Vladimir Feltsman: J. S. Bach, The French Suites BWV 812-817; Overture in the French Style BWV 831.
Nimbus 2-CD set NI 6314
(No high-resolution download available, apparently.)
This wonderful 2-CD set will make a great gift for a friend who does not listen to a lot of classical music. That’s largely because the music is as accessible as it is beautiful. And while these recordings could serve as background music for other activities, they will also reward close attention during repeated hearings.
Vladimir Feltsman was born in the Soviet Union in 1952. He made his début with the Moscow Philharmonic at age 11. (Interestingly enough, his father Oscar was a composer of popular songs and musical comedies.) Unhappy with political interference in the arts, in 1979 Feltsman applied for an exit visa, the result being eight years of virtual artistic non-person-hood.
Arriving in the US in 1987, he was widely feted, starting at the White House. Today, Feltsman might be verging perilously close to “Elder Statesman” status, except that his playing exhibits youthful vitality and genuine enthusiasm, all without a trace of self-importance. Continue Reading →
Alexander Toradze: Shostakovich Piano Concertos 1 & 2
Recorded June 2010 and August 2011, hr-Sendesaal, Frankfurt, Germany
CD Pan Classics PC 10261
(No high-resolution download available, apparently.)
Alexander Toradze, piano; Jürgen Ellensohn, trumpet in Piano Concerto No. 1; George Vatchnadze, piano in Concertino Op. 94; Frankfurt Radio Symphony Orchestra, Paavo Järvi, conductor.
In writing about Yevgeny Sudbin’s recent Scarlatti recording, I mentioned the Jungian Synchronicity that a few weeks before I downloaded the review copy of Sudbin’s recording, I had been engaged as a substitute to review for the Providence Journal a Rhode Island Philharmonic concert featuring Alexander Toradze playing Rachmaninoff’s Third Piano Concerto. Further, that for his encore, Maestro Toradze played the same Scarlatti “Aria” sonata that brings down the curtain on Sudbin’s program.
This week’s “New-Music Mondays” feature is a recording that is not yet out. It is already in the can. However, it needs an additional infusion of cabbage, moolah, or The Ready Freddy to manufacture the hybrid compatible 2-SACD set. If you missed my coverage of Tredici’s Final Alice, a work in the same series, that is here. The Kickstarter page states, “A massive 130-minute work for large orchestra and an amplified soprano soloist, Child Alice has been performed only twice in its entirety, and has never been commercially recorded.”
The ensemble is The Boston Modern Orchestra Project. Your cabbage, etc. will be in good hands! Not only is BMOP Musical America‘s 2016 Ensemble of the Year; they have successfully produced about 50 recordings, as well has completing four Kickstarter projects. (Some BMOP Kickstarter projects were not funded; but, that’s the record biz.) The project already has pledges totaling more than $10,000; about $3,500 additional is all that is needed. The higher-echelon donor rewards include autographed items.
Complete Kickstarter info is here. The project video is not embed-able here, but it presents snippets from the live recording.
Thanks to Stereophile‘s Kalman Rubinson for bringing this to my attention.
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Yevgeny Sudbin: 18 Sonatas by Domenico Scarlatti (1685–1757)
Sonatas K 417 in D minor; K 208 in A major; K 159 in C major; K 56 in C minor; K 213 in D minor; K 125 in G major; K 373 in G minor; K 119 in D major; K 69 in F minor; K 425 in G major; K 29 in D major; K 99 in C minor; K 12 in G minor; K 479 in D major; K 9 in D minor; K 318 in F sharp major; K 141 in D minor; and K 32 in D minor.
AUTOGRAPHED Compatible stereo + MCH SACD/CD BIS 2138; CDQ or 24/96 download, Classics Online.
Domenico Scarlatti wrote these sonatas for his patroness Maria Magdalena Barbara, the Infanta of Portugal.
Mitzi “married up,” later becoming the Queen of Spain. (No, her nickname was not “Mitzi;” so, don’t bother writing in. But please, do find a different reason to write in!) Maria Magdalena Barbara had a nearly-insatiable appetite for… keyboard sonatas. Scarlatti wrote more than 500 of them. Furthermore, Scarlatti wrote almost all of those sonatas for the harpsichord.
Therefore, it is an historical irony, one reflected upon by Yevgeny Sudbin in his truly excellent liner notes, that today, these works are most often associated with Russian pianists; Vladimir Horowitz being the prime example. Sudbin claims that Russian musical education uses Scarlatti’s keyboard music more than does any other country’s pedagogy; and, that well may be true. Ten years ago, Sudbin made his début (all-Scarlatti), recording for Sweden’s label BIS; it received rapturous reviews. Volume Two, so to speak, is his tenth-anniversary celebration.
The bottom line is, this recording is an absolute “must-buy” for piano lovers. (Historically-Informed Performance people, perhaps not so much.) Sound samples and more, after the jump. Continue Reading →
(Courtesy www.maritasolberg.com; photo credit Felix Broede.)
Marita Sølberg: Opera Arias
Opera arias by Catalani, Mozart, Gounod, Bizet, Leoncavallo, Puccini, Bellini, Rachmaninoff, Dvořák, Verdi, and R. Strauss.
Norwegian National Opera Orchestra
John Fiore, conductor
CD Simax Classics PSC1336
Say “Hello” to Marita Sølberg!
Marita Sølberg’s name was unknown to me when I stumbled upon her upcoming new release (which came out last Friday) on Naxos’ (Simax’ US distributor’s) ultra-top-secret, password-protected publicity website, which is, I am told, hosted on a server in the kitchen of an excellent barbecue place down near Chattanooga. The track list contained both old favorites and a couple of unknown arias, so I dutifully hit “Download.”
The program starts with a very well-played (Norwegian National Opera Orchestra; John Fiore, conductor), well-recorded orchestral introduction to the famous Puccini-esque aria “Ebben; Ne andro lontana” from Catalani’s obscure-except-for-one-aria opera La Wally. So far, so good.
Then, Miss Sølberg started to sing, pensively and almost languidly. Oh dear me. This one does not go into the “Discard” pile… . (More than half of the new recordings I listen to, I pass over in silence.)
Generous sound clips and more, after the jump. Clickez!
This CD is not just for classical listeners—anyone who loves beauty and wants more of it in his or her life should buy this recording. This cleverly-constructed disc is arranged like an old-fashioned recital program.
Serious music at the start (if you want to call Schubert’s contagiously lighthearted Arpeggione sonata “serious,”); followed by a guitar/cello treatment of Falla’s Spanish Popular Songs; then a wee homeopathic dose of accessible new music; and then all four shoes drop in a succession of surefire crowd-pleasers: “Dance of the Blessed Spirits,” “The Swan,” Bachianas Brasileiras No. 5 (“Aria”), and finally Paganini’s Moses variations.
The recorded sound is absolutely stunning, completely worthy of the best systems at the next audio expo. Hint, hint. (Recorded by Bruce Egre at Cleveland State University’s Waetjen Auditorium.)
Words about the performers, followed by some generous sound bites, await you after the jump. Clickez-vous, s-v-p!
David Deveau: Siegfried Idyll
Piano music of Liszt, Wagner, and Brahms
Steinway & Sons CD 30051
This completely musical and unusually thoughtful recital program by David Deveau is not only a feast of pianistic tonal beauty and artistic phrasing. For my always-increasingly-meager shekels, of all the recent Steinway & Sons CD solo-piano releases, this is the one that most closely approximates my ideal of what a great piano recording should sound like.
So, audiophiles: please vote with your wallets by buying this CD!
Words about the performer, the program, and the recording venue (followed by some generous sound bites), all await you after the jump. Clickez-vous, s-v-p!
Faure: Requiem, Op. 48; Cantique de Jean Racine, Op. 11; Laurence Equilbey, Accentus.
CD Naïve 5137
Sandrine Piau (soprano), Stéphane Degout (baritone), Luc Héry (solo violin), Christophe Henry (organ); Maîtrise de Paris, Patrick Marco, musical director; National Orchestra d’Ile de France, conducted by Laurence Equilbey.
Gabriel Fauré was one of the first students admitted to the new school founded by Louis Niedermeyer to give training in classical religious music (by which he must have meant chant), and the rediscovered polyphony of Palestrina and other Renaissance and Baroque masters. Fauré was hugely influenced by Camille Saint-Saëns and César Franck. It was Franck to whom the young Fauré dedicated his student work Cantique de Jean Racine.
Click the continuation link to access a sound sample of Laurence Equilbey’s and Accentus’ wonderful 1905 orchestral version of Cantique de Jean Racine. It is my final Holy Week music pick for this year.
Franz Schubert: Symphony in C major (D 944),
Nikolaus Harnoncourt, Berlin Philharmonic Orchestra
Recorded March 22-24, 2006; released 2015
HD Tracks download HD4260306189120
Gloriosky, what a magnificent performance!
Just download it, today. Every now and then, a new recording comes along that blows the dust off thrice-familiar music, while at the same time blowing the competition into the weeds. For interpretation, playing, and recorded sound, this download sets a new standard in Schubert’s “Great” C-major symphony.
But up front, please let me explain that, when I say, “blows the dust off” a masterwork, I do not mean a superficial jazzing-up, or any disrespect to tradition. What I refer to is the fruits of a scholarly and humble investigation into the best sources, leading to a needful correction of tradition, when tradition can be shown to be faulty.
(During the time this review was in preparation, news was received of Nikolaus Harnoncourt’s death, on March 5, at age 86. A life well lived; and one that will be long remembered. Requiescat in pace.)
Alan Feinberg is one of those increasingly rare classical pianists who have managed to create an international career without the springboard of a well-publicized competition win. (No knock on competition winners who play like artists—see here. )
Alan Feinberg came to my attention some years back when he recorded a series of four CDs for Argo, one of which included a spellbinding performance of a Fauré “Après un Rêve” transcription by Percy Grainger. Feinberg’s approach was larger than life. Or, perhaps it was more that Grainger’s “transcription” left Fauré’s pensive little art song in the dust of a major construction project.