Some Hasty Brahms

Johannes BRAHMS (1833-1897)

String Quartet No. 1 in c minor, Op. 51, No. 1 [34:33]

Piano Quintet in f minor, Op. 34 [43:21]

Quatour Ébène

Pierre Colombet (violin)

Gabriel Le Magadure (violin)

Mathieu Herzog (viola)

Raphaël Merlin (cello)

Akiko Yamamoto (piano)

Recorded at Ferme de villefavard en Limousin, France on 5-8 May 2008 (Quartet), and Fondation Singer-Polignac, Paris, 1-3 October, 2007 (Quintet).

VIRGIN CLASSICS 50999 216622 2 S [78:42]

Brahms’ Piano Quintet, which was published in 1865, saw several incarnations before taking on its masterful final form. It began life as string quintet with two cellos, modeled after Schubert’s famous example in C major. Neither Clara Schumann nor Joseph Joachim found much good to say about this initial effort. Brahms later cast the work as a sonata for two pianos, which pleased him, but was still met with a cold shoulder from his mentors. The conductor Hermann Levi encouraged Brahms to visit the composition a third time and in the summer of 1864, he finally created what was to be one of his finest examples of chamber music. The work was immediately declared a masterpiece by Clara, Joachim and Levi.

The stormy opening is full of sweeping gestures, thunderous episodes and complex rhythms. The Quatour Ébène and Akiko Yamamoto tear into the music with youthful abandon, and although their playing is of the highest technical order, I found the tempi to be rushed and breathless, leaving little room to express Brahms’ sweeping lines and seldom allowing phrases to settle before the next one is begun. Things go better in the slow movement where the music is allowed to breathe more and there is elegance in the turns of phrase. The Scherzo and trio hops along at good pace and the finale is performed with confidence and power in spite of the tendency to again rush a bit. Overall balance is fine and there is good give and take between the players, each allowing the other a moment in the sun where needed.

The same observations can be made of the String Quartet, a work that caused Brahms a bit of apprehension given the shadow of his predecessors Brahms and Schubert and their supreme achievements in the genre. Again, the ensemble seems too often to be on the verge of a loss of control where tempos are concerned. Too often I heard unseated phrases, gestures that were not given enough time to breathe and come to completion before the next idea was barreled into. Things were better in the slow movements, and it is evident that this group can play with a sense of lyricism when it has a mind to. It would have been nice to have heard a little more self-control in the outer movements though instead of just pure virtuosity for its own sake.

A Little Sample of von Karajan's Ego

Herbert von Karajan, Maestro for the Screen
A film by Georg Wübbolt. (2008)

ARTHAUS MUSIC 101459 [52:00]

Herbert von Karajan was not only one of music’s giant conductors; he was without a doubt in possession of one of its most giant egos. In an effort to secure his place in history, he left behind a huge trove of filmed performances, oftentimes reworking music from the standard repertoire with each new development in technology. The result is a trove of hundreds of hours of performances that document Herbert von Karajan. Oh yeah, and there is some pretty nice background music by Beethoven, Bach, Strauss, Schumann, Wagner, and Brahms et. al.

Georg Wübbolt has put together and interesting portrait of Karajan the technology buff by using very candid interviews by some of the key people who helped make his films possible. He speaks with members of the Berlin and Vienna Philharmonic Orchestras, Karajan’s personal secretary, music journalists, directors and key figures in the recording and television industry.

Karajan was practically unrivaled in his use of technology. The only other superstar musician to exploit the media so completely was Leonard Bernstein, who was rather a constant thorn in Karajan’s side having adopted especially the use of television some years earlier than his German colleague. Members of the Berlin Philharmonic began to have a love-hate relationship with Karajan’s media exploits, being annoyed at the amount of focus being placed on the conductor as opposed to the music and the orchestra, but at the same time, relishing the considerable extra income they received from the filming sessions and royalties. Much emphasis was placed upon appearances and musicians were forbidden from wearing beards and bald players were required to wear wigs.

Karajan’s relationships with film directors were often nightmares and after a few years, Karajan became his own director, further slanting all of his projects to be all about him. Whether or not the music suffered from the conductor’s ego can be debated. What is certain however is that Karajan was an innovator and pioneer, and despite his self-centered nature, he was a master musician. As such, he delivered the goods with the orchestra. His interpretations of the standard repertoire, particularly the romantic literature are often second to none.

This brief documentary (in German with French, Spanish, English and Italian subtitles) is a rather fascinating look at a man of tremendous talent and ability who for good or ill left an indelible stamp on the world of classical music. It is most interesting to see how the filming of music performances evolved from the earliest television broadcasts into the 1990s and how von Karajan learned, adapted and developed with the technology and the times. I am not sure that this is a DVD that deserves a permanent place on the shelf, but it is definitely worth renting once or twice.

Some Lovely Choral Music from Rheinberger

Joseph RHEINBERGER (1839-1901)

Sacred and Secular Choral Music

Morgenlied [4:49]

Abendlied [2:29]

Warum toben die Heiden [3:03]

Es spricht der Tor in seinem Herzen [3:06]

Adoramus te [3:11]

Ave vivens hostia [3:36]

Salve Regina [3:25]

Dextera Domini [2:36]

Eripe me [3:52]

Missa Sanctissimae Trinitas, Op. 117 [16:40]

Waldblumen, Op. 124 [18:52]

Regensburger Domspatzen

Georg Ratzinger, conductor

Eberhard Kraus, organ

Recorded July 12-15, 1993 at St. Emmeran, Regensburg and at the Tonhalle der Regensburger Domspatzen.

ARS MUSICI 232154 [67:09]

Joseph Rheinberger belongs to that large swathe of composers whom musicologists term “minor masters.” Usually well respected or even famous in their own time, for whatever reason these often prolific and highly skilled craftsmen have failed the test of time. Thanks to the seemingly endless thirst for underperformed or undiscovered works in the digital age, a number of these musicians have made a post-mortem comeback. One such composer is Joseph Gabriel Rheinberger, a man of considerable ability whose refined technique and graceful style might easily compare favorably to that of the early romantics such as Schubert and Schumann and especially Mendelssohn, a composer with whom Rheinberger shared a very similar harmonic language.

Choral and instrumental music shared an equal place in Rheinberger’s output. His deep personal faith is reflected in his many works for the church which include numerous motets and mass settings and a sizeable collection of pieces for the organ. His intimate knowledge of renaissance counterpoint and thorough grounding in classical forms make for a winsome combination in his compositions. Couple his taut formal structure with a delicious harmonic language and you get music that is always pleasing to the ear.

This performance was a pleasant surprise to these ears, ears that as a rule find men and boys choirs a bit of a chore to listen to for very long. Over the years I have found that many a cathedral choir lacks the elements that make for a good choral sound. The boys are often shrill, the men harsh and abrasive and the blend nonexistent. Not so this choir which was initially established in the year 975! Truly deserving of their international reputation, this ensemble sings with a sweet and refined tone and with unanimity of sound that allows these gorgeous harmonies to ring out. This is the kind of music that is just awful if sung out of tune. With its predominance of dominant seventh harmonies and subtle shifts of tonality, one wrong turn can lead to an intonation disaster. Maestro Ratzinger shapes lovely phrases and only seldom is there a hint that a third or two might be pushed a little higher.

Highlights in this consistently fine recital include the lovely and contrasting Morgenlied with its joyous and sweeping melodies, and the intimately prayerful Abendlied with its text from the gospel of Luke in which the disciples implore Jesus to remain with them as the night is falling and they are afraid. Also of merit is the compact Missa Sanctissimae Trinitas, a work that is sharply contrasting to the expansive and glorious Cantus missa,(not recorded here) which is scored for double choir and won the composer a special citation from the Pope.

Rheinberger shows the influence of Schubert and Schumann in the charming set of nature poems Waldblumen. These little songs about the birds and the flowers are quite charming indeed, but Ars Musici are most remiss in providing no translations for the texts, an inexcusable act for an international release. That little flaw notwithstanding, this is a delightful collection of music, sure to please casual and serious listeners alike.

Elegant Chamber Music

Gabriel FAURÉ (1845-1924)

Piano Quintet No. 1 in d minor, Op. 89 (1905-6) [30:59]
Piano Quintet no 2 in c minor, Op. 115 (1921) [32:17]

Cristina Ortiz (piano)
Fine Arts Quartet: Ralph Evans and Efim Boico (violins); Yuri Gandelsman (viola); Wolfgang Lanfer (cello)

Recorded at the Performance Arts Center at purchase College, Theater C, Purchase NY, 20-22 December 2007.

NAXOS 8.570938 [63:24]

Gabriel Fauré was the youngest child in a family of six, the son of a school administrator and teacher with aristocratic connections. Encouraged as a child to pursue his musical interests, he was fortunate enough to study with Camille Saint-Saëns, with whom he maintained a close relationship until the elder composer’s death in 1921. Fauré would begin his career as a teacher and organist in smaller parishes, all the while composing songs. Ever self-critical, particularly where larger musical forms were concerned, it would be a few years into his career before he established himself as a major composer and pedagogue. Eventually his career would take him to the organ benches of several major Paris churches and to the directorship of the Paris Conservatoire, where his pupils would include the likes of Koechlin, Ravel and Nadia Boulanger to name but some of the stars.

Unlike many composers, Fauré seemed to have lived a charmed life, free from much of the poverty and personal stress that faced many of his predecessors and colleagues. He held steady jobs in worthwhile institutions throughout his career, was happily married and raised two sons, and lived to see his work internationally respected and to leave a legacy in the hands of several renowned composers that were his pupils. Consequently, his music reflects the serenity of his life. Although it never lacks passion, it seldom contains much angst, and as such has a soothing quality about it that makes most any work from his pen immediately appealing.

Harmonically, Fauré was a bridge figure between the romantics and the more modernist composers that were to be both his contemporaries and successors. Although often subtly adventuresome, his harmonic vocabulary never strays far afield and yet has a certain individuality that makes it both instantly appealing and rather difficult to play, given its tendency to turn right when you expect left, as it were.

These two major works of chamber music are nothing short of masterpieces, and show the care and time that Fauré took in composing them. At times dreamy, as in the opening movement of Op. 89 with its delicious d minor piano arpeggios, at others luminescent as in the gorgeous Andante of Op. 115. This is music that is indeed melodic, but not necessarily tuneful. In other words, a listener will get up having had a beautiful experience but perhaps not whistling any themes.

Cristina Ortiz and the Fine Arts Quartet are very welcome additions to Naxos’ endless supply of fine artists, giving us performances that are marked by understated virtuosity, subtle shadings of color and finely honed ensemble playing. The strings perform with a shimmering uniformity of tone and the balance between the keyboard and strings is never off. Ms. Ortiz has had a distinguished career as a soloist, her early concerto recordings of Villa-Lobos and Shostakovich garnering her many rave reviews. Here as a chamber musician, she proves herself to be similarly superior, playing with verve and panache, and as a complete partner in the music making.

This is music of immeasurable elegance. Yes, there are technical challenges to be met, but this ensemble plays with such refined finesse that the only thing that comes across is beauty. These are performances in which a listener can simply luxuriate, thoroughly enjoying the wash of sound that comes out of the speakers. Let’s hope that these artists come together again soon. Perhaps some Brahms and Schumann? Shostakovich maybe? The possibilities are exciting just to think about!

Some Flawless Violin Magic from James Ehnes

JAMES EHNES IN RECITAL

Disc One

Maurice RAVEL (1875-1937)

Tzigane [10:44]

Berceuse sur le nom de Gabriel Fauré [2:50]

Sonata for Violin and Piano in g Major [18:40]

Claude DEBUSSY (1862-1918)

Sonata for Violin and Piano in g minor [13:26]

Camille SAINT-SAËNS (1835-1921)

Sonata for Violin and Piano No. 1 in d minor, Op. 75 [22:41]

Disc Two

Henryk WIENIAWSKI (1835-1880)

Polonaise brilliante No. 2 in A, Op. 21 [8:32]

Polonaise No. 1 in D, Op. 4 [5:30]

Mazurka (Obertass) Op. 19, No. 1 [2:01]

Scherzo-Tarantella, Op. 16 [4:36]

Variations on an Original Theme, Op. 15 [11:06]

Pablo de SARASATE (1844-1908)

Spanish Dances, op. 21 [9:42]

Spanish Dances, op. 22 [9:50]

Spanish Dances, op. 23 [8:21]

Introduction and Tarantella [5:00]

James Ehnes (violin)

Wendy Chen (piano, disc one)

Eduard Laurel (piano, disc two)

Recorded December 20 and 22, 1999 at the Glenn Gould Studio, Toronto (disc one) and May 20-21, 2003 (disc two).

CBC RECORDS MVCD 1177-2 Disc One [68:17] Disc Two [65:34]

James Ehnes is almost without question the finest violinist of his generation, and as his career grows and he adds maturity to his immense talent, will surely soon rank as one of the greatest in history. Possessed of a flawless technique (British violinist Jack Liebeck once told me that his playing was “bulletproof”) and peerless musicality, Ehnes has a remarkable ability to shift from style to style with complete ease and facility. Whether playing big romantic concertos with the world’s finest orchestras or in this recital with piano, Ehnes is totally in his element, pulling off challenge after challenge with utter ease, poise and control.

In this combination of French masterpieces and Spanish fluff, Ehnes shows off both his serious side and his penchant for flashy showmanship. He pulls both off with aplomb and good taste. Joined by pianist Wendy Chen for a collection of staples from the impressionist canon, Ehnes plays with spot on intonation and natural sound. Of particular merit is the Ravel Sonata, which flows from dreamy to sexy to almost raunchy with its blues movement. Ehnes plays with silky elegance while not eschewing a foray or two into pure cabaret sensuality. Saint-Saëns more classic harmonies make for a pleasant contrast to all the languid impressionism of Debussy and Ravel. A composer that should be far more respected than he is, Saint-Saëns never ceases to amaze as one of the true musical craftsmen of his era. There is nary a genre in which he is not completely facile. His writing is idiomatic, his sense of form and structure are all but flawless and his works have a way of sticking to your musical ribs in a way few other composers’ music can. Ehnes and Chen spin out line after seamless line to make this tuneful showpiece a thrilling ending to the first disc of this set.

Joined on disc two by his long time recital partner Eduard Laurel, Ehnes gives us a sizable program of virtuoso gems from two of the better nineteenth century musical circus acts, Wieniawski and Sarasate. If you are seeking depth and profundity here you won’t find it, but you will leave the room satisfied with some catchy tunes and amazed at how easily James Ehnes can execute every technical magic trick in the book. I confess that I am not really as in love with this music as I am the French, but one cannot help but sit back in awe of just how well this music is performed. Alas, Mr. Laurel, who has in other outings has proven himself to be a pianist of exceptional abilities, does not get to shine in the way that Ms. Chen does in the more demanding works of the first disc. Nonetheless he seems to have a good time and plays with panache.

To date, I have not found a bad recording in all the discs that Mr. Ehnes has released and this is no exception. Now that he has recorded a great deal of the classic repertoire, it would be great fun to hear him tackle some more modern works. Maybe Paul Moravec will compose a sonata or concerto for Mr. Ehnes. Good idea, no?

A New Piano Discovery

Ludwig van BEETHOVEN (1770-1827)

Sonata quasi una fantasia, Op. 27, No. 2 (Moonlight) [16:03]

Robert SCHUMANN (1810-1856)

Fantasiestücke, Op. 12 [28:13]

Frederic CHOPIN (1810-1839)

Fantasie Op. 49 in f minor. [13:02]

Kevin Kenner (piano)

Recorded at the Opole Philharmonic Concert Hall, February 2008.

DUX 0633 [55:57]

The idea of the Fantasy (Fantasie, Fantasia, Phantasy…pick your preferred spelling) has been around for a few hundred years. And why not? What would be more tempting to a composer than to let his or her imagination run free, unrestrained by the rules of form? Works by some of the earliest keyboard composers in the early sixteenth century bear the title. The romantic composers had a field day with the genre, producing some magnificent and original works.

Beethoven’s two sonatas Opus 27, which bear the name “quasi una fantasia”, make use of this musical free-wheeling in their opening movements. The “Moonlight” so named by the poet Heinrich Rellstab when he commented that the first movement reminded him of the moonlight over Lake Lucerne, opens with what in other hands could have been a monotonous chord progression of broken traids, followed by a rather out of character and jaunty second movement, and ends with a c-sharp minor thunderstorm by which a pianist could easily sprain a wrist.

Robert Schumann’s collection of miniatures is intentionally programmatic, each with whimsical titles. Rapid-fire shifts of emotion mark these gems that can at one moment lull the listener into reveries and at the next send him bolting out of his easy-chair.

Chopin gives us a work on a far grander scale, a composition that runs the gamut of emotions from serenity to broad rushes of emotional turbulence.

It is all delivered with great finesse by the American Pianist Kevin Kenner, heretofore unknown to me, but who seems to have established a fine working relationship with the Polish Dux label. A musician of excellent pedigree, Mr. Kenner plays with great technical authority and with a fine sensitivity to structure, form, tonal shading and expression. Perfectly able to exhibit technical brilliance, Mr. Kenner chooses to disguise his prowess in subtleties rather than to blast us with unseemly keyboard pyrotechnics. His playing of the much over-recorded Beethoven sonata is governed with impeccable taste. Even the flashy finale is rendered with much elegance, with careful attention to inner voices, and with special care to make the perpetual arpeggios come across with clarity and precision.

His Schumann can be positively dreamy where allowed; powerful and authoritative where appropriate. The contrast between Evening with its serene melody and Soaring with its jet engine power is so pronounced that the shift between movements can be startling.

Finally, Mr. Kenner delivers a beautifully restrained account of Chopin’s Op. 49. It is so easy to romp through Chopin’s music just to show off, and somewhat rare to find a player who has discovered the poetry in the music. Kenner is just such a musician, and he is able, through carefully crafted phrasing and a fine singing melodic line to bring off this music in such a way as to never belie its technical sand traps.

As always, the highest compliment I can pay to a recording is that it left me wanting to hear more from the artist. This is just such a disc. Kevin Kenner is a fine discovery; one that I hope will come to even more international attention in the future.

Hit and Miss Korngold

Erich Wolfgang KORNGOLD (1897-1957)

Violin Concerto in D major, Op. 35 (1945) [23:43]
Overture to a Drama, Op. 4 (1911) [13:31]
Much Ado About Nothing –Concert Suite, Op. 11 (1918) [16:13]

Philippe Quint (violin)
Orquesta Sinfónica de Mineria
Carlos Miguel Prieto

Recorded at Sala Nezahualcóyotl, Mexico City, August, 2007.

NAXOS 8.570791 [53:40]

Erich Wolfgang Korngold was a Viennese boy wonder who was admired by Strauss and was expected to be the next great European Musical Genius when his early works appeared in the first decade of the twentieth century. Alas, politics and the havoc wreaked upon the continent by Hitler and the Nazis changed the course of his life, eventually landing him in Hollywood and a respected career as a film composer. Now famous for having essentially invented the “swashbuckling” film score, it has taken a few decades for Korngold’s substantial output of concert music to make a comeback. Fortunately, interest in these works has revived and none is more popular than the tuneful Violin Concerto of 1945, inspired by Bronislav Hubermann, but given its first performance by Jascha Heifetz.

Like the string quartets of Ravel and Debussy, Korngold’s violin concerto is often paired on recordings with Samuel Barber’s equally lush concerto. We have the happy fortune here of hearing a couple of Korngold’s purely orchestral works. The concerto however is the centerpiece, and although it is given a satisfactory performance by Philippe Quint, he stands against some serious competition. Chock full of Hollywood movie themes, this is still a substantial work, and requires a great deal of thought on the part of the soloist to keep it from sounding merely showy. Quint’s technical prowess is adequate for the task, but the sound seems a bit thin to these ears, lacking depth of tone in the lower register, and coming off as a bit reedy in the upper. By the end, I was left with a feeling that although his performance was certainly professional, it did not particularly inspire me. Compare this reading to James Ehnes’ brilliant performance (CBC 5421) or the equally remarkable reading by Gil Shaham (DG 439886).

Inspired by Shakespeare’s A Winter’s Tale, the Overture to a Drama was the first work that the teenaged composer orchestrated without assistance. It was given its first performance by the Gewandhaus Orchestra under no less a luminary that Artur Nickisch. Although the influence of Strauss is obvious, particularly in the charming use of three-quarter time, there is much that is original and it is understandable that musicians of the day saw such great potential in the young composer. Carlos Miguel Prieto leads a taut performance, elegantly shaped and balanced. Special mention goes to the horn section of the Mineria orchestra for their potent yet never overpowering playing.

The incidental music to Much Ado about Nothing was composed for a 1920 production of the play in Vienna. Knowing that the orchestra’s musicians would not be available for the full run of the play, Korngold arranged the score for violin and piano, an adaptation that has won more favor then the original orchestral version. Marked by wonderfully clever orchestration, with deft use of the piano and the harmonium, Korngold makes extremely creative use of a modest yet diverse cadre of instruments. Although each of the movements is brief, there is much delightful music squeezed in, and Maestro Prieto gives us a perfectly paced performance, making this little suite the highlight of this all too brief disc!

Stunning Mozart

Wolfgang Amadeus MOZART (1756-1791)

Violin Concerto No. 1 in B-flat major, K. 207 [20:07]

Violin Concerto No. 3 in G major, K. 216 [22:29]

Sinfonia Concertante in E-flat major for violin, viola and orchestra, K. 364 [29:56]

Renaud Capuçon (violin)

Antoine Tamesitt (viola)

Scottish Chamber Orchestra

Louis Langrée

Recorded 17-20 September 2007 at the Perth Concert Hall, Scotland

.

VIRGIN CLASSICS 502112 [72:56]

Although Mozart was himself a fine violinist, his five violin concertos, dashed off in a record eight month span in 1775, were most likely written for Antonio Brunetti, a virtuoso in the court orchestra of the Archbishop of Salzburg. Given that Mozart detested both men; it is no wonder that he never composed another violin concerto thereafter. They are of course perfectly crafted and tuneful and even poignant in the slow movements, but they do not hold a candle to the magnificent body of concertos for the piano that Mozart composed throughout his life for his own able use.

The Sinfonia Concertante, a form that Mozart discovered during his 1777 visit to Mannheim is quite the horse of a different color. Mozart composed three such works (if you count the Concerto for Flute and Harp which was written for a father-daughter pair of wealthy patrons). The example for violin and viola is without question one of his finest works, a masterpiece that stands with the late symphonies and piano concertos and the stunning Clarinet Quintet in its utter perfection of construction and its magnificent exploitation of the coloristic possibilities of the two solo instruments.

Virgin Classics continue to capitalize on the remarkable talents of the Brothers Capuçon whose remarkable musicianship has yet to fail in some two dozen recordings thus far. Violinist Renaud is featured here in these fine performances of the first and third violin concerti. Capuçon is noteworthy for being unafraid to be original. His tone, while always luminous and full throated, is not generically sweet like we so often hear on cookie cutter recordings of the standard repertoire. Indeed he is not afraid to risk a little aggression from time to time, and that tendency makes these performances of rather standard-fare concertos most refreshing.

It is however in the Sinfornia Concertante¸ joined by an artistic and emotional equal in the person of Antoine Tamesitt that the music springs to life. Like in the recent recording with brother Gautier of the Brahms Double Concerto (Virgin Classics 95147 see my review), the performers have a unity of purpose that is striking. Each musical gesture is of one accord, as best noted by some stunning octave work. The middle movement is as gorgeous as Michelangelo’s David, marked by breathtaking phrasing and a seamless legato. Round it all off with a joyous presto that brings you to the edge of your chair and you have one of the outstanding recordings of the year.

Hats off to youth and a brilliant new generation of performers. Classical music is a dying art form? Mmmm, I don’t think so.

On A Change of Life

Time is the most valuable thing there is. Sadly, we do not own it. It is lent to us by a power greater that us, and it can be taken from us by the most petty and ruthless beings known on earth. Therefore to waste it on worthless pursuits is amongst the greatest of sins. I propose that the use of time be our most selfish expenditure, a currency to be spent only on that which is fulfilling to us and on efforts to elevate others to a position of being able to do the same.

Material goods are the physical manifestations of that which we lack in emotional and spiritual health. They are not biodegradable and they clutter our mental landscape. Use only what you need. Collect only what is uplifting to your spirit. Treasure the ethereal over the tangible. Eat only enough to nourish your body. Share your excess or give it away. Make use of that which has already been used; don't be ashamed to display something that was purchased second hand. Invite others to use those things which you may have but they cannot afford. Use your money more to supply the needs of the downtrodden rather than to stoke the furnace of your own greed.

Create.

Study.

Debate.

Be willing to change your mind. Make an effort to change the minds of others.

Promote music and poetry. Write, even if you think your ideas are too small and your syntax is too weak. Open your ears to new sounds . Find what music there is in silence. Look inside chaos and listen inside noise to find a hidden singular beauty.

Inasmuch as your responsibilities to your loved ones allow, live first for yourself. Do not find yourself on the right-hand side of old age having regretted that you failed to take a risk, that you passed up a chance for adventure and enlightenment.

Try a new food every day.

And most importantly, never, ever, be afraid to say no.

Less than Stellar Beethoven

Ludwig van BEETHOVEN (1770-1827)

Violin Sonata No. 9 in A¸ Op. 47 “Kreutzer” [40:03]

Violin Sonata No. 5 in F, Op. 24 “Spring” [24:09]

Kalina Macuta (violin)

Daniel Blanch (piano)

Recorded 12-13 August 2008 in Barcelona. Specific venue is not listed. Live concert recording.

COLUMNA MUSICA 1CM0202

Kalina Macuta and Daniel Blanch serve up a concert performance of Beethoven’s two most popular and in turn demanding sonatas for violin and piano. The “Kreutzer” dedicated as a second choice to the French violinist and teacher Rodolphe Kreutzer, is one of the most involved and taxing of Beethoven’s ten such compositions. The “Spring” so named for its lyrical first movement and its sprightly but scant scherzo is arguably the most popular thanks in part to its abundance of pretty tunes. While such a pairing has the potential for a most satisfying recital, there is also the danger that less than stellar performances will grate on the ear. Alas, that is what is on offer in this release from Columna Classics.

Thigs get off to a pretty bad start from the first bar. Ms. Macuta’s fairly chilly tone is not helped by a very dry and boxy acoustic. The Kreutzer opens with an unusually long and complex movement, beginning with a slow unaccompanied solo that sets a serious mood for the rest of the work. Ms. Macuta stomps through the music will precious little finesse. At times she growls on the lower strings producing a tone that barely resembles pitch. In her upper register, intonation problems mar the sound, and often there seems to be no connection between her and her collaborator. They are noticeably out of sync on more than one occasion.

The theme and variations gets better treatment, but one wants a good deal more emotional commitment (subjective as such a comment may be) than comes to the fore. It is as if both musicians are breathing a sigh of relief that this slower music is easier to keep together. The finale is more accurate but no more beautiful to listen to with more grunting sounds produced from a harsh digging at the strings in the lower registers.

The “Spring” comes off sweeter, but there are so many exemplary performances from which to choose of this music, (try Pinchas Zukerman and Mark Neikrug for the Spring on RCA667888 or Vadim Repin and Martha Argerich in the Kreutzer on DG966302) that this release begs the question, “Why bother?” There is just not enough rewarding music making here to justify the outlay of cash. Add to the mix annoying and unnecessary applause at the end of each work and the project is pretty much dead in the water.

Side note: for a most evocative performance of the first movement of the Kreutzer, visit British violinist Jack Liebeck’s website at www.jackliebeck.com. He and Katya Apekisheva serve up a brilliant performance in a 2002 film directed Tim Meara, based on the Tolstoy story “Kreutzer Sonata.”

Some Fine Prokofiev

Sergei PROKOFIEV (1891-1953)

10 Pieces from Romeo and Juliet, Op. 75 [32:07]

Piano Sonata No. 7 in B-flat, Op. 83 [19:20]

Visions Fugitives, Op. 22 [ 22:52]

Ayako Uehara (piano)

Recorded 11-13 October, 2007 in Studio No. 1, Abbey Road, London.

EMI 5 17852 2 [74:37]

Much has been said about Prokofiev’s rebellious spirit and his overused monkier of enfant terrible has lost any significant meaning. Of course, by Soviet standards, he was a maverick indeed, not to mention someone seemingly fearless in taking risks. He composed some pretty dissonant stuff during a period when Stalin’s henchmen would haul subversive artists off in the middle of the night.

Prokofiev composed Romeo and Juliet in 1935-6. The piano transcriptions are his own, certainly meant for his own use. Anyone familiar with the orchestral score (of which Solti’s recording on Decca is superb as is Dutoit’s) will immediately appreciate the brilliant condensation of his powerful masterpiece into the sonic confines of the piano. More impressive is how idomatic the keyboard writing is, and how Ayako Uehara is able to bring out the subtle drama of the score with such finesse. This was a work that made its Leningrad producers nervous. The ballet was no fairy tail filled with dancing swans. The characters were very real, and Prokofiev finds their psychological complexities in this most descriptive music. Nothing of the pathos is lost in the transcription for piano, and Ms. Uehara explores the characters she portrays with great depth and understanding. This is no mere virtuoso display, but a welcome exploration of feelings and emotins.

The piano sonata of 1942 is a portrayal of the war time suffering and anxiety felt by all Russians. The work went on to win a Stalin Prize, which given its sometimes harsh dissonances and its overtly angular rhythms, comes a somewhat of a surprise perhaps. The music music have resonated with the party brass. Again, Ms. Uehara shows her abilty to bring out myriad colors and shadings. When called for, her performance is a technical tour de force. And yet, there is a lyrical beauty to her work, particularly in the second movement in which Prokofiev turns off his anger for a few minutes of inward reflection. Ms. Uehara is careful to choose a brisk but playable tempo in the finale, allowing Prokofiev’s alluring melodies to come out over the din of octave clatter.

The Visions Fugitives take their name from a poem by Konstantine Balmont. Brief and often wistful, these little episodes seldom last more than a minute. And yet they are diverse in mood. Prokofiev always had a gift for melody, and these little gems condense that ability in to a potent concentrate.

Ms. Uehara chooses a Yamaha instrument on which to perform, which is a bit unusual for big label commecial recordings. These pianos tend to be far more bright in the treble and thundery in the bass than do Steinways or Bösendorfers, a trait that can get in the way of sonic beauty, especially in aggressive music like much of what is presented here. To her credit, Ms. Uehara tames the trebly beast and brings out a wide array of tonal color. Here is a fine artist at work. One who has spent some time thinking through more than just the technical demands of them music. She has much to offer, and will hopefully offer us much more and soon.

Echos from the Papal Chapel

Giovanni Pierluigi da PALESTRINA (1525-1594)

Assumpta est Maria (7:19)
Missa Assumpta est Maria (29:42)
Ave Maria (3:33)
Beata est, Virgo Maria (2:56)
Hodie gloriosa semper Virgo Maria (4:57)
Regina coeli (6:22)
Magnificat Septimi toni (12:53)

Choir of Clare College, Cambridge
Timothy Brown

Recorded 8-10 January 1996 in the Lady Chapel of Ely Cathedral.

EMI 2 08120 2 [68:24]

Whether or not Palestrina’s Missa Papae Marcelli saved polyphonic music from the scalpel of the Council of Trent is up for debate, but it certainly makes a great story; great enough that the late romantic composer Hans Pfitzner fleshed out the legend for his masterpiece of an opera, Palestrina. Fancy tale or none, the music of the Papal choirmaster has come to be the gold standard of sixteenth century compositional style, much in the way that the music of Sebastian Bach is regarded for the Baroque period.

Clarity is the key word here, and even in the eight part double choir motets represented here, texts are clearly understandable, and the music, serenely beautiful as it is, first and foremost serves the words as a vehicle for religious enlightenment and inspiration.

Palestrina published more than 150 mass settings, hundreds of motets and more than thirty settings of the Magnificat during his long and productive career. The mass at hand is based on the motet of the same name, which is in turn based on plainchant. The program is rounded out with four sumptuous double choir motets and a Magnificat setting, all of which are heavily indebted to chant.

Timothy Brown leads beautifully balanced performances with a great deal of attention to detail. Inner voices are often to the fore and the clear delivery of ornamental figures from the individual sections is quite remarkable indeed. The Lady Chapel at Ely Cathedral is extremely reverberant and there are times when the sound, particularly in the lower registers borders on tubby, but this happens seldom and on the whole does not deter from the overall sound quality.

Given Palestrina’s necessary conservatism, it is often difficult to overcome the rather innate sameness in the music that can at times lead to listener boredom. Mr. Brown and his choir subvert this risk with careful attention to the rise and fall of lines and meticulous attention to enunciation. Add flawless intonation and an easy, unforced and natural beauty of tone to the mix and you get more than an hour of sublime music making.
At budget price, this is a steal, although one could wish for a bit more documentation. Essays are informative but all too brief.