinberg wrote 26 symphonies in all, four chamber symphonies and twenty two designated symphonies, though the last, No.22 is left in a draft short score. This new release features the Siberian Symphony Orchestra www.conductorvasiliev.com/#!sso/c1guv  under their Principal Conductor, Dmitry Vasilyev www.conductorvasiliev.com . This is an important release given that this last completed, full scale symphony is a major score lasting some fifty three minutes complete with wordless soprano in the last section.

However, first on this new disc is a work from 1950, his Polish Tunes, Op.47, No.2. Premiered by the Moscow Philharmonic Orchestra, it was conducted by Karl Eliasberg, the conductor who famously performed Shostakovich’s Seventh Symphony in Leningrad during the siege in 1942. However, this is a much lighter work, the Adagio of which opens with a mournful tune for wind instruments before the Allegro arrives, a jollier theme that slows for a clarinet solo before leading into the Andantino with a plodding melody for oboe over pizzicato strings. Soon a broader tune arrives which leads to a halting melody for woodwind and strings before a lovely little coda.

The Allegro has a sprightly theme for woodwind that is taken forward by the strings with brass and woodwind interventions as the music gallops ahead. A kind of fanfare opens the Allegro moderato before a strong dance theme with emphatic rhythm. There is a lovely little trio section before the music dances, happily forward and, though a quieter section follows, there is a riotous coda.

This is an attractive work, light in feel but full of good humour.

Weinberg’s Symphony No.21, Op.152, Kaddish, composed between 1989 and 1991, is another matter, a deeply serious paean to the victims of the Warsaw Ghetto and dedicated to them.

In a single movement, though in six clearly defined sections, it is subtitled Kaddish – the Jewish prayer for the dead. A broad, melancholy string theme, underpinned by timpani, opens the extended Largo.  Soon a solo viola theme is heard against a hushed orchestra, surely a lament for the dead. The orchestra then rises up passionately before percussive piano chords are sounded, followed by a brass chorale. Later the music falls to a solo clarinet playing a sad theme over a hushed orchestra that leads to a passage for woodwind. Sonorous strings appear before a drum announces a solo piano soon joined by a solo viola. Brass intone a theme before the strings lead quietly on. Suddenly the ear is caught by the piano again but this time it is playing a quote from Chopin’s First Ballade, just briefly before the hushed strings lead to the coda where the music seems to effect some resolution as the celeste plays a rising motif taken up by a clarinet.

The rising motif is reflected in the more dynamic opening of the Allegro molto where woodwind scurry around before the rising theme is varied around the orchestra, unsettling and full of anxiety and agitation. Soon the brass bring a weight and grandeur and, occasionally, the sound world of Shostakovich appears in this agitated music. There are agitated sweeps of strings punctuated by woodwind, becoming more dramatic and louder in the coda.

A drum sounds dramatically to open the Largo with the agitated nature of the music retained as the brass sounds an anxious theme. But suddenly the music drops to a hush with a quiet flute melody soon taken by the brass. Then a double bass brings a little tune before various instruments add odd little touches. The solo double bass returns but brass come in over the top. Soon the sound of a Jewish klezmer ensemble is heard in the winds and lower strings before we are led to the Presto section, an orchestral gallop that opens manically, with the music flying forward. The music slows for a more contemplative section with a short violin solo and woodwind passage before melancholy strings lead to the Andantino.

A xylophone plays a little tune over a static orchestra soon taken by pizzicato violin. A bass clarinet joins before the pizzicato violin and xylophone respond to each other. A broader, reflective orchestra section follows, punctuated by brass then woodwind before rising with agitated strings soaring upwards, soon joined by the weight of the whole orchestra in a tremendous outpouring of emotion.

A final outburst leads into the Lento with piano chords hammered out, cymbal clashes with other percussion and a cry of passion from the strings. There is a repeated outburst of chiming percussion, punctuated by string cries before falling to a hushed woodwind passage with clarinet solo. The lower strings join followed by soprano Veronika Bartenyeva in her wordless part, intoning a melancholy melody against hushed static strings, again joined by a clarinet. This is a haunting moment that sends a chill through one. The solo piano returns unexpectedly with another brief Chopin Ballade quotation before a little string ensemble appears in a quiet, falling motif. A harmonium quietly playing a rising and falling motif is heard, ghostly in its strange theme. A melancholy clarinet enters before the soprano returns more passionately and the music leaps up dramatically. Timpani sound and there are agitated strings before the music falls to just a flute and hushed strings as the coda arrives with no cheer.

This is an important addition to the Weinberg discography. Dmitry Vasilyev and the Siberian Symphony Orchestra do a tremendous job. The recording has a little string edge but overall is good and detailed and there are excellent notes from David Fanning.

If you have the slightest interest in Russian music of the 20^th century then this disc is a must.

See also:

http://theclassicalreviewer.blogspot.co.uk/2012/06/weinberg-forgotten-composer.html http://theclassicalreviewer.blogspot.co.uk/2012/06/weinberg-forgotten-composer.html http://theclassicalreviewer.blogspot.co.uk/2012/06/weinberg-forgotten-composer.html 

Orchestral works by Bryce Dessner and Jonny Greenwood that complement each other very well on a new release from Deutsche Grammophon featuring André de Ridder with the Copenhagen Philharmonic Orchestra

New York based composer and guitarist Bryce Dessner (b. 1976) www.brycedessner.com is well known as a member of the Grammy Award-nominated band The National. However, he is widely respected as a composer, working with some of the world’s most creative and respected musicians. He has a master's degree in music from Yale University.

Influenced by composers such as Morton Feldman and Steve Reich, his compositions include Music for Wood and Strings commissioned by Carnegie Hall, three String Quartets for the Kronos Quartet (including Tenebre commissioned by the Kronos Quartet and the Barbican Centre), Lachrimae for the Amsterdam Sinfonietta, Scottish Ensemble, and the Norwegian Chamber Orchestra, St. Carolyn by the Sea for the American Composers Orchestra and Muziekcentrum Eindhoven and Raphael, commissioned by the Kitchen and American Composers Forum through a grant from the Jermone Foundation, 2007.

English composer, guitarist and keyboardist, Jonny Greenwood (b. 1971) www.fabermusic.com/composers/jonny-greenwood is best known as a member of the rock band Radiohead but started out as a viola player. The multi-talented Greenwood also plays harmonica, glockenspiel, Ondes Martenot, banjo and drums, as well as working with computer-generated sounds and sampling. He is also a computer programmer writing the music software used by Radiohead.

His classical works include Smear for two ondes martenots and ensemble, Popcorn Superhet Receiver for string orchestra, Doghouse for string trio and large orchestra and 48 Responses to Polymorphia for 48 strings.

Sections of the score for Popcorn Superhet Receiver were later worked into his soundtrack for the Oscar-winning Paul Thomas Anderson film There Will Be Blood (2007). The soundtrack itself was, controversially, declared ineligible for an Oscar as ‘the majority of the music was not composed specifically for the film.’  However, Greenwood went on to be awarded Best Film Score at the 2007 Evening Standard British Film Awards, and Critics’ Choice Award for Best Composer by the Broadcast Film Critics Association of the USA.

Deutsche Grammophon www.deutschegrammophon.com has recently released a new recording with the Copenhagen Philharmonic Orchestra www.copenhagenphil.dk conducted by André de Ridder www.andrederidder.com  of Bryce Dessner’s St. Carolyn by the Sea, Lachrimae and Raphael coupled with Jonny Greenwood’s Suite from his film score There Will Be Blood.

 

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Bryce Dessner’s St Carolyn by the Sea for electric guitars and orchestra is based on an episode from Jack Kerouac’s www.jackkerouac.com novel Big Sur that deals with a writer’s mental and physical deterioration culminating in his nervous breakdown and brings all Kerouac’s surreal hallucinations into his musical soundscape.

The music seems to appear from out of nowhere with a long held, string chord to which points of sound are added by various instruments. The strings become more dynamic with rapid bowing before a cello joins. The sound of two electric guitars, played here by Bryce Dessner and his brother, Aaron Dessner http://posthocmanagement.com/client/aaron-dessner , are heard strumming as this intoxicatingly attractive theme moves forward. The two guitars become more prominent acquiring a rather Iberian flavour with the strings adding to the texture. The music rises to a number of little climaxes with some lovely textures from the orchestra. Eventually the main theme becomes more insistent, with repetitions, though always varied in texture. Percussion is often used to good effect as, indeed, are all of the sections of the orchestra providing subtle colouring of the orchestral texture. Occasionally Latin rhythms appear and, later, some attractive electric guitar effects to add to the atmosphere with the music leading to a suddenly assertive coda.

This is an often dramatic and always very effective score that provides much attractive music.

Dessner had played John Dowland’s (1563 -1626) Lachrimae at school and based his own Lachrimae for string orchestra on that work, with Benjamin Britten’s Dowland inspired Lachrymae and Bartok’s Divertimento for Strings in his mind.

Strange string murmurings open this work out of which a melody slowly and quietly tries to emerge. The strange string sounds continue and become more dynamic but eventually fall back meditatively. The strings eventually take on a repetitive nature around which the higher strings provide a more melodic thread. Later the strings become agitated before the repetitive motif returns. Towards the end the music stops on a sudden flourish before the return of the opening murmurings on strings as the work fades to end.

This is a most effective and unusual work.

Raphael for mixed large ensemble was constructed around a drone from a harmonium and has, in the composer’s words, ‘a lot in common with some early minimalist pieces.’

The work opens on a held chord or drone from the harmonium to which other instruments of the orchestra slowly join, creating some lovely textures, so finely wrought and showing Dessner’s fine ear for colours and textures. Out of this drone the orchestra give the feel of slowly moving toward one. Little points of sound are added before a guitar, played here by the composer, moves towards a melody, broadly laid out. There are some gorgeous, rich textures that emerge as the piece develops; minimalist in nature, but always catching the ear with their fine colouring. Soon one becomes aware that the music is rising up dramatically, inexorably. There are many instrumental sounds, percussive, intoning and swirling, creating a spectacle of sonic display. Half way through the music drops as the harmonium can be heard. Two electric guitars join in a repeated motif before strings join to add to the texture. Eventually the music rises up dramatically, forcing its way forward before suddenly dropping as the harmonium plays a little tune to which a cornet joins as does a solo cello leading to a gentle string led orchestral melody and a glorious coda to this piece.

The 2007 film, There Will Be Blood, starring Daniel Day-Lewis, is a story of family, religion, hatred, oil and madness, focusing on a turn-of-the-century prospector during Southern California's oil boom. Jonny Greenwood has created a six movement orchestral Suite from ‘There Will Be Blood.’

Open spaces provides deep, rich string chords that rise up in swathes of sound, with little trails of sound breaking away. This is music that breathes open spaces though with a slightly menacing undertow.  It is beautifully orchestrated with woodwind subtly adding to the texture and colour. Staccato strings bring a decisive sound to Future Markets lightened by pizzicato passages before the strings provide a sweeping melody. The music drops to a gentle melody leading to the end. Strings move forward with a sweeping melody in HW/Hope of New Fields soon hushed before pulsing forward again in this beautiful section.

Sliding strings sounds slowly emerge in the opening of Henry Plainview out of which a string melody appears. The cellos try to hold the melody over the swirling, sliding strings before all drops to a hush. A sudden dart of sound from the strings pulls the orchestra up, swaying back and forth before a final surge leads to a fading coda.

Rhythmic and pizzicato strings open Proven Lands in a determined fashion. A theme develops that works its way around the rhythmic motif. There is some terrific playing here in this spectacularly fine piece of string writing. A gentle calm arrives with Oil, a movement that rises in drama, occasionally, but overall there is a warmth and resignation to this music.

This suite sits together well as a separate work with some exceptionally fine string writing.

Conductor André de Ridder likes to programme these two composer together and one can easily see why as they complement each other very well. Greenwood perhaps provides greater form and melody whereas Dessner gives us fine textures and colours in a more minimalist framework.

The Copenhagen Philharmonic conducted by André de Ridder provide first rate performances, with notable contributions form Bryce and Aaron Dessner, and are finely recorded at the Royal Danish Academy of Music, Concert Hall, Copenhagen

There are informative booklet notes.

Tonight’s Prom brought beautifully turned performances of works by Casella, Chopin, Franck and Saint Saëns from Gianandrea Noseda and the BBC Philharmonic Orchestra with pianist Benjamin Grosvenor and organist David Goode

There was certainly a French connection to tonight’s (8^th August 2014) BBC Prom www.bbc.co.uk/proms featuring the BBC Philharmonic Orchestra http://www.bbc.co.uk/philharmonic under its Italian Conductor Laureate Gianandrea Noseda www.gianandreanoseda.com together with pianist Benjamin Grosvenor www.benjamingrosvenor.co.uk. The concert opened with Alfredo Casella’s (1883-1947) Elegia Eroica, Op. 29 (1916), dedicated to the ‘unknown soldier.’ Though Italian, Casella studied at the Conservatoire de Paris in 1896 under Louis Diémer and Gabriel Fauré. He was back in Italy during World War I, teaching piano at the Accademia Nazionale di Santa Cecilia in Rome, when he wrote this dark and troubling piece that starts with a passionate cry from the orchestra. It is, in many ways, one of Casella’s most powerful works, a piece of some disturbing emotional content. There are marshal rhythms, hushed sections full of ghostly sounds as well as moments of tragedy and lost innocence all with pervading hints of the Dies Irae. Gianandrea Noseda and the BBC Philharmonic Orchestra picked up on all of the subtleties of this piece in a really fine performance showing a great depth of understanding.

The Polish Frédéric Chopin (1810-1849) spent most of his adult life in France and it was at the Salle Pleyel in 1832 that he made his Paris debut with his Piano Concerto No. 1 in E minor, Op 11 (1830). Benjamin Grosvenor showed tremendous assurance throughout with a lovely rubato, beautifully fluid touch and a real sense of freedom of expression. His was a wonderfully poetic vision showing once again what a remarkably sensitive artist he is. Noseda and the BBC Philharmonic gave admirable support, avoiding any hint of what sometimes can sound like four square orchestral passages, with some beautifully turned phrases.

After the interval Benjamin Grosvenor and the orchestra returned for César Franck’s (1822-1890) Symphonic Variations (1885). Born in Liège, Franck studied and worked in Paris eventually taking French citizenship.

In his Symphonic Variations Franck set out to weld the piano and orchestra into one substance in which neither dominate. They are variations on a large scale to which Grosvenor and Noseda brought a wonderful cohesion. In the opening there was an almost Beethovenian dialogue between piano and orchestra. This pianist’s poetic strain brought some exquisite moments, capturing the many moods of this piece and together they drew out the symphonic design of the work.

Organist David Goode www.goodeorganist.co.uk joined Gianandrea Noseda and the BBC Philharmonic Orchestra for Saint-Saëns’ (1835-1921) Symphony No. 3 in C minor, 'Organ' (1886). The composer worked simultaneously on this symphony and the Carnival of the Animals, the latter apparently providing light relief. Noseda conjured up some lovely filigree textures showing Saint Saëns’ fine orchestration with fine phrasing and layering of rhythmic lines. It was the quieter moments, as much as the grander passages that brought so much to the music, something that could equally be said for the playing of David Goode. Goode and Noseda achieved a fine balance of organ and orchestra with some lovely textures.

This was a particularly fine performance of this much played and much loved work that, in this conductor’s hands, became totally refreshed with a coda that, nevertheless, did not disappoint in its spectacle.

Two concertos by Peter Lieberson receive fine performances from Scott Yoo and the Odense Symphony Orchestra with pianist, Steven Beck and violist, Roberto Diaz on a new release from Bridge

Peter Lieberson (1946-2011) was born in New York City, the son of ballerina and choreographer Vera Zorina (1917-2003) and Goddard Lieberson (1911-1977), president of Columbia Records. He attended Columbia University studying composition with Milton Babbitt (1916-2011), Charles Wuorinen (b.1938), Donald Martino (1931-2005), and Martin Boykan (b.1931). He later went to Boulder, Colorado to continue his studies with Chögyam Trungp (1939-1987) a, a Tibetan Vajrayana Buddhist master.

There he met and married Ellen Kearney,  before moving to Boston, Massachusetts, to co-direct Shambhala Training, a meditation and cultural program. After receiving his PhD from Brandeis University, from 1984 to 1988, Lieberson taught at Harvard University. From 1994, Lieberson devoted his time entirely to composition. He met his second wife, mezzo-soprano Lorraine Hunt Lieberson, in 1997 during the Santa Fe Opera production of his opera Ashoka's Dream. He was living in Santa Fe, New Mexico at the time of his death.

Lieberson’s compositions include his opera Ashoka's Dream (1997), vocal and choral works, orchestral works, chamber works, works for piano and concertos including his Piano Concerto No.3 and Viola Concerto that have just been released on a disc from  Bridge Records www.bridgerecords.com as Volume 3 of their Lieberson series.

In this recording Scott Yoo www.scott-yoo.com and the Odense Symphony Orchestra http://odensesymfoni.dk are joined by pianist, Steven Beck www.eccensemble.com/about/our-ensemble/steve-bec  and violist, Roberto Diaz www.robertodiazviola.com

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Lieberson’s Piano Concerto No.3 (2003) was written for and dedicated to Peter Serkin as a commission for the centennial of the Minnesota Orchestra who, with Serkin, gave the first performance conducted by Oliver Knussen.

The title of the first movement, Leviathon, relates to the poetry of Pablo Neruda whose verses Lieberson had set before. There is a lovely opening for piano and orchestra, full of wild dissonances that give way to a more extended theme, full of dynamic surges as well as quieter more reflective passages, dramatically juxtaposed. Steven Beck gives this concerto much dynamism and virtuosity, admirably supported by Scott Yoo and the Odense Symphony Orchestra. There is a fine sweep to the music and much in the way of virtuosic intensity for the soloist, with sudden dramatic twists and turns. Later there is a quieter passage but soon the music is allowed to grow back to the driving force of the opening. Toward the end there is a hushed section for piano and shimmering strings that leads to an unexpectedly quiet coda.

The piano opens Canticle, almost immediately joined by a sumptuous orchestra. Soon the piano picks out a theme, serial in nature, against this gentle orchestral. Though the theme has serialist intervals there is a leisurely, even languid beauty here as well as some attractive orchestral textures. Slowly the soloist becomes more insistent, occasionally percussive, with timpani quietly underlining the music, adding tension. Part way through, the music quietens with lovely string sweeps of sound and fine woodwind passages. Timpani drive the music forward in sweeps but the quieter mood returns with percussion occasionally quietly underpinning the orchestra. An oboe joins to lead, with piano and orchestra, to the quiet coda.

Sharp attacking chords from the piano with a dynamic orchestra open the Rondo. The languid mood returns periodically but, in this Rondo, it is the music’s more dynamic nature that is predominant with the music jumping around wildly before building in dynamics. There is a brief slow section for piano and hushed orchestra but the music soon builds again for the decisive coda.

This is an impressive concerto that holds the attention. It receives a very fine performance from Steven Beck with the Odense Symphony Orchestra under Scott Yoo.

The Viola Concerto (1992/2003) was composed as a relaxation after the trials and tribulations of writing his music theatre piece, King Gesar (1991) which had created a crisis of artistic confidence. This resulted in the composition of a concerto that was much freer in nature, wrought through the composer’s love of the instrument.

A brass chord opens Rhapsody as the soloist, Roberto Diaz, immediately enters, drawing some fine textures and colours from his instrument as the theme rhapsodises around.  There is some lovely blending of timbres between the soloist and orchestra in music that sounds more feely tonal than purely serial. The music rises to a buoyant climax for orchestra before a cadenza, finely played by this soloist who extracts some fine timbres from his viola. There are some magical combinations of textures from the soloist and orchestra as the music heads for the hushed coda.

The Scherzo has an insistent toccata theme taken by the viola and orchestra. Soon the orchestra develops a longer breathed theme whilst the viola keeps the insistent, toccata motif, the viola later taking the longer theme which the orchestra responds to. Eventually the insistent, toccata theme returns before various sections of the orchestra take the theme, keeping a melodic element. The viola takes the theme before leading to another cadenza to which the orchestra soon joins as the music leads on energetically toward the coda. There are, nevertheless, moments of reflection before the hushed coda.

There is a gentle, calm, sonorous, rather melancholy woodwind opening to the Adagio, Allegro in which the rest of the orchestra joins. When the soloist enters it is in a wistful melody that becomes increasingly impassioned before reaching an orchestral climax. After a gentle woodwind section, the soloist returns higher and more ethereal, with a distant, melancholy wistfulness before falling to a hush. The viola rises up in a short solo passage soon joined by the orchestra as they rapidly move forward in a broader melody still with the toccata element apparent as we are led to the buoyant coda.

Liebeson knew how to draw the best in timbres and textures and darker sounds from the viola in this striking concerto. Roberto Diaz does a terrific job, extremely well supported by Scott Yoo and the Odense Symphony Orchestra.

Both recordings from the Carl Nielsen Hall, Odense, Denmark are excellent and there are informative booklet notes. This new release will, I am sure, draw many new followers to Lieberson’s music.

Pianist Jean Muller shows himself to be a poet, colourist, architect and virtuoso on a new release of works by Liszt from JCH Productions

Born in Luxembourg, pianist, Jean Muller www.pianistjm.com has an impressive CV, studying at the Riga Academy of Music with Teofils Bikis and in the piano classes of Evgeny Mogilevsky, Gerhard Oppitz, Eugen Indjic and Michael Schäfer in Brussels, Paris and Munich.

Muller has gone on to receive guidance from Anne Queffélec, Leon Fleischer, Janos Starker and Fou T’song. He has been awarded no less than twelve first prizes at International Competitions including the Concours Francis Poulenc in France. In 2007 he was made Chevalier de l’Ordre de Merite Civil et Militaire d’Adolphe de Nassau.

Muller has since given concerts in Europe, Asia and the USA including at venues such as Carnegie Hall, New York and the Musikverein in Vienna. His recordings have been received enthusiastically with a Gramophone Critic’s Choice, International Piano Choice and Coup de Coeur from Piano Magazine.

Now JCH Productions have issued a new recording byJean Muller of Liszt’s Mephisto Valse No.1 and Études d'exécution transcendante. www.pianistjm.com/#!discography/c1y3b   www.amazon.co.uk/s/ref=nb_sb_noss_1?url=search-alias%3Dclassical&field-keywords=jean+muller

 

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First on this disc is Liszt’s Méphisto Valse No.1 S.514 in an arrangement by Ferrucio Busoni and Vladimir Horowitz. The names Liszt, Busoni and Horowitz are enough to strike fear into any but the most accomplished pianists but Jean Muller is more than up to the task. Right from the beginning his crisp articulation, sprung rhythms, fine phrasing and, of course, fine technique bring delight and admiration at every turn. He is not without poetry as the quieter, reflective moments clearly show. In some of the trills and decorations he points forward to Scriabin, something I’d not heard before, bringing a deeper feel to the piece. By any standards this is a very fine performance and setting the scene admirably for the Etudes d’Execution Transcendante S.139 that follow.

Étude No.1, Preludio reveals all of Muller’s technical strengths as does Étude No. 2, Molto vivace where he brings vivacious playing, fast yet never lacking clarity and fine phrasing.

An oasis of calm arrives with Étude No. 3, Paysage, beautifully paced and phrased with, as it develops, subtle colouring of textures. There are phenomenal chords and scales in Étude No. 4, Mazeppa, played with the utmost clarity and sense of structure with Muller bringing a tense lyricism to the quieter moments with a fine sense of completion in the coda.

Muller’s fine touch is shown particularly well in Étude No. 5, Feux Follets as is his fine rubato, beautifully done with many fine touches. He builds the layers of drama so well in Étude No. 6, Vision, often easing back in the lyrical, rippling passages before building the textures knowing just when to ease the tension.

With Étude No. 7, Eroica, Muller doesn’t lose sight of the varied nature of Liszt’s creation, retaining poetry and finesse, yet here is some of the most phenomenal playing you could wish for. It is Muller’s ability to colour and phrase his music so well that brings out so much of Liszt’s descriptive power in Étude No. 8, Wilde Jagd with so many little details – a glorious Etude.

Étude No. 9, Ricordanza brings together so many of Muller’s qualities as he subtly builds the music with lovely, sensitive passages and fine silken touch in this beautifully shaped performance. Étude No. 10, Allegro agitato molto again shows Muller’s fine touch and phrasing, with his sense of poetry to the fore.  

Muller gives us a beautifully conceived Étude No. 11, Harmonies du Soir, full of poetry, lovely textures and colours and a natural rise and fall in dynamics. He brings some wonderful touches to Étude No. 12, Chasse-neige with rippling phrases, beautifully controlled, bringing a formidable conclusion to this disc.

Muller shows himself to be a poet, colourist, architect and virtuoso. It is a joy to hear him lay out the structure of these works with such clarity.

There is an excellent recording from the Philharmonie, Luxembourg. Indeed this is an especially well produced disc with the right amount of time allowed between tracks, something that producers don’t always think about. The informative booklet notes are by Jean Muller.

Jean Muller will be performing this exact Liszt programme at London’s Cadogan Hall www.cadoganhall.com/whats-on/2014/10/27 on Monday 27^th October 2014, the first date in a world tour. In advance of this he is scheduled to appear on BBC Radio 3’s In Tune on Tuesday 14^th October.

A new Mendelssohn recording from Riccardo Chailly and the Gewandhausorchester with pianist Saleem Ashkar on Decca is an absolute joy

Following on from his terrific recordings of the Beethoven and Brahms symphonies for Decca, Riccardo Chailly www.riccardochailly.com  now brings the Gewandhausorchester, Leipzig www.gewandhaus.de to Mendelssohn, a composer with a close connection to this great orchestra.

Decca’s www.deccaclassics.com latest recording of Chailly and the Gewandhausorchester features Mendelssohn’s Ruy Blas Overture in its original 1839 version in a critical edition by Christopher Hogwood, a World Premiere, the Incidental Music to A Midsummer Night’s Dream, and the two solo piano concertos where Chailly is joined by pianist, Saleem Ashkar www.saleemashkar.com . Some of the works on this disc date from Mendelssohn’s Musical Directorship of the Gewandhausorchester which he took up in 1835.

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With the Overture in C minor: Ruy Blas, Op.95 (first version 1839) the Gewandhausorchester’s fine textures are immediately apparent with Riccardo Chailly bringing a fine pulse as the music takes off. This is beefy Mendelssohn full of dynamics and thrust though with beautiful textures and exquisitely played quieter passages.

A Midsummer Night’s Dream: Incidental Music, Op. 61 (1842) receives a suitably lighter touch with the Gewandhausorchester providing a glorious sound when the Overture, Op.21 (1826) takes off, full of excitement and beautifully turned woodwind phrases. This orchestra has the tautness of a chamber ensemble, with terrific dynamics. Their pinpoint accuracy reveals some lovely little details, with distinctive horns and lovely string textures.

There is a beautifully lithe Scherzo again full of lovely orchestral textures tautly played, with beautifully controlled dynamics and an Intermezzo finely shaped by Chailly. The Gewandhausorchester’s lovely, characterful horns give a distinctive sound to the Nocturne with some lovely wind textures generally. Finally, the Wedding March is full of swagger and vibrancy, with the Gewandhausorchester’s brass sounding through brilliantly and a beautifully done trio section.

These two works provide a stunning opening to this disc before the Piano Concertos with Saleem Ashkar 

Born in 1976, in Israel, Saleem Ashkar studied at the Royal Academy of Music in London, with Maria Curcio, and was appointed as Associate in 2004. He has also studied at the Hochschule für Musik und Theater in Hanover with Professor Arie Vardi.

It was Zubin Mehta who discovered the young pianist and engaged him, aged 17 years, as soloist with the Israel Philharmonic Orchestra to play Tchaikovsky's First Piano Concerto. Since then he has appeared regularly with the Israel Philharmonic Orchestra, the Israel Chamber Orchestra, the Jerusalem Camerata and the Jerusalem Symphony Orchestra. Saleem made his Carnegie Hall debut in New York under Daniel Barenboim, has appeared with the Chicago Symphony Orchestra and the Staatskapelle Berlin.

He has performed with conductors such as Zubin Mehta, Riccardo Muti, Lawrence Foster, Sebastian Weigle and Vladimir Fedoseyev and given recitals in Berlin, Frankfurt, Florence, Brussels, Oslo, Amsterdam, Chicago and Brussels. In 2006 he made his Salzburg debut and appeared at the Summer Festival with the Vienna Philharmonic, conducted by Riccardo Muti.

Saleem Ashkar hurtles in to the Molto allegro con fuoco of the Piano Concerto No.1 in G minor, Op.25 (1831) full of youthful vigour with incredible fluency and passion. There is much clarity and fine phrasing as well as some phenomenal playing with tremendous support from Chailly and the Gewandhausorchester.

There is a crystalline purity to Ashkar’s playing in the Andante with this pianist drawing some lovely moments from the music with its occasional Chopinesque turns, with some beautifully fluent phrasing.

In the hands of Ashkar, Chailly and the Gewandhausorchester the Presto. Molto allegro e vivace is a real Presto. When Ashkar enters he paces it to perfection, full of life but beautifully clear and well phrased. There are some breathtakingly fine pianistic moments, a terrific vibrancy to his playing and a scintillating contribution from the orchestra with a great coda.

Some beautifully Mendelssohnian phrases opens the Allegro appassionato of the Piano Concerto No.2 in D minor, Op.40 (1837) before the allegro appassionato  really gets going with a really fine orchestral passage and Saleem Ashkar handling the intricate piano part superbly. There is a fine balance between soloist and orchestra. Ashkar brings much fine sensitivity to the more reflective moments and some terrific interplay with orchestra as they respond to the varied elements of this movement. Towards the end Ashkar’s virtuosic abilities are displayed to the full before leading into the Adagio. Molto sostenuto. There are some beautifully turned orchestral phrases and some equally fine piano passages, limpid and beautifully nuanced.

In the Finale. Presto scherzando the Gewandhausorchester positively knocks the listener out of any dream like state. When Ashkar enters and the memorable tune appears with its dashing rhythm there are some wonderful moments as the soloist and orchestra respond brilliantly, bringing this fine disc to an end.

I would not want to be without this terrific disc. It’s an absolute joy and thoroughly recommendable. These artists receive a particularly fine recoding, full of richness, immediacy and detail from the Gewandhaus, Leipzig and there are excellent booklet notes.