A re-issue of Unicorn’s 1990 recording of Sir Peter Maxwell Davies’ chamber opera The Martyrdom of St. Magnus brings back to the catalogue a performance that is unlikely to be bettered

Sir Peter Maxwell Davies’ (1934-2016) www.maxopus.com move to Orkney in 1971 had a great impact on his music as did the writings of the Orcadian poet, author and dramatist, George Mackay Brown (1921-1996).

It was Mackay Brown’s novel Magnus (1973) that Max used for the basis of his chamber opera in nine scenes, The Martyrdom of St. Magnus (1976). Commissioned by the BBC for the Silver Jubilee of Queen Elizabeth II, it was premiered on 18^th June 1977 in St. Magnus Cathedral, Kirkwall, Orkney during the first St. Magnus Festival by The Fires of London with soloists Neil Mackie (tenor), Michael Rippon (baritone), Brian Rayner Cook (baritone), Ian Comboy (bass) and Mary Thomas (mezzo-soprano).

In 1990 Unicorn recorded the opera with the Music Theatre Wales and the Scottish Chamber Opera Ensemble conducted by Michael Rafferty with soloists Christopher Gillett (tenor), Peter Thomson (baritone I), Richard Morris (baritone II), Kelvin Thomas (bass) and Tasmin Dives (mezzo-soprano).

Unicorn’s back catalogue had long since been unavailable until Treasure Island Music www.treasureislandmusic.com started their series of re-issues, the latest of which is The Martyrdom of St. Magnus.

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The action of the opera takes place in the twelfth century and starts with the Battle of Menai Strait between the King of Norway, supported by Orkney and Shetland and the Earl of Shrewsbury, supported by Wales. It was during this battle that Magnus first distinguished himself as a pacifist. The action then moves to Orkney and the quarrel between Håkon and Magnus, joint earls of Orkney, which culminates in the murder of Magnus by Håkon. For this the action moves forward to the present day, and the martyrdom takes place in a police cell in any contemporary totalitarian state. For the final scene, in which the blind crone Mary is cured of her blindness at Magnus' tomb, the action shifts back to the twelfth century.

It is scored for viola, cello, bass, flute, clarinet, horn, trumpet, guitar, keyboards and a large variety of percussion.

Scene I The Battle of Menai Strait opens with mezzo-soprano, Tasmin Dives as the Blind Mary, a seer, alone singing a Viking spinning song in which the wool is the guts of the soldiers to be killed in the battle. Dives has a fine voice that is most affecting.  Soon guitar strums are heard before Mary becomes increasingly anxious and dramatic, finding some fine textures and handling Max’s vocal outbursts magnificently. Brass announce the Norse and Welsh heralds with some atmospheric string writing.  The two baritones, Peter Thomson and Richard Morris bring strong rich tones as the tension is ratcheted up, rising through a dramatic orchestral passage with brass dominant. When tenor, Christopher Gillett as Earl Magnus, who is refusing to fight, enters singing from Psalm 23 he is quite wonderful. There is a dramatic dialogue between the heralds as Magnus is introduced to the Welsh herald who views Magnus as a coward for his pacific beliefs. Here, there are some especially effective trombone phrases that add to the atmosphere before the music drops to a hushed, haunting passage so typical of Max. Magnus’ Norsemen are victorious and he is not hurt by the arrows.

Baritone, Peter Thomson as the Keeper of the Loom opens Scene II The Temptations of Magnus, winding a fine melody before the dreamlike Magnus asks ‘Tell me your name.’ He explains he is the Keeper of the Loom sent to guard Magnus’ soul. Baritone, Richard Morris as The Tempter is announced by drums and wild brass. He encourages Magnus to be a great warrior with all three characters weaving a terrific dialogue wonderfully characterised, with some atmospheric instrumental passages. Richard Morris is quite superb in his characterisation as he presents Magnus with five temptations, the way of fame and glory, a proposition of marriage, the coat-of-state of the Earldom of Orkney, the possibility of becoming a monk in Eynhallow and a sword for battle. There is the most imaginative use of the instruments of the ensemble with phrases for muted trumpet that brings an almost jazz style moment.  Instrumental dissonances add an increasingly spectral quality as Magnus appears to give way singing ‘Give me my sword.’ But, still kneeling he breaks the sword.

Brass open Scene III The Curse of Blind Mary with some brilliantly written bars. Blind Mary describes the evils of an Orkney divided by civil war between its joint earls, Håkon and Magnus, who have become enemies, before condemning them ‘You are evil, you soldiers’ with just a quiet accompaniment but soon rising passionately and vehemently as she curses both armies.

Scene IV The Peace Parley brings a mournful theme for the strings of the ensemble as bass, Kelvin Thomas as the Bishop of Orkney sings of the wounded. The two Heralds suggest a possible peace formula with the Bishop whilst Blind Mary prays to the saints but Earl Håkon curses her.  The Bishop sings ‘She is what Orkney has been reduced to in the past three years’ all the while with Mary praying. The Bishop becomes passionate when he sings ‘I do not think your treaty will do much good at all.’ before a brilliant conclusion where tenor and baritone sing ‘Dona Nobis Pacem.’ There is an instrumental outburst that, in its wildness, is reminiscent of Eight Songs for a Mad King as we are taken into the next Scene.

In Scene V Magnus's Journey to the Isle of Egilsay Magnus and his herald travel by boat to Egilsay for the encounter with Earl Håkon. Magnus has a premonition of treachery but despite this persists in the journey. Max all the while erects an instrumental backdrop that increases the feeling of impending disaster. Magnus sings to himself ‘Now my good angel, whom God has appointed to be my guardian, watch over me.’ A trumpet intones over the soloist in a most special extended section, wonderfully sung by Christopher Gillett, showing, as if needed, Max’s genius.  There is increasing drama in the ensemble as we go into Scene IV.

Scene VI Earl Hakon Plots to Murder Magnus opens with the Herald of Earl Haken singing ‘My, Lord, Earl Håkon, the Herald of Earl Magnus has made you these three offers.’ Earl Håkon is presented with offers of security from Magnus, who is prepared to undergo exile, imprisonment, or physical mutilation to which a manic sounding Hakon responds with both Richard Morris and Kelvin Thomas bringing terrific characterisation, superbly done over an eerie instrumental layer.  Håkon accepts the third offer, but then resolves that there will be only one earl in Orkney and that he will have Lifolf, his butcher, execute Magnus.

A shrill piercing outburst leads into Scene VII The Reporters where dissonant strings introduce tenor, Christopher Gillett as a reporter speaking of ‘Rumours of new dramatic developments in the peace confrontation between the Paulson faction and the Erlendson faction…’ over an instrumental accompaniment. The reporting is passed to baritone, Peter Thomson before bass, Kelvin Thomas sings ‘The fact that both leaders were to be present in Egilsay marked a highly significant development…’ The ensemble brings a dance theme creating a surreal quality. There are brass fanfares and a chaotic overlay of voices until the ensemble reaches a climax. It is clear we are no longer in the Viking past, but in the present.

The ensemble falls to a hush in the opening of Scene VIII The Sacrifice as a Military Officer sung by Kelvin Thomas asks ‘Have I the pleasure of addressing Mr Lifolf, the Butcher?’ bringing a rather wild, manic quality. ‘It is simply a question of hanging a carcass’ he sings. –When Lifolf hears that ‘A man is to be executed’ he refuses but is given no choice. A solo cello mournfully leads forward as Christopher Gillett sings ‘In these times a man must read his own funeral service. You don’t look like a hangman …May the peace of God be with you.’ They hang Magnus to loud screeches from the ensemble. But the execution is that of any prisoner who sets his face against oppression and is prepared to die for his convictions.

Scene IX The Miracle returns us to the 12^th century. The ensemble open with gentle, quieter music, hushed stabbing phrases soon appearing. A terrific atmosphere is generated as Blind Mary prays at the tomb of St. Magnus, quietly singing ‘… I’m trying to mind on a prayer, ask the Lord to put a glimmer back in my skull.’ Tamsin Dives is quite superb as she develops this section. The Monks chant a litany in the darkness. A superb moment. Blind Mary screams ‘Ah! …’, ‘A light,’ ‘His Cross’ ‘Faces, dark Faces…’ over the chanting monks, growing in intensity before she bids the audience to ‘Carry the peace of Christ into the world’ as the Monk’s alone bring a hushed end. 

This is a performance that is unlikely to be bettered. The cast is superb. The recording made in the Concert Hall of the Royal College of Music is extremely vivid and there is the usual facsimile booklet and CD insert from the original release complete with original notes, synopsis, and full English libretto.

Andris Nelsons and the Boston Symphony Orchestra are on top form in live performances of Shostakovich’s 5th, 8th and 9th symphonies from Deutsche Grammophon in what is proving to be a highly desirable series

Andris Nelsons’ www.andrisnelsons.com recording of Shostakovich’s Tenth Symphony with the Boston Symphony Orchestra www.bso.org  has rightly received much praise. Indeed, I viewed it as a performance that ranks with the very best.

Now from Deutsche Grammophon www.universalmusicclassics.com comes the next instalment of Nelsons’ Shostakovich series with live recordings, again from Symphony Hall, Boston of Symphonies Nos 5, 8 and 9.

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CD1 of this 2CD set opens with Shostakovich’s Symphony No.9 in E flat, Op.70, the work that so disappointed Stalin who was expecting a grand apotheosis to mark the end of the Second World War. What he got was a symphony that was shorter than the two preceding ones and of a rather different nature, described by one contemporary critic as grotesque and looked on by some as lacking any gravity.

Andris Nelsons brings a lovely touch to the opening of the Allegro, light textured and fleet often with a sense of fun. Yet this conductor subtly lets the music gain in weight with an increasingly anxious forward drive with manic outbursts from the brass and the strings bringing some terrific playing.

In the opening of the Moderato a clarinet weaves a lovely solo line over pizzicato basses. Here is certainly no joy, just a desperate sense of loss or isolation. The theme is later taken by a flute before the lower strings bring a slow moving rising theme that seems quite world weary and over which the clarinet re-joins, becoming increasingly anxious. There is a further affecting passage for flute before upper strings take the rising theme, bringing a sinister element before a rather wistful coda.

Nelsons provides a sparkling opening to the Presto with some terrific woodwind playing from the Boston Symphony Orcheatra. Yet here the music soon becomes wild and desperate as the rest of the orchestra join, especially the brass, before losing energy to lead into the Largo where brass intone a dreadful moment, as if a grim warning. A bassoon slowly and quietly takes the theme over a hushed orchestra. Nelsons brings a hushed yet gripping atmosphere. Brass intone again before a cymbal clash seems to dissipate the tension and a cor-anglais brings a tragic melody over the hushed orchestra. There is a real sense of deep tragedy.

A bassoon suddenly brings a jollier theme over pizzicato strings as the Allegretto arrives.  Again the lighter feel soon dissipates into an anxious, faster flow as the music is developed with many fine woodwind moments as the music moves through passages of changing moods. The music eventually rises in a terrific moment where so many strands come together before pounding out the theme, soon alternating with elements of the lighter mood before a sudden charge to the end.

Nelsons seems to have got inside this strangely disquieting work more than most, finding a depth within the often manic ideas.

Whether Shostakovich’s Symphony No.5 in D Minor, Op.47 was really ‘a practical creative answer of a Soviet artist to just criticism’ following the condemnation of the composer in 1936 is a matter of debate. Certainly Shostakovich moved ahead artistically but not in the direction that his Fourth Symphony was taking him. Either way the new symphony was an outstanding success.

The BSO strings show themselves to fine effect in the opening of the Moderato where Nelsons soon finds a haunting melancholy after the initial opening confidence, shaping the music wonderfully, finding little moments of angst and emotion, weaving through some quite wonderful woodwind passages. Nelsons is quite masterly in how he moves seamlessly between moods, shaping the music almost imperceptibly, balancing his forces as they slowly rise with piano and brass subtly increasing the tempo until we reach an unstoppable forward drive. He finds some terrific moments as the strings, brass and woodwind rise up to a pitch, pacing the music brilliantly before finding the most beautifully hushed close. 

The strings bring a terrific incisiveness to the opening of the Allegretto with brass adding some fine phrases before weaving some more impressive woodwind passages. Soon there is a terrific passage where a solo violin and woodwind bring a finely characterised passage. Nelsons brings a real wit to the woodwind and pizzicato string passages before suddenly arriving at the coda.

What a fine opening there is to the Largo bringing some exquisitely controlled playing from the BSO strings with a fine orchestral rubato, slowly adding subtle emotional content. The solo flute and harp bring a sense of isolation before the music slowly rises. The hushed hovering strings are beautifully done with the solitary oboe rising above. When the music rises again Nelsons brings a real depth of emotion, a deep angst as the strings really bite with some quite wonderful control of hush in the later stages before the celeste and strings bring about a fine coda. This is a largo of unusual depth.

Nelsons and the Boston Symphony Orchestra bring a really dynamic opening to the Allegro non troppo with timpani and full orchestra, soon finding a fast and furious pace. There is some really stunning playing from all sections of the BSO before the music rises to a thundering peak with timpani. It is wonderful how Nelsons can conjure the most wonderful atmosphere when the music suddenly falls and the strings hold a static quality. Indeed, there are many fine passages such as when the upper strings hold their static line over deep basses and muted brass. When the music starts to slowly build through the woodwind, Nelsons pacing is spot on, building inexorably to the coda with massive timpani strokes – and an outburst of enthusiastic applause.   

CD2 opens with seven excerpts from Shostakovich’s Suite from Hamlet, Op.32a where Nelsons finds just the right light touch brings an almost Richard Straussian flair to Introduction and Night Patrol, a real weight to the short Funeral March and much wit and character to Flourish and Dance Music. The Hunt has a great rhythmic drive whilst Ophelia's Song finds a lighter side, as well as charm and wit. After the rather lovely Cradle Song, Nelsons concludes with Requiem finding much depth as a bassoon intones the Dies Irae and timpani gently sound as the music moves slowly and tragically ahead.

When first heard, Shostakovich’s Symphony No.8 in C Minor, Op.65 failed to live up to its predecessor’s popularity. This, I suppose, was inevitable given all the war time hype surrounding the so called Leningrad Symphony. Despite this it is surely one of Shostakovich’s finest utterances.

The basses open purposefully in the Adagio with Nelsons exquisitely shaping the music as it moves quietly and hesitantly forward, with carefully judged tempo and dynamics, slowly adding an emotional pull. There are some very fine string passages as well as some finely blended woodwind sonorities as the music develops. There is an underlying sense of tension that permeates in what is surely one of the finest symphonic of adagios, caught to perfection by Nelsons and the BSO. They find so many fine moments as this movement is woven forward through some darker passages, lit by the violins with their melancholy melody. They achieve a lovely blend of woodwind as the music increases in agitation before rising in drama. Nelsons increases the tension so carefully and naturally. The music seems to grow in drama organically. A stomping march arrives; a xylophone is heard with crisp brass before the timpani and orchestra burst out for the climax, stunningly done. When the cor-anglais solo arrives over a hushed, hovering orchestra it is quite spellbindingly intense. When the cor-anglais finds a warmer tone it is all the more telling after such an intensely melancholic passage. The brass rise towards the end before a quite wonderful coda with a single cornet that colours the last few bars.

The Allegretto is perfectly judged. Piccolo and side drum weave through some terrific passages with finely judged dynamics, finding an inexorable forward drive with some pounding timpani phrases as well as contrasting strings and side drum. Woodwind weave some fine passages right up to the coda.

The Allegro non troppo brings a repeated, motoric string motif around which woodwind add phrases. Nelsons slowly and subtly increases the dynamics before a central section that brings a trumpet over a striding orchestra. Here the BSO principal trumpet is terrific. There is tremendous precision as instrumental outbursts appear against the motoric strings that re-appear. The music rises to a terrific peak where bass drum and orchestra crash only to collapse as the Largo arrives full of deep melancholic anguish with only occasional points of light moving through the tragic landscape. A flute weaves a lovely line, beautiful in its tragic solitude before the music slowly and mournfully glides forward with a clarinet and further flute phrases to the coda.

A bassoon heralds a lightening of mood as the Allegretto opens. Strings glide forward and there is a very fine flute passage over pizzicato strings. A cello brings a lovely flowing passage before the music rises through agitated strings, Nelsons always keeping a fine allegretto tempo. He finds a lovely growth as the music subtly weaves a myriad of instrumental lines. Timpani add strokes as the music wells up, thundering to a terrific climax. A bassoon brings a lighter touch as the music returns to a quieter passage around which a violin weaves the melody, then taken by a cello. Melancholy strings lead ahead giving way to woodwind before pizzicato strings and flute take us to an exquisite hushed coda.

Andris Nelsons and the Boston Symphony Orchestra are on top form in these live performances from 2015 and 2016. Surely these are amongst the finest Shostakovich recordings available in what is proving to be a highly desirable series. There are useful booklet notes.

See also: 

http://theclassicalreviewer.blogspot.co.uk/2015/09/andris-nelsons-and-boston-symphony.html

Very fine performances of sacred works by John Tavener from the Wells Cathedral Choir directed Matthew Owens, including some World Premiere Recordings, on a new release from Signum Classics

The British composer, Sir John Tavener’s (1944-2013) http://johntavener.com musical style developed from the more avant-garde works such as cantata The Whale, premiered in 1968, to a minimalist approach in such works as The Protecting Veil. His conversion to the Russian Orthodox Church in 1977 became a major influence on his work which continued to develop right up to his final works.  

A new release from Signum Classics www.signumrecords.com brings together a number of Tavener’s sacred works from the 1980’s, 1990’s and the last years of his life in very fine performances by the Wells Cathedral Choir www.wellscathedral.org.uk/music-the-choir/music-and-the-choir  directed Matthew Owens www.wellscathedral.org.uk/music-the-choir/the-music-department/matthew-owens  that include some World Premiere Recordings.

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Missa Wellensis (2013) written at the suggestion of Matthew Owens and first performed at Wells Cathedral in 2014, receives its world premiere recording here. Tavener brings the most lovely sonorities and textures as the Kyrie appears, wonderfully realised by Matthew Owens and the Wells Cathedral Choir. Here Tavener builds his vocal layers from a simple idea that is most effective with this choir beautifully controlling the music as it moves through gentler, quieter sections arriving in lovely vocal surges.  

There is an exultant Gloria that continues the rise and fall of the Kyrie with some terrific overlay of voices. There are passages of deeper sonorities as the music falls quieter before higher voices sound out again joyfully. Midway there are some quieter, dissonant moments before a glorious, exultant conclusion.

The fast moving Sanctus and Benedictus has subtle dissonances, wonderfully sung by this choir with a quieter, gentler Benedictus that brings lovely rich sonorities, really quite lovely.

The choristers open the Agnus Dei handling the difficult intervals superbly, finding a fine tempo before tenors join to slowly take the Agnus Dei forward. The choristers return as the two lines alternate only to join the whole choir for the Dona Nobis Pacem.

There is a tremendous directness to this setting as well as much beauty.

Tavener wrote his setting of the Orthodox Vigil Service in 1984 and it was first performed at Christchurch Cathedral, Oxford. From this work comes a most lovely setting of The Lord’s Prayer which slowly unfolds, again with a quite affecting simplicity before slowly rising to a sonorous conclusion.

Love bade me welcome (1985) is a setting of a text by George Herbert written to mark the enthronement of the Bishop of Winchester. Trebles rise over the choir in the opening, gently and carefully leading through this fine setting with some lovely harmonies and passages of fine luminosity.

Receiving their first recordings here Preces and Responses were first performed by Matthew Owens and the Wells Cathedral Choir during Evensong on 18^th May 2014. Tenor cantor, Iain MacLeod-Jones opens Part One to which the choir respond each time rising with a real freshness and glow.

Psalm 121: I Will Lift up Mine Eyes unto the Hills (1989) was written for the choir of St. Paul’s Cathedral, London. It rises with fervour finding many moments of passion with an underlying choral drone. Later there is a passage of richer sonority before rising again in passion.

This is a spectacularly fine setting.

Magnificat and Nunc dimittis ‘Collegium Regale’ (1986) were, as the title suggests, written for Kings College, Cambridge who first performed them in 1987. The setting of the Magnificat is strikingly original with the trebles weaving a rather Eastern melody, developed by the tenors through passages of greater passion, this choir finding a terrific strength. The Nunc dimittis opens deep in the basses, reminiscent of Russian Orthodox chant before rising through the choir, proceeding slowly and with a lovely flow. The basses bring a terrific ‘Glory be to the Father’ quite wonderfully done before the choir bring a lovely conclusion.

Iain MacLeod-Jones is again the tenor cantor in Part Two of Preces and Responses with the choir bringing lovely, angelic responses, moving through some fine descending phrases, full of gentle nostalgia, very Anglican in feel. Part way there is a lovely gentle setting of the Lord’s Prayer before rising at ‘And grant us thy salvation.’ This is a beautifully shaped performance with the extended chants finely done by this cantor and with exquisite little ‘Amens’ from the choir.

Song for Athene (1993) was written in memory of Athene Hariades with a text from Shakespeare’s Hamlet and the Orthodox Funeral Service. For this performance in memory of the composer, the text is suitably changed in accordance with Tavener’s own performing intensions. It rises mysteriously out of the lower choir, quietly developing through some wonderfully gentle passages where the choir keep an underlying low drone, beautifully paced and nuanced. The choir find some terrific sonorities before rising magnificently only to arrive at a hushed end.

Prayer for the healing of the sick (1998) takes a text by Mother Thekla, Abbess of the Orthodox Monastery of the Dormition at Whitby, Yorkshire, England. Here bass Christopher Sheldrake opens alone before the choir quietly enters a quite wonderful vocal texture as the music gently rises and falls before being repeated and developed. This bass brings some wonderfully controlled singing, quite exquisite.

They are all gone into the world of light (2011) is a setting of a text by Henry Vaughan where the choir bring lovely luminous textures as they rise through this lovely work with its rising and falling theme.

Iain MacLeod-Jones returns for the brief Final Responses of Preces and Responses receiving an uplifting response from the choir. 

Wells Cathedral Choir is finely recorded in the large acoustic of Wells Cathedral and there are excellent booklet notes together with full Latin texts and English translations.

Benjamin Frith completes his John Field concerto series in performances that bring this music alive

Irish composer and pianist John Field (1782-1837) was born in Dublin and received his earliest musical instruction from his father and Tommaso Giordani (c.1730-1806). He travelled to London where he was apprenticed to Muzio Clementi (1752-1832).

He established himself as a concert pianist and published his works before undertaking a successful continental tour with Clementi in 1802-03. He arrived in St. Petersburg where he established a great reputation for himself, teaching, composing and giving concerts there and in Moscow until his death.

There have been a number of complete recordings of his seven piano concertos, none finer than those made by Benjamin Frith www.mbam.co.uk/pianists/benjamin-frith.html  with the Northern Sinfonia www.sagegateshead.com/about-us/northern-sinfonia  conducted by David Haslam http://mawson-wareham.com/artists.php?artid=121&sename=David%20Haslam for Naxos www.naxos.com . Sadly only concertos 1 – 6 were issued leaving the series incomplete.

The extremely good news is that Naxos www.naxos.com  have now released Benjamin Frith’s recording of Field’s two movement Piano Concerto No. 7, made in 1996 with David Haslam and the Northern Sinfonia coupled with the so called Irish Concerto, a reworking of a movement from Field’s second concerto and the Piano Sonata No. 4 that completed Frith’s recordings of all four sonatas.

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Hushed timpani rolls open the orchestral introduction to the Allegro moderato of Piano Concerto No. 7 in C Minor, H. 58 with some lovely orchestral touches beautifully shaped by David Haslam and the Northern Sinfonia. When Benjamin Frith enters he brings an absolutely terrific breadth and panache, soon finding some lovely delicate phrases. Frith brings this music alive, finding every little detail and nuance with, at times, a sense of playfulness. Centrally there is a very Chopinesque section with limpid, delicately phrased ideas. This pianist develops some gorgeous passages as well as moments of terrific bravura and brio.

Both soloist and orchestra bring a real rhythmic lift to the Rondo: Allegro moderato creating a lovely dialogue that is immediately appealing. Again there are moments of playfulness with the Northern Sinfonia bringing a real lightness of touch. Frith’s fluidity in the faster passages is impressive with some Chopinesque runs across the keyboard. This might be two allegro moderatos side by side but there is so much fine invention and variety that the two movement format works extremely well. Later the music moves through a wonderfully fluid passage for piano before a trumpet heralds a new passage, slower and woven through the woodwind to which the piano joins to bring a light and buoyant lead up to the coda.

The recording made at St. Nicholas’ Hospital, Gosforth, Tyne and Wear, England is excellent.

Andrew Mogrelia http://maximaltd.com/andrewmogrelia conducts the Royal Scottish National Orchestra www.rsno.org.uk  in the 2014 recording of the one movement so called Irish Concerto: Allegro moderato (1816/1961) (arr. H. Priegnitz) a reworking of the first movement of Field’s Piano Concerto No.2 in A flat major. The orchestral strings introduce a fine melody to which woodwind join adding some lovely touches. Andrew Mogreliac and the Royal Scottish National Orchestra turn in a quite lovely performance to which Frith brings his fine touch, revealing some beautifully fluent, often richly toned phrases, bringing a real feeling of spontaneity. There are moments of great wit and charm from both soloist and orchestra with a beautifully shaped central section. Later there is a passage of great feeling and tension with both soloist and orchestra finding many subtleties before finding a calm coda. This is a work that is perhaps a little sprawling but it is full of so many lovely moments.

They are well recorded at Henry Wood Hall, Glasgow, Scotland.

Benjamin Frith brings a spectacularly fine Piano Sonata No. 4 in B Major, H. 17a recorded in 2013. He develops the Moderato brilliantly, subtly rising through some very fine passages, bringing an almost Beethovenian strength. The Rondo: Moderato opens with some lightly buoyant passages before leading through some sparkling moments, Frith shaping and colouring the music to perfection, running through some terrific fluent, richly textured passages. This performance is a real joy.

The recording made at the Music Room, Champs Hill, West Sussex, England is slightly resonant but very good nevertheless.

For me, these are the performances of choice. If you’ve previously been collecting this series then this latest and final instalment will be extremely welcome. If you haven’t then now is a good time to start. 

There are informative booklet notes. 

Theodore Kuchar and the Istanbul State Symphony Orchestra together with violinist James Buswell provide idiomatic performances of works by Turkish composer Ulvi Cemal Erkin on a new release from Naxos

The Turkish composer Ulvi Cemal Erkin (1906-1972) grew up with music around him, his mother played the piano and his brother the violin. He studied at Galatasaray Lycée in Istanbul and the piano with foreign tutors. He received a scholarship to attend the Paris Conservatoire where he studied piano with Isidor Philipp and Camille Decreus, harmony with Jean Gallon and counterpoint with Noel Gallon. After entering the École Normale de Musique at the end of the 1920s he took composition lessons from Nadia Boulanger.

Returning to Turkey in 1930, Erkin began work as a teacher of piano and harmony at the Musiki Muallim Mektebi in Ankara, the capital city of the Turkish Republic. This school, which had been established a short while earlier with the purpose of training music teachers, was to become the Ankara State Conservatoire a few years later. He was director of the school from 1949 to 1951 and continued to work there without a break, training young Turkish musicians, until his death in 1972.

Erkin was part of a group of composer including Ahmed Adnan Saygun (1907-1991), Cemal Reşit Rey (1904-1985), Hasan Ferdi Alnar (1906-1978) and Necil Kazım Akses (1908-1999) who were known as the ‘Turkish Five’, combining traditional Turkish elements with European contemporary classical traditions.

Naxos www.naxos.com have just released a recording of Erkin’s Symphony No. 2 and Violin Concerto coupled with his Dance Rhapsody for Orchestra, Köçekçe with the Istanbul State Symphony Orchestra www.idso.gov.tr  conducted by Theodore Kuchar www.facebook.com/theodore.kuchar  with violinist James Buswell www.schmidtart.com/artists/james_buswell

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Perhaps Erkin’s best known work is his Köçekçe – Dance Rhapsody for Orchestra (1943). It was premiered by the Presidential Orchestra conducted by Ernst Praetorius in 1943. It has an energetic, frenetic opening with a distinctive eastern flavour, particularly when the woodwind arrive to weave the melody through the strings. Theodore Kuchar draws strong contrasts between the various passages, at times poetic, at others more dramatic. This is a real show piece for orchestra, full of eastern flavour, revealing razor sharp reactions from the orchestra to the many dynamic changes.

           

The Violin Concerto (1946-47) was first performed in 1949 at the opening of the Ankara Opera House with the Presidential Orchestra conducted by the composer and the Hungarian violinist, Licco Amar (1891-1959) as soloist. A timpani roll opens the Allegro giusto quickly followed by the soloist and orchestra in an earnest theme that is developed in a series of rising scales before leading to an expansive orchestral section. The music falls as the soloist re-enters with Erkin developing some fine ideas, never overtly Turkish or eastern. There is a lovely dialogue between oboe and violin solo with often an underlying feeling of drama and tension. James Buswell provides a virtuosic solo part through the movement’s varying moods, building through some dramatically intense passages for soloist and orchestra to an extended cadenza where Buswell brings some terrific, virtuosic playing. The orchestra rejoin to help drive the music forward. There is a quiet passage for orchestra to which the soloist brings a passionate edge as well as hints of subtler Turkish influences before a weighty, decisive coda.

In the Adagio the strings bring a steady, thoughtful theme underpinned by pizzicato basses to which woodwind join creating a feeling of nostalgia, even sadness. The soloist enters to weave the melancholy theme through the orchestra, developing some fine dissonances for the violin with some lovely textures. The theme is taken through some fine passages, always retaining an underlying steady pulse with Buswell finding some lovely textures and sonorities.

The Allegro con fuoco brings an intense, fast moving theme that soon develops a more overt Turkish flavour. The soloist weaves the theme around the orchestra, finding much passion, a terrific fusion of western classical tradition with Turkish traditions. Buswell again finds many fine timbres and textures as he weaves and develops the melody. There are some particularly fine woodwind passages as well as a terrific forward pulse right through to the coda.

Though Erkin’s Symphony No. 2 (1948-58), his last symphony, was finished in 1951 it was not orchestrated until 1958. It was premiered in Munich in 1958 by the Munich Philharmonic Orchestra conducted by Karl Öhring. In three movements, the Allegro non troppo brings a dancing Turkish inflected theme that bounds ahead with contrasting quieter passages. Soon a gentle idea for flute and oboe arrives over a hushed orchestra soon taken by muted brass creating a heavy atmosphere. Timpani soon herald a pounding, raucous section where the music strides purposefully, even angrily ahead. Erkin brings some lovely alternating quieter passages where woodwind weave some magical ideas. The music develops through some wonderfully dramatic passages with a forward surge, Kuchar and his Istanbul players finding a terrific ebb and flow as the drama increases only to pull back before leaping suddenly to a dynamic end.

The Adagio opens slowly in the basses as a theme is darkly worked out. Slowly instruments are added as the music subtly expands with a Turkish melody appearing. The music finds a sense of inexorable forward motion, percussion add to the increasing drama with the brass bringing even more intensity. Later there is a moment of peace as a melancholy passage arrives providing perhaps more a stasis than peace before gently moving to a hushed coda. This is a remarkable movement built from the simplest of ideas.

The Allegro - Alla Köçekçe leaps in with a strong repeated motif for strings, pointed up by brass that soon gives way to a quieter, lively woodwind melody. The repeated theme is developed dynamically with percussion pointing up the music. There is a faster passage where woodwind dance forward over a pizzicato string backdrop before timpani add a pounding accompaniment. The music travels through a series of variations on the theme with rhythmic ideas and quieter woodwind passages. There is an exquisite passage with arabesques for clarinet before the opening idea returns to drive furiously to the end.

As would be expected, Theodore Kuchar Kuchar draws thoroughly idiomatic performances from the Istanbul State Symphony Orchestra with some terrific playing from soloist James Buswell.  They receive a first rate recording made at the Fulya Cultural Centre, Istanbul, Turkey and there are excellent booklet notes that put the composer in the context of the musical and political developments in Turkey in Erkin’s time. 

This is a really worthwhile disc that will introduce this important Turkish composer to a wider audience.

World Premiere recordings of Nicolas Kaviani’s Te Deum and Tous les matins du monde from Navona Records show why we need to hear more from this composer

American-born composer, Nicolas Kaviani www.navonarecords.com/catalog/nv6021 has been actively composing chamber, orchestral and choral music since the age of 13. He received his Bachelor of Arts in Music Composition from the University of California at Santa Cruz in 2000, studying under the composer David Cope. He then went on to earn his grade de master in composition from the prestigious Conservatoire de Musique Olivier Messiaen in Avignon, France. There he was invited to attend master classes with some of the most prominent composers in France including, on one occasion, Pierre Boulez.

In September of 2014, Kaviani recorded his Te Deum with the Moravian Philharmonic www.mfo.cz and the Janacek Opera Choir conducted by Petr Vronský www.samonpromotion.com/en/artist/detail.php?i=139  in Olomouc, Czech Republic. This recording is coupled with his Tous les matins du monde for 16 unaccompanied voices performed by the Prague Mixed Chamber Choir directed by Jiří Petrdlík www.jiripetrdlik.cz  has recently been released by Navona Records www.navonarecords.com . These recordings are issued with a DVD documentary on the making-of the album entitled The making of a World Premiere.

NV 6021

Petr Vronský and the Moravian Philharmonic Orchestra and Janáček Opera Choir are joined by soloists, soprano Martina Králíková, alto Barbora Polášková, tenor Juraj Nociar, baritone Jiří Pribyl and organist Karel Martínek for the Te Deum (2005) for orchestra, choir and soloists. Lasting around twenty five minutes the Te Deum builds from a quiet orchestral opening to a strong dynamic entry for choir. Kaviani finds a strength and directness in his setting and, when alto Barbora Polášková enters immediately joined by soprano Martina Králíková they achieve a terrific blend. The choir takes the music forward vibrantly, surely influenced by Bach in this wholly approachable, yet very fine work. Brass add occasional dissonances as do woodwind as a quieter, gentler section arrives. The soprano returns in a particularly lovely section before the choir and orchestra rise through some grand passages to a height of exultation. The music suddenly drops as choir and orchestra bring a more thoughtful section featuring lower male voices leading into an orchestral passage that weaves some quite lovely sounds.

When baritone Jiří Pribyl enters he reveals a particularly fine voice to which tenor Juraj Nociar adds a lovely sonority in this rather exceptional passage, quite beautiful. They rise in drama a little before the baritone leads with his exceptionally fine voice, tenor and baritone blending so well. Female voices of the choir join gently over the orchestra before rising themselves only for the orchestra to hold back. The choir and orchestra rise again, then fall, creating a wonderful atmosphere of surging tension. Cymbal clashes are heard as the choir and orchestra rise to the heights.

Later there is a very fine fugal section for choir and orchestra before the music rises through dramatic passages to a peak of drama. The unaccompanied female voices enter to which brass add a counterpoint. When the male voices join, the tension is ratcheted up again with the solo soprano heard above all the solos voices who join the choir and orchestra to add to the drama. A flute introduces a calmer section for the choir as they weave a lovely line with the orchestra. The organ enters to accompany the orchestra in a sonorous passage with the choir finding a gentler strength before building, slackening through a lovely passage, only to subtly and slowly rise to an exultant coda pointed up by timpani.

This is a work that builds on tradition to find a strength and individual power of its own. Both choir, orchestra and soloists make a terrific show in this rather demanding work where there is little let up for the choir.

The recording made at the Reduta Hall, Olomouc, Czech Republic in September 2014 brings much presence. The organ part was recorded at St. Moritz Church, Olomouc, Czech Republic.

Kaviani brings some impressive, dissonant choral lines to challenge any choir in Tous les matins du monde (2014) (All the mornings of the world) for 16 unaccompanied voices. Here with the voices of the Prague Mixed Chamber Choir under their director Jiří Petrdlík respond magnificently in this very fine setting. This is a work with superbly written choral lines, achieving some stunning vocal effects, this choir drawing many beauties from this short but challenging work.

The recording made at Martin Hall, Prague Academy of Performing Arts in Prague, Czech Republic in 2014 is excellent.

The accompanying DVD documentary The making of a World Premiere moves from discussions between conductor and composer over the score of the Te Deum, through rehearsals and the problems of recording time and technical difficulties to the rehearsal of organ part and rehearsals for Tous les matins du monde.

The narration is in French with English subtitles but the main dialogue in in English.

The double CD case contains the English text of Tous les matins du monde and the composer’s view of the Te Deum but no other notes. 

We really do need to hear more of this composer’s music in both concerts and recordings. Lovers of fine choral music should hear this disc. 

Naxos brings fine performances from cellist Oliver Gledhill and pianist Tadashi Imai of works by W.H. Squire that transport the listener to another era

Born at Ross on Wye, Herefordshire, England, William Henry Squire (1871-1963), known as W. H. Squire, was one of the most significant of English cellists influencing many through his teaching. He attended Kingsbridge Grammar School in Devon before being awarded a scholarship to attend the Royal College of Music in London where he studied cello with Edward Howell and composition with Sir Hubert Parry and Sir Charles Stanford.

Though he wrote a cello concerto and two operettas most of Squire’s works were for cello and piano. As a cellist his playing was very much of the old school with liberal use of portamento, a style which declined in the 1930s as cellists such as Pablo Casals introduced a cleaner line with fewer slides. One of his most famous recordings is that of Elgar’s Cello Concerto with Hamilton Harty in 1928, a recording that highlights his generous use of portamento.

In the later years of the 19^th century Squire was Principal Cello at Covent Garden and later of the Queens’s Hall Orchestra performing at many of Henry Wood’s Promenade Concerts. In the early part of the 20^th century Squire was very active as a soloist as well as playing in a trio with pianist William Murdoch and violinist Albert Sammons. He taught cello at the Royal College of Music and at the Guildhall School of Music.

Naxos www.naxos.com  have just issued a recording of a selection from the many miniatures for cello and piano that Squire wrote, some receiving their world premiere recordings, played by cellist Oliver Gledhill www.gsmd.ac.uk/youth_adult_learning/junior_guildhall/junior_guildhall_staff/department/33-string-training-programme/988-dr-oliver-gledhill and pianist Tadashi Imai

http://tadashiimai.wixsite.com/tadashi-imai

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Oliver Gledhill finds some lovely tones and timbres in the Romance, Op. 5, No. 1 (1890) with a finely laid out piano part from Tadashi Imai. Gavotte humoristique, Op. 6 (1890) proves to be a lively piece played with great humour and wit by these two players. Scène de Bal, Op. 8 (1890) brings a great sense of rhythmic flexibility, an ebb and flow, Gledhill delivering some terrific little high notes, finding every little detail.

Sérénade, Op. 15 (1892) positively dances ahead with this cellist bringing much character to his playing, achieving a fine partnership and finding a sense of playfulness. In contrast there is a rather earnest but finely shaped Minuet, Op. 19, No. 3 (1893) before the world premiere recording of the Mazurka, Op. 19, No. 4 (1893) to which these two artists bring a real rhythmic lift, Gledhill finding many fine textures and timbres.

They bring a lovely undulating flow to another world premiere recording of the Gondoliera, Op. 20, No. 2 (1895) pushing ahead, never allowing the music to flag. Danse rustique, Op. 20, No. 5 (1895) has an attractive directness brought out by these players, both finding some terrific textures. There are some lovely little inflexions in the charming Chansonnette, Op. 22 (1896) that inhabits much of the world of Elgar’s Chansons, with such sensitive playing here

           

There is a spirited Tarantella in D Minor, Op. 23 (1896) with again fine textures and timbres appearing, these players never routine, before a beautifully controlled and shaped L'Adieu (Romance) (1896) full of gentle feeling. The piano announces a lively Tzig-Tzig (1898), a Hungarian Dance where the cello joins to bring some terrific rhythmic variations, full of wit. The Bourrée, Op. 24 (1901) is finely nuanced, Gledhill and Imai finding some lovely moments before a fleet Humoresque in F Major, Op. 26 (1902) with these players showing their great rapport.

Oliver Gledhill and Tadashi Imai next play five of Squire’s 6 Morceaux melodiques (1903). No.1 Canzonetta has a fine rhythmic lilt, again beautifully shaped. No. 2. Danse orientale is full of energy and fun, this cellist drawing some fine textures and harmonies. They bring some effecting moments to the lovely No. 3. Elégie with some rich tones and textures. Gledhill provides a lovely singing cello line over staccato piano chords in No. 4. Madrigal, a lovely little miniature. Finally from this set comes No. 6. Harlequinade, a piece that gallops along, full of good humour whilst Gledhill still manages to find some lovely textures.

The recital concludes with Prière (1904) a fine piece that pulls together so much of Squire’s fine textures and exquisitely shaped invention.

These are fine performances of much character from Oliver Gledhill, both players finding moments of wit and humour and a fine rapport. They are nicely recorded at The Wathen Hall, St. Paul’s School, Barnes, London, England with a fine ambience around the players and excellent notes from the cellist within a nicely illustrated booklet with a facsimile of an album leaf of Squire’s Serenade.   

This disc, supported by the British Music Society, is one that transports the listener to another era.