Highly recommended new release from Harmonia Mundi of Wolfgang Rihm’s glorious Symphony ‘Nähe fern’

German composer Wolfgang Rihm (b. 1952) www.universaledition.com/composers-and-works/composer/599 was born in Karlsruhe, a city near the French and Swiss borders where he still lives. He completed his studies in music theory with Hans H. Eggebrecht in 1972 and just two years later saw the première of his work Morphonie for orchestra and solo string quartet at the Donaueschingen Festival www.swr.de/donaueschingen, which launched his career as a prominent figure in the European new music scene.

Rihm is professor of composition at the Hochschule für Musik, Karlsruhe www.hit-karlsruhe.de/hfm-ka/hfm/index.htm . He also sits on a number of influential committees in Germany and has a say in decisions affecting the working conditions of his fellow musicians. Rihm’s compositions now exceed 400 works and by combining contemporary techniques with the emotional volatility of Mahler and of Schoenberg's early expressionist period, his music has been regarded by many as a revolt against the avant-garde generation of Boulez and Stockhausen, with whom he studied in 1972–73.

At the age of 25 he composed a chamber opera Jakob Lenz that has since become, probably, the most frequently produced piece of contemporary music theatre in Germany. This was followed by a series of large-scale operas, Die Hamletmaschine, Die Eroberung von Mexico and Das Gehege as well as a work of experimental music theatre Séraphin. In the late 1970s and early 1980s his name was associated with the movement called New Simplicity. His work still continues in an expressionist vein, though the influence of Luigi Nono, Helmut Lachenmann and Morton Feldman, amongst others, has affected his style significantly.

In addition to his staged works, Rihm has written vocal and choral works, orchestral works including symphonies and concertos, chamber works including string quartets and works for piano.

In March 2010 the BBC Symphony Orchestra www.bbc.co.uk/orchestras/symphonyorchestra  featured the music of Rihm in one of their 'total immersion' weekends at the Barbican Centre, London www.barbican.org.uk . Recordings from this weekend were used for three 'Hear and Now' programmes on BBC Radio 3 www.bbc.co.uk/radio3 dedicated to his work. Anne-Sophie Mutter www.anne-sophie-mutter.de premiered his violin concerto Lichtes Spiel (Light Games) in Avery Fisher Hall http://lc.lincolncenter.org with the New York Philharmonic http://nyphil.org on 18 November 2010.

Of significance are the compositions which take their cue from music of past centuries such as Bach, Schumann and Brahms. Harmonia Mundi www.harmoniamundi.com have released a live recording of Rihm’s Symphonie ‘Nähe Fern’ where the composer again demonstrates his affinity with Brahms. The title is from a poem by Goethe which Brahms also set to music. It was written at the suggestion of Numa Bischof Ullman, the director of the Luzerner Sinfonieorchester and the Lucerne Festival, who asked Rihm to compose four orchestral works, one of which could be played before each of Brahms’ symphonies. These were premiered over the course of a year between June 2011 and June 2012 and, on 20^th August 2012, performed with the orchestration of Rihm’s setting for voice and piano of Geothe’s Dammrung senke sich von oben, to form a complete symphony. The performers on that occasion are the same as those on this new release, the Luzerner Sinfonieorchester www.sinfonieorchester.ch conducted by James Gaffigan with the baritone, Hans Christoph Begemann.

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The title of the symphony, Nähe fern, or proximate distance, indicates that, whilst Rihm allows us to hear the harmonies, motifs and characters associated with Brahms, this is very much his own composition.

The opening movement of Symphony ‘Nähe fern’,  Nähe fern 1 starts with a ruminating sound in the cellos and basses, but slowly broadens into a melody, still dark, as the rest of the orchestra joins, reaching an anguished small climax. It very much has the feel of Schoenberg’s early expressionist music filtered through a new tonally free style. Throughout this movement the music heaves and shifts tonally as well as dynamically. As the movement progresses through more climaxes there is a well-known sound in the orchestra that is difficult to define. It is the ghost of Brahms just hidden in the texture. There is a return to the opening motif in the cellos and basses as timpani strokes bring the movement quietly to an end.

The second movement, Dämmrung senkte sich von oben (Dusk has Fallen from Above) has a brief orchestral opening before the baritone Hans Christoph Begemann joins in this short setting of Goethe. It has a twilight feel again with Schoenberg’s atonal nature, with some lovely woodwind moments. Begemann has a lovely rich tone, so very flexible in this music.

Nähe fern 2 starts with a growl from the basses before the most distinctive sound of a Brahmsian melodic motif emerges. This is glorious, no pastiche, as it is entirely Rihm’s own distinctive creation, Schoenberg filtered through Brahms’ melodic quality in the style of Rihm. Rhythmically it touches on Brahms as it speeds up then slows before a great climax. There is a rich tapestry of sounds, fascinating to listen to, with the various lines weaving their way through this intoxicating music.  There are mysterious brass sounds before a string phrase brings the movement to an end.

The dynamic opening of the third movement Nähe fern 3 has a beautifully luminous orchestration with the subtle Brahmsian intervals and motifs appearing. This is the nearest to a scherzo of any of the movements, with numerous outbursts in this volatile music. Halfway through, the music becomes even more volatile, with brass interventions. However, it soon quietens as a lovely string passage emerges with lovely woodwind sounds. There are further outbursts but still the calm manages to prevail as the music falls to lower strings and a quiet transition to the final movement, Nähe fern 4 where there are more outbursts before the calm prevails.

There is a quiet and gentle rising and falling melody and the music has little forward surges with some beautiful textures weaving through. The tempo increases in a Brahmsian rhythm before a climax with percussion. It soon calms but individual brass and woodwind herald a short climax. Midway through the movement there is a mysterious section with percussion sounds leading to a flowing section. Brahms still lurks and, despite outbursts and percussion, there is a sense of mystery with some atmospheric sounds from the orchestra as the movement works its way towards its end, which arrives on a quiet brass chord.

This symphony is an outstanding success, one of those works that sounds as though it has always existed. It never loses its flow and sense of forward motion. The performance by the Luzerner Sinfonieorchester, conducted by James Gaffigan, couldn't be bettered. This new release is highly recommended coming as it does with excellent sound, informative booklet notes and full texts and translations.

Vladimir Feltsman, on Nimbus, provides one of the finest performances of Mussorgsky’s Pictures at an Exhibition currently on disc

The story of how Mussorgsky came to write his Pictures at an Exhibition is well known. It was following the death of his artist and architect friend Viktor Hartmann in 1873, when an exhibition of over 400 Hartmann works in the Academy of Fine Arts in Saint Petersburg, organised with the help of the influential critic, Vladimir Stasov, was viewed by Mussorgsky. It inspired the composer to write a piano work based on his viewing of the exhibition.

Mussorgsky’s Pictures at an Exhibition have, of course, been recorded many times both in their original piano version as well as in the orchestral versions by such figures as Ravel and Stokowski.

Nimbus Alliance www.wyastone.co.uk have just released a recording of Vladimir Feltsman playing Mussorgsky’s Pictures at an Exhibition coupled with Tchaikovsky’s Album for the Young. Despite the number of previous recordings of the Mussorgsky this recording should not be missed.

 

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Vladimir Feltsman www.feltsman.com was born in Moscow in 1952. He debuted with the Moscow Philharmonic at age 11 and in 1969, entered the Moscow Tchaikovsky State Conservatory of Music to study piano under the guidance of Professor Jacob Flier. He also studied conducting at both the Moscow and Leningrad Conservatories. In 1971Feltsman won the Grand Prix at the Marguerite Long International Piano Competition in Paris leading to extensive touring throughout the former Soviet Union, Europe and Japan. In 1979, because of his growing discontent with the restrictions on artistic freedom under the Soviet regime, Feltsman signalled his intention to emigrate by applying for an exit visa. In response, he was immediately banned from performing in public and his recordings were suppressed. After eight years of virtual artistic exile, in 1987 he was finally granted permission to leave the Soviet Union for the United States.

Vladimir Feltsman performed his first recital in North America at the White House and, the same year, his debut at Carnegie Hall established him as a major pianist on the American and international scene. Feltsman holds the Distinguished Chair of Professor of Piano at the State University of New York, New Paltz, and is a member of the piano faculty at the Mannes College of Music in New York City. He is the founder and Artistic Director of the International Festival-Institute PianoSummer at New Paltz.

In addition to an extensive discography released on the Melodiya, Sony Classical, and Musical Heritage Society labels he has issued a number of recordings for Nimbus www.wyastone.co.uk, in particular highly acclaimed recordings featuring the music of Tchaikovsky and Scriabin as well as recordings of Chopin’s Ballades, Waltzes and Impromptus.

There is a pretty forthright opening Promenade to begin Mussorgsky’s Pictures at an Exhibition (1878), a real allegro giusto which is so often lacking in other performances, clearly showing that Vladimir Feltsman is not going to give anything like a middle of the road performance.

In Gnomus, the way that Felstsman characterises the music, depicting the frightening nature of the subject, is terrific. There is some stupendous playing here with some beautifully strong left hand trills. Feltsman correctly takes a more leisurely return to Promenade observing the marking Moderato comodo assai con delicatezza.  Il vecchio castello has a strong Mediterranean lilt with Feltsman creating a feeling of wonder in viewing this scene with the troubadour singing outside the castle. This pianist creates a rarely achieved intense atmosphere.

Returning to Promenade, Feltsman again adjusts his tempo to follow the marking Moderato non tanto, pesante, though in a quite forceful manner. Tuileries: Dispute d’enfants après jeux has such delicacy and lightness of touch with fleeting feelings. Bydlo again shows Feltsman’s strong left hand with the theme played in the right hand conjuring up such a formidable view of a heavy Polish cart pulled by oxen. With Promenade, Feltsman plays a thoughtful tranquillo leading mysteriously into the brilliant Ballet of the unhatched chicks with some wonderfully skittish playing, quite spontaneous in manner with such a lightness of touch.

Samuel Goldenberg and Scmuyle receives some very direct playing in the striking opening with a heavily characterised impression of these two opposite Jewish characters, one rich, the other poor. Feltsman takes note of every nuance and dynamic to create a vivid impression. With Promenade the tempo returns to the opening Allegro giusto before some wonderful playing in Limoges, le marché (The Market Place at Limoges), a real allegretto vivo but never losing sight of little details. This is fine playing with such control of dynamics and, as the section progresses, Feltsman is stunning.

The Catacombae. Sepulcrum Romanum suddenly throws us into gloomy chords, low on the keyboard, with sudden outbursts that make one start and Cum mortuis in lingua morta is ghostly in its atmosphere as conjured up by Feltsman. The promenade theme lurks in the background but the right hand trills add a haunting feel. The Hut on Fowl’s Legs: Baba Yaga brings more superb playing from Feltsman with a sense of authority and command. Yet when the central section appears there is sensitivity in the intricate writing. The tension is built before strong chords return us to the manic, evil witch in playing that is formidable. The Great Gate of Kiev opens with firm, stately theme, growing imperceptibly stronger. The quiet section that follows makes a beautiful contrast before the music suddenly breaks out in bell like sounds becoming increasingly thunderous with tremendous chords providing a really virtuoso ending to this piece.

This surely must be one of the finest performances of this work currently on disc.

Tchaikovsky’s Album for the Young Op.39 (1878) makes an excellent coupling on this disc especially as played by Vladimir Feltsman. There are many lovely touches in this performance, at times beautifully restrained with attention to every nuance such as in the opening A Winter Morning and The New Doll. The Mazurka has lovely rhythms played with panache and the Old French Song receives a lovely performance to which Feltsman brings something special. Sweet Reverie, in Feltsman’s hands, becomes a much more substantial piece.

It is wonderful to hear just what a pianist of Feltsman’s calibre can bring to these little pieces.

To end, Feltsman plays Tchaikovsky’s Echo Rustique Op. 72, No.13, in a lovely performance, making a fine end to this terrific disc.

These performances, from 2002, are nicely recorded with excellent booklet notes by Vladimir Feltsman.

Julia Brown makes an excellent case for the keyboard sonatas of Wilhelm Friedemann Bach on a new release from Naxos

Wilhelm Friedemann Bach (1710-1784) known as ‘the Halle Bach’ was born in Weimar, the eldest son of Johann Sebastian Bach by his first wife Maria Barbara. The death of his mother in 1720 is thought by some to have been the cause of his later instability and failure to achieve his potential. His first studies were at the Lateinschule, Cöthen. In 1720 Johann Sebastian began a Clavier-Buchlein vor Wilhelm Friedemann Bach that was to be used for Bach’s other children and pupils as well. Given that the Clavier-Buchlein soon abandons any music that could be considered for beginners, there is no doubt that Wilhelm Friedemann made quick progress.

When the Bach family moved to Leipzig in 1723, Wilhelm Friedemann was enrolled in the Thomasschule. Later Wilhelm Friedemann was sent to Merseburg to study the violin with J G Graun. After his graduation from the Thomasschule, Wilhelm Friedemann attended the University of Leipzig studying mathematics, philosophy and law. It is obvious that he was an outstanding scholar.

In 1733 he was appointed to the post of organist at the Dresden Sophienkirche. As this appointment was part time he was able, in addition to further study of mathematics, to give time to composition. In 1746 he became organist at the Liebfrauenkirche in Halle. It was here that his first cantata Wer mich liebet was performed. However, Wilhelm Friedemann was unable to settle in Halle and he spent much time seeking another post. The court at Darmstadt offered him the post of Kapellmeister but he seemed unable to make a decision, eventually annoying the Darmstadt authorities. He fell out with the church authorities in Halle but, despite this, he remained there until 1770, earning his living mainly as a teacher. On his move to Brunswick he spent his time giving organ recitals, composing and seeking permanent employment.

By 1774 he was in Berlin where he gained a reputation as an organ virtuoso gaining support from Princess Anna Amalia, sister of Frederick the Great. His inability to stick to any employment and his unfortunate attitude to others increasingly isolated the ageing Wilhelm Friedemann, making his last years ones of poverty and ill-health. When he died his widow and one surviving daughter were left in poverty, the proceeds of a Berlin performance of Handel’s Messiah in 1785 being donated to them.

His compositions include over fifty keyboard works, many chamber works, eight symphonies, keyboard concertos, liturgical works and numerous cantatas.

It is the works for keyboard that Naxos are recording in a series that has featured Robert Hill (volume one) and Julia Brown (volumes two and three). www.naxos.com

The fourth volume in the series again features Julia Brown with fellow harpsichordist Barbara Baird joining her for the sonata for two harpsichords. Brown plays a harpsichord built by Richard Kingston www.richardkingstonharpsichords.com (1986) and Barbara Baird plays a copy of a harpsichord by Michael Mietke (c.1710) built by Keith Hill http://keithhillharpsichords.com .

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Wilhelm Friedemann Bach’s Sonata (Concerto) for Two Harpsichords in F major F.10/BR A12 was composed during his Dresden period. It opens with the terrific sound of the two harpsichords in a nicely paced Allegro ma moderato, in a really attractive theme. These two players provide some lovely blended sounds that nevertheless allow the intricate details to emerge. There is a lyrical, flowing andante, with the two harpsichords weaving around each other in some fine playing. It is only in the presto that the title concerto can reasonably be understood, with a striking opening full of panache and style, where one harpsichord seems to provide the orchestral part, with the characteristics of a baroque concerto. Julia Brown and Barbara Baird, who are obviously well used to playing together, perform this work with such flair and obvious enjoyment.

Julia Brown continues with the Sonata in C major F.1b/BR A2a, a work that exists in two versions, the later one substituting the short grave with two Minuets. In this earlier version, Brown’s playing in the allegro has so much freedom and flair, avoiding any hint of the routine. In this sparkling allegro Wilhelm Friedemann always provides interest with never a dull bar and with some lovely chromatic shifts. The short grave acts as a link between the allegro and final vivace that has a terrific theme leading to some attractive development, finely played by Brown who brings some lovely sounds from her instrument. I like the way she gives little pauses to point up passages. This is a thoroughly enjoyable sonata played with style and flair by Julia Brown.

The Sonata in F major F.202/BR A10 is thought to be an early work, influenced by his father’s Italian Concerto.  There is a bright and airy opening to the allegro, played with such style that shows this music in such an attractive light. Julia Brown draws some lovely textures from her harpsichord. The Siciliana, drawn from Wilhelm Friedemann’s earlier Flute Sonata in E minor, is a great little movement that again reminds one of his father. The opening material of the concluding Presto has a degree of naivety, however, it does develop into something much more with some attractive moments made the most of by Brown.

Despite being the earliest of Wilhelm Friedemann Bach’s works, the Sonata in D major F.3/BR A4 has an individual sound with, in the Un poco allegro some lovely intricate textures caught well by Julia Brown.  This is by far the longest sonata on this disc and is quite complex in its writing. The long adagio, lasting over ten minutes, is a lovely movement, played with detail and care, Julia Brown carefully varying the sounds she draws from her instrument. The attractive bouncing vivace, full of life, ends this particularly attractive sonata, brilliantly played by Julia Brown.

It is not just the better known Sonata (Concerto) for Two Harpsichords that makes this disc worthwhile. Julia Brown makes an excellent case for the other sonatas on this attractive new release. The recording made in the Beall Concert Hall of the University of Oregen is absolutely first rate.

Attractive Flute and Piano music with a jazz influence by Geoff Eales on a new release from Nimbus

Geoff Eales (b.1950) www.geoffeales.com , born in Aberbargoed in South Wales, began his musical education at the age of eight when his jazz loving father taught him to play the 12-bar blues and introduced him to some of the great piano masters.

Eales’ conventional musical education began whilst a pupil at Lewis School, Pengam, where he learnt classical piano and the French horn, later playing with the Glamorgan Youth Orchestra and the National Youth Orchestra of Wales www.nyaw.co.uk . He went on to Cardiff University where he achieved a first-class honours and a master's degree and, in 1980, was awarded his doctorate in music for a thesis on structure in the symphonic works of Aaron Copland.

Rather than pursue an academic career, Eales decided to broaden his horizons by working as a ship's musician for a couple of years, travelling the world and absorbing the music of many different cultures, something that would have a tremendous impact on his later work.

Eales moved to London in 1977, joining the BBC Big Band and working with some of the best arrangers in the business including Nelson Riddle, Billy May and Robert Farnon and many fine jazz vocalists such as Norma Winstone, Rosemary Clooney and Marian Montgomery. By the time he left in 1983, he had been featured in well over a thousand broadcasts.

Eales went on to become one of the most sought-after session pianists in London working alongside a host of musicians such as Leonard Bernstein, Henry Mancini, Jerry Goldsmith, Lalo Schifrin and Andrew Lloyd Webber and as an accompanist with such singers as Shirley Bassey, Andy Williams, Jose Carreras and Kiri Te Kanawa. Returning to his jazz roots in 1999, Eales released his debut jazz album, Mountains of Fire to enthusiastic reviews. Since then, a steady stream of highly acclaimed jazz albums has flowed.

Throughout the period of his jazz renaissance, Eales has performed at many of the world's leading clubs and concert halls and has collaborated with other contemporary jazz artists such as Nigel Hitchcock, Chris Garrick, Laurence Cottle, Chris Laurence, Roy Babbington, Martin France, Ian Thomas and Mark Fletcher.

Nimbus Alliance www.wyastone.co.uk have just released a new recording of works for flute and piano by Geoff Eales, performed by the composer and flautist Andy Findon www.andyfindon.co.uk who also has a mixed musical background having trained as an orchestral flautist, serving as principal flute of the National Youth Orchestra, and studying for three years at the Royal College of Music. From here he branched out, playing with dance bands, working for Nat Temple, Joe Loss, Eric Delaney & Sidney Lipton among others as well as Ballet Rambert www.rambert.org.uk , The National Theatre www.nationaltheatre.org.uk  and the formation of the Myhra Saxophone Quartet with John Harle. He has played with an enormous list of renowned international artists, composers, arrangers and producers.

Nimbus rightly do not categorise the music on this new CD, merely stating that the music is a paean to the life-enhancing qualities of the dance. Certainly the influence of jazz runs through most of the music but there is much more.

 

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The first work on the disc is Eternal Dance that opens with a repeated motif from the piano before the flute joins, continuing with a bouncing rhythmic theme. There is some fine playing from Eales as well as flautist Andy Findon. This is a light, somewhat jazz influenced piece.

Song for my Mother has an extended opening for piano before the flute enters in a light, nostalgic melody. Again it is very jazz influenced, particularly in the piano part that has a major contribution.

In the pocket has both players leaping around in wide intervals, playing in unison music that brings to mind the style of Olivier Messiaen, before developing into a jazzy theme of more substance. There is a slower central piano section before the flute joins in the slower languid melody. Eventually the music returns to its original faster Messiaen style theme.

Remembrance is a restful piece with a wistful piano opening before the flute joins in with something of a filmic quality.

A rapid repeated motif for both players opens Elf Dance before the music descends to a syncopated theme. The music slows to a quieter section as the flute weaves a lovely solo melody before the piano re-joins and the music speeds up to the syncopated rhythm. The music slows again to a thoughtful piano section but the syncopated rhythm can’t be held back and returns to bring about the end.  

Andy Findon changes to the alto flute for Lochria’s Rumba a piece that has a lovely melody reinforced by an underlying rhythm.

I suppose many will consider the penny whistle to be, at best, a novelty instrument, however, with In The Eyes Of A Child, Andy Findon gives a spectacularly accomplished performance of this piece, that has a definite Celtic lilt. There is rich accompaniment from the piano in this very effective piece that stands out in this collection.

The piano opens Farewell Patagonia with the Latin rhythms of the tango before being joined by the flute in another particularly attractive piece, light, fun, but very attractive. There is a central section for solo piano finely played by Geoff Eales.

The Sad Little Geisha Girl has a flute melody somewhat reminiscent of Debussy before the piano enters with slow chords. Subtle little slides on the flute add to the atmosphere in this, the longest piece on this CD. This piece provides a strange combination of Debussy and jazz inflected piano writing to great effect.

Findon picks up the piccolo for Force 11 with an opening that has a rumbling stormy motif for piano before the piccolo enters in a tempestuous, riotous theme. Later the piano opens a new theme, a syncopated tune with some terrific playing form Findon.

The piano opens Ice Maiden with a pointed rhythm before the richly melodious tone of the bass flute enters, continuing the sultry Latin rhythm. This is a really attractive piece that also stands out.

Pan Dance brings a rapidly rhythmic melody for flute and piano that scurries along in an unstoppable manner that one would associate with Pan. There is a sensuous slow section before a return to the opening tempo.

Finally there is the nostalgic The Last Kiss opening with the piano before the flute enters with a lovely melody, a slow waltz. This languid piece rises to a slight climax before ending.

This is attractive music mainly in a lighter vein with Eales’ jazz influence running through most of it. In certain works such as The Eyes Of A Child and Ice Maiden, Eales does seem to catch a deeper vein. The recording is very good, though occasionally the piano sound is a little close.

Rewarding music by Danish composer Bent Sørensen on a new release from Dacapo

The Danish composer Bent Sørensen (b.1958) www.dacapo-records.dk/en/artist-bent-s%C3%B8rensen.aspx  studied composition with Ib Nørholm (b.1931) www.edition-s.dk/composer/ib-n%C3%B8rholm at the Royal Danish Academy of Music www.dkdm.dk and with Per Nørgård (b.1932) www.pernoergaard.dk at the Royal Academy of Music in Aarhus www.musikkons.dk . 

Since the mid-eighties, it is almost exclusively as an instrumental composer that Bent Sørensen has made his name, as one of the most listenable Danish composers of his generation. His four string quartets now feature centrally in his chamber music output but, more recently, there has been a growing number of works for large orchestra including a violin concerto Sterbende Gärten (1992-93), a trombone concerto Birds and Bells (1995), the piano concerto La Notte (1996-98) and a symphony (1995-96).  Among the few vocal works Sørensen has written are the opera Under the Sky (2003), the cantata The Echoing Garden (1990-92), In Paradisum (1994-95, 2002) and a number of smaller songs.

Bent Sørensen is professor at the Royal Danish Academy of Music www.dkdm.dk as well as a visiting professor of composition at the Royal Academy of Music in London www.ram.ac.uk .

It is said that Sørensen's mature works are dramatic and evocative, half in shadow and full of swirling motion, like memories from a remote, ruined past. It is music that often seems to make memory its theme, to evoke memories or unconscious recollections. Sørensen achieves this by treating major/minor tonalities with microtonal inflections and blurring the harmonies with glissandi.

Dacapo www.dacapo-records.dk  have released a new disc that makes an ideal introduction to the music of Bent Sørensen. Pianist Rolf Hind www.rolfhind.com , violinist David Alberman www.dacapo-records.dk/en/artist-david-alberman.aspx and the BBC Symphony Orchestra www.bbc.co.uk/orchestras/symphonyorchestra  conducted by Michael Schønwandt www.dacapo-records.dk/en/artist-michael-sch%C3%B8nwandt.aspx  bring us Sørensen’s Sieben Sehnsüchte for Violin and Piano (1999), The Masque of the Red Death for Piano (1989/90) and La Notte Piano Concerto (1996-98).

 

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‘Sieben Sehnsüchte’ (Seven Longings) for Violin and Piano is in seven movements and represents the personality in pursuit of its alter ego. The music involves sounds such as glissandi on the piano strings, whistling, song, double stopping and microtones. It opens quietly with strange harmonic sounds from the violin, sometimes quite intricate and delicate, beautifully played by David Alberman. When the piano enters it is only to pick out occasional notes, decorating the violin sounds. As the movement progresses the violin becomes a little agitated but soon calms with rapid slides on the violin. At times, the piano seems an onlooker to a dream. The second movement again opens with the violin, soon becoming fast and anxious as the piano enters, still as though an onlooker, beating a repeated rhythmic note on the piano. This is followed by pizzicato notes made on the piano strings that give a sort of tapping sound. The violin then plays pizzicato before longer bowed notes draw the movement to a close.

The piano opens the third movement in a florid melody, wandering over the keyboard but now evidently in control. There are some lovely rich sounds from Rolf Hind. The violin quietly joins, still keeping to its slides until trying to match the piano in an anxious sound. There is an ebb and flow as both players emerge then recede. The piano itself becomes more intricate as the violin continues its sweep of sounds before ending suddenly. A gently picked out motif on plucked piano strings is accompanied by a similar violin theme as the fourth movement commences. A dialogue continues between the instruments until the fifth movement, where the piano gently plays a little tune, soon to be joined by the violin working over the theme. Rhythmically the violin is faster than the piano until it catches up in a faster section. There is a section for violin before the piano joins in this frantic music. Eventually the music slows to a quiet coda with tapping from piano and long held violin note.

The sixth movement is heralded by bold piano chords as the violin quietly enters playing a longer breathed melody in the background. The piano theme quietens and becomes more intricate with trills before it simply ends. The final movement opens with the violin but is soon joined by the piano in a meandering little motif, again those little slides on the violin are there, as the piano gently accompanies. The music moves to an insistent motif before ending.

‘The Masque of the Red Death’ for Piano (1989/90) takes its title from a story by Edgar Allan Poe concerning the plague, though Sørensen uses it in a more symbolic way concerning the imbalance in any living system and in the universe itself.  Marked Presto-molto maniaco ma con delicatezza it commences with a rapid motif on the upper keyboard before filling out. There is some superb playing here from Rolf Hines. This reduces to an insistent theme, repeated constantly as it descends and grows faster. As it slows the theme varies but there is still a repeated motif full of clusters of notes for the right hand giving quite a florid sound, in this spectacular and quite individual music. Soon there is a subtle change as the music becomes less insistent and develops the material. After a sudden pause, there are repeated staccato notes that slowly and imperceptibly develop into a new theme, becoming quite intoxicatingly intricate. The music slows and the theme seems to slightly broaden before rising to a short climax. Another pause precedes a loud outburst, descending to quite intricate sounds, slowly descending. A lone note heralds another pause before the piano plays descending scales to end quietly.

With ‘La Notte’ (Night) Piano Concerto (1996-98) the piano represents the individual standing against the collective in the form of the orchestra and is in two movements, opening quietly with delicate piano notes and glissandi from the violins. Slowly the piano theme opens out and develops against scurrying strings. The orchestra develops into a distinctive, unsettled, scurrying theme as the piano plays its repeated motif. There are effective percussion sounds as the scurrying theme continues, the strings becoming more conventionally melodic for a short time. After an outburst from the orchestra there are tubular bell chimes leading to a quiet atmospheric section with falling, sighing sounds from the orchestra and some atmospheric muted brass sounds. The piano continues to rapidly play its intricate notes over this orchestral background. Soon there are orchestral outbursts before the piano plays repeated low chords against an orchestra with brass and percussion. Timpani add to the menace as the music develops, the piano developing the theme in a slightly jazzy manner. After further repeated notes from the piano and orchestra the piano plays some quite magical phrases with outburst of percussion before ending quietly and atmospherically with a chime.

The second movement opens quietly with the piano playing a gentle tune against sighing strings. The piano continues the theme against dreamlike orchestral sounds that emerge then recede. The quiet is interrupted by an orchestral outburst part way through but soon quietens to a stillness in the orchestra, the piano still playing its somewhat tentative theme. There is another small climax, with percussion but immediately the music quietens, though the piano becomes more strident and insistent. Pizzicato strings appear against a more complex piano part but the work ends with the pizzicato strings just fading away.

The recordings from 2000 (La Notte) and 2011 (Sieben Sehnsüchte and The Masque) are excellent. Whilst some of this music makes for a difficult first listen, I would encourage perseverance, as repeated listening, particularly of The Masque of the Red Death and La Notte will reward.

An outstanding recital from Simon Trpčeski on the Wigmore Hall Live label

I first had the opportunity to hear Simon Trpčeski www.trpceski.com/simon live, back in January of this year when he performed Chopin’s Piano Concerto No.1 with the City of Birmingham Symphony Orchestra under its Principal Conductor, Andris Nelsons.

Such was my enthusiasm for his playing that I was delighted when my review copy of his March 2012 Wigmore Hall recital arrived. Issued on the Wigmore Hall Live label www.wigmore-hall.org.uk Trpčeski plays Schubert, Bach and Liszt.

 

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It is good that such recitals can be made available on disc, not only for the benefit of those lucky enough to have been at the original concerts but for the many that cannot be there.

As I listened to this new release I found myself writing such things as ‘lovely pointed rhythms’, ‘wonderful poetry’, ‘beautiful legato playing’, ‘scintillating’, ‘vibrant and forceful’ and ‘full of Schubertian soul’. Yet this was whilst listening to the relatively lightweight 16 German Dances D.783, but what wonderful things Trpceski brings to them. When it came to Schubert’s great Fantasy in C major D.970 ‘Wanderer’ this pianist givs a terrific performance, so fluid with a beautiful left hand revealing so much. In the allegro con fuoco, ma non troppo he is also reflective in such a natural and spontaneous way. How he suddenly builds up tension, not through speed or volume but with sheer power. He makes a beautiful transition into the adagio that has so many subtleties, lightening the mood at key points, then again building formidably to a passionate level.  Trpčeski handles all the subtle changes of mood beautifully and, towards the end, there are some lovely delicate descending scales.

There is just a minute pause before the presto with some gorgeously rich and sonorous sounds.  Trpčeski’s playing is so taut with a wonderful control of dynamics, yet sounding so spontaneous. Towards the end of this movement there is some terrific playing, full of power and authority before leading straight into the allegro for return of the opening motif, sounding so natural and inevitable to end this fine performance.

Simon Trpčeski follows the Schubert with Liszt’s arrangement of Bach’s Prelude and Fugue in A minor, BWV 543 revealing a great flow of musical creation without ever losing a grip on the structure. Again Trpčeski’s subtle ability to vary the tempi and dynamics, to dig deep into Bach, is so impressive.

In Liszt’s Sonetto del Petrarca No.104 (Deuxième Années de Pèlinerage, S.161) Trpčeski’s response to every nuance and mood pays such dividends, capturing all of Liszt’s fleeting moods. This is playing of great poetry and depth as well as formidable technique.

Les Jeux d’eaux a la Villa d’Este (Troisième Années de Pèlinerage, S.163) brings a Debussian quality with this pianist showing such fluidity and depth of expression, building to a fullness towards the end.

Trpčeski’s quick-fire responses to mood are brought to bear on Liszt’s most famous Hungarian Rhapsody, No.2 in C sharp minor, S.244, as is his tremendous virtuosity. His sense of spontaneity, as though caught in the moment, makes the performance of this much played work a sheer delight.

Simon Trpčeski gave the audience in Wigmore Hall two encores, a beautifully serene Ständchen from Schubert’s Schwenengesang, D.957 arranged by Liszt and a tremendously brilliant and probing performance of Chopin’s stormy Prelude in D minor, Op.28 No.24 to end this outstanding recital.

The recording is excellent. Applause is retained except between individual Liszt pieces as is Trpčeski’s brief introduction to his encores.

See also: 

http://theclassicalreviewer.blogspot.co.uk/2013/01/simon-trpceski-with-andris-nelsons-and.html

Thea Musgrave’s Chamber works for oboe in fine performances on a new release from Harmonia Mundi

Thea Musgrave (b.1928) www.theamusgrave.com was born in Edinburgh, Scotland and studied at the University of Edinburgh and later at the Paris Conservatoire, where she spent four years as a pupil of Nadia Boulanger.

On her return to Britain, she established herself in London as a prominent member of British musical life with her orchestral, choral, operatic, and chamber works. In 1970 she became Guest Professor at the University of California, Santa Barbara. Soon after she married the American violist and opera conductor Peter Mark www.lyricoperavirginia.org/PeterMark.php , and has resided in the U.S. since 1972.

She has received the Koussevitzky Award, two Guggenheim Fellowships and has been recognized with honorary degrees by Old Dominion University (Virginia), Smith College, Glasgow University and the New England Conservatory of Music in Boston. She was made a C.B.E. on the Queen's New Year's Honour List in January 2002. As Distinguished Professor at Queens College, City University of New York from September 1987-2002, Musgrave has guided and interacted with many new and gifted young student composers.

Musgrave has consistently explored new means of projecting essentially dramatic situations in her music. It is, therefore, not surprising that her focus on the lyric and dramatic potential of music should have led her into the field of opera, writing, to date, ten operas.

In addition to her operatic works, Musgrave has written many orchestral works including a Concerto for Orchestra (1967), a Clarinet Concerto (1969) and a Concerto for Horn (1971), choral works, works for brass and wind band, chamber works, instrumental works, piano works, and electroacoustic works.

Amongst Thea Musgrave’s chamber works are a number that feature the oboe and it is these that are included on a new release from Harmonia Mundi  www.harmoniamundi.com Nicholas Daniel (oboe) http://nicholasdaniel.co.uk  is joined on this new disc by Joy Farrall (clarinet) www.gsmd.ac.uk/music/staff/teaching_staff/department/10-department-of-chamber-music/64-joy-farrall, Emer McDonough (flute)  www.morgensternsdiaryservice.com/WebProfile/mcdonough_e_6120.shtml , James Turnbull (oboe) www.james-turnbull.com , Huw Watkins (piano) www.schott-music.com/shop/persons/az/63120  and members of the Chilingirian Quartet www.chilingirianquartet.co.uk  Levon Chilingirian (violin), Susie Mészáros (viola) and Philip de Groote (cello). 

 

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Night Windows for oboe and piano (2007) was commissioned by the International Double Reed Society www.idrs.org and is dedicated to Nicholas Daniel who gave the first performance at the Society’s conference in Birmingham in 2009. Night Windows is the title of a painting by Edward Hopper (1882-1967) www.edwardhopperhouse.org/index.html  that is reproduced on the cover of this CD and gave rise to Musgrave’s work. In five parts, Loneliness has a keening oboe melody above a piano accompaniment in this quietly melodic piece.  Anger is quite a showpiece for the oboe with a not inconsiderable piano part, both brilliantly played. There is beautifully affecting Nostalgia where the oboe and piano weave around each other with some beautifully controlled oboe playing from Nicholas Daniel and Despair, is beautiful but bleak, in a melody that rises to a desperate climax before settling back to quiet despair. The work ends with Frenzy, another piece to challenge the oboist full of rapid passages.

Musgrave’s Impromptu No. 1 for flute and oboe (1967) opens with a slightly more modernist sound and uses aleatoric techniques (where some element of the composition is left to chance or to the determination of its performer) that give a freedom of expression to the players. There are some terrific sounds from the players, Nicholas Daniel and Emer McDonough.

The Impromptu No. 2 for flute, oboe and clarinet (1970) is longer than the second Impromptu and gives much rhythmic freedom, challenging the players in writing of considerable intricacy and, indeed, virtuosity. This is a simply stunning performance from Nicholas Daniel, Joy Farrall and Emer McDonough.

Cantilena for oboe, violin viola and cello (2008) is introduced by the strings in a lyrical theme before the oboe gently enters, joining in the theme and slowly decorating the tune which it harmonically changes until introducing a new theme. This leads to a climax before falling back to a quiet restatement of the original them and a quiet coda. Nicholas Daniel and the members of the legendary Chilingirian Quartet, Levon Chilingirian (violin), Susie Mészáros (viola) and Philip de Groote (cello) are superb.

Niobe for oboe and tape (1987), commissioned by the Park Lane Group in London, deals with the story of Niobe the wife of Amphion, King of Thebes, whose children were slain by Leto, one of the female Titanes and bride of Zeus, for whom she continued to weep. The solo oboe represents Niobe lamenting her dead children and the tape, with distant high voices, chiming bells and gong provides an evocative accompaniment. This is certainly a most effective piece with some strange electronic effects to add atmosphere to the lyrical oboe theme.

Trio for flute, oboe and piano (1960) is in a number of sections played without a break. After an opening section for all three instruments with cadenzas for the wind instruments and a piano solo, the theme is then shown in various colours and textures with a flute solo, oboe solo, before both combine leading to a canon. This short effective work receives a brilliant performance from Nicholas Daniel, Emer McDonough and Huw Watkins.

Take Two Oboes (2008) is a light hearted work that opens with Pompous, a lively theme, with these two fine oboists, Nicholas Daniel and James Turnbull, weaving some wonderful sounds. In Expressive one oboe provides a melody full of lovely timbres whilst the other decorates the theme. Serene has a lovely melody where one oboe seems to provide a counterpoint to the other and the work ends with Frisky, a fun piece, full of spiky rhythms and some great playing.

Nicholas Daniel changes to the cor anglais for the final work on this disc, where he is joined again by Huw Watkins in Musgrave’s Threnody for cor anglais and piano (1997/2005). Opening with chords on the piano and an oboe motif of distinctly oriental feel, Threnody, the composer states, deals with the powerful emotions engendered by loss, with the medieval plainchant for the dead, the Dies Irae being incorporated into certain piano chords. This finely played, beautifully flowing piece makes for a fine end to this disc.

This new recording is another great example of Harmonia Mundi’s commitment to contemporary music. There are fine performances from all the artists and, in particular Nicholas Daniel. The recording is first rate and the informative booklet notes are by the composer.