VERY GOOD
Stravinsky Agon and Symphony in C – Metzmacher/SWR Symphony (SWR)
Lucas Foss Symphony #1 – Falletta/Buffalo Philharmonic (Naxos)
Castelnuovo-Tedesco String Quartets – Quartetto Adorno (Naxos)
Bruce Broughton “String Theory” – Bloxham/LSO (Naxos)
“Hungarian String Trios” – Trio Boccherini (BIS)
“French Piano Trios” – Trio Gaon (Hanssler)
Heimat in der Ferne Violin Sonatas – Rudin/Kusnezow (Fuga Libera)
A splendid Stravinsky collection comes from an unexpected source – Ingo Metzmacher (a name new to me) conducting the SWR Symphony Orchestra on their own label. The Agon ballet is absolutely splendid – vividly characterized with bright, alert, colorful orchestral playing. The coupling is a very good Symphony in C and a decent enough Symphonies of Wind Instruments (unfortunately in the watered-down 1947 revision). The recorded sound is excellent.
I’ve always liked the music of Lucas Foss, but, sadly, hardly ever encounter it. This new Naxos CD from the wonderful JoAnn Falletta and her equally wonderful Buffalo Philharmonic, therefore, is most welcome. Falletta has an extraordinary talent for bringing lesser-known music from lesser-known composers to life in ways which often elevates it to new heights. And such is the case here with Foss’s 1st Symphony. It is fantastic in her hands, experienced as never before imagined. (My notes emphatically proclaim it “Sensational!”). Foss was born in Berlin (as Lukas Fuchs) and studied briefly in Paris, before moving to Philadelphia at age 15 to continue studies at the Curtis Institute. (His teacher was none other than Fritz Reiner, who premiered his first symphony in 1945.) This performance of his 1st Symphony, composed when he was just 22, instantly establishes it (however belatedly) as one of America’s most significant, well-crafted, treasured, uniquely American creations. It can stand proudly alongside those masterful symphonies by pioneering American composers such as William Grant Still, William Dawson, Howard Hanson (et al) as one of the very best.
If only his Flute Concerto (composed 4 decades later) were as gratifying. I have never liked it, and despite glorious playing from flutist Amy Porter in this reading, still don’t. The fillers on this disc, though, are excellent. “Ode” (a bit brooding, with vague hints of Rachmaninoff’s “Isle of the Dead”) and “Three American Pieces”, which falls into the same harmonic soundscape as the symphony, are both rewarding – infused with an air of new discovery from this marvelous conductor. This disc is indispensable – especially for this recording of the symphony, which is even more persuasive and musically involving than the only other recording of it I could find on my shelves, from the Boston Modern Orchestra conducted by Gil Rose (which presents all 4 symphonies on 2 SACDS on their own label, BMO Sound).
Another composer I always enjoy is Castelnuovo-Tedesco and I am grateful once again for the Naxos label for producing a much-needed recording of his 3 String Quartets. 71 minutes of absolutely glorious music – original, inventive, instantly appealing and thoroughly rewarding. It is played by a wonderful string quartet I had not encountered before, the Quartetto Adorno. They are afforded some of the best recorded sound from Naxos, making this an essential acquisition.
Some interesting new concert music from film-score composer Bruce Broughton also comes from the great Naxos label. Broughton’s music is mostly tonal (sort-of) while continually experimenting with atonality, and always melodically alluring. We start with a beguiling oboe concerto (“And On the Sixth Day”), played enchantingly by the LSO principal oboist, Olivier Stankiewicz. And the atmospheric, ethereal orchestral contribution makes a lasting impression, expertly scored. There are free-flowing tunes aplenty, over a harmoniously expansive landscape, creating an oboe concerto which can hold the listener’s interest more than usual for such a work lasting over 20 minutes.
The concluding piece is a substantial (nearly 30 minutes) Theme and Variations for strings, called “String Theory”. I was dismayed to see this clever title exploited after having already been taken, on a splendid 2016 composition by Pierre Jalbert, recorded for Orchid Classics. As it turns out, both works are marvelous, though in different ways. Broughton presents an attractive prelude and main theme followed by an interesting set of 17 variations – with energetic and invigorating passages (which generate plenty of momentum) alternating with sentimental, tuneful sections. At first I was hoping to hear more extravagant, innovative string techniques, but during a second listen, I began to appreciate its straightforward, genuinely accomplished musical creativity and deliberate avoidance of gimmickry. The scoring is imaginative, captivating the listener’s interest throughout with judicious (and always tasteful) use of pizzicato, harmonics, glissandos, col legno, etc., among its appealing tunefulness. I do wish Naxos had tracked each Variation separately, rather than randomly grouping them together in 3 large clumps. (The meager insert/leaflet doesn’t even list them individually.) Nevertheless, I came away enjoying this piece much more than I anticipated, and I was delighted to hear the LSO strings obviously enjoying themselves.
As always with these kinds of albums, the LSO’s sightreading prowess is impressive. And they are expertly led by cellist-turned-conductor Jonathan Bloxham, who is adept at bringing out singing lines, colorful detail and vivid characterization. And the Naxos recorded sound is up to its usual excellence with this orchestra in Henry Wood Hall. (Incidentally, and irritatingly, a new horn concerto was also recorded for this album, and is apparently available on the digital download version but not the CD, which plays for just 50 minutes. Tsk-tsk.)
The BIS collection of Hungarian String Trios played by the wonderful Trio Boccherini is positively delightful from beginning to end. Collectors may be familiar with a shorter, similar collection on a 2003 CPO disc played by Deutsches Streichtrio, which can’t begin to compare in charm, beauty of playing or alluring recorded sound to this newer one. The two groups duplicate music by Leo Weiner, Kodaly and von Dohnanyi. But BIS adds a significant extra work by Laszlo Weiner (no relation to Leo), bringing the total playing time to over 65 minutes (compared to CPO’s meager 49’.) Trio Boccherini is a superb group, whose playing is imbued with ardent musicianship and characterful spontaneity. (Their recording of the Beethoven String Trios on a pair of CDs from Genuin is also outstanding.) They bring this music to life as never before, and BIS affords them some of their very best recorded sound – warm, spacious and immediate. This is one of the most enjoyable discs all year.
Coming late in the year, just as I was unboxing the Christmas CDs, a collection of French Piano Trios from a new group, Trio Gaon, captured my interest. Expert playing and superb recorded sound can’t begin to summarize the gloriousness of the musicmaking heard on this Hanssler CD. I can proclaim this reading of the Ravel Trio to be the best I can ever remember hearing. Rhapsodic soaring lines, underlined with colorful, rapturous harmonies and rich dynamic swells – this group often sounds positively symphonic. I was continually amazed that only 3 instruments were at play here, as they demonstrate once again Ravel’s marvelous creation as the supreme masterpiece it is.
Debussy’s Trio, an early student work from 1880, is wonderful too as played here, making it seem nearly as magnificent as Ravel’s. While Francaix’s Trio was, remarkably, written over 70 years later (1986). It is witty and precocious, and reminds me so much of his Concerto for Two Pianos from 20 years earlier, one wonders if he consciously repurposed some of its thematic material in this later trio. The concert closes with the shorter, happier of Lili Boulanger’s two pieces for piano trio, “Of a Spring Morning”. This is an outstanding disc by every measure and I can’t wait to hear more from this group.
Finally, a disc of Viennese violin sonatas from two artists previously unknown to me, violinist Fedor Rudin and pianist Boris Kusnezow. I can’t remember what prompted me to buy this release (most likely because it appears on a label I’ve always admired, Fuga Libera), but I’m so glad I did; it is hugely enjoyable. They start with a delightfully refreshing, light, airy and thoroughly unfussy Beethoven A-major Sonata (Opus 12, #2), replete with lively, ebullient tempos. Schubert’s Rondo Brillant in B-minor is a contrasting (and as it turns out, wisely chosen) interlude before the main attraction appears in the form of a relative rarity – the Violin Sonata in G by Jan Vaclav Hugo Vorisek. I had never heard it before and found it to be wholly worthy of Beethoven’s company. It can be heard to exhibit the piano prominence of Beethoven’s own sonatas and the lyrical singing tunefulness of Schubert, combined with highly virtuosic writing (for the piano) of perhaps Hummel or Paganini. It certainly showcases the effortless bravura of pianist Boris Kusnezow in what sounds to be some very difficult passagework in all 4 movements, executed with verve and aplomb. This is a real find and I loved it.
Excellent recorded sound compliments this thoroughly rewarding recital, though the production itself is a bit odd. Rather than concluding the program logically with the exhilarating final Allegro molto of the Vorisek, a short arrangement of a slow, somber Mozart opera aria is appended at the end for no apparent reason – which is absurd. Also, curiously, the booklet, which contains an enlightening program note written by the performers, makes no mention of the musicians at all. I guess we have to google that. This is the first recording of this duo, and I hope to hear more from them in the near future.
HONORABLE MENTION
Frederick Block Chamber works – ARC Ensemble (Chandos)
Sibelius works for Violin and Orchestra – Ehnes/Gardner/Bergen Philharmonic (Chandos)
Hans Gal works for chamber orchestra – Soderblom/Ostrobothnian Chamber Orchestra (CPO)
A Chandos CD presents premier recordings of chamber music by Frederick Block. (Born in Vienna as Friedrich Bloch, he modified his name to “Frederick Block” when he moved to New York in 1938.) This release is notable for the outstanding playing and musicianship of the wonderful ARC Ensemble (“Artists of the Royal Conservatory” in Canada), whose “pioneering work focuses on the research, performing and recording of music that has been marginalized and forgotten due to political repression”. This is the 8th recording in an important and significant “Music in Exile” series for Chandos. (There were two more a decade earlier for RCA.) It’s also notable for outstanding recorded sound, which cannot be taken for granted (witness the inferior sound this same label regularly produces for another innovative ensemble, the Kaleidoscope Chamber Collective, for example). Block’s Piano Quintet in particular is an outstanding work, and so too is the Piano Trio. Only the String Quartet can get a little wayward at times before it’s done (it goes on a little too long, at over 24 minutes), but is still worth hearing. This disc is rewarding, not only for the rarity and richness of the music, but the outstanding playing and excellent recorded sound (CD only).
And yet another Chandos highlight from the year had initially brought some trepidation. I feared that an over-familiar and -recorded Sibelius concerto, coupled with some of his less-known violin music, as played by James Ehnes, who frankly isn’t the most charismatic fiddler around, would be a rather sleepy affair. But I was wrong – thanks in large part to conductor Edward Gardner, who is far from sleepy. As a matter of fact, the concerto’s first movement is, quite simply, glorious. It’s refreshingly straightforward and unfussy, propelled by naturally flowing, unperturbed tempos. Ehnes’ gorgeous sound suits it perfectly, while Gardner minimizes unnecessary outburst of melodrama, demonstrating impressive scope and direction, generating splendid momentum. And if the finale isn’t as electrifying as it can be, it is certainly impressively played. Ehnes is immaculate almost to the point of whimsical; the predictability and sheer perfection in his playing exhibits no evidence whatsoever of its fiendish difficulties, denying us a bit of what should make it so hair-raising. It’s more than satisfactory, if not especially revelatory.
In the remainder of the program, Ehnes’ gorgeous tone is again perfect for the music, but helpfully not as voluptuous as he can sometimes be. He lightens it to a beautiful silkiness when appropriate, and pours on the passionate richness just when it’s needed most. This music, much of which is rarely recorded, is intriguing. While it’s unmistakably Sibelius, and often recalls his violin concerto (especially in the Humoresques), Ehnes and Gardner bring life and individuality to the writing. And it’s literally like hearing it all for the first time. While I certainly didn’t need another recording of the concerto, this disc, which plays for an astonishing 79+ minutes, is worth it for all the “filler” material, which occupies 50 minutes of that. There are some real discoveries here which are most rewarding, and the SACD is beautifully recorded.
I have always thought of Hans Gal as a contemporary composer (1890-1987). Indeed his symphonies and concertos can sound quite modern – harmonically/rhythmically/tonally exploratory and innovatively creative – as heard in a splendid series of recordings made by the Northern Sinfonia, conducted by Kenneth Woods (concertos) and Thomas Zehetmair (symphonies) for the Avie label. He can even get a little strange sometimes! So I was pleasantly surprised to hear how traditional, proper, tonal, refined and cultivated these pieces for (mostly) string orchestra are. (Only one work has winds.) The entire program is pleasant and smiling, very well played and recorded. Its 75 minutes’ length is perhaps too much for one sitting, but taken in smaller portions, this music is thoroughly enjoyable.
NOT SO GOOD
Stravinsky Chamber works – Barbara Hannigan/Juilliard/Royal Academy (Linn)
Stravinsky Violin Concerto/Orchestral music – Ehnes/Andrew Davis/BBC Philharmonic (Chandos)
Hans Huber Piano Quintets – Carmina Quartett (CPO)
Henselt & Bronsart Piano Concertos – Wee/Collins/Swedish Chamber Orchestra (BIS)
Bruckner & Klose String Quartets – Quatuor Diotima (Pentatone)
It was an interesting (and rather odd) idea to combine students from Juilliard and the Royal Academy to record some Stravinsky. And an interesting (and rather odd) choice of conductor too. Barbara Hannigan’s experience as a conductor is not extensive and I was surprised to see her on this project. And, unfortunately, she is not the leader these students (who are not professionals, and obviously not used to playing together) needed. The program is enticing, but these readings lack inspiration and spontaneity – or even a spark of youthful vitality. They are curiously careful – as if trying to just get all the notes out in the right place at the right time (which they manage to do.) And frankly, they’re not even all that well-played technically, which surprised me. This is a disappointment and I can’t help but wonder why Linn Records would ever consider recording this.
Another disappointing Stravinsky release comes from Chandos. Where James Ehnes’ Sibelius is infused with freshness from Edward Gardner, such is not the case in Stravinsky with the nearly-80 year old Andrew Davis on the podium. The violin concerto is merely good – missing much of the ragged Stravinsky spikiness. It is agreeable to a fault, rendering it uneventful and completely forgettable. As is the remainder of the orchestral program, which is even more lackluster. Davis’ Apollon Musagete is undercharacterized to the point of blandness – not helped by the plush recorded sound, which, though beautiful, tends to polish off too much of the jagged Stravinsky bite which is an essential ingredient in this music.
On the face of it, Huber’s Piano Quintets look interesting. There is some good music in them, but too often becomes impossibly grandiose and, frankly, a bit hokey. I can’t fault the playing of pianist Oliver Triendl, who is excellent; and so too is the Carmina Quartett (although their continuous full-power vibrato can get a little tiring). The CD is reasonably well recorded, and this recording makes the best possible case for these works. This release is typical of the CPO label – notable for rare repertoire, usually played by relatively unknown artists, presented in good (but rarely great) sound. This one is interesting to hear just once, perhaps while doing the dishes, but not something I’d return to very soon.
The discs of unfamiliar piano concertos and string quartets are good reminders why some music is rarely, if ever, recorded – it’s either not all that good or not all that memorable. I didn’t enjoy either piano concerto on BIS – heavy, Germanic and uninviting. And the performances, especially from conductor Michael Collins (I do wish he’d stick to his clarinet), seem steadfastly earthbound and fail to spring to life.
And on Pentatone, I shake my head at Quatuor Diotima‘s choice of music to record. They’ve made so few records, why on earth would they ever turn to Bruckner and the unheard-of Klose for their next recording project? I can understand a desire to be distinctive, but this isn’t even appealing music. Of all the string quartet repertoire they haven’t begun to explore yet, surely something more worthwhile (and enticing) could have been found to signify an enterprising endeavor. A great disappointment from one of my favorite young string quartets.
THE ABYSMAL
Haydn Late Symphonies Vol. 1 – Adam Fischer/Danish Chamber Orchestra (Naxos)
This can be quick; my notes are succinct: “Icy. Clipped. Lacking any kind of warmth, joy or semblance of sound musicianship. Even tempos are inconsistent. What orchestra would put up with this?”
The last sentence of my notes says: “DON’T BUY ANY MORE OF THESE.” And I haven’t. There are too many worthwhile releases out there to waste time on any more of these.
