2017 Gramophone Magazine - 1 January

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THE WORLD’S BEST CLASSICAL MUSIC REVIEWS Est 1923 . JANUARY 2017
gramophone.co.uk
150TH ANNIVERSARY CELEBRATION
TOSCANINI
The 20th-century
conducting
giant who
changed the
history of
recording
PLUS
The wonderful world of
countertenor Iestyn Davies
Biber’s Mystery Sonatas:
U
N
IT which recording to own?
E
D
K
IN
G
D The much-loved mezzo
O
M
£
5.7 Grace Bumbry turns 80
5
Inspired by
Bruges?
classical music
Sounds
great!
www.brugessoundsgreat.com
Bolero Upcoming concerts
Symfonieorkest Vlaanderen
Wed 01.03.2017
Fri 20.01.17 Collegium Vocale Gent – Bach. Sonn und Schild
Concertgebouw Brugge
Fri 20.01.17 Thomas Dunford – Bach on the lute
A sweltering concert with ‘the new sound of Sat 21.01.17 Vox Luminis & Masques – Bach’s family tree
Bruges’ captured by young composer Mathias
Coppens and southern vibes brought to you Sat 04.03.17 Anima Eterna Brugge – Gershwin’s greatest hits
by Ravel, Ginastera, Lalo and Copland.
Fri - Sun 04 – 13.08.17 MAfestival – Early music in Bruges
You’ll dance along, won’t you?
supported by
A special eight-page section focusing on recent recordings from the US and Canada
Adolphe
talks to...
Chopin Dreams. Piano Puzzlers.
SevenThoughtsConsidered as Music
CarloGrantepf Lara Downes
NaxosAmerican Classics M 8 559805 (64’ • DDD)
The American pianist talks about
the personal inspirations behind
her latest project, ‘America Again’
It’s ironic that Bruce
Adolphe is best known
forhisPianoPuzzler Inwhatwayshaverecenteventsin
stylisticparodieson Americainspiredyourlatestproject?
thesyndicated public radio programme This album came to life during a devastating
Performance Today, for his original time in America: racial tension and violence,
compositions convey a compelling voice, a culture shift towards anger and division.
high craft, authenticity, communicative I’ve been clinging to American music to
immediacy and substance. This is especially illuminate what is best and brightest, and the will go further and wider. But I wanted to
trueforChopinDreams,whosesixsections mostessential,aboutAmericanculture. include some favourite composers, especially
aremodelleduponspecificChopinworks, Werethereotherpersonalmotivations? some whose music isn’t as well known as it
yetsomehowavoidsoundingoverlyclever I’m living proof of American diversity and should be, and then I also wanted to find
orreferential. progress. My mom is white and my father musicthatconnectsdeeplytothistheme
The opening movement, ‘New York was black, and they met because of the Civil ofthe American Dream. Each of these pieces
Nocturne’,featuresrapidright-hand Rights movement, which is the only reason has a story to tell, whether of struggle or
fioriturathatisnotsomuchdecorativeas I’m here at all. I think this music tells the story triumphinthepursuitoftheAmericanDream.
itisurgentlynarrative.‘Jazzurka’maydraw of forward movement and change in Wasitdauntingplayingmusicbysucha
inspirationfromChopin’sAminorMazurka, America – progress, persistence, and the stellarpredecessorasArtTatum?
Op17No4,yetAdolphe’ssteadyleft-hand diversitythat’sattheheartofourculture. Absolutely. There was no point trying to copy
chordschartthicker,moreforbidding It’saneclecticprogramme.Howdidyou Tatum, both because that would be boring
waters.Thefreshpitchchoicesandcanny narrowdownyourselectionofpieces? and because nobody can play like him. My
asymmetryof‘PianoPopping’transcend It’s an insanely ambitious undertaking to performance of ‘Blue Skies’ sounds very little
itspercussivehiphopinspiration,while reflect the scope of American diversity in 60 like Tatum’s, but it is a tribute, in my own voice,
‘BrooklynBallad’mightsuperficiallybe minutes of music! I hope that future projects to his genius and influence.
describedasChopin’sGminorBallade
filteredthroughFredericRzewski’sFour
NorthAmericanBallads(ittotallyworks).
Oddly,theinsistentpulseoftheconcluding letshishairdownforninePianoPuzzlers,
‘Hora’seemsclosertoahiphopsensibility whereAdolpheingenuouslyservesup
thanaJewishwedding. traditionalsongsplusoneGershwintune
ThesevensectionsofSevenThoughts (‘Ourloveisheretostay’)àlaChopin. While listening to
ConsideredasMusiceachincorporatea Imagine‘Deckthehalls’astheOp42 SergeySchepkin’s
historicliteraryquoteinthemovement Waltz,‘LondonBridgeisfallingdown’ secondrecording
title,butyoudon’tneedtoknowthatin casedwithintheEminorPreludeor ofBach’sSixPartitas,
ordertoappreciatethemusiconitsown ‘ThestreetsofLaredo’versustheBmajor Ifound myself skipping around, comparing
HY terms.HighlightsincludeNo1’s Nocturne,Op32No1,andsoforth.That the same dance movements in different
AP declamatoryopeningwithhauntingchordal aboutdefinesseriousfun!Thecomposer’s Partitas–say,twoorthreeSarabandesor
R
G
OTO ostinatosmidway,No3’swittypointillism annotationsandNaxos’swarm,ample Correntes–toheartheopen-hearted
PH andastuteregisterdeployment,andNo7’s soundenhancemyrecommendation. choicesSchepkinmakesinresponseto
R
RIK KELLE lyrCicaarllroeGstrraainntte.’sdetailed,colourfuland JJeSdDBistalerch tEhxepirlodriifnfegrmenutsmicoinodthsiasnndeevnere-regniedsi.ng
Y: thoughtfullyarticulatedinterpretations waywithsuchanilluminatingartistwas
H
AP willbehardtoequal,letalonesurpass;he SixKeyboardPartitas,BWV825-830 insomewaysmorerevealingthan
R
OG clearlycommitstoAdolphe’smultifaceted SergeySchepkinpf listeningtothemstraight through,
OT
PH expressiverange.Thepianistappropriately Steinway&SonsMbSTNS30062(132’•DDD) onePartita at a time.
gramophone.co.uk GRAMOPHONE JANUARY 2017 I
STRAUSS:
LE BOURGEOIS GENTILHOMME,
ARIADNE AUF NAXOS
conductor
BuffaloPhilharmonicOrchestra | JoAnn Falletta,
“
In Ms. Falletta,
music directors
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- CLASSICSTODAY REVIEW OF ARVO PART RECORDING
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SOUNDS OF AMERICA
‘A florid, hedonistically embellished reading’: Sergey Schepkin plays Bach Partitas
Boston-basedSchepkintakesparticular BMOP/soundFÍBMOP1007 humanitarian implications of the words with
delightintheAllemandesandredefines (53’ • DDD/DSD•T) dynamic determination, rising occasionally
Bach’s‘Tempodiminuetto’inNo5,tripping to a Beethovenian grandeur and drawing on
thelightfantasticonhismulticoloured thelustyappetiteofAmericansformusical
descendantofthesingle-manualinstrument entertainment.Infact,ThePrairieisan
forwhichBachwrotethePartitas. Lukas Foss’s secular exactcontemporaryofRodgersand
Unexpectedly,theGiguesare,withthe cantata based on Carl Hammerstein’sBroadwaymusicalabout
exceptionofNo1,soberingaffairs.Schepkin Sandburg’s epic poem thecowboy’s prairie, Oklahoma!.
alsorespondsstronglytothedifferenttonal about the farmer’s The performance is strong and eloquent,
centres,fromthelife-enhancingDmajorof prairie–cutting80ofits143lines–enjoyed if slightly anonymous in the way public
No4,especiallyitssplendidopening aspectacularopeningride.Itwaslargely utterances often are, especially when they are
Overture,tothedourAminorinNo3. writtenin1941-42, and in 1943 Serge intended to inspire national strength during
Despite his formidable Steinway, Schepkin Koussevitzky conducted the Boston timesofwar.Laurence Vittes
has a harpsichordist’s feel for the magic of Symphony Orchestra in an orchestral suite
MMonk
resonance born of slight, brief repetition; extracted from the work, before Robert
according to the booklet-notes, his Shaw led the full premiere in New York’s OnBehalfofNature
performances incorporate Bach’s suggestions Town Hall in May 1944; seven months later BohdanHilashwoodwindsJohnHollenbeckperc
on ornamentation given to his ‘immediate ArturRodzinskidirectedthecantatawiththe AlisonSniffinpf/kybd/vn/hnLauraShermanhp
circle of students’. The best illustration of NewYorkPhilharmonic.In1945ThePrairie MeredithMonk&VocalEnsemble
this is the Second Partita, which receives a wontheMusicCritics’CircleAwardas that ECMNew Series F 481 2794 (61’ • DDD)
florid, hedonistically embellished reading year’s most important new choral work.
based ‘to a substantial degree’, we are told, The Prairie is populist in the best sense:
on a Bärenreiter Urtext. bold, optimistic, stentorian but tender,
The music was recorded with sumptuous profoundly aware of and easily seduced by Meredith Monk has
delicacy of colour in Jordan Hall at Boston’s American folk music, beautifully written and been creating novel
New England Conservatory, in two sessions musically sophisticated. None of this should sound worlds for more
a year apart but showing no difference in be surprising for someone who had been in than half a century.
their blend of sound and artistry. the first of the legendary Boston Symphony Hervocalinnovations–minuswords–
H LaurenceVittes conducting classes in 1940, along with continuetoresonate,asisevidentin
LUTC Leonard Bernstein. OnBehalfofNature,aworktheAmerican
J. Foss
AEL While Sandburg’s poetry may, as Richard composerhasperformedwithcolleagues
CH The Prairie Dyer’s affectionate booklet-notes suggest, inatheatricalcontextbutthatalsoreveals
MI
Y: ElizabethWeiglesopGigiMitchell-Velascomez ‘bear the same relationship to the great itshauntingpowerinpurelyauralterms.
H
AP FrankKelleytenAaronEngebrethbar poetry of his time as Norman Rockwell’s Monkscallsthepiece‘ameditationon
R
OG ProvidenceSingers;BostonModern popular illustrations do to the great paintings ourintimate connections to nature, its inner
OT
PH OrchestraProject/Andrew Clark of his time’, Foss’s music projects the wider structures, the fragility of its ecology and our
gramophone.co.uk GRAMOPHONE JANUARY2017 III
o f
A N E W R E L E A S E C H A M B E R W O R K S
f r o m
H O WA R D S H O R E
A PALACE UPON THE RUINS
HOWARD SHORE
Includes: the song cycle A Palace Upon the Ruins for
mezzo-soprano Jennifer Johnson Cano; two choral
works: “Peace,” conducted by Judith Clurman, and
“The Garden,” conducted by Ludwig Wicki; the
instrumental-vocal suite Six Pieces, with Kronos
Quartet and RTÉ Concert Orchestra; and the solo
piano piece “Catania” for Lang Lang.
“Shore’s sweeping, luscious scores are a world unto
themselves.”
— Billboard magazine on Howard Shore’s Oscar-winning
music for The Lord of the Rings trilogy.
www.howardshore.com www.howerecords.com piasclassicsusa.com discovery-records.com
“Supporting Outstanding Young Performing Artists since 1948”
Friday Morning
Music Club Foundation, Inc.
Presents
THE 64TH ANNUAL
Washington
International
Competition
For Piano
June 3 & 4, 2017
2017 JUDGES’ PANEL
MenahemPressler Ann Schein JamesTocco
$22,000 in Cash Awards
Solo and Orchestral Strings 2018
Performance Awards
Voice
2019
Semifinals: June 3, 9 a.m.-5 p.m.
University of the District of Columbia
Finals: June 4, 2-5 p.m.
UDC Theatre of the Arts
Chen-Li Tzeng
Competition Chair For more information
[email protected] visit www.fmmc.org
SOUNDS OF AMERICA
interdependence’.Toportrayvariousaspects originally a co-development with the woodwinds against a blanket of sustained
ofnaturein19sections, she has devised a Philadelphia Orchestra, augmented in the string chords; and, as the music progresses, it
spectrum of vocal and instrumental settings, fifth movement by mezzo-soprano Clara seems that the cor anglais, oboe and bassoon
some weaving the musicians together and Sanabras’s radiant singing of Elizabeth increasingly establish themselves as main
others for a cappella ensemble or instruments Cotnoir’s specially written lines about love characters. Much of the relatively brief third
alone. Not that these distinctions matter: in and renewal, and including an intricate, part is brisk and quiet, where rapid piano
the Monk realm, voices are instruments exhilarating, typically Kronos three minutes. arpeggios and soft marimba and timpani
anyway, and often function as illuminating In the shadow of political uncertainties, flourishes dart in and out of each other like
manifestations of sonic possibility. Shore’s eloquent and deeply thought out playful fireflies.
Each section has a title – for example, Peace, to texts by Eleanor Roosevelt, A similar chamber aesthetic dominates
‘Fractal Activity’, ‘Pavement Steps’, ‘Water/ represents more than usually a true prayer, throughout the Fourth Piano Concerto,
Sky Rant’ – whose meaning may not always sung with beguiling optimism by the where solo piano phrases are often
be apparent by way of the sounds Monk Essential Voices USA Youth Workshop. punctuated or tag-teamed by other
conjures. But the ambiguous narratives Recorded live at the Bridgehampton instruments. Likewise, the piano/ensemble
weave their spell, nevertheless, in the fresh Chamber Music Festival, and previously interaction sometimes resembles fleeting
unfolding of phrases, layers, and primal and released coupled with Alan Boustead’s conversations, as if a dinner party host is
heavenly subtleties. At times it is difficult to enchantingreconstructionofBrahms’s sailing across the room, gracefully
tell whether you’re hearing a voice or an originalinstrumentationforhisSerenade acknowledging more than one guest at a
instrument; certain percussion (rasping stick, No1,Shore’sAPalaceUpontheRuins, from time, while keeping the agenda moving
toy glockenspiel, bowed flexatone) exerts its an unspecified ‘past that speaks of an forward. Yet there are moments of
special character to surprising impact. unresolved trauma’, is redolent of fog, ice, relaxation, where the proverbial soloist host
Monk and her peers blend and share lines rain and strangely impersonal feelings of settles down for an extended interchange
with seamless virtuosity, evoking the beauty ‘loss, awareness, healing and redemption’. with a particular instrument or two. This is
of nature while suggesting cautionary tales Written for the wedding of Sara the kind of music that Peter Serkin’s lean
about the need to preserve and protect what DiMaggio and CAMI Music head Jean- sonority, incisive touch and hair-trigger
too many humans take for granted. Jacques Cesbron, Catania, played by Lang responsiveness brings to life. Considering
DonaldRosenberg Lang, is short, intimate and affectionate. that both works were recorded live, the
Laurence Vittes Boston Symphony members’ level of
Shore
accuracy and alignment is downright
Wuorinen
APalaceUpontheRuinsa. Peaceb. uncanny, abetted by James Levine’s quick-
The Gardenc.SixPiecesd.Cataniae SymphonyNo8,‘Theologoumena’a. witted, focusedleadership.Jed Distler
aJenniferJohnsonCano,dClaraSanabrasmezs PianoConcertoNo4b
‘AmericaAgain’
eLangLangpfbBenjaminHuttoorgdKronos bPeterSerkinpf
Quartet;c21stCenturyChamberChoir/Ludwig BostonSymphonyOrchestra/JamesLevine ArlenOvertheRainbowBeachFromBlackbird
Wicki;bEssentialVoicesUSAYouthWorkshop/ BridgeFBRIDGE9474(60’•DDD) HillsBerlinBlueSkies(arrArtTatum)Bernstein
JudithClurman;aplayersoftheBridgehampton Recorded live at Symphony Hall, Boston, AnniversaryforStephenSondheimBlochAtSea
ChamberMusicFestival;dRTÉConcertOrchestra/ bMarch 2005, aFebruary 2007 Coleridge-TaylorDeepRiver Copland
HowardShore,LudwigWicki SentimentalMelodyEllingtonMelancholia
Howe FHWR1020 (50’ • DDD • T) GouldAmericanCapriceGershwinIlovesyou,
Porgy(arrNinaSimone)HansonSlumberSong
Subtitled RHarrisLi’lBoyNamedDavidLHarrisonNew
Theologoumena, Charles YorkWaltzesJoplinGladiolusRag Negrón Sueno
Although Howard Wuorinen’sEighth recurrente F Price Fantasie nègre Sanford
Shore has recruited Symphonyiskind PromiseTraditionalShenandoahD Visconti
Lang Lang and the ofasiblingtohisearliersymphonicpoem LonesomeRoads–Nocturne
KronosQuartetto Theologoumenon.Thelatterisdefinedby LaraDownespf
headlinethisnewretrospective,itis thecomposer as ‘a private non-dogmatic Sono Luminus F DSL92207 (67’ • DDD)
10cellists from Ireland’s RTÉ Concert theological opinion’. Rather ironic coming
Orchestra and two vocal ensembles who from a composer whose brand of serialism
make the strongest impressions. often communicates a dogmatic and
The most arresting music is in Shore’s fundamentalist surface style. The title of Lara
evocative setting of Robert Penn Warren’s That said, the Eighth Symphony’s Downes’s new disc
‘TheGarden’,areflectiononloveanddesire sprightly first section divides the orchestra comes from Langston
infusedwithanirrationalmythicquality,in into small, diverse and continuously shifting Hughes’s poem ‘Let
whichthesuperb21stCentury Chamber chamber pools where instruments enter and America be America again’, which speaks of
Choir intensify the music’s highly charged exit faster than one can catch them. Tuned dreams and love. Certainly the music the
languagebeforeclosing–‘Allthingsthatfed and non-tuned percussion blend with pianist imbues with deep affection, energy
luxurioussense/Fromappetiteto stingingpianolicksthatspikeupcertain and spirit can be said to embody those
innocence’– with an appropriately spaced- phrasesandreinforceclimacticjunctures. qualities. It also reflects the multiculturalism
out aura. Atthe 3'14" mark, a solo violin provides that is at the root of the melting-pot nation.
The most purely gorgeous musiccomesin momentary lyrical respite. The slower Of the 19 composers represented here,
Shore’s use of the RTÉ strings inSixPieces, second part commences with twitchy solo two were immigrants (Irving Berlin, Ernest
gramophone.co.uk GRAMOPHONE JANUARY2017 V
THE THOMAS & EVON
COOPER
INTERNATIONAL
COMPETITION

Violin 2017
July 13-22
For ages 13-18
FIRST PRIZE $20,000
$40,000 in total cash prizes
Travel assistance available
Finals with The Cleveland Orchestra
Broadcast live on WCLV 104.9 FM
Application deadline: May 1
More information at www.oberlin.edu/cooper
NI
N
A
OI
R
T
S
A
M
R
E Sirena Huang,
G
O 2011 First Prize.
R
SOUNDS OF AMERICA
‘Monk and her peers blend and share lines with seamless virtuosity’ (review on page III)
Bloch),fourare/wereAfricanAmerican GabrielaMartinezpf poetically soaring. Mason Bates’s White Lies
(Samuel Coleridge-Taylor, FlorencePrice, DelosFDE3526(55’•DDD) for Lomax made the rounds of the 2009
David Sanford, Duke Ellington),oneis Cliburn Competition, with many pianists
Puerto Rican (Angélica Negrón)andoneis relishing its rhapsodic and bluesy qualities.
anonymous (creator of Shenandoah).The Martinez takes a gentler, less angular
result is a programme touchinguponsuch Winneroffirstprizein approach to the writing than others; and if
genres as the waltz, spiritual, rag,jazz, theAntonRubinstein she doesn’t quite capture the inherent ‘swing’
Americansongbook,operaandmore. InternationalPiano of the dotted rhythms at around 1'37" and
Downesbringsasmuchpersonalityto Competitionin beyond, compared to Cliburn finalist
thebeloved fare, including ‘DeepRiver’and Dresdenandasemi-finalistinthe12th Haochen Zhang’s more darting, incisive
‘OvertheRainbow’,asshedoestothelesser- VanCliburnCompetition,Gabriela effect (Harmonia Mundi), her plusher
knownselections.Amongthelatterare Martinezhasamassedalongrésuméof sonority and cognisance of foreground/
threevibrantpiecesgiventheirpremiere internationalrecitalandconcertocredits background textures compensate.
recordings:Negrón’sSuenorecurrente, priortothereleaseofhersolodebutCD. Listenersfamiliarwiththelush,
DavidSanford’s Promise and DanVisconti’s Whiletheword‘daring’figuresinherpress phantasmagoricallaterpianoworksof
NocturnefromLonesomeRoads. biography,‘careful’prettymuchsumsupher SzymanowskiwillfindhisearlyOp3
Ittakesanexceptionalandelasticpianist gingerapproachtotheoutermovementsof Variations harmonically conservative by
todo justice to arrangements bystellar Beethoven’sDmajorSonata,Op10No3. comparison,almostlikewatered-down
predecessors, and Downes provesmorethan Perhapsit’sthemicrophone’sunforgiving Brahms.WhileMartinezcommandsthe
up to the job in Art Tatum’s sophisticated presencethatexplainshertiny,tell-tale notesandbalancesthelinescapably,Iprefer
versionofBerlin’s‘BlueSkies’andNina broadeningsatphraseendings,theever- Martin Roscoe’s steadier and more unified
Simone’simpassionedtakeonGershwin’s so-slighthesitationstelegraphingsubito temporelationships(Naxos);compare,for
‘Ilovesyou,Porgy’.Thediscalsocontains dynamics,andnotey,tensionlessphrasing. example,therelativelywanderingbeatof
delectableminiaturesbyMortonGould, Bycontrast,thepianist’stoneandcolour Martinez’sVariation9 Grazioso waltz next to
LouHarrison,AmyBeachandothersthat paletteopenupinthegreatLargo,where Roscoe’s firmness and focus, and you’ll hear
RDS deservemoreexposure.Downestreats theleft-handcantabilesandcounterlines for yourself.
O
C
RE everypiece with requisite flair,intensityor provideplentyofshapeanddirection. Dan Visconti’s title-track begins
M
NTES/EC shwereeatrntiesstsr.yHtougbheedsrmeaimghyt,ahnadve wchoon’ssidgeoriendg TcahnenyMveonicuee-tlteoadstianngdbsuotutthfeorlinMgaerrtiningez’s tinentota Stiovnedlyh aenimd -sepsaqruineg plyat, tselronwsl yth baut itlrdaivnegr suep
VA toargue? DonaldRosenberg caesurasatcertainphraseendsareatad the entire keyboard and explode, like a kitten
R
ULIETACE ‘AmplifiedSoul’ miAngcianing,atnhdepsarfeedtiyctfaabctloe.r,plusanarrow wlikoer kai ntigg eitrs, ownalyy otou tr oetfr ae abta bga acnkd t oe msqeuragrien go ne
Y:J MBatesWhiteLiesforLomaxBeethovenPiano dynamicrange,preventtheRachmaninov at the end. Here Martinez finally throws
H
AP SonataNo7,Op10No3RachmaninovMoment Bflat minor Moment musical’s excellent caution to the wind and plays like it really
R
OG musicalNo1,Op16No1Szymanowski melody/accompaniment parsing from matters. This selection alone explains what
OT
PH Variations,Op3 ViscontiAmplifiedSoul projecting over the proverbial footlights and the fuss over Martinez is about. Jed Distler
gramophone.co.uk GRAMOPHONE JANUARY2017 VII
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