Captivating Bach from Vladimir Feltsman on a new release from Nimbus

Pianist, Vladimir Feltsman www.feltsman.com  has added to his already impressive catalogue of recordings for Nimbus www.wyastone.co.uk/all-labels/nimbus/nimbus-alliance.html  with a new release of Bach’s French Suites.

2CD
NI 6314

Some of Johann Sebastian Bach’s (1685-1750) French Suites probably date from his time as Kapellmeister to Prince Leopold at Cöthen where he also wrote such masterworks as the Brandenburg Concertos, The Well-Tempered Clavier Book 1, the Sonatas and Partitas for solo violin and the Suites for solo cello (though some may have been written earlier). Not long after his marriage to his second wife, Anna Magdalena, certainly sometime in 1722, Bach wrote five short harpsichord suites, first versions of what would later become his six French Suites.

The title was not Bach’s own but later adopted to differentiate them from the English Suites and Partitas. There is nothing particularly French about the suites. Each follow the German style of layout and do not even have the Prelude usual in the suites of other French composers of the period.

The Allemande of the French Suite No. 1 in D Minor, BWV 812 has some fine limpid lines, thoughtful phrasing and tempo with a fine forward flow that seems just right. There is a lovely rhythmic pointing to the Courante with a fine fluency and great clarity that is really very fine. The Sarabande brings some exquisite moments as it slowly and beautifully unfolds before the Menuet I and Menuet II where Feltsman really allows the music to push forward, with a fast flow and terrific agility. The concluding Gigue receives some crisp, articulate playing before expanding beautifully.

The French Suite No. 2 in C Minor, BWV 813 opens with an Allemande that flows ahead beautifully and gently, revealing Bach’s lovely musical lines. Feltsman’s touch and phrasing is wonderful. He really brings the Courante alive with a tremendously clear, accurate, beautifully overlaid line. In the Sarabande he brings a real sense of discovery and spontaneity before an Air that receives a joyous rhythmic touch and detailed intricacy. Menuet I - Menuet II are finely paced, nicely sprung with a lovely inevitable flow before Feltsman really lifts the Gigue bringing some fine crisp tone from his instrument and a wonderful weaving of lines.

Feltsman again finds just the right tempo and flow for the Allemande of the French Suite No. 3 in B Minor, BWV 814 bringing some subtle fluctuations of tempi before a Courante that positively glows in this pianist’s with some quite wonderful sounds, a lovely brilliance and detail. There is a gentle thoughtful Sarabande with a rather melancholy air and some lovely flowing left hand lines followed by the lovely little twists and turns of the Menuet, superbly done. The Gavotte has a fine, subtle ebb and flow as the music moves ahead, really quite lovely. In the concluding Gigue all Bach’s rhythmic variations are wonderfully handled with a terrific flow and agility.

There is a seriousness to the flowing Allemande of the French Suite No. 4 in E-Flat Major, BWV 815, with this fine pianist revealing so much of Bach’s glorious invention. The Courante really bounds ahead with a terrific rhythm, full of life and joy and with some terrific dexterity. There is a lovely feeling of exploration to the Sarabande with a gentle flowing, spontaneous development. Feltsman brings more fine crispness and a lively rhythmic bounce to the Gavotte before a lovely little Menuet that has a gentle forward pulse. He produces a torrent of forward propulsion in the Air with a terrific weaving of lines before the Gigue that brings a lovely rocking motion, quite intoxicating with this pianist’s terrific touch, finding so many little details. Wonderful playing.

The second CD brings the French Suite No. 5 in G Major, BWV 816 with an Allemande that reveals itself gently with many subtle little details beautifully revealed. The Courante is really fine, moving ahead at a pace with some very fine crisp articulation and wonderfully woven lines. After a leisurely Sarabande where Feltsman allows the music to unfold naturally there is a lovely Gavotte so lightly sprung with a lovely left hand line woven through and a lively Bourée full of fine moments. In the Loure Feltsman creates some lovely phrases as this piece finds its way forward before a terrific, bounding, rhythmic Gigue where this pianist brings some absolutely wonderful playing, crisp, accurate, articulate and lovely musical lines.

The Allemande of the French Suite No. 6 in E Major, BWV 817 moves at a moderately fast pace, Feltsman revealing some lovely little tempi fluctuations before a terrific fast flowing Courante where he brings some very fine articulation. The Sarabande is beautifully laid out; again sounding like a voyage of discovery as Feltsman slowly allows it to unfold. After the crisp, nicely sprung Gavotte He finds a lovely left hand flow through the Polonaise before moving into a lively, fast moving Bourrée with more terrific clarity of line from Feltsman’s fine touch. There is a lovely little Menuet so finely phrased before the final Gigue that really rattles ahead, full of energy with some really wonderful fast, beautifully articulated passages.

Overture in French style, BWV 831 is one of two works that comprise Part II of the Clavier-Übung of 1735, the other being the Italian Concerto. The work opens with fine expansive French Ouverture beautifully shaped before bringing some fine buoyant fast flowing passages, full of forward drive and finely controlled dynamics, brilliantly played with an unstoppable quality. The Courante has a glorious breadth and flow before the restrained delicacy of Gavotte I & II that is most appealing. Passpied I & II receive a fine rhythmic lift with passages of wonderfully delicate, controlled flow. There is the feel of spontaneous improvisation in the beautifully leisurely Sarabande before the buoyant, joyous Bourrée I & II Feltsman finding his way around all the little twists and turns wonderfully. After the crisp, rhythmic Gigue, there is a wonderfully shaped Echo with finely controlled dynamics bringing a terrific conclusion.

This is captivating Bach. Perhaps Feltsman is a little idiosyncratic at times but he is terrific nevertheless. He is well recorded and provides his own informative booklet notes.

See also:

http://theclassicalreviewer.blogspot.co.uk/2015/07/vladimir-feltsman-reveals-many-fine.html

http://theclassicalreviewer.blogspot.co.uk/2015/03/vladimir-feltsman-probes-schuberts.html

http://theclassicalreviewer.blogspot.co.uk/2013/08/vladimir-feltsman-brings-all-his.html

http://theclassicalreviewer.blogspot.co.uk/2013/05/vladimir-feltsman-on-nimbus-provides.html

La Simphonie du Marais under their director Hugo Reyne bring Michel-Richard de Lalande Symphonies pour les soupers du Roi alive with stylish performances that bring fine textures, variety, colour and often some exotic moments on this bargain 4CD release from Harmonia Mundi

Louis XIV of France, the Sun King, remains the longest reigning monarch in European history. Born on 5^th September 1638, he came to the throne in 1643 and reigned until his death in 1715.

During this time he brought absolute monarchy to its height establishing a glittering court at Versailles and glorifying the monarchy through the arts, patronising such

great literary and artistic figures as Jean Baptiste Moliere, Charles Le Brun, Louis Le Vau, Jules Mansart, and Jean Baptiste Lully.

On the tercentenary of Louis XIV’s death there have been all year long Château de Versailles Spectacles designed to conjure up the artistic glory of the Sun King and helping to revive the magnificent festivals of the Versailles court in the most beautiful locations in the Château and its Gardens. www.chateauversailles-spectacles.fr/spectacles/2015/louis-xiv-year-shows-chateau-de-versailles

Michel-Richard de Lalande (1657-1726) became sous-maître at the royal chapel in 1683, compositeur de la musique de la chambre in 1685, surintendant de la musique de la chambre in 1689 and maitre in 1695 thus establishing himself as one of the most important composers at the French court. He was the leading composer of the late Baroque grand motet as well as stage works from which he drew instrumental symphonies including his Symphonies pour les soupers du Roi.

Harmonia Mundi http://store.harmoniamundi.com  have recently released a 4 CD box set in their HM Heritage series of all twelve of de Lalande’s Symphonies pour les soupers du Roi recorded in 1990 by La Simphonie du Marais www.simphonie-du-marais.org directed by Hugo Reyne www.simphonie-du-marais.org/qui-sommes-nous/hugo-reyne

4CD
HMY 2921337 40

With this first-ever complete recording of the legendary Symphonies pour les Soupers du Roy in 1990 Hugo Reyne produced a set of discs as varied as it is comprehensive. It should be remembered that the term symphony was originally used for concerted motets, introductory movements to operas (overtures) and sections within arias. It was only through such composers, such as Sammartini and Haydn, that the modern symphony was developed. De Lalande’s twelve suites of symphonies consist of purely instrumental music, music of a dance like character and instrumental arrangements of vocal music. In these works we find overtures, preludes and airs alongside dance forms such as sarabandes, passacailles, chaconnes, minuets, passepieds, loures, gigues, canaries, gavottes, bourées and rigaudes. Hugo Reyne has retained something of the original nature of some pieces by including a soprano voice.

Hugo Reyne and La Simphonie du Marais open with the Concert de Trompettes where marshall drum thunder out in an impressive Prélude avec les trompettes before taking us through a fine Air pour les mesmes, some lovely woodwind in the Chaconne avec les trompettes, a lively Menuet avec les trompettes and a concluding Fanfare de trompettes where woodwind echo the trumpet theme.

After this terrific start comes the first of the suites of Symphonies pour les soupers du Roi. The 1^st Suite opens with an Ouverture where La Simphonie du Marais bring some exquisite very French instrumental sounds. Amongst the many pieces in this suite there are some particularly fine individual instrumental contributions in the Trio de hautbois before a beautifully light and poised Air. Throughout these works Hugo Reyne never misses an opportunity to add colour with castanets adding to the buoyant Sarabande. Later in this suite a Trio de hautbois brings some lovely sonorities and a lively 4th Air complete with a tambourine to add colour.

2nd Suite again opens with an Ouverture that brings more superb sonorities from this ensemble. There are slower, melancholy moments such as in the 1st Air, Prélude, Gracieusement and a lovely gentle swagger in the Chaconne de Villers-Cotterêt where the lovely mellow instrumental blend is pointed up by castanets. The concluding, lively Passepied is beautifully done.

3rd Suite opens with a broad, beautifully sonorous 1st Air. Later in this suite bells rhythmically point up the light and buoyant 2e Air, Gigue and even a piper appears playing the flûtes à bec et loure or cornemuse in the remarkable La Loure. There is a leisurely, stately Grande Pièce en D-la-ré, Passacaille (extradite de l’amour fléchi par la Constance) with lovely textures and which picks up in tempo with some lovely instrumental details.

The 4th Suite has an Ouverture (extraite des Fontaines de Versailles) that has a fine breadth in the opening before gaining a terrific buoyancy later. Within the remaining pieces there is a vibrant, colourful Gigue, a beautifully poised 1st Air, a melancholy little Sarabande and buoyant, vibrant 3rd Air with tambourine.

La Simphonie du Marais bring fine string timbres to the Ouverture that opens the 5th Suite before dashing into the 1st Air with a fine rhythmic pulse. Castanets point up the colourful Chaconne whilst the following Air brings some fine rich, deep string passages. Also noteworthy is the clarity of texture that Hugo Reyne achieves with his ensemble such as in the beautifully paced Sarabande. This suite also has the Fantaisie ou Caprice que le Roy demandoit souvent. (Fantasy that the King often requested) that opens grandly with some wonderful wind textures before picking up for a brilliantly played section.

The 6th Suite, Airs du Ballet de Flore ou de Trianon consists of fifteen pieces commencing with a particularly fine Ouverture that brings a variety of musical lines that flow around each other. There is a light textured, fast flowing Bourrée followed by a Menuet de la Princesse de Blois where an échelette or xylophone can be heard. The lively Bourrée, Rondeau with drums and tambourine is irresistible.

The 7th Suite brings a fine flowing Allemande again with a fine blend of instruments. The beautifully pointed Rondeau is really entertaining with the échelette appearing again. Later there is a joyful Air de mouvement, Vivement, a lovely Trio de hautbois and a Lentement, Trio that opens rather wistfully before picking up rhythmically for a buoyant conclusion.

A beautifully poised Ouverture opens the 8th Suite before an equally poised Air grave. There is a 2nd Air, Vif that is lively and rhythmic with more fine clarity, a Loure en Rondeau that brings a return of the cornemuse and a Chaconne en Passacaille that has a lovely flow and fine instrumental details.

The opening Ouverture of the 9e Suite, Airs du Ballet de Mélicerte is beautifully shaped before a quite beautiful Prélude pour les Muses. Later drums and tambourine appear in the fast moving Passepied before a soprano joins for the Petit Air, ‘Pour Aimer’. There is a stately Grand Air where this band give the music terrific life and a heavily accented 1st Air des Siamois where some exotic instrumental sounds appear.

The 10^th Suite Air du Ballet de Fées has a broad, fine textured Ouverture with the soprano joining the later Trio, ‘Dans ces lieux’  followed by a really light textured Gigue. Later there is a finely woven 2nd Air, Gavotte, Rondeau, ‘C'est l'amour’, a colourful Saltarelle and a fast flowing Chaconne with fine instrumental textures.

Another fine Ouverture opens the 11th Suite, Airs du Ballet de la Paix before a Trio, ‘A cette pompe’ brings a gentle swagger. The Air brings some terrific wind sonorities and there is a nicely shaped Gigue, Légèrement and a Symphonie, Trio, "Mais quelle aimable mélodie’ that has a rather grand opening that quickly leads to some lovely instrumental passages. The suite concludes with a beautifully blended

Air, Légèrement.

The 12th Suite, dont les Airs forment le 3e Caprice is rather shorter than the others and opens with a slow dignified Gracieusement before a flowing 2^nd Air mineur. There is a beautifully turned Gigue, Gracieusement before we eventually arrive at the concluding lively Air vif that takes off, full of light textures and fine instrumental moments.

La Simphonie du Marais under their director Hugo Reyne are terrific. They bring this music alive with such stylish performances that bring fine textures, variety, colour and often some exotic moments, Hugo Reyne knowing just how to lift these suites to reveal every fine moment.

They receive excellent recorded sound and there are brief but useful notes that give a general idea of the music and its history.

These performances remain the benchmark. Available from Amazon at the price of one CD and only taking up the width on a single CD jewel case, this is a rare bargain.

See also:

http://theclassicalreviewer.blogspot.co.uk/2015/03/a-first-rate-disc-from-harmonia-mundi.html

Those who love Vaughan Williams’ A Sea Symphony should acquire this remarkably fine performance from Sir Mark Elder and the Hallé Orchestra without delay

The Hallé Orchestra www.halle.co.uk  are really on top form as demonstrated by their latest release on their label of Vaughan Williams’ A Sea Symphony. Here Sir Mark Elder www.ingpen.co.uk/artist/mark-elder and the orchestra are joined by the Hallé Choir www.halle.co.uk/halle-choir.aspx , Hallé Youth Choir www.halle.co.uk/halle-youth-choir.aspx , Schola Cantorum www.schola-cantorum.net  and Ad Solem www.mumusicsociety.co.uk/adsolem  with soloists Katherine Broderick (soprano) www.maxinerobertson.com/index.php?load=artists&artist=kb  and Roderick Williams (baritone) www.ingpen.co.uk/artist/roderick-williams

CD HLL 7542

An early work, written between 1903 and 1909 and revised in 1923, it was one of the works that revealed Vaughan Williams to be the leading English composer of his generation. It was first performed at the Leeds Festival in 1910 and sets words from various poems found in Walt Whitman's Leaves of Grass.

The first movement, A Song for All Seas, All Ships (Moderato maestoso) of A Sea Symphony is given a glorious opening, beautifully paced,  especially after the choral ‘Behold the Seas itself…’ when the following passages have a fine inevitable flow. There is a fine rhythmic pulse in the orchestra before baritone Roderick Williams enters for ‘Today a rude brief recitative …’ where he brings a wonderfully clear, fine tone. The agility of the chorus is really very fine, bringing a tremendous sense of freedom.  Roderick Williams is surely one of our finest baritones especially in repertoire such as this with his strong, secure, finely held long phrases and fine tone. He brings a wonderfully phrased sense of drama.

When soprano Katherine Broderick enters with ‘Flaunt out O Sea your separate flags of nations!’ she displays a lovely texture in her dramatically enunciated phrases. In the longer breathed phrases of ‘But do you reserve especially for yourself and for the soul of man one flag above the rest.’ she reveals a voice of richness, strength and wonderfully musical tone and when she  sounds out in  ‘Token of all brave captains…’  she is amongst the finest. The female chorus finds a lovely counterbalance in the following quieter passages with the Hallé Orchestra bringing some really wonderfully, gently subtle moments. The chorus rises to a fine peak before quietening as Williams enters for ‘A pennant universal, subtly waving all time’ the orchestra providing a lovely rippling, undulating orchestral accompaniment. I’ve never heard the orchestral part here done so beautifully. When Katherine Broderick joins, all these forces blend superbly to bring about the climax of this movement. When Broderick rises over all the others she is exceptionally fine and as she reprises the words ‘Behold the sea itself…’ she brings almost mezzo richness of tone.

Sir Mark Elder brings a lovely deep heft to the opening bars of On the Beach at Night Alone (Largo sostenuto) creating a wonderful hushed, expectant atmosphere. This is a real nocturne such as Whistler might have conceived. When Roderick Williams enters with the chorus quietly echo his words with all of Vaughan Williams’ fine orchestration revealed. This soloist phrases the text wonderfully, bringing a lovely clarity and fine tone. His is such a musical voice, totally unforced. Elder draws such subtleties in this movement before allowing the chorus and soloist to breath a fine expressiveness into ‘A vast similitude interlocks all.’ They get the sense of flow and tempi just right here, with a fine underlying orchestral pulse. There is a finely controlled climax for the chorus and orchestra at ‘This vast similitude spans them …’ before setting the atmosphere for the baritone to bring back ‘On the beach at night alone’ with some of this composers finest orchestral passages. Elder knows just how to subtly turn up the tempo at times here to point up the music before it is allowed to sink into the darkness.

The chorus bring a lightness of texture to Scherzo - The Waves (Allegro brillante) with Elder encouraging a buoyancy that fully evokes the surges of the sea. There is a fine orchestral rubato, a terrific ebb and flow, whipping up some terrific passages. Later orchestral passages bring some lovely moments, subtle little shapings with this chorus bringing a real sense of urgency to their singing and a great precision in the concluding ‘...following’ to end.

In the final movement, The Explorers (Grave e molto adagio - Andante con moto) what fine, clear diction this large chorus bring to the gentle ‘O vast Rondure, swimming in space’ with some absolutely wonderful singing. Guest choral director, James Burton deserves a special mention here. This chorus bring a fine rubato over a subtly shifting orchestral layer with Elder always seemingly seeking out the longer musical vision. The Hallé bring some quite wonderful passages, so sensitively handled.  The tenor and basses subtly pick up the tempo at ‘Ah, who shall sooth these feverish children.’  Elder handles all the transitions of tempi to perfection building some fine choral layers. ‘Yet soul be sure the first intent remains’ brings a wonderfully restrained tempo before slowly rising to a fine climax at ‘Finally shall come the poet worthy of that name’ a spectacularly fine moment.

‘O we can wait no longer, We too shall take ship, O Soul’ brings a wonderful blend of solo voices with soprano and baritone bringing the most exquisite singing, beautifully shaped in ‘Sailing the seas or on the hills, or Waking in the night.’ When the soloists, chorus and orchestra rise at ‘Oh thou transcendent’ what a spine tingling moment it is.  There are some of Roderick Williams’ finest moments in ‘Swiftly I shrivel at the thought of God’ before the chorus enter for ‘Greater than stars or suns.’ Soloists, chorus and orchestra bring a fine impetus to the climax at the words ‘Sail forth – steer for the deep waters only before leading to a wonderfully expansive, beautifully controlled, hushed coda.

If you love this work then you should acquire this remarkably fine performance without delay. The live recording from Bridgwater Hall, Manchester, UK is excellent, allowing a real breadth to the sound. Applause is excised.

The late Michael Kennedy’s notes are all that one could wish for and there are full English texts.

See also:

http://theclassicalreviewer.blogspot.co.uk/2014/11/as-we-approach-remembrance-sunday-halle.html

http://theclassicalreviewer.blogspot.co.uk/2013/06/sir-mark-elder-and-halle-orchestra-in.html 

http://theclassicalreviewer.blogspot.co.uk/2015/05/a-live-mahler-9-to-rank-with-best-from.html

Peter Seabourne’s Pietà, recently released by Sheva Contemporary, is a powerful, emotional work that casts a real spell over the listener revealing him to be a composer of immense emotional clout

It was only in September that I reviewed British composer, Peter Seabourne’s www.peterseabourne.com compelling piano work, Steps Volume 5: Sixteen Scenes before a Crucifixion http://theclassicalreviewer.blogspot.co.uk/2015/09/pianist-alessandro-viale-shows.html released by Sheva Contemporary, a subsidiary label of the Italian record company Sheva Collection www.shevacollection.it

Now from Sheva Contemporary comes a recording of Peter Seabourne’s work for viola and piano Pietà coupled with Benjamin Britten’s Elegy and Lachrymae, performed by Georg Hamann (viola) www.georghamann.at/aronquartett/content/view/5/5/lang,english  and Akari Komiya (piano) www.facebook.com/public/Akari-Komiya

SH 137

Pietà - duo for viola and piano (2007) was written for Georg Hamann and is a large scale work in five movements in memoriam for the composer’s parents. The composer tells us that the inspiration was partly pictorial, ‘in as much as the Pietá statues of Michelangelo have always been a haunting memory from a trip to Italy many years ago, perhaps especially the almost god-like, all-encompassing ‘knowing’  on the face of Nicodemus.’

A gentle piano theme opens Berceuse soon joined by the viola to move the gently rocking theme forward. Despite a little rise in passion the music soon falls to a hushed meditative nature. Soon it succeeds, rising in passion with pizzicato viola phrases before moving through some fine textures for viola above an occasionally dissonant piano part. A solo viola passage is reached where the viola brings a gently pleading moment to which piano joins with broader delicate phrases. The music falls to a hush out of which the piano brings lovely phrases soon joined by viola in the most exquisitely sad moment before moving slowly and eloquently to the hushed coda.

Enigmas opens with strident viola and piano phrases that quickly open out with lovely flourishes for viola and piano. The opening is repeated out of which rippling piano phrases combine with a flowering viola line. The music moves ahead with both players finding a real passion combined with a sense of searching. There are passages of lovely freedom and delicate beauty interspersed by more passionate moments, the viola creating some lovely textures and timbres. The music slowly builds through some passages of intense passion before quietening to bring a rising and falling viola motif over piano chords before a series of hushed piano chords, separated by rests, brings the haunting coda.

The piano opens Elegy magically before the viola enters bringing gossamer harmonics with a gentle theme that gently rises and falls before growing in strength and texture. Again one senses a certain questing feel or certainly anxiousness. A piano passage leads gently and melancholy, hesitantly forward with the viola joining to add little harmonics in this intensely sad movement, almost that of someone crying.  Indeed, the piano seems to keep a more distant melancholy over which the viola cries before the coda arrives, quietly with no resolution.

There is a fiery opening for viola and piano to Seven Roads with staccato phrases that nevertheless push forward with a vengeance. Soon the intensity slackens but the anger is still hovering and, despite moments of relative calm, the music soon rises in drama. Here is some tremendous passion, caught brilliantly by these fine artists. The staccato phrases return before the music quickens with pizzicato viola alone bringing a hushed section but with the feel of restrained emotion, as though anything could burst out any minute.

However, the piano quietly joins in a more expansive motif, the two soloists bringing an eerie calm before slowly rising in emotion and dynamics with the viola developing some intense textures over a dramatic piano accompaniment. There is some terrific playing here with pinpoint accuracy between players. The anger is let forth again, fairly spitting fire, but subsides a little before pushing ahead with some terrific viola textures and, indeed, piano sonorities. Eventually the music subsides to a quieter section, a subdued passion and fire before short stabbing viola chords lead to the coda giving the impression that the viola and piano find difficulty uttering their short phrases.

Deep piano chords slowly open Reminiscence with an immediate air of tragedy. When the viola enters there is a lighter melancholy feel, the viola bringing lovely textures and the piano, the loveliest limpid piano phrases. This is a quite spellbindingly beautiful movement with tragedy looming large. The viola tries to find a strength as it leads mournfully forward. There are such beautifully conceived little harmonies between viola and piano before the music gains in strength with firmer piano chords underpinning the more limpid piano phrases over which the viola brings its intensely sad theme. There is often the feeling of tragic emptiness at the heart of the viola’s painful melody. A hushed pizzicato motif is heard from the viola as the piano’s gentle little phrases try to lead ahead as the coda arrives.

This is a powerful, emotional work that casts a real spell over the listener. Georg Hamann and Akari Komiya put their heart and soul into the music providing the most passionate and eloquent of performances. 

Benjamin Britten’s Elegy for solo viola proves to be a remarkably mature work by the 16 year old composer. Here Georg Hamann gives a fine performance as the music rises in passion through some very fine passages, bringing some fine textures and sonorities. A hushed passage for pizzicato viola is heard before the music rises back up through some fine melodic passages with distinctive double stopped harmonies adding to the texture to the hushed coda.

Lachrymae Reflections on a song of Dowland, Op. 48a comes from later in the composer’s life, 1950, and first performed by the distinguished violist, William Primrose with the composer as pianist. It receives a lovely performance from Georg Hamann and Akari Komiya both sensitive to the often strangely haunting atmosphere of the piece. There are passages of more brittle quality as well as intense power and thrust, in some ways reflecting the emotional nature of Peter Seabourne’s music. These two players bring moments of terrific virtuosity before a most poignant coda.

If anything Pietà is an even more impressive work than Sixteen Scenes before a Crucifixion revealing a composer of immense emotional clout. 

These players are really first class and are well recorded. There are excellent booklet notes.

Paraty have brought us some most interesting and appealing concertos by Jean-Charles Gandrille brilliantly performed by the Qatar Philharmonic Orchestra with two fine soloists

Jean-Charles Gandrille (b.1982) www.jeancharlesgandrille.com studied music at the Conservatoire National de Région de Versailles before going on to study organ, orchestration and harmony at the National Conservatory of Music in Paris.

As a composer, he has received various international awards for his works. He describes his music as being neo-modal, polymodal and neo-minimalist. His music includes works for solo piano, organ and cello, chamber music, and orchestral music. Jean-Charles Gandrille performs regularly in organ recitals. He is co-owner of the Saint-Lubin church Rambouillet (Yvelines) and organist at the Church of Our Lady of Auvers-sur-Oise since 2007.

Jean-Charles Gandrille’s Violin Concerto was premiered in Doha, Qatar on 17^th March 2012 by the Qatar Philharmonic Orchestra conducted by Thomas Kalb with violinist Omar Chen Guey http://afarcry.org/bios/omar.

His Minimalist-Concerto for piano, organ and orchestra was premiered in Doha, Qatar on 3th March 2013 also by the Qatar Philharmonic Orchestra http://qatarphilharmonicorchestra.org  this time under the direction of Alkis Baltas http://www.cyso.org.cy/index.php/en/about-us/artistic-director with pianist Rami Khalifé and the composer as organist. These two concertos now appear on a new release from Paraty http://new.paraty.fr  with the same performers.

PARATY 614126

Gandrille’s Minimalist Concerto (2012) arose out of listening to the music of Arvo Pärt, Philip Glass and Steve Reich, enabling the composer to find a new energy to his music whilst still retaining certain aspects of the French tradition. In three movements Jubilation opens with a rapid motif for strings with instrumental highlights before the brass slowly bring a brighter edge, as do percussion. Pianist, Rami Khalifé sounds some chords picking up on the repeated theme. The theme continues in the orchestra, slower and quieter with the piano taking the lead, developing a longer and more varied melody. Gandrille’s ever changing orchestral colours and his ability to vary his theme, lift this music out of the minimalist trap of over repetition. Soon the music moves through some lovely expansive passages with both a section of the orchestra and the piano developing a rolling, forward flowing theme over the same repeated string motif. There is a lovely swell in the lower orchestra, over which the expansive melody grows in dynamics. Organ chords played by the composer himself sound out, moving into a sonorous version of the theme and slowly falling quieter.

The piano alone takes the theme gently ahead, soon joined by woodwind in a lovely moment. The piano brings a repeated theme but varies it with some lovely filigree phrases before continuing delicately over a hushed orchestra that brings many little instrumental details. Later the music rises to a peak in the orchestra before brass sound over the repeated orchestral motif. There are many fine instrumental moments that arrive over the repeated motif before the piano returns to take the theme. A xylophone joins as the music gathers momentum for the coda where the organ enters again against a chiming of bell as the orchestra joins in the impressive coda.

The piano gently opens Lullaby, 'In memory of my grandfather' with a little motif. The organ then quietly takes the theme which is then shared between piano and organ. Soon the organ varies by bringing gentle chords based on the theme. Tubular bell chimes accompany the piano before the piano broadens the chords of the theme. Slowly and subtly the piano varies the theme providing a fine moment before reducing to single piano notes repeated. The piano brings another development over which the organ lays rich, hushed chords with the orchestra soon entering to add to the depth and colour of the music. The organ develops delicate little decorations over the orchestra and piano, a dream like quality is achieved, quite beautiful. The theme expands over the hushed orchestra as the piano continues its way. Timpani and other percussion join to point up the theme as we reach the hushed coda.

A gentle trombone opens Final Dance with a muted trumpet reflecting the theme. Very soon a rapidly repeated left hand piano motif arrives with the right hand taking a theme that the orchestra joins bringing a constant, subtle development. The piano rises up with the theme, becoming ever more dynamic bringing an exotic dance with a Latin American flavour. The organ joins, lowering the dynamics and bringing a gentler version of the dance theme. The piano re-joins with the organ and orchestra lightly and gently rushing ahead with some lovely textures soon pointed up by percussion as brass as the rhythm gains momentum. There is repetition here but with a constantly shifting orchestra and harmony before the organ brings the decisive coda.

Around seven years separate the composition of Gandrille’s Violin Concerto (2011). The influence of the French composer Henri Dutilleux (1916-2013) shaped a poem for violin subtitled Par-delà, vers l'azur... (Beyond, Toward the Azure…) written in 2004. The score languished until the suggestion came for a violin concerto for performance by the Qatar Philharmonic Orchestra. Gandrille returned to sketches he had made when writing the poem for violin, finally arriving at a three movement concerto. The third movement Danse Aka uses a polyrhythm from dances of the Aka Pygmies of central Africa.

As Par-delà, vers l'azur... (Beyond, Toward the Azure…) opens, a timpani beat precedes a dissonant, shimmering orchestral theme that soon falls quieter and less dissonant. An oboe introduces a lovely melody over the hushed orchestra before soloist Omar Chen Guey joins. There is a brief pause before both violin and oboe lead forward, with the violin soon weaving the theme over the orchestra.  Some fine shifting harmonies are developed with the music occasionally rising in passion but falling to quieter, gentler moments. Omar Chen Guey brings some beautifully developed melodic moments over a hushed shifting orchestral accompaniment. The music rises a little before gently moving ahead with little slurs of phrases from the violin. A cor anglais joins in a dialogue with the violin, Gandrille adding fine colours from percussion and orchestra. Eventually the music gathers pace in the orchestra before falling to a hush as the solo violin brings a gentle, wavering theme with harp a string accompaniment before a hushed coda.

The brief Interlude brings a gentle, quiet theme that is mulled over with timpani strokes quietly sounding before the orchestra slowly rises up in a flurry of instrumental textures, to lead into the final movement.

Danse Aka opens with percussion tapping out a rhythm which the violin picks up along with muted brass textures. There are pizzicato repeated violin rhythms over pizzicato basses as the music leads on. The orchestra rises up with the rhythm, bringing orchestral colours that are rather exotic. There is a repeated orchestral theme over which the violin appears, joining in a dream like repetitive dance. The music increases in orchestral depth with timpani sounding out, then brass and percussion in rasping dynamic chords. There are cymbal clashes and a xylophone takes the dancing theme over the strings in this constantly varied orchestral tapestry. The solo violin adds to the pounding, repeated rhythmic theme as timpani and brass appear. Eventually a lighter textured passage for solo violin and timpani leads to a fast moving cadenza brilliantly brought off by soloist Omar Chen Guey. The cadenza broadens as tubular bell chimes and orchestra join over repeated pizzicato violin phrases. There are drooping orchestral brass motifs and pizzicato basses as well as harmonics from solo violin before pizzicato violin phrases and hushed chords lead to coda.  

Paraty have brought us some most interesting and appealing concertos brilliantly performed by the Qatar Philharmonic Orchestra and the two fine soloists. The Qatar Philharmonic Orchestra certainly proves to be an impressive ensemble. This music may have elements of minimalism but it certainly holds the attention with repetition kept to a supporting role. Gandrille brings many lovely moments full of colour and texture.

These are excellent live recordings from the Opera House, Doha, Qatar with very little audience noise. Sadly applause is kept in after the first movement of the Minimalist Concerto but then only appears after the end of each work. 

There are brief but useful booklet notes. There are no dates for the recordings but I am assuming that they may well be taken from the premieres given in Qatar in 2012 and 2013.

Harpsichordist Christopher D Lewis brings superb precision and articulation to his performances of 20th Century Harpsichord Music using an impressive restored 1930’s Pleyel harpsichord on a new release from Naxos

From the 1880s there was a revival of interest in the harpsichord with the great virtuoso Wanda Landowska (1879-1959) taking this interest into the 20^th century. Between 1905 and 1912 she assisted in the development of a harpsichord built by Pleyel of Paris, bringing about an entirely new design quite different from the traditional instrument. This new Pleyel used a heavy case including a cast-iron frame with two manuals, or keyboards, equipped with a deep register called a sixteen-foot that sounded one octave below normal pitch. It also had two eight-foot registers, a coupler, and a lute-stop. The instrument was effectively a hybrid between a piano and a harpsichord, in effect a plucked piano.

Harpsichordist, Christopher D. Lewis www.christopherlewis.net  has recorded a new disc for Naxos www.naxos.com , entitled 20^th Century Harpsichord Music that features solo works by Poulenc, Françaix, Martinů and Durey played on a 1930s Pleyel harpsichord, known as the Eaton Pleyel, having been purchased by the Toronto Eaton Auditorium www.christopherlewis.net/revival-harpsichords.html . In 2013 the Eaton Pleyel harpsichord was extensively restored in Cleveland, Ohio, by Philip M. Cucchiara, shortly before the instrument was set up in its new home in San Francisco.

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It was for Wanda Landowska that Francis Poulenc (1899-1963) wrote his Concert Champêtre. His Suite française was originally for 2 oboes, 2 bassoons, 2 trumpets, 3 trombones, percussion and harpsichord. It is performed here in a version for solo harpsichord. What a terrific opening Poulenc gives us to the Bransle de Bourgogne, an old tune given a 1920’s treatment. Lewis provides a rhythmically sprung performance with lovely use of the harpsichord’s varied tones. There is a lovely slow Pavane making the most of the instrument’s various textures and tones, Poulenc providing some lovely dissonances. The lively Petite marche militaire has this harpsichordist showing just how much projection his instrument can give, building some terrific passages.  

Lewis picks out a lovely little melody in the Complainte that is slowly developed through some fine passages before ending on a single discord. After a rhythmically pointed Bransle de Champagne there is a gentle, rocking Sicilienne with some lovely varied textures. A bright and breezy Carillon rounds off this suite in fine style.

There are many tunes here that will stick in the mind, not least the last one.

Christopher D. Lewis brings the first of two world premiere recordings with Jean Françaix’s (1912-1997) Deux Pièces pour clavecin. No. 1 Grave brings some unusual harpsichord tones as the music makes its way slowly forward with some incredibly deep notes and unusual textures. With No. 2 Vivace, Lewis launches into a contrasting piece that really bounces ahead freely, bringing a buoyant end to this strangely appealing little work.

The interest in the harpsichord as a contemporary instrument continued when Bohuslav Martinů (1890-1959) wrote his Deux Impromptus for the Swiss harpsichordist, Antoinette Vischer who had commissioned works from Luciano Berio, Earle Brown and John Cage. The Allegretto of No. 1 brings a lovely breadth with this soloist revealing so much of what this magnificent instrument can do. There is a lovely slower passage before the opening theme returns for the coda. No. 2 brings a rhythmically sprung, really attractive piece that slowly works its way through some fine development.

Martinů’s Sonate pour clavecin was also written for Antoinette Vischer. In three movements. The Poco allegro opens with a flowing theme that doesn’t seem to be able to settle. There are varying rhythms with some lovely ideas and variations.  A slow expansive Poco moderato cantabile has Lewis finding some attractive little details, extracting some fine textures and timbres from the Pleyel. The lively Allegretto moves around the keyboard building in strength and direction to the whimsical coda.

Louis Durey (1888-1979) is a name not likely to be known to many. His compositions include songs, orchestral, chamber and piano works as well as film music. Christopher D. Lewis brings another world premiere recording with Durey’s Dix Inventions, piano transcriptions by the composer of works written for a variety of instruments. No. 1 Très calme brings a light textured, slow flowing piece that moves through some lovely harmonies. The rhythmic No. 2 Allegretto brings some lovely textures as it weaves around before racing to the end. No. 3 Très modéré is a leisurely piece that develops beautifully and subtly through some remarkably fine passages, Lewis finding some fine sonorities. No. 4. Lent et grave is a rather haunting piece that meanders around the keyboard finding more fine harmonies. 

No. 5. Tranquille equally wanders around finding little rhythmic moments on its way before a nicely pointed little No. 6 Animé et rythmé that shifts around tonally. This soloist finds some lovely sounds from his instrument in No. 7. Modéré, a gentle piece that is quite beautiful. No. 8. Décidé has a fine spring in its step as it moves off quickly before Lewis brings a lovely breadth to No. 9. Modéré (mélancolique), finely phrased. Finally, No. 10 Très animé builds some very finely woven passages to conclude this attractive collection of pieces.

Martinů’s Duex Pièces pour clavecin (1935) concludes this disc. They were written for another harpsichordist, a pupil of Wanda Landowska, Marcelle de Lacour (1896-1997) www.fondationdelacour.org .

Low chords on the instrument bring a tragic feel to No. 1 Lento before a gentle, restrained flow is found, rising in mood a little for a rather more florid coda. A buoyant No. 2 Allegro con brio arrives with lovely discordant harmonies before moving through some fine, free flowing passages full of terrific invention to a decisive coda. This is a really riveting piece.  

Christopher D Lewis’ technique is very fine with superb precision and articulation. Some may find the impressive sound of the 1930’s Pleyel harpsichord a little strident and powerful but wow is it impressive.  

The recording is first rate. Indeed, the impressive instrument could be in one’s own room. There are excellent notes from Graham Wade with information about the instrument which is pictured on the cover of the booklet. 

I cannot imagine anyone failing to delight in The King’s Consort’s captivating performances of Purcell’s Twelve Sonatas of Three Parts released this month on Vivat

Following their acclaimed recording of Purcell’s Ten Sonatas in Four Parts that I reviewed in June 2014 http://theclassicalreviewer.blogspot.co.uk/2014/06/delights-at-every-turn-in-beautiful.html The King’s Consort www.tkcworld.org went to St. John’s Church, Loughton, Essex UK in February this year to record the Twelve Sonatas of Three Parts.

This new release from Vivat www.vivatmusic.com  is due out on the 13^th November 2015 and features their director Robert King www.robertking.eu  at the chamber organ and harpsichord with Cecilia Bernardini www.ceciliabernardini.com  and Huw Daniel (violins), Reiko Ichise (bass viol) and Lynda Sayce (theorbo) http://theorbo.com

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Whilst Henry Purcell’s (1659-1695) Ten Sonatas in Four Parts were published posthumously, the Twelve Sonatas of Three Parts were published by the 24 year old composer himself with an announcement in the London Gazette on the 28^th May 1683 stating that they were ‘compleatly finished’ and would be available for delivery to subscribers from his own house in St. Anne’s Lane near to Westminster Abbey.

Indeed, Vivat prints a facsimile in the CD booklet of the front of the published edition that reads ‘SONNATA’S  OF III PARTS: TWO VIOLLONS And BASSE: To the Organ or Harpsecord. Composed by HENRY PURCELL, Composer in Ordinary to his most Sacred Majesty and Organist of his Chappell Royall.’

Click here to see a video about this recording:

  

The King’s Consort bring a terrific sonority to the slowly unfolding [Grave] of Purcell’s Sonata 1 in G minor, Z790 after which they positively leap into the sprightly Vivace bringing beautifully rich textures, underpinned by bass viol and organ. The two violins weave some fine lines over the other instrumentalists before the gentle concluding Adagio where one can hear the theorbo gently sounding through the lovely texture. They run straight into the Presto with a terrific, flexible forward propulsion before a beautifully shaped, elegant Largo.  

These players bring a light texture to the gently sprung [Andante] of the Sonata 2 in B flat major, Z791 weaving some terrific lines before the Largo which still retains a bright and buoyant feel. As they move quickly into a fleet Presto, Purcell gives us some terrific descending phrases which these players combine brilliantly.  The King’s Consort draw some lovely long phrases in the Adagio before picking up nicely for the Vivace with these players adding a lovely subtle rubato. The Allegro skips along with a lovely rhythm perfectly caught here with lovely long drawn phrases before leading to the final [Grave].

A descending theme opens the beautiful [Grave] of the Sonata 3 in D minor, Z792 with some exquisite little decorations. There are such finely turned phrases in the Adagio before a lithe buoyant Canzona and some more beautifully drawn phrases in the concluding Adagio. They bring a gentle rhythmic lift to the Poco Largo, such a light touch, before running quickly into a fast flowing Allegro with some more extremely fine sonorities, lovely phrasing and a great bite to their playing at the end.

In the Sonata 4 in F major, Z793 they bring a rather heartfelt [Largo]. This is another fine example of how Robert King and his players find just the right tempo particularly where none has been marked by the composer (hence the parentheses on certain markings). The Canzona introduces a lively tempo with some extremely fine, lithe playing full of lovely little short phrases. Absolutely terrific. A flowing Poco Largo follows with beautifully light textures allowing the harpsichord and theorbo to sound through. The Allegro moves at quite a pace with such accurate and well phrased playing before slowing into a beautiful flowing [Largo] overlaid with more fine descending phrases.

The lines and phrases of the fast flowing [Largo] are finely overlaid in the opening of the Sonata 5 in A minor, Z794 before a mournful, exquisitely shaped Adagio that is allowed to reveal some absolutely wonderful details. There is a light well-sprung Largo followed by lovely sonorities and harmonies in the Grave before suddenly rising in the lively Canzona, beautifully done and leading to a lovely Adagio.

The opening [Grave] of the Sonata 6 in C major, Z795 brings some beautifully rich textures with lovely sonorities. As this fine melody slowly flows ahead, these instrumentalists weave a lovely sound with the organ providing a fine lower line, rising through some lovely transparent textures; a particularly fine movement in their hands. The Canzona leads off, full of joy and life as it skips ahead, these players finding a lovely buoyant rhythm and weaving some fine lines, moving through the descending phrases of the Largo to the beautifully done fast moving Allegro.

The [Grave] reveals another fine choice of tempo as the Sonata 7 in E minor, Z796 opens with a lovely weaving of musical lines as the music slowly moves forward leading into a most brilliantly done lively Canzona that moves off with a light gentle energy. The following Largo brings a lovely rhythm as it moves forward at a fairly lively pace before the lovely textures of the Grave, a sparkling Vivace and the lovely Adagio.

Light textures abound again in the [Largo] of the Sonata 8 in G major, Z797 the instrumentalists weaving some fine textures into a Poco Largo that has a gentle lilt, a lively rhythmic lift before the tempo subtly increases in the Allegro. There is a slow Grave that slowly increases in strength before leading into a fast and buoyant Vivace, revealing some wonderful passages.

There is lovely phrasing in the opening [Grave] of Sonata 9 in C minor, Z798 before a lovely lightness is brought to the Largo with beautifully pointed rhythms. A lightly sprung Canzona follows before these players move into the lovely, typically Purcellian Adagio. The Allegro is full of rhythmic verve, these fine musicians bringing an instinctive flow of melody.

The first violin leads, then joined by the second as the distinctive rhythmic theme of the [Allegro] of Sonata 10 in A major, Z799 is shared around all the players before arriving at a beautifully shaped Largo. The Grave has a rather stately feel before the lively light textured Presto takes off with some impressive fast and accurate playing from these musicians as they quickly weave the musical lines.

The opening of Sonata 11 in F minor, Z800 brings another fine [Grave] with each individual instrument heard adding to the texture. A buoyant Canzona finds these players bringing such fine light, short phrases creating a lovely texture. A quite exquisite Adagio follows with some lovely little phrases from the strings. The bright and buoyant Largo brings gorgeous harmonies and sonorities.

From the glorious texture of the opening Adagio through the fast moving finely textured Canzona, the flowing Poco Largo, a lovely sonorous Grave, a brilliantly overlaid Presto, a rhythmic lively beautifully sprung Allegro to the short concluding Adagio,  the Sonata 12 in D major, Z801 is an absolute delight.  

The King’s Consort breathes life into these remarkably fine sonatas. I cannot imagine anyone failing to delight in these captivating performances.

They receive a first rate recording and there are excellent notes from Robert King. Indeed the quality of the digipack and fold out booklet are of the highest standard we have now come to expect from Vivat. 

The King’s Consort’s two sets of Purcell sonatas must surely be the finest in the catalogue.