Table Of ContentTHE WORLD’S BEST CLASSICAL MUSIC REVIEWS Est 1923 . NOVEMBER 2014
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Cover UK lmKML.indd 1 17/10/2014 13:47
LONDON SYMPHONY ORCHESTRA
LEONARD SLATKIN, CONDUCTOR
WORLD PREMIERE RECORDINGS
OF
MASON BATES
VIOLIN CONCERTO
&
JOHN CORIGLIANO
LULLABY FOR NATALIE
NEW RECORDING OF THE
SAMUEL BARBER
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RECORDINGS & EVENTS
A special eight-page section for readers in the US and Canada
talks to…
Nancy Ellen Ogle, soprano…
…on Dear Darwin, the song-cycle written for her by Scott Brickman
How did this ‘abecedarium’ – 26 songs, more accessible over the years, yet it still has
one for each letter of the alphabet – arise? deep integrity. I told Scott about Kathleen’s
I teach at the University of Maine, which is Darwin poetry and he said he wanted to write
the home of the National Poetry Foundation. something for me. He was surprised at how
Kathleen Ellis, whose poetry was set by Scott fast the poems rolled into music for him.
Brickman for this collection, has connections
with the foundation. The year 2009 was a Why was he the ideal composer for this?
big one for Darwin and I went to some I find the poems so unexpected and witty –
anniversary events, most of which were very I have to slow down when I read them just to
sombre and serious. Then I came across take them in. Take ‘A is for Apple’ – you might
Kathleen’s poems inspired by Darwin, and think of a children’s song but look at the opening
they just spoke on a whole different level. lines: ‘The letter A is an archer / a mark across
What she’s doing is looking at Darwin as an the chest.’ The ground has shifted, the reality is
archetype of the modern man; how he was something different. Or ‘Playing House’: ‘He ‘Quotidian Sunday’ is another – it’s so vocally
so thoughtful in his perception of the world plays a garden. / She plays a fruit tree…He plays gratifying, it’s like singing an Italian aria.
and yet when he said what he thought he the field. / She plays house.’ Scott spreads these
was ridiculed. That irony of the human layers out with his own sense of humour and What does the poet make of the songs?
condition is what Kathleen captures – what irony, and gives a bit of time to these fast poems. I’ve sung new music and the poet has come
it’s like to say what you think and what can up afterwards looking puzzled, saying ‘There
come back to you as a result. Brickman has said that five of the songs are was supposed to be a line break there’. But
‘American’, with accompaniments deriving I think Scott’s music gives this poetry an
How did Brickman become involved? from Broadway and pop songs… accessible life and a charming context. And
I first sang a piece of his 20 years ago which ‘Heart’ is one of those, and I love it – it’s got a Kathleen said recently that her poet friends
dealt with some very abstract poetry. It’s great vibe. This is one of the songs I tell people thought the music brought out the poetry
been interesting to see his music become to listen to first if they’re new to this music. perfectly – I couldn’t feel better about that!
.
JS Bach Pachelbel 3 music. The challenge for performers is University of Buffalo, Harbach recorded a
JS Bach Die Kunst der Fuge, BWV1080a. simply to make good music. Scored for no Johann Pachelbel set with considerably more
Komm, süsser Tod, BWV478a Pachelbel instrument in particular, the music is long, freedom and sense of drama.
Canonb. Chorale Preludesb. Chaconneb the textures increasingly complicated and the At the place in the score where Bach’s
Barbara Harbach org tune which is fugued is not a happy one, uncompleted last fugue breaks off, Harbach
MSR Classics F b MS1442 (148’ • DDD) though it may be uniquely amenable to stopped and let 16 heart-stopping seconds
Played on the Fisk organs of aDowntown United Bach’s inversions and other contrapuntal elapse on the track itself before moving on to
Presbyterian Church, Rochester, NY; bSlee Hall at designs and devices. Barbara Harbach the consoling strains of Komm, süsser Tod;
the State University of Buffalo, NY responded to the challenge in her 1989 these segued into a spiritually radiant (with
From Gasparo GSCD282/3 recording for Gasparo by putting Bach’s audiophile low bass) reading of Pachelbel’s
iconically simple yet complex voices and famous Canon in the standard arrangement
lines into motion, tempered by a certain by S Drummond Wolff, and gripping
amount of gravitational pull, interpretatively performances of two big chaconnes, each
For many listeners speaking, and letting the sound and authority one its own tour de force stretching harmonic
besides scholars and of her Fisk tracker organ – Op 83 at the and melodic orthodoxies with astounding
(in this case) organists, United Presbyterian Church in downtown virtuosity; to these Harbach responded with
the challenge with Rochester – take over. A year later, on Fisk her most brilliant playing.
Bach’s The Art of Fugue is to hear good Op 95 at Lippes Concert Hall at the State Laurence Vittes
gramophone.co.uk GRAMOPHONE NOVEMBER 2014 I
US Reviews lkRdMLrL.indd 1 17/10/2014 13:51
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SOUNDS OF AMERICA
Beethoven
26 short songs, the cycle conjures subjects
‘A Beethoven Odyssey, Vol 3’ that fascinated Darwin, such as human
Piano Sonatas – No 2, Op 2 No 2; No 17, relations and nature. The piece is dubbed
‘Tempest’, Op 31 No 2; No 26, ‘Les adieux’, Op 81a More than a few things ‘an abecedarium for soprano and piano’,
JamesBrawnpf may strike you as odd meaning the song titles travel through the
MSR Classics F MS1467 (71’ • DDD) even before you hear English alphabet, starting with ‘A is for
a note of Roberto Apple’ and ending with ‘Zygote’. It’s a
McCausland Dieppa’s new recording. clever conceit, and Ellis’s verses provide
The title, ‘Autumn Passion: Beethoven much amusement amid serious consideration
The British pianist Retrospective’, appears to have nothing to of the topics.
James Brawn is do with the ‘three great sonatas’ the pianist Brickman’s music for the songs has roots
recording his performs here. Actually, it’s three and two- in serial writing, without adhering to the
way through the thirds, since he plays the last two movements rules or veering too far into uncharted
32 Beethoven piano sonatas out of of the Les adieux Sonata as ‘encores’ and harmonic territory. The vocal lines can be
chronological order, which gives omits the first, even though it could have jagged or lyrical, as befits the subject, and the
listeners a chance to hear the composer fitted easily on the disc. piano part often takes the lead, establishes
at different periods in his development The pianist’s bio inside states that atmosphere or adds subtle splashes of
in the genre. What unites the performances ‘Dieppa interprets standard repertoire with expressive colour. There are moments when
is Brawn’s authoritative sense of shape and unequaled uniqueness in style and with the music is a bit dour for the emotions
sonority. So far, his playing has been the incessant energy’. These claims happen to be being expressed but the songs have enough
epitome of lucidity, elegance and drama. true but they’re not always to the music’s contrasts of mood and metre to keep the ear
There’s every reason to expect that his advantage. While there are impressive intrigued. The cycle receives sensitive
complete set of the sonatas will be a moments when the pianist shows a firm shadings from soprano Nancy Ellen Ogle
triumphant achievement. command of the sonatas’ varied challenges, and pianist Ginger Yang Hwalek.
So is there any reason to read further in he too often applies his uniqueness and Surrounding the songs are electroacoustic
this review of ‘A Beethoven Odyssey, Vol 3’? energy in ways that shed more light on pieces that couldn’t inhabit more different
Perhaps to glean some of the distinctive McCausland Dieppa than on Beethoven. sound worlds – Mayday Rose (2006) and
qualities Brawn brings to each sonata. The Yes, the Appassionata calls for great International: Bridge: Peace (2003). The latter
earliest here is the Sonata No 2 (Op 2 No 2), intensity of expression, but it would help if is especially striking in its collage-like use of
an example of Beethoven as card-carrying the performance also had more contrast of biblical texts in many languages.
classicist with narrative surprises up his dynamics and nuance, minus so much DonaldRosenberg
sleeve. Brawn emphasises the moments of incessant aggression. Similarly, the Pathétique
Chesky
tension and repose without exaggeration, goes by without sufficient gradations or
finding equal portions of spark, nobility and flexibility of phrasing, sounding glib and Rap Symphonya. Street Beats. Central Park Dances
darkness en route. reckless. The first two movements of the aMikeTwo,aLeberrappers
Although some pianists hurl themselves Moonlight Sonata are more settled, with fine Orchestraofthe21stCentury
into the explosive passages in the Sonata unfolding of the famous triplet motion in the Chesky F JD364 (45’ • DDD)
No 17 (Op 31 No 2, the Tempest) at the first and a lovely lilting quality in the second.
expense of the hushed episodes, Brawn Then the pianist takes off on a wild flight in
achieves a superb balance between a finale that is more blurry than exciting.
contrasting materials. Even at full tilt, he The two movements of Les adieux are Urged on by
never pushes his sound over the edge into tossed with little mystery or buoyancy. sentiments such as ‘Kill
brittleness, no easy feat in this sonata. Incessant they are. DonaldRosenberg the Philharmonic’ and
Brawn’s ability to illuminate the ‘New York is burning’,
Brickman
myriad atmospheres and moods in David Chesky’s 20-minute Rap Symphony,
Beethoven’s music is nowhere more Dear Darwina. International: Bridge: Peaceb. which presents what the composer calls ‘a
apparent than in the Sonata No 26 Mayday Roseb world of depth transitioning into an image-
(Op 81a, Les adieux). The mysterious and aNancyEllenOglesopaGingerYangHwalekpf based superficial culture’, is a powerful
wistful passages in the first two movements bScottBrickmanelecs demonstration of orchestral virtuosity from
receive as much expressive consideration as Ravello F RR7888 (58’ • DDD) a composer whose roots lie in an analogue
the finale’s joyous outbursts, which Brawn time when the Schwann and Gramophone
takes for an exhilarating ride. record catalogues were every classical music
DonaldRosenberg lover’s bibles. After a dark, haunted opening
Many evolutions are of Sibelian dimensions, Chesky lays down a
Beethoven
at the core of this laid-back, jazz-like pulse over which strings,
‘Autumn Passion: Beethoven Retrospective – recording of music by winds and percussion combine in a series
Three Great Sonatas Encore’ Scott Brickman. The of miraculously transparent ensemble and
Piano Sonatas – No 8, ‘Pathétique’, Op 13; No 14, disc’s title, ‘Dear Darwin’, refers to the song- solo riffs; it’s an absorbing dialogue that
‘Moonlight’, Op 27 No 2; No 23, ‘Appassionata’, cycle set to poems by Kathleen Ellis paying always seems to be leading to something
Op 57; No 26, ‘Les adieux’, Op 81a – II; III tribute to Charles Darwin, whose On the momentous but keeps getting sidetracked
RobertoMcCauslandDieppapf Origin of Species laid the groundwork for in a series of colourful if narcissistic
Scruffy Records F 020567658 (68’ • DDD) generations of discussion and debate. In poses and attitudes.
gramophone.co.uk GRAMOPHONE NOVEMBER 2014 III
US Reviews lkRdMLrL.indd 3 17/10/2014 13:51
Scott Metcalfe, music director
der
n
MUSIC FROM THE PETERHOUSE PARTBOOKS o: Liz Li
ot
h
P
World premiere recordings of neglected pre-Reformation English polyphony.
Blue Heron is nearing the completion of a recording project of international musical significance: a five-CD series of
Music from the Peterhouse Partbooks—a glorious collection of music from the golden age of English church music, long-
unheard due to the loss of one of the partbooks but now singable once again in brilliant reconstructions by Nick Sandon.
“An exciting series, more than hinting at the wealth of great sacred music written by English composers between
roughly 1500 and 1540. . . . Top marks in all respects: engineering, liner notes—by the group’s director, Scott
Metcalfe—and, of course, the performances themselves.”
BARRY BRENESAL, FANFARE
“Blue Heron’s sound is a revelation — fresh, dynamic and vibrant. . . . This is pristine, urgent and wondrous
music-making of the highest order.”
DAMIAN FOWLER, GRAMOPHONE
Available through Amazon and other fine online retailers
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VOLUME I VOLUME II VOLUME III VOLUME IV
Hugh Aston Nicholas Ludford Nicholas Ludford Robert Jones
Three Marian Antiphons Missa Regnum mundi Missa Inclina cor meum Missa Spes nostra
“Expressive intensity, even a hint of “I cannot recommend this superb CD “Exemplary… suff used with elegance and
Baroque fl air…fi ne gradations of highly enough—it is the sort of record- polish… Intense, expressively height- COMING
dynamics; pungent diction; telling ing to listen to in awe at the sustained ened dramas that unfold in a kind of APRIL 2015
contrasts of ethereal and earthly tim- and unerring skill of the performers purifi ed, meditative slow motion.”
bres; tempos that are more lusty than and the burgeoning brilliance of the MATTHEW GUERRIERI, THE BOSTON GLOBE
languid; a way of propelling a phrase composers (and their unobtrusive ed-
toward a goal…” itor), and to shed a quiet tear for the “Sublime music sung sublimely.”
untold treasures that have been lost.”
ALEX ROSS, THE NEW YORKER IVAN MOODY
D. JAMES ROSS, EARLY MUSIC REVIEW
Untitled-2 4 20/10/2014 17:17
SOUNDS OF AMERICA
Exhilarating ride: James Brawn offers tension and repose in the third volume of his Beethoven piano sonata cycle
The first interruption of this dazzling Adagio and Allegro, Op 70. Träumerei, Op 15 for even the greatest double bassists; he also
tonal fabric by rappers Mike Two and Leber No 7 (arr Davidoff). Im wunderschönen Monat tunes his instrument’s strings in fifths instead
occurs 60 seconds in; after that, they join Mai, Op 48 No 1 of the standard fourths, which leads to
the action occasionally, a Greek chorus Orazio Ferrari db Marco Sanna pf clearer, more accurate performance in all
delivering messages scripted by Chesky Velut Luna F CVLD245 (50’ • DDD) ranges of the bass, as well as greater tonal
about cultural doom. Chesky’s YouTube richness. By doing so, Ferrari accesses
video, with its slick slideshow of dance and repertoire which allows bassists to show
images, adds visceral urban impact; on disc, what good musicians they are.
however, what dominates is the command For some reason, like Ferrari’s ambitions are most persuasively
with which Chesky uses the resources of the bassoonists, double realized in Chopin’s sad, late Cello Sonata
modern orchestra. bassists trend in G minor, Op 65, in which his plaintive
Chesky’s similarly kinetic Street Beats for incongruously towards double bass tone substitutes convincingly for
percussion quartet adds a beguiling flexibility being substantial musicians. They are not the cello, although the well-known tune in
of metre within its seemingly straightforward given much opportunity in the general run of the Largo simpers a bit. Schumann’s Adagio
pace; like the symphony it is recorded with classical music events, of course, aside from and Allegro, Op 70, is the only other
vivid punch and timbre, and lots of spatial the occasional Trout Quintet or Mahler First substantial piece on the programme. It
data. His three Central Park Dances are less Symphony. A young Italian with the name sounds difficult on the cello and difficult too
exceptional. Bill Milkowski’s intense notes of a racing machine wants to change that on the bass; it’s at its best, in fact, when
include a rare sighting of ‘canoodling’ in a reality. His name is Orazio Ferrari and in played as it was originally written, for the
CD booklet. Laurence Vittes 50 minutes of music originally written for horn. Through all these trials, pianist Marco
cello he posits whether the double bass is Sanna is a marvellously fluent, flexible
.
Chopin Schumann
moving closer to centre stage. partner in crime, taking particular advantage
Chopin Cello Sonata, Op 65. Etude, Op 10 No 6 Ferrari plays the music as written, not of the pianistic beauties that abound in the
(arr Glazunov). Wiosna, Op 74 No 2 Schumann transcribed an octave lower as is customary Chopin Sonata. Laurence Vittes
gramophone.co.uk GRAMOPHONE NOVEMBER 2014 V
US Reviews lkRdMLrL.indd 5 17/10/2014 13:51
PLÁCIDO DOMINGO
Encanto del Mar
Feel the warmth and joy of the sea
with the legendary Maestro’s intimate
and personal new album of music from
the rich tradition of folk and popular
songs of the Mediterranean.
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Bach
Grammy Award®-winning violinist Joshua
Bell continues as Music Director, Conductor
and featured soloist of Academy of St Martin
in the Fields with a new album of all Bach
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LANG LANG
The Mozart Album
Superstar classical pianist Lang
Lang’s fi rst all-Mozart album with legend-
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Nikolaus Harnoncourt, and the Vienna
Philharmonic.
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JONAS KAUFMANN
You Mean the World to Me
The world’s greatest tenor sings melodies from a
golden era of German music featuring popular hits
from the “Roaring Twenties” to the heyday of the
© 2014 Sony Music Entertainment sonymasterworks.com “Talkies” in the 1930s.
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SOUNDS OF AMERICA
THE SCENE
The Handel and Haydn Society performs Handel’s Messiah for the 161st time, Renée Fleming
stars in The Merry Widow, and Michael Tilson Thomas celebrates his 70th birthday in style
BOSTON, MA EVENT OF THE MONTH
Handel and Haydn Society A highlight is the two-week residency of
Holiday concerts (Nov 28-30; Dec 18 & 21) violinist Sarah Chang, who anchors the last
The Handel and Haydn Society, dedicated to two weekends of the festival. The first week
performing Baroque and Classical music, has sees Music Director Jacques Lacombe lead
been active in Boston since 1815. In 2015 it’s the NJSO in concerts of music inspired by
celebrating its bicentennial with a range of Romeo and Juliet, with works by Tchaikovsky,
concerts that include Bach’s St Matthew Passion, Prokofiev and Gounod. Actors from the
Haydn’s The Creation and Mendelssohn’s Elijah. Shakespeare Theatre of New Jersey perform
One of the mainstay works for the society is, scenes to complement the music-making. The
of course, Handel’s Messiah, which receives its second week includes music from Bernstein’s
161st annual performance in late November. West Side Story Suite (the composer’s
Harry Christophers leads the Period Instrument NEWARK, NJ reimagining of Romeo and Juliet in Hell’s
Orchestra and Chorus, along with a roster of New Jersey Symphony Orchestra Kitchen), which features Chang as soloist,
acclaimed soloists. In December they present Winter Festival: Sounds of Shakespeare as well as selections from Samuel Barber’s
A Bach Christmas, which includes Cantata 40 (Jan 9-25) Anthony and Cleopatra. Week three, meanwhile,
and Cantata IV from the Christmas Oratorio, The New Jersey Symphony Orchestra presents Korngold’s Much Ado About Nothing
as well as the Op 6 No 8 Concerto grosso by (pictured) embarks on a festival project Suite, as well as music from Elgar’s Falstaff.
Corelli, inscribed by the composer with the inspired by the works of William Shakespeare. njsymphony.org
instruction Fatto per la notte di Natale
(‘Made for the night of Christmas’).
handelandhaydn.org Teeth offers up an evening of vocal works. being rediscovered (including last season’s
Another highlight is Handel’s Saul, featuring performances of his opera The Passenger).
CHICAGO the Trinity Baroque Orchestra and the Choir Kremer and Trifonov take this intriguing recital
Chicago Symphony Orchestra of Trinity Wall Street, led by Julian Wachner. programme on the road, including stops in
Prieto and Yeh (Dec 18-20) trinitywallstreet.org Princeton, Baltimore and Toronto, and finishing
The Mexican-born maestro Carlos Miguel Prieto at New York’s Carnegie Hall on January 23.
presents a vibrant and rhythmically thrilling NEW YORK, NY carnegiehall.org
programme, including the tone-poem Metropolitan Opera
Sensemayá by Mexican composer Revueltas; Lehár: The Merry Widow (Dec 31 – May 7) SAN FRANCISCO
and CSO Principal Percussionist Cynthia Yeh This new production stars Renée Fleming as San Francisco Symphony
performing James MacMillan’s Veni, veni, Hanna, a wealthy widow who captivates all of MTT’s 70th Birthday Gala (Jan 15);
Emmanuel, a showpiece based on the Advent Paris. Franz Lehár’s charming and enduring Stravinsky: The Soldier’s Tale (Jan 16-18)
plainchant of the same name. The concert ends operetta also marks Met Opera debuts for its Michael Tilson Thomas celebrates two
with the orchestra at full tilt in Lutosławski’s Tony Award-winning director Susan Stroman important milestones this season – his 70th
energetic Concerto for Orchestra, whose sound and Broadway star Kelli O’Hara (who plays birthday and two decades as Music Director
palette draws on Polish folksongs. Valencienne); Nathan Gunn stars as Count of San Francisco Symphony. Naturally, there’s
cso.org Danilo. Mezzo-soprano Susan Graham takes a gala concert, this one featuring a dazzling
over the lead role later in the run. Sir Andrew array of star pianists to perform Liszt’s
NEW YORK, NY Davis and Fabio Luisi conduct. Hexaméron – a piano extravaganza
Trinity Wall Street metopera.org with virtuosity, courtesy of Emanuel Ax,
Twelfth Night Festival (Dec 26 – Jan 6) Jeremy Denk, Marc-André Hamelin, Jean-Yves
Trinity Wall Street presents its third annual US TOUR Thibaudet and Yuja Wang. With the fireworks
Twelfth Night Festival, New York’s winter early Gidon Kremer and Daniil Trifonov over, a set of concerts sees MTT leading the
music festival (a mix of free and ticketed Mozart, Weinberg and others (Jan 5-23) orchestra in performances of Stravinsky’s
events). This year it begins with a performance The remarkable violinist Gidon Kremer and The Soldier’s Tale, a theatrical work featuring
R of Bach’s complete orchestral suites by the dazzling young pianist Daniil Trifonov present a guest actor. This is paired with John Adams’s
KE
UC Trinity Baroque Orchestra, featuring the various programmes of works that run the Grand Pianola Music (for two pianos, three
D ST Trinity Scholars and directed by harpsichordist- gamut from Mozart and Schubert to Mieczysław female voices, wind, brass and percussion),
RE
FY: conductor Avi Stein. There are many guest Weinberg and Philip Glass. Kremer has long which was first performed by the SFS in 1982.
H
P artists, too: Gotham Early Music Scene championed the work of Weinberg, a Polish- sfsymphony.org
A
R
OG performs the medieval Play of Daniel, and the born Soviet composer often eclipsed by his
HOT Grammy Award-winning octet Roomful of friend Shostakovich. Of late, Weinberg’s work is Previews by Damian Fowler
P
gramophone.co.uk GRAMOPHONE NOVEMBER 2014 VII
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