Saturday, 23 July 2016

A new recording of David Bednall’s Stabat Mater from the Benenden Chapel Choir directed by Edward Whiting, with Jennifer Pike as violin soloist and the composer as organist, brings music of strength, beauty and passion

English Composer, David Bednall www.davidbednall.com was born in 1979 and studied in Sherborne and then at The Queen’s College, Oxford where he was Organ Scholar. In 2000 the Chapel Choir toured Paris under his direction, singing at Notre Dame and other venues. That year he was appointed Organ Scholar at Gloucester Cathedral under David Briggs and Ian Ball. As Acting Director of Music and Acting Assistant Organist, he was closely involved in the Three Choirs Festival.  

He is Organist of the University of Bristol, Sub Organist at Bristol Cathedral and conducts the University Singers. He studied with Dr. Naji Hakim and David Briggs and between 2002 and 2007 was at Wells Cathedral, initially as Sub Organist and then as Assistant Organist. As well as the daily services he accompanied the choirs for concerts and on radio and television broadcasts. He also made a number of recordings with the Cathedral Choir and Chamber Choir on the Hyperion, Regent, Lammas and Priory labels.

He was a prize-winner in Improvisation and Performance at the examination for Fellow of The Royal College of Organists in 2002, and has given recitals at L’Église de La Trinité, Paris, Westminster, St Paul’s and many other cathedrals. Additional engagements have included recitals at Westminster Abbey and the Edinburgh Fringe Festival.  In June 2008 he gave a recital at Notre-Dame de Paris.

David Bednall is recognized as one of the leading choral composers of his generation and studied for a PhD in Composition with Professor John Pickard at the University of Bristol. As a composer David Bednall has featured on a number of recordings from Regent Records www.regent-records.co.uk including his Requiem that was Gramophone, Editor’s Choice in May 2007.

His 40–part motet Lux orta est iusto closed the Bristol Proms 2015 and he has been commissioned by the Finzi Trust to write a Gloria and Nunc dimittis to accompany Finzi's setting of the Magnificat for the Three Choirs Festival 2016.

His Stabat Mater was premiered in New York by violinist, Hayley Lam and the Benenden Chapel Choir with the composer as organist. Its UK premiere came in June this year when it was heard at Holy Trinity in Sloane Square, London.

David Bednall’s Stabat Mater has been recorded with Jennifer Pike www.jenniferpike.com  as violin soloist with the Benenden Chapel Choir www.benenden.kent.sch.uk/2404/trust/music-cantemus-chapel-choir  directed by Edward Whiting and the composer as organist for Regent Records coupled with his Marian Suite for violin and organ and his setting of Ave Maria.

REGCD481

David Bednall’s Stabat mater is in eleven parts. The solo violin of Jennifer Pike opens the Prelude with a long theme that evokes the feel of anguish, bringing a rather Jewish inflection. The organ joins with gentle chords before the violin rises through some passionate passages. Soon the organ introduces a more resolute theme which the violin takes ahead over the organ, rising to a peak for both instruments in an impressive moment before the violinist finds a penetrating hush over the organ to lead into the next section.

The organ moves quietly and gently into the Stabat mater dolorosa with a remote, isolated quality.  The Benenden Chapel Choir enter with the words Stabat mater dolorosa juxta crucem lacrimosa (The grieving mother stood beside the cross) never disturbing the atmosphere of mournful isolation. These fine young female voices are excellent, so appropriate to this theme of a mother’s suffering. The organ suddenly rises up dramatically to lead the voices ahead in a passionate section. The music moves through moments that bring a real tension, the organ and choir weaving lovely sonorities yet with an underlying strength before leading to the coda over soft pulsating organ phrases.

With O quam tristis the organ brings a gentle theme over which the violin adds an exquisite line. The choir join in a gentle, sad Q quam tristis et afflicta (O how sad and afflicted) with the violin weaving a lovely line over the organ. The violin adds some sudden shimmering chords before the music rises up for choir, organ and violin. The violin leads forward over the organ with choir joining in a quite lovely conclusion.

The organ brings an anxious opening to Quis est homo to which the choir joins, bringing a sense of gently urgency. Later the violin joins to bring richer phrases, adding to the tension, rising to a fine climax before falling as the violin plays a mournful melody over the organ as we are led into Vidit suum dulcem where the violin holds a hushed note as the choir sing a quiet and gentle Vidit suum dulcem Natum (She saw her sweet Son).

The mood lightens as the organ introduces Eia, Mater, fons amoris the choir soon entes,r bringing a lovely flow, finely phrased. The violin adds occasionally wistful moments before the solo voice of Olivia Wollaston appears, bringing a lovely purity. The choir continues, rising to a peak before some quite lovely choral singing finds the coda.

The organ introduces Sancta Mater with a sense of gravitas and drama, rising slowly and speeding to a dramatic passage where the choir enters, full of strength and drama with Sancta Mater, istud agas, crucifixi fige plagas cordi meo valide (Holy Mother, grant that the wounds of the Crucified drive deep into my heart) through a section that is in the finest tradition of English choral writing, moving through moments of intense passion and drama before falling as the organ plods to a conclusion.

In Fac me tecum Jennifer Pike’s violin enters alone with a slow, rather mournful theme that is developed through some lovely passages. The organ joins, quickly joined by the choir who bring Fac me tecum pie flere (Let me sincerely weep with you) over a held organ note.  The violin returns to weave its sad tune over the organ line before the choir continues over a deep organ chord. The choir and organ find some lovely choral harmonies, expertly sung by this fine choir before the violin is heard over a stronger organ line, leading to the end.

The choir alone bring Virgo virginum, finding a lovely pace, wonderfully phrased, developing some very fine part writing to which this choir brings a lovely clarity before a finely controlled conclusion.

The organ leaps in with a tremendously energetic and dramatic opening to Fac me plagis vulnerary. The choir enters on the words Fac me plagis vulnerary (Let me be wounded) providing a fine rise and fall. The organ continues to bring moments of drama and tension, wonderfully played by the composer. Soon the solo violin joins immediately followed by the choir as all three develop the tension, rising to a peak. There are many moments of drama in this fast moving sequence before suddenly reducing to a slow mournful solo violin, a moment of stunning contrast. The solo voice of Flo Rivington enters to which the choir joins, then violin. In a most affecting moment a hushed single violin note leads to a hushed organ passage. Bednall, as both composer and organist finds such poetry and feeling here before leading to the conclusion and into the final section.

The organ quietly continues with a gentle pulse to go into Christe, cum sit hinc exire with the choir gently entering in a quite lovely Christe, cum sit hinc exire da per Matrem me venire ad palman victoriae (Christ, when Thou shalt call me hence, may I through your attain the palm of victory). The violin brings a rich sonorous, melancholy line to lead ahead over the organ. The choir re-joins, rising a little before an extended Amen leads with violin and organ to the lovely gentle coda.

All in all this is a remarkably fine work full of poetry, passion and deep feeling. It is most wonderfully sung by the Benenden Chapel Choir under their director Edward Whiting with very fine playing indeed from both Jennifer Pike and David Bednall.

The Marian Suite for violin and organ was written for the soloist here, Jennifer Pike who is joined by David Bednall (organ). The first and last movements are paraphrases on the Gregorian chants Ave Maria and Ave maris stella. The organ brings a gentle opening to Ave Maria over which the solo violin lays a gently flowing melody, bringing a rather contemplative quality. It later increases in passion before the organ and violin find an exquisitely gentle end. The organ introduces a lovely Mary's Lullaby with the violin soon joining to add a timeless, very English sounding melody with a lovely, subtle rocking pulse. The music moves through stronger, richer moments before finding a lovely hushed coda. In Ave maris stella the solo violin finds a more dynamic, faster moving theme with the organ bringing some lovely passages as this section all but dances ahead, full of vigour. There is some excellent playing from Jennifer Pike and David Bednall as we are taken through some impressive passages. Towards the end there is a terrific organ passage, before the violin and organ find a vibrant coda. 

Ave Maria was composed for the Benenden Chapel Choir for this recording. The organ opens gently, soon joined by the violin to weave a lovely melody. The choir joins in this rather lovely setting, in many ways an encapsulation of Bednall’s choral style and a lovely way to conclude this fine disc

There is music of strength, beauty and passion here showing that the English choral tradition is alive and well, yet with such originality. 

The choir and soloists are beautifully recorded in the fine acoustic of the Chapel of St. Augustine, Tonbridge School, UK. There are excellent booklet notes from the composer as well as full Latin texts and English translations. The booklet is nicely illustrated. 

Tuesday, 19 July 2016

Impressive piano works that show Australian composer Grant Foster to be a distinctive voice on a new release from Melba Recordings

Composer, Grant Foster www.grant-foster.com was born in Sydney, Australia and studied piano with Alexander Sverjensky (1901-1971) at the Sydney Conservatorium of Music before studying with Marcel Ciampi (1891-1980) in Paris. He began composing at an early age and wrote his first opera, Dark Love, at the age of fifteen.

Eventually, his music was heard by producers in London resulting in his composing of incidental music for Peter Pan directed by Sir Robert Helpmann. The show was a big success and ran for seven consecutive Christmas Seasons.

On his return to Sydney, Foster recorded his first major classical piano work, Rhapsody for Piano and Orchestra: War; Peace; Love, for EMI Records. Classical music reviewer in Melbourne, Bob Crimeen, wrote of the Rhapsody: ‘He has written a composition that could in time, be regarded as one of the most significant contributions by an Australian to classical music.’

March 2009 saw the premiere of the Ballad for Two Pianos in France and later that year premiere performances of the Piano Sonata and Overture La Paolina and a recording of Songs of Love and Loss. His Piano Concerto in C Minor was premiered in London in 2010. Foster’s The Pearl of Dubai Suite was recorded in 2011 followed by a recording of his three songs set to poems by Oscar Wilde and the Ballad of Reading Gaol.

A previous recording for Bel Air Music www.belairmusic.com received an enthusiastic response from Gramophone reviewer Andrew Lamb ‘This is amazing! Where has Grant Foster been all these years? The Celebration Overture simply blew me away! I really haven’t heard anything as striking as this for a long while.’ (Gramophone March 2008).

Melba Recordings www.melbarecordings.com.au have now released a recording of piano works by Grant Foster entitled When Love Speaks featuring the composer as pianist.

MR 301147

Grant Foster opens his recording with his Romance in C sharp minor, written in 2015 and adapted from a song by the composer, bringing forceful chords before relaxing and expanding into gentler bars. This music is shot through with the nostalgia of Rachmaninov yet wholly original, showing Foster’s fine gift for melody. Foster himself proves to be a very fine pianist, shaping and structuring the music beautifully before rising to more dynamic moments, then to find a gentle coda.

His Romance in C, written like the Romance in C sharp minor in 2015 and based on a theme from his Second Piano Concerto, opens gently and tentatively as a descending theme is slowly set out. There is a rather haunting atmosphere before the music finds a gentle forward movement, always with a little hesitant catch to the flow.

Foster’s Piano Sonata, written in 2012 and revised in 2015 is a personal response to war. It is in three movements. The Adagio passionato, molto espressivo opens with a forceful series of chords before further, broader chords underpin the theme. The music moves through some rather beautiful harmonic changes before speeding through some quite wonderful, virtuosic passages played with tremendous assurance, with the theme still heard running through the more complex writing.

The Lento, molto espressivo opens quietly with an underlying feel of tragedy. Foster slowly develops the theme through some wonderful, sensitively formed moments, finding a lovely gentle refined section of exquisite beauty. Occasionally there is a Beethovenian sense of depth and tragedy in the way Foster brings slow, deliberate chords. The music subtly turns to a brighter atmosphere, rising through some beautifully controlled passages before slowing and falling back in the most melancholy of moments to lead to a finely shaped coda.

There is an underlying turmoil as the Allegro vivace slowly increases in tempo and dynamics, running quickly through constantly changing passages as the theme develops. Soon the music slows to bring a rather lovely, slower, more relaxed section. Again it is the way Foster shapes and phrases every detail that is really quite wonderful. The music suddenly speeds through a fast moving varied passage that rises and falls all over the keyboard to the sudden coda.

Elegy: In homage to Sir Robert Helpmann (1986) slowly emerges into a beautifully conceived melody that gently finds its way through some lovely passages. There is a really lovely left hand counterpoint that adds so much to the main theme that constantly changes in its tempo and rhythm before rising in drama and passion through the most impressive moments with some fine rippling phrases. There are lovely little harmonic twists and turns before finding the exquisite delicacy of the opening.

Bydlo is dedicated to the artist, Geraldine van Heemstra http://geraldinevanheemstra.com and was inspired by an etching by her that is reproduced in the CD booklet. There is a fine billowing of sound in the opening before moving through passages of more gently rippling, insistent ideas over which the theme develops. There are many little subtleties that run through this fine piece before a sudden coda.

Foster’s Six Preludes were written in 2011 and all but the first inspired by and dedicated to friends. Prelude 1 has a simple little theme which is delicately set out before being gently developed. It has a rather sad, haunting quality with moments of often aching emotion before rising a little in dynamics to fall back for a gentle coda. Prelude 2 has a gentle flow with Foster finding a subtle forward propulsion before a gentle coda.

Prelude 3 brings a gently trickling flow of melody before finding a greater flow with a forward rhythmic pulse, slowly adding decorations around the melody. Prelude 4 has a lovely undulating melody, full of nostalgia, rising through passages of increased passion before a gentler coda.

Prelude 5 opens with a rather darker feel as it slowly moves ahead before finding a lighter character. It weaves a lovely theme through ever changing ideas. Prelude 6 brings some rather lovely harmonies as this fine theme finds its way forward through the most lovely of passages with the lovely harmonies adding so much.

Ballade (2009) rises out of slow, lower phrases to reveal a theme in the right hand that continues over the opening left hand motif. Slowly little variations occur as the music travels through some exquisite moments, always retaining a melancholic air. The music slowly increases in tempo in some varied rhythmic passages, rising more forcefully through passages of great strength, with some lovely playing from Foster, virtuosic, powerful and wonderfully phrased. Later the music falls through gentler, more delicate bars that ripple wonderfully over the keyboard before finding slow chords that bring a hesitant flow before rising dramatically for the coda.  

This is an impressive work in a collection of very fine piano pieces. Here is a composer well work investigating. Whilst there are occasional influences that show through Grant Foster is a distinctive voice in his own right. 

He receives an excellent recording and there are brief but useful notes on the music by the composer.

Sunday, 17 July 2016

A recording from RCO Live made in the Concertgebouw, Amsterdam, brings a performance of Rachmaninov’s Second Symphony that is unsettled, stormy and full of restrained emotion

Sergei Rachmaninov (1873-1943) made cuts to many of his compositions, often feeling that they were too long or needed tightening up structurally. He did this with his Piano Concerto No.4 in G minor, written in 1927 and revised in 1941. His earlier Piano Sonata No.2 in B flat minor written in 1913 was again revised in 1931. Again his Symphony No.3 in A minor written in 1935 was tinkered with during 1936 with a full revision in 1938  

Whilst many, including myself, prefer the uncut version of the Second Piano Sonata it is probably the cuts that were made to his Symphony No.2 in E minor that have been the most unfortunate. It was Andre Previn when touring Russia and the Far East with the London Symphony Orchestra in 1971 who was asked by a Russian, after thanking him for the concert, why they had not played all of the symphony. It seems that they had always played the original version in Russia, the cut version being made later during the composer’s exile in the west. Following the first performance of the symphony in St. Petersburg in 1908 a critic wrote ‘After listening with unflagging attention to its four movements, one notes with surprise that the hands of the watch have moved forward 65 minutes.’

Previn had already recorded the cut version with the LSO for RCA and it was this experience that sent him looking for the original version which he eventually recorded with the same orchestra for EMI. Comparing the two, one is always struck by the beauty of the development and bridge passages that were excised. Rachmaninov had been concerned that the length of the symphony, approaching an hour, was too much for modern audiences. Now, thankfully, it is only the original that is performed.

RCO Live www.concertgebouworkest.nl/nl/webshop has just released an SACD live recording of Rachmaninov’s Symphony No.2 in E minor with Mariss Jansons www.opus3artists.com/artists/mariss-jansons and the Royal Concertgebouw Orchestra www.concertgebouw.nl 

SACD
RCO 16004

Mariss Jansons takes the brooding opening of the Largo - Allegro moderato of Rachmaninov Symphony No.2 in E minor, Op.27 (1907) at a slow pace, allowing the music to unfold. The listener soon finds that the tempo has subtly increased without any awareness, achieving a forward momentum and rising emotionally through some really passionate passages. It is Jansons’ fine pacing and structuring that provides a completely natural arch like form.  When the cor-anglais introduces a fast moving passage there is some particularly fine playing from the Royal Concertgebouw Orchestra, taut in all the dynamic surges that occur, with the woodwind providing some fine moments. Jansons brings a very fine, natural orchestral rubato, finding many lovely moments, little points where he just holds back, subtly, finding a flexible tempo. He builds the music to moments of real heft and in Rachmaninov’s lovely developed passages, finds a lovely natural flow.  The RCO’s brass sound through as the music is brought to a terrific climax before falling back, so many little instrumental details showing through. Jansons finds a rumbling, unsettled passage before heading to a crisp decisive coda.

Despite the marking Allegro molto Jansons provides a steady yet flexible tempo, revealing a glistening orchestration. He is never rushed moving through some beautifully shaped string passages, always keeping shy of overly luscious textures, never sentimentalised. There is a great clarity of orchestral texture. There is a trio section that scurries ahead in contrast to the steadier pace around it.  Jansons brings a fine weight to the orchestral sound in places, with sudden fierce outbursts as the orchestra is unleashed.  When the romantic string theme returns it is allowed a little more head, more passion before a finely judged coda.

In the Adagio Jansons allows the clarinet to slowly unwind its lovely theme beautifully, set nicely within the orchestra.  There is a lovely pulse in the orchestra behind the clarinet and when the orchestra takes over the melody they are careful not to rush their fences, slowly and naturally building in strength and tempo. Jansons’ pacing never allows sentimentality to appear. There are exquisite woodwind passages as the theme is woven between them. The rubato here is terrific. Again passages that used to be cut are wonderfully developed before rising to a really fine peak. There is a lovely moment for the leader before the theme is shared around various instruments of the orchestra in a particularly fine section.  When the strings bring back the clarinet theme it is quite lovely, particularly with the brass and woodwind appearing through the texture. There is such beautifully nuanced playing right through to the magically wrought coda. 

The orchestra leaps up brilliantly in the Allegro vivace, galloping forward as if to brush aside all thoughts of melancholy and nostalgia. The music falls through some wonderfully controlled bars before being allowed to slowly build again. There is a lovely string passage revealing Tchaikovskian influences, Jansons keeping a tight reign as the music develops through some subtly quiet moments. The pulsating brass in the bass has a lovely pulse. Later Jansons allows the music to relax and fall away with a lovely woodwind passage before leaping up to bound ahead through some fine passages as the various strands are woven. There is a moment of tension with a bassoon heard before the music rises majestically with cymbal clashes and drum strokes to move quickly ahead. This conductor finds so many of the composer’s little details as the music quietens only to slowly and steadily grow to a peak, wonderfully controlled. As the music flowers into the main theme, full of confidence and forward flow, it arrives at a glorious peroration before rushing into the dynamic coda. 

This is a conductor who is fully in tune with Rachmaninov bringing a performance that is unsettled, stormy and full of restrained emotion. The SACD recording, live from the Concertgebouw, Amsterdam, is finely detailed with great depth. There is no audible audience noise but applause is kept at the end. There are informative booklet notes. 

Wednesday, 13 July 2016

Peter Seabourne’s Symphony of Roses is given a triumphant world premiere by the Biel Solothurn Theatre Orchestra, Switzerland conducted by Kaspar Zehnder

I have had immense enjoyment reviewing the recordings of works by British composer, Peter Seabourne www.peterseabourne.com which I have found to be ‘compelling’ (Steps Volume 5: Sixteen Scenes before a Crucifixion) and ‘powerful and emotional’ (Pietà for viola and piano) (see links below for reviews).

The Sick Rose No. 5
by Azadeh Razaghdoost © www.azadehrazaghdoost.com

Following on from the world premiere of his Piano Concerto No. 2 that received a tumultuous reception at Prague’s Martinů Hall (view at: https://youtu.be/T0mLc2MNenM) Peter Seabourne’s Symphony of Roses received its triumphant world premiere on 18th May 2016, performed by the Biel Solothurn Theatre Orchestra, Switzerland www.tobs.ch/de/home  conducted by Kaspar Zehnder  www.kasparzehnder.com , the composer called back to the platform many times.

Peter Seabourne’s Symphony of Roses was written between 2011and 2014. Lasting around thirty minutes, its first two movements were influenced by William Butler Yeats’ poems, The Rose of Battle www.poets.org/poetsorg/poem/rose-battle  and The Rose of Peace www.bartleby.com/336/667.html . It was a painting by the poet’s brother, Jack Yeats, A Rose Among Many Waters, www.tate.org.uk/art/artworks/yeats-a-rose-among-many-waters-t12918 that gave inspiration for the third and last movement.

Woodwind and brass weave a motif around bell chimes in the opening of The Rose of Battle before pizzicato strings join. The music pulls itself up into a longer breathed theme for strings with the Biel Solothurn Theatre Orchestra under Kaspar Zehnder providing a fine tautness of phrasing. The music seems to hover between pensive and more expansive passages, full of drama and increasing emotional heft. Soon there is a slackening of tension as a passage of intense sadness arrives. The music develops through a passage for woodwind, brass and pizzicato strings before gaining in weight in the lower orchestra. Bells are heard whilst a cor-anglais takes the melody, rising to a tremendously dramatic peak only to find a more relaxed gentle sad passage out of which a glorious melody emerges. The composer pulls together so many strands with pizzicato strings and bells appearing, before a side drum is heard. There is a wonderfully conceived passage where a myriad of instruments feed through the orchestral tapestry. The music increases in agitation, pointed up by side drum, finding much power before arriving at a series of incisive chords. The music suddenly lightens, there is the briefest of rests before a wonderfully glowing passage arrives where the cor anglais is heard, hushed bells then appearing in the in the coda.

A lone clarinet opens The Rose of Peace with a little questioning motif before the orchestra moves with the celeste adding a gentle line in music of intense yearning.  A cor-anglais weaves through the strings in this lovely theme, finding some exquisite moments with beautifully shaped ideas. Soon the music finds a strength as it rises, only to fall back with intense melancholy.  A little string ensemble weaves a lovely passage, shot through with woodwind before a lovely moment when a trumpet appears over the strings. The clarinet appears with its opening motif with a harp accompaniment as we are led to a quite wonderful hushed coda with chiming of bells.

There is an unsettled nature to the final movement, A Rose Among Many Waters, which opens with fast moving, vibrant pizzicato strings. These are soon joined by woodwind before the orchestra takes the theme in a more flowing passage. The pizzicato strings return before brass enter as the music increases in strength. There are pounding outbursts as the orchestral weight increases but soon the music falls to a melancholy passage for strings out of which woodwind bring some lovely phrases. A trumpet brings a heart rending theme over anxious strings before brass rise up bringing stabbing phrases. The strings lead quickly ahead, the orchestra getting increasingly dramatic with bass drum strokes. Bells chimes appear in a luminescent moment before the orchestra takes us to the sudden coda on a bass drum stroke.

This symphony is a tremendous work, full of drama, strength, poetry and intense tragedy, wonderfully structured. It is a work that reveals even more with repeated listening. It received a remarkably fine performance from Kaspar Zehnder and the Biel Solothurn Theatre Orchestra.

The whole symphony can be heard as part of a complete concert broadcast by SRF

The second movement can be seen in a video available on YouTube at:

See also:



Monday, 11 July 2016

Saxophonist, Harry White and pianist Edward Rushton record a disc of 23 vocalise-etudes for BIS written by a cross section of 20th century composers on a disc that is full of great variety and interest with some terrific little gems that will bring much enjoyment

Vocalises are, traditionally, textless vocal exercises sung to one or more vowels, but in 1906 a voice professor at the Paris Conservatoire, Amédée-Louis Hettich (1856-1937) commissioned contemporary composers to write vocalise-etudes that would raise such pieces from mere exercises to works of art in their own right.

Over a period of thirty years he persuaded composers ranging from Paul Dukas to Olivier Messiaen to write vocalise-etudes that were used as examination pieces for voice students at the Conservatoire. It was not just French composers who provided these works. Such figures as Bohuslav Martinů, Carl Nielsen and Heitor Villa-Lobos also responded to commissions. Over 150 of the vocalises were published in fourteen volumes entitled Répertoire Moderne de Vocalises-Études. Several of the vocalise-etudes have been arranged for various instruments.

Saxophonist, Harry White www.harrywhite.net and pianist Edward Rushton www.edwardrushton.net/pianist.html have recorded 23 of the vocalise-etudes arranged for alto saxophone and piano on a new release for BIS Records www.bis.se/index.php

BIS - 9056

With Paul Dukas’ (1865-1935) Vocalise-Étude ‘alla Gitana’ (1909) the piano chords bring a rather Iberian feel before the alto saxophone joins in a fine melody, the two weaving some rather wonderful lines.  There are moments of reflective poetry with a variety of tone from the saxophone, often finding a lovely warm tone but with moments of brilliance. Georges Auric’s (1899-1983) Vocalise-Étude (1926) has a nostalgic charm of its own with the piano running a lovely line alongside the saxophone melody.

There is a firmer touch to Francis Poulenc’s (1899-1963) Vocalise-Étude (1927) with rather a deliberate theme, the saxophone rising to moments of intensity, developing some strong chords from the piano as well as moments of gentler reflection. The Belgium, Joseph Jongen (1873-1953) brings a rhythmic skip, with a sense of fun to his Vocalise-Étude ’Sérénade’, Op. 83 (1928), the saxophone weaving some lovely passages before finding a more leisurely flow midway, all the while the piano accompaniment providing a wonderfully light touch.  

Olivier Messiaen (1908-1992) is the most recent composer on this disc to provide a work for this collection. The piano introduces a rather oriental sounding theme for his Vocalise-Étude (1935) which the saxophone gently takes forward over a rising and falling, rippling piano accompaniment. This is a quite haunting theme with both these performers finding much sensitivity. The music rises centrally with later, occasional subtle dissonances. This is a little gem full of Messiaen fingerprints.

Arthur Honegger (1892-1955) was Swiss by parentage but born in France. With his Vocalise-Étude (1929) the piano lays down a line over which the saxophone brings a melancholy melody. There are some particularly rich saxophone sonorities in this very fine little piece. Albert Roussel’s (1869-1937) Vocalise-Étude ’Aria’ (1928) has a fine rhythmic lilt for piano over which the saxophone weaves some terrific passages, rising in dynamics at times, these two players revealing an instinctive rapport.

Joseph Canteloube (1879-1957) will be known to most people for his collection of orchestrated folksongs from the Auvergne region of France, Chants d'Auvergne. His Vocalise-Étude ‘en forme de Bourrée’ (1927) has a boisterous opening for the piano to which the saxophone joins to take us on a jolly journey, full of freedom and spirit. The saxophone brings a lovely melody over a piano accompaniment in Darius Milhaud’s (1892-1974) Vocalise-Étude ‘Air’, Op. 105 (1928), weaving forward, full of harmonic shifts.  

Pierre de Bréville’s (1861-1949) Vocalise-Étude’ Maneh’ (1907) has a delicate, very French opening for the piano to which the saxophone brings a tranquil, quite beautiful melody. Both players provide wonderful phrasing, rising in little dynamic moments, through a short solo passage for saxophone to a gentle coda.  

Florent Schmitt (1870-1958) was born in the Lorraine region of France bordering Belgium, Luxembourg and Germany. His Vocalise-Étude pour Erik Satie, Op. 130 (1906) has a flowing piano accompaniment as the saxophone takes the theme slowly ahead with some long melodic lines, increasing in tempo and dynamics occasionally yet retaining a fine flow.

There is a typically gentle, thoughtful opening for piano to Maurice Ravel’s (1875-1937) Vocalise-Étude ‘en forme de Habanera’ (1907) with the saxophone bringing a quite lovely theme, full of flourishes and scented Iberian flavour. Louis Vierne’s (1870-1937) Vocalise-Étude à Monsieur A. L. Hettich (1907) moves forward with a fine melody for the saxophone, underlined by an insistent piano motif. Later both performers weave the melody, with some lovely decorations from the saxophone.

A chord from the piano introduces a slow, quiet theme for saxophone in Jean Huré’s (1877-1930) Vocalise-Étude (1922), the piano adding fine chords intermittently to accompany the melody. This is music full of nostalgic charm, very French, with almost Ravelian moments. Jacques Ibert (1890-1962) opens his Vocalise-Étude ‘Aria’ (1927) with a leisurely, rising and falling piano motif before the saxophone brings a lovely melody with some lovely sonorities, this player always finding new timbres and subtle colours.

The Hungarian composer, László Lajtha (1892-1963) provides a lively, rhythmic Vocalise-Étude (1930) with both performers weaving and chasing through varying tempi and dynamics with beautifully controlled playing from both. Alexander Labinsky’s (1894-1963) Vocalise-Étude ‘Ferveur’ (pub. 1931) is revealed as a gently undulating melody, very much in a lighter vein.

Russian composer, Alexander Gretchaninov (1864-1956) was in France when he composed his Vocalise-Étude (pub. 1929), later settling in the USA. Sudden dynamic piano phrases open the piece with the saxophone adding a long held note before bringing a theme over the piano. The saxophone rises around the piano before a decisive coda.

Nikolai Tcherepnin (1873-1945) was another Russian composer and father of the composer and pianist Alexander Tcherepnin. In 1921, he moved to Paris and lived there for the rest of his life. His Vocalise-Étude (1927) has a quizzical little motif for piano that is taken up into a theme for the saxophone and developed through some atmospheric passages, finding a slightly eastern flavour. This is a rather mesmerising piece.

The Czech composer, Bohuslav Martinů (1890-1959) was living in Paris when he wrote his Vocalise-Étude, H. 188 (1930). It has a lively theme introduced by the piano, with the saxophone soon joining to dash ahead, full of life and good humour, through a jazz inflected passage reflecting the influences on the composer at that time.  

The Italian composer, Francesco Malipiero’s (1882-1973) Vocalise-Étude (1928) has a slow little motif for piano, which the sax unfolds to reveal as a beautiful haunting melody. It rises in dynamics before finding a quiet end with some absolutely lovely saxophone sonorities and timbres.

Danish composer, Carl Nielsen 1865-1931) wrote his Vocalise-Étude (1927) late in his career after his sixth and final symphony, Sinfonia semplice (1924-24) and Flute Concerto (1926). The leisurely melody that opens soon finds some unusual intervals with many twists and turns before picking up in a rhythmic, faster moving section before slowing to wander gently forward, the piano keeping a gentle rhythm.

The Brazilian composer, Heitor Villa-Lobos (1887-1959) stayed in Paris in 1923–24 and 1927–30 where Parisian concerts of his music made a strong impression, certainly sufficient to encourage a commission for his Vocalise-Étude (1929). Sudden piano chords open the work immediately followed by a fast moving theme for saxophone over insistent piano chords. There are sudden little dynamic piano chords as the saxophone pushes the theme forward. Sudden little descending piano chords arrive as the saxophone finds a languid coda.  

Saxophonist, Harry White and pianist, Edward Rushton prove to be a first class duo. Indeed, White is one fine saxophonist who, together with the most sensitive of accompanists brings such a variety of tone, textures, sonority and colour not to mention panache.

There are some famous names from 20th century music here on a disc that is full of great variety and interest. Indeed there are some terrific little gems here that will bring much enjoyment. 

The two artists are well recorded at the SRF Radio Studio, Zurich, Switzerland, giving a nice balance between instruments. There are notes about the background to these works from Harry White.

Sunday, 10 July 2016

A new release from CPO features pianist, Oliver Triendl and the Netherlands Symphony Orchestra under David Porcelijn who prove fine advocates of works by Dutch composer, Jan van Gilse that are full of many attractive variations

The Dutch composer and conductor, Jan van Gilse (1881-1944) was born in Rotterdam and studied at the Cologne conservatory with Franz Wüllner (1832-1902) before moving to Berlin to study with Engelbert Humperdinck (1854-1921). He later undertook study in Italy before, in 1901, receiving the Beethoven-Haus Prize in Bonn for his Second Symphony. It was his Third Symphony, 'Erhebung' (Elevation) for soprano solo and orchestra that won him the German Michael Beer Prize, the foremost music award of the time.

van Gilse was appointed conductor at the Bremen opera, a post which was followed by appointments in Munich and Amsterdam. After the breakout of the First World War he moved back to the Netherlands. From 1917 until 1922, he was the conductor of the Utrecht Municipal Orchestra.

During the Second World War van Gilse became actively involved with the resistance movement against the German occupation of the Netherlands. After both his resistance fighter sons were killed, van Gilse and his wife were forced to go into hiding. In August 1944 the composer was admitted to hospital suffering from cancer where he died shortly after. He was buried under an assumed name in order to protect his wife.

Among his works are five symphonies, the last of which survives only in a fragment; other orchestral works; two operas; a number of chamber pieces and a number of cantatas.

CPO www.jpc.de/jpcng/cpo/home have already recorded the four completed symphonies of van Gilse with the Netherlands Symphony Orchestra www.ovho.nl/generic_tmp/over-het-symfonieorkest conducted by David Porcelijn www.patrickgarvey.com/artists/david-porelijn.html . Now they have released van Gilse’s Piano Concerto coupled with his Variations on a Saint-Nicolas Song performed by the same artists with pianist, Oliver Triendl.

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Jan van Gilse’s Piano Concerto ‘Drei Tanzskizzen’ (Three Dance Sketches) dates from 1925–26 and has important parts for violin and cello, played on this recording by Carla Leurs (violin) http://carlaleurs.wix.com/home  and René Geesing (cello) www.ovho.nl/musici/1332942636 .

Tempo di Menuetto moderato opens with a hushed string line to which the celeste and piano add a motif, immediately taken by the piano. The orchestra moves ahead developing the theme and bringing some lovely fluent phrases, working playfully around the orchestra. There are some fine rhythmic, flowing string passages as well as many fine transparent and sparkling orchestral textures pointed up by the celeste. This is music that is full of charm and good humour, freely tonal with some lovely shifting harmonies. van Gilse creates lovely delicate effects for piano and celeste together and orchestral passages that are full of glittering instrumental detail. There is a lovely buoyant piano part with, later, a tambourine pointing up the piano and orchestra before a coda that has a rather fairyland quality. Overall this is a really enchanting movement.

The piano leaps in with some strong chords as the second movement, Hommage à Johann Strauss, is dramatically introduced, interspersed with upward scales. Oliver Triendl provides some exceptionally fine playing as he moves through a speeding descending passage. The music lightens and quietens as the theme is developed more gently by the soloist until finding a waltz rhythm and dancing lightly and gently forward. The piano introduces some lovely variations on the waltz theme before the orchestra takes the theme bringing a lighter feel.  The music moves through many orchestral variations, all full of buoyancy and life in a lighter vein with some particularly good harmonies as the theme is varied. Later the piano re-enters to drive the theme more forcefully ahead, reaching a dynamic pitch.

The cello of René Geesing adds a slower, sad variation to which a bassoon then trumpet add colour before the piano brings a more languid version with the waltz rhythm lurking just behind. The piano and orchestra speed to another climax before the celeste and orchestra bring another variation to which the cello joins. There are many varied waltz rhythms as well as a delicate passage where the piano skips over the orchestra before brass and strings weave a constantly shifting harmony.  The music speeds to a peak before quietening to allow a small string ensemble to gently waltz forward joined by woodwind to find a sudden dynamic coda.

This movement is perhaps a little too long but full of variety and fine variations.

The final movement, Quasi Jazz opens with a massive drum roll immediately followed by the entry of the piano in a fast and furious theme to which the xylophone joins. The orchestra joins as the theme begins to slow and a trumpet introduces a new variation that reveals itself as a tango rhythm.  Woodwind bring moments that could be by Villa Lobos before the music finds a more luscious swaying variation in the orchestra over which a piano dances. There is an exotic feel in the orchestra with orchestral sonorities that create the sound of a jazz orchestra. Strong piano chords prelude a solo from violinist, Carla Leurs, over a hushed orchestra but soon becomes a lone solo that takes more of the form of a substantial cadenza for violin.  Eventually the music picks up in tempo in the orchestra, full of vibrancy and jazzy inflections, with some brash brass interventions before the piano joins as van Gilse finally remembers that this is a piano concerto. The piano becomes more forceful as, with the orchestra it heads to a coda on a series of firm orchestral chords.

This is an inventive and well-orchestrated work that, nevertheless, could do with a little pruning. Many will still find it attractive.

The Variaties over een St. Nikolaasliedje (Variations on a Saint-Nicolas Song) dates from 1908. The variations open with a theme that is immediately varied before a wind ensemble slowly takes the music forward. Strings soon bring a leisurely, flowing variation leading to a beautifully nuanced variation reminiscent of Richard Strauss with all of his little drooping phrases. There is a jauntier little variation, nicely varied in the orchestration before the music picks up in tempo and dynamics. A slow melancholy variation follows before there are some lovely flute arabesques over the orchestra. Later a cor-anglais brings a lovely variation soon woven around a clarinet. A fanfare brings a vibrant, rhythmically pointed variation and there are further rather Straussian passages before a playful little variation for woodwind and strings arrives. Eventually there is a fast and furious variation before broadening to take the music to a stately, decisive coda.

Pianist, Oliver Triendl and the Netherlands Symphony Orchestra under David Porcelijn prove fine advocates of this music which doesn’t plumb any depths but is full of many attractive variations. It is true that these works could do with a little editing but they are interesting by-ways of 20th century Dutch music.
These artists are finely recorded at the Enschede Musikzentrum, Netherlands and there are informative notes, largely on the composer and his life rather than the music. 

Saturday, 9 July 2016

Thrilling performances of Tchaikovsky’s Symphonies 1, 2 and 5 from Vasily Petrenko and the Royal Liverpool Philharmonic Orchestra for Onyx Classics in a cycle that promises to rank among the finest on disc

Chief Conductor of the European Union Youth Orchestra, Chief Conductor of the Oslo Philharmonic Orchestra and Chief Conductor of the Royal Liverpool Philharmonic Orchestra, Vasily Petrenko http://imgartists.com/artist/vasily_petrenko was born in 1976. He started his music education at the St Petersburg Capella Boys Music School before studying at the St Petersburg Conservatoire. As well as participating in masterclasses with major figures such as Ilya Musin, Mariss Jansons, and Yuri Temirkanov he has had considerable success in a number of international conducting competitions including the Fourth Prokofiev Conducting Competition in St Petersburg (2003), First Prize in the Shostakovich Choral Conducting Competition in St Petersburg (1997) and First Prize in the Sixth Cadaques International Conducting Competition in Spain.

Appointed Chief Conductor of the St Petersburg State Academic Symphony Orchestra from 2004 to 2007 he has also worked with many of the world’s most prestigious orchestras including the London Symphony Orchestra, London Philharmonic Orchestra, Philharmonia, Russian National Orchestra, Netherlands Radio Philharmonic, Orchestre National de France, Czech Philharmonic, Vienna Symphony, Rundfunk Sinfonieorchester Berlin, Finnish Radio Symphony, Orchestre de la Suisse Romande, NHK Symphony Tokyo, Sydney Symphony, Accademia Nazionale di Santa Cecilia, Philadelphia Orchestra, Los Angeles Philharmonic and the San Francisco, Boston, Chicago and St Louis Symphony Orchestras.

Vasily Petrenko was appointed Principal Conductor of the Royal Liverpool Philharmonic Orchestra in 2006, continuing as Chief Conductor from 2009. With the Royal Liverpool Philharmonic Petrenko has achieved tremendous results, not the least of which are his recordings for Naxos Records, Orfeo and Onyx Classics.

He is only the second person to have been awarded Honorary Doctorates by both the University of Liverpool and Liverpool Hope University (in 2009), and an Honorary Fellowship of the Liverpool John Moores University (in 2012), awards which recognise the immense impact he has had on the Royal Liverpool Philharmonic and the city’s cultural scene.

In October 2007 Petrenko was named Young Artist of the Year at the annual Gramophone Awards, and in 2010 he won the Male Artist of the Year at the Classical Brit Awards.

Now for Onyx www.onyxclassics.com , Vasily Petrenko and the Royal Liverpool Philharmonic www.liverpoolphil.com  have recorded Tchaikovsky’s symphonies 1, 2 and 5 as part of a complete cycle.

2CD
Onyx 4150

In the opening of the Allegro tranquillo of Symphony No.1 in G minor, Op.13 ‘Winter Dreams’ Petrenko achieves a subtle urgency, blossoming beautifully as it rises, with some exceptionally fine instrumental playing, to incisive peaks. The music is finely shaped with some lovely quieter moments, every little detail coming through, rising with tautness to further dynamic passages.  The Royal Liverpool Philharmonic is on top form. The way Petrenko slowly and carefully builds the music before finding the sweep of the strings is impressive. There are many fine little instrumental details that quickly appear out of the texture as well as a really wonderful hushed build up to the coda with some magical playing before the music finds its fast moving thrust only to return to the opening little motif to conclude quietly.

Petrenko shapes the lovely Adagio cantabile ma non tanto to perfection with an exquisite rise and fall, drawing some lovely hushed moments from the RLPO strings. There is a lovely oboe theme around which a flute and bassoon weave before finding a fine steady rhythm. Again the way Petrenko shapes phrases is rather special. He takes us through passages that conjure a terrific atmosphere, full of Slavic nostalgia before the horns rise majestically over the orchestra as they find the climax, full of passion, before falling to a beautifully hushed coda.

The Scherzo (Allegro scherzando giocoso) is wonderfully fleet with finely controlled dynamics and shaping of phrases bringing a taut buoyancy. There is a beautifully done flowing trio section, Petrenko subtly pushing the tempo as it develops, woven through with some fine woodwind and brass contribution before dancing  forward until storm clouds in the form of timpani sound a warning and the coda is reached.

A finely shaped opening for woodwind introduces the Finale, slowly and subtly developing through the Andante lugubre to find a release as the music rises full of brilliance and strength in the Allegro moderato. Here the RLPO strings are truly terrific, fast and accurate with razor sharp responses. Petrenko whips up terrific thrust and dynamism, moving through the most crisply phrased, fast and fluent passages where Tchaikovsky provides so many musical strands. There is a tremendous passage when hushed strands slowly develop the theme with gently intoning brass before rising through the Allegro maestoso to a blazing Allegro vivo coda. This is a very fine Tchaikovsky First, superbly played.

With the Andante sostenuto - Allegro vivo of Symphony No.2 in C minor, Op.17 ‘Little Russian’ Petrenko brings a real Slavic quality to the brass. Bassoon and pizzicato strings are wonderfully shaped, rising through some nicely paced passages before the music falls back with the most lovely bubbling woodwind phrases. This conductor reveals some wonderful development passages, highlighting all of Tchaikovsky’s miraculous orchestration through some fine peaks to a hushed coda.

There is a finely pointed rhythmic march in the opening to the Andantino marziale, quasi moderato before the music moves through some quite lovely flowing passages. When the rhythmic theme re-appears Petrenko finds a lovely lift to the phrasing, developing the music wonderfully with the most wonderfully light textured rhythmic passages and a quiet rhythmic coda, so finely done.

The Scherzo (Allegro molto vivace) – Trio finds a real rhythmic, bouncing pulse as the music bounds ahead with more fleet and wonderfully accurate orchestral playing. The orchestra provide a terrific tautness and accuracy as the music bounds ahead. The trio section is also rather fine as rhythms run over each other in the musical lines. The RLPO achieve a terrific fluency, an infectious quality in this quite wonderful scherzo.

There is a terrific opening to the Finale (Moderato assai - Allegro vivo - Presto), a gloriously Russian theme before the strings develops the music with terrific verve and pin point precision. There is a balletic quality at times before some tremendous climaxes with the fine recording never losing focus. There is more fine control of dynamics and phrasing with the brass bringing some great moments. Petrenko points up so many fine features in the scoring before rising, with some quite exquisite woodwind contributions sounding through before falling back only to head to an absolutely terrific coda.

It must also be said that this is a very fine Tchaikovsky Second, especially when so much lovely detail can be heard.

The second disc of this set is given over to the Symphony No.5 in E minor, Op.64. Petrenko provides a brooding, atmospheric opening to the Andante - Allegro con anima with finely nuanced dynamics and phrasing. When the rhythm picks up the mood subtly shifts to head to a rigorous forward thrust, full of dynamism and impact. There is some wonderfully taut string playing from the RLPO with very lovely woodwind details emerging. This conductor provides some finely shaped passages where Tchaikovsky’s balletic lightness of touch is revealed. He at times whips up some terrific action and drama, wonderfully captured by the fine recording. There are moments of terrific swagger before a brilliant, exhilarating climax. Petrenko is able to move from quiet, detailed sections to passages of tremendous power seamlessly. There are some wonderfully fluent pizzicato passages before the music rediscovers its brooding nature in the coda.

The Andante cantabile, con alcuna licenza rises through a brooding introduction, wonderfully shaped before a horn brings its melancholy theme, the orchestral support moving beautifully around the soloist. There are many fine individual contributions as Tchaikovsky’s lovely orchestration is woven with Petrenko revealing some lovely moments. There is a finely controlled climax before the music falls back, this conductor bringing a quite exquisite atmosphere, a gentle melancholy. Later the music rises to a biting climax, full of stabbing phrases before regaining a rather resigned nature. Petrenko delivers a subtle increase in urgency as the music rises through a quite wonderful broad section before taking us through more violent outbursts before finding a quiet coda.

Petrenko draws a fine string tone from the RLPO in the Valse (Allegro moderato), finding a lovely rhythmic pulse. Soon there is a dizzyingly fast string section around which the woodwind scurry, weaving around the really lovely flowing string textures and sonorities to lead to the coda.  

Petrenko brings a stately directness to the opening of the Finale (Andante maestoso - Allegro vivace) whilst subtly controlling the tempo and dynamics. When the little rhythmic theme intervenes briefly it has a de-stabilising effect but soon the forward moving theme returns. The music rises to a climax only to fall back with brass and woodwind, this conductor achieving a real sense of foreboding. When the music leaps up to rush ahead, Petrenko brings some great incisive phrases. There are moments of light textured, fleet orchestral playing with Petrenko finding so many conflicting emotions as the music rushes ahead. The music swirls up to a tremendous passage with some breathtaking, glorious orchestral playing through which so many instrumental sounds appear. The RLPO’s playing is absolutely exhilarating and, as timpani thunder out, we regain the stately flow of the opening but this time with a real sense of strength and drive before hurtling full tilt to the blazing coda.

This is quite frankly a superb Fifth, full of dynamism, brooding attitude, revealing moments rarely pointed up.  In short it is a thrilling performance. This is the start of a cycle that promises to rank among the finest on disc.

Andrew Cornall and his recording team deserve a mention for bringing an incredibly vivid recording made in the Liverpool Philharmonic Hall, Liverpool, UK.

There are useful notes from Jeremy Nicholas.

See also: