A Review of a VERY BIG Rach2 by Trifonov and Nézet-Séguin – Stunning

Daniil Trifonov and Yannick Nézet-Séguin

If you are a regular reader of my blog, you know that I’m a big fan of both artists (e.g. see here for my review their previous Rachmaninov album, or here for a report my recent experience of Nézet-Séguin live, or just use the search function).

Trifonov is without doubt one of the best pianists of our age, and I start to regret not having included him in my list of my Top 10 classical pianists, maybe that blog post needs an update at some point. And Nézet-Séguin is on his path to be one of the truly great conductors of the 21st century.

So when I saw they just released the legendary Rach 2 together, I bought the album immediately.

Destination Rachmaninov: Departure. Piano concertos No. 2 & 4 – Daniil Trifonov – Yannick Nézet-Séguin – The Philadelphia Orchestra

 

Daniil Trifonov Yannick Nézet-Séguin The Philadelphia Orchestra Destination Rachmaninov - Departure Deutsche Grammophon 2018 24/96

There is no lack of great recordings of Rach2. Andsnes, Zimerman, Buniatishvili (although this recording is bit controversial), not to mention the greats like Richter, or even the composer himself.

How to play this piece? Do you try to keep it more factual, or do you go with the full romantic power of the piece?

Some lessons can be taken from the recording of Rachmaninov with Leopold Stokowski, featuring the very same Philadelphia Orchestra than the current recording. And one thing is clear, already at the time (1924), they went BIG. A lot of power, a lot of rubato, a lot of everything. And guess what, that works! (well the composer should know, you’d presume)

Trifonov and Nézet-Séguin take a very big approach here. You can really float in the big sound of the Philharmonia Orchestra, and soloist and conductor clearly connect. Trifonov clearly is a virtuoso of the highest caliber, so the technical challenges of this massive work just go unnoticed.

Overall, there is a lot of rubato, and the tempo is relatively slow. In some of the slower passages, one even gets reminder of a Bruckner symphony.

Some would argue this is too much. I haven’t seen many reviews yet, but I predict this recording will be a love it or hate it affair.

To make it clear: I love it!

You also get concerto no. 4, but to this day, I’m like quite a large majority of music lovers, I love nos. 2 and 3, and just don’t get 4. So no comment from my side.

What you do get on top is much more interesting, at least to me. Rachmaninov did his transcription of the Violin Partita BWV 1006, a true gem, that I should probably add to my blog post on transcriptions of the Chaconne. Very much worth discovering.

I’m kind of curious about the album title, Departure, and am really wondering where this train takes us next. Let’s hope to an equally spectacular Rach 3!

My rating: 5 stars.

I’m curious to see if my prediction holds true, and there will be both raving and bad reviews of this. I’ll report back when I see them. In the meantime, try before you buy!

You can find it here (Qobuz) or here (Prostudiomasters)

 

Tord Gustavsen’s The Other Side – Delightful

Tord Gustavsen

I’ve previously written about the rich Jazz scene in Scandinavia, and particularly about Tord Gustavsen, reviewing his album The Ground here.

Gustavsen’s trio has a very particular style, minimal, melodic, and fascinating.

So I was very excited when I saw that Gustavsen’s latest album was just released, and thanks to ECM finally allowing streaming, I could sample it immediately.

Tord Gustavsen Trio: The Other Side (ECM 2018)

Tord Gustavsen Trio: The Other Side (24/96) ECM 2018

I wasn’t a universal  fan of some of the albums Gustavsen released in the last years, but with his latest album, I’m fully back on board!

The first thing you notice is the cover art, while still in the typical ECM abstract art style, they’ve changed from the dark blue tones of most of the former albums to a bright orange. Does this mean the music is more orange as well?

Well, actually not. This is very typical Gustavsen style, very much reminding me of what I liked so much about The Ground.  Let’s take as an example urack 3 of the album, Re-Melt. It starts with a syncopated rhythm by Jarle Vespestad on drums, and Sigurd Hole on bass. Gustavsen joins a bit later, weaving a beautiful, subdued melody over the rhythm. None of the music on this album is ever over the top, but it will always be one thing: very atmospheric. It always just unfolds slowly, over time.

Recording quality, as usual on ECM, is very good, actually in this particular case it is again quite spectacular.

Check out this album. It may not be for everyone, but if you like this minimalist Nordics style, you really should not hold back!

My rating: 4 stars

You can find it here (Qobuz) and here (Prostudiomasters)

 

The Legendary Bach Chaconne – My Favorite Keyboard Versions

Bach Sonatas and Partitas for Solo Violin

If you follow my blog you know I like Bach. A lot. So how come I’ve never written about one of his greatest masterpieces, the sonatas and partitas for solo violin?

Honestly, no idea. Maybe because while I actually really admire the works, listening to solo violin is really an experience, in spite of all the artistic beauty of the composition, is not something I can bring myself to do everyday.

The most famous piece of the 6 works, BWV 1001-1006 is without doubt the Chaconne in D-minor of BWV1004.

It is mind-blowing not only by it’s length (around 14 min), while the average of the other parts is around 5 min only, but also by the amazing harmonic complexity (See below an example with Hillary Hahn.).

 

My favorite version of the original violin work is by the legendary Nathan Milstein (note there’s a mono and stereo version, plus several live recordings), but others, such as Henryk Szeryng, Isabelle Faust, or Rachel Podger, are also highly recommended.

Nathan Milstein Bach Sonatas and Partitas for Solo Violin EMI 1954-1965

I found this beautiful quote from Joshua Bell about the Chaconne on Wikipedia: “not just one of the greatest pieces of music ever written, but one of the greatest achievements of any man in history. It’s a spiritually powerful piece, emotionally powerful, structurally perfect”. Well, there you go. And I fully agree.

Nevertheless, these works were largely forgotten for a long time and only rediscovered in the late 18th century by Schumann and Brahms.

Which gives me a perfect segue to what I’ll be writing about. The Chaconne, which is actually quite polyphonic (a daunting task on a solo instrument like the violin), has been transcribed for keyboard instruments many times. And I find myself listening to the keyboard transcriptions more often than the violin original (ok, I’m an amateur pianist myself, so I’m probably biased).

Transcription by Johannes Brahms – Jean Rondeau

One of the first transcriptions was actually done by Johannes Brahms himself, and just to make it “easier”, he wrote it for the left hand only.

It’s been played by many great pianists, like the legendary Krystian Zimerman.

My current favorite version of this piece however was released quite recently by French Harpsichordist Jean Rondeau on his album of Bach transcriptions called Imagine.

Jean Rondeau - Bach - Imagine Erato 24/96

Rondeau plays with a lot of insight and passion and a lot of rubato. In many ways, you can feel some of the romanticism of Brahms in this particular version (which probably is just me making things up, as Brahms didn’t compose this after all). The sound of Rondeau’s cembalo is particularly beautiful on this recording. The rest of the album is equally beautiful and highly recommended.

 

Transcription by Federico Busoni – Benjamin Grosvenor

Benjamin Grosvenor Homages (24/96) Decca 2016  

I’ve previously written about the great English pianist Benjamin Grosvenor and his beautiful album Homages. He starts this album with the Busoni transcription. Busoni transcription really transforms this solo piece into the sound of an entire orchestra, and requires a true virtuoso to play. Amazing how much the original material of Bach can be transformed and still be of outstanding beauty.

 

Improvision by Gabriela Montero

Gabriela Montero is another pianist I wanted to write about for a long time. Her specialty is not only being able to play amazing classical music, but to improvise live in front of the audience. Her concerts (and I’ve only been to one of them so far, but want to go again) often include a part where she asks the audience to give their favorite tunes, she picks them up, and starts improvising, like this particular example:

But she also has released albums which include improvisations, like her album Bach and Beyond:

Gabriela Montero: Bach and Beyond

She also takes the Bach Chaconne and transforms it into something very personal on the piano (much shorter than the original at less than 5 minutes). It is not as impressive as Busoni’s massive version, but her personal touch is so beautiful, this entire album is veyr much worth checking out, and if she ever plays near you, you have to go!

 

You can find the albums here:

Milstein here (Qobuz)

Rondeau here (Qobuz) and here (AcousticSounds)

Grosvenor here (Qobuz) and here (Prostudiomasters)

Montero here

Sophie Pacini – In Between – Truly Passionate Romantic Piano

Schumann and Mendelssohn

I must admit, the core of my listening when I was younger was the Romantic period.

Brahms really was my first love, but also Bruckner, Schumann, and later increasingly Mendelssohn.

I have written previously about Mendelssohn’s solo piano works, e.g. the beautiful recordings of the Lieder ohne Worte (Song without Words) by Ronald Brautigam here and Xavier Perianes here.

But I’ve been a bit too silent about Schumann’s beautiful piano works. I was just recently reminded of Schumann’s tragic life when I saw a re-run of the 2008 German TV production Beloved Clara (Geliebte Clara) that is set in the last years of Schumann’s life when Brahms suddenly shows up, and witnesses Schumann’s increasing mental degradation. The movie isn’t the best ever, but the true story is really fascinating. And actress Martina Gedeck as Clara is good as ever.

So when I quite recently discovered a new release of a young Italian pianist, that of all possible mentors was endorsed and encouraged by none other than the magnificent Martha Argerich, I was curious.

Sophie Pacini – In Between (Warner Classics 2018)

Sophie Pacini is 26 years old, but has already had a quite impressive career, and winning several prices. Somehow she wasn’t yet on my radar screen yet. What a miss. She’s a truly passionate pianist.

Sophie Pacini In Between Schumann & Mendelssohn Warner Classics 2018 24/96 review

This entire album is split between Schumann and Mendelssohn. We really get the full level of energy throughout, I’m really not suprised that Matha endorses her, in many way she reminds me of her.

My favorite piece is already the starting piece. Here we’re getting the Liszt translation of the beautiful love song Widmung. 

This piece really is already fully putting you into the mood, virtuosity, energy, but also a lot of nuance.

When in the second half we get to Mendelssohn, we see that Pacini also is very powerful in the less virtuoso passages, she plays e.g. the beautiful Lieder ohne Worte with a lot of intimacy.

The only thing you could criticize on this album, if you really wanted to, is the occasional moment of “power over precision”, and a lot of use of rubato. But this really is nitpicking.

 

Sophie Pacini is a promising artist to watch (well, don’t believe me, but Martha apparently after initially hearing her play called her Veramente Bravisssima), and I can recommend this album very highly.

My rating: 4 stars

You can find it here (Qobuz) or here (HDtracks)

 

Michael Wollny Trio Live: Wartburg – Not A Review

Michael Wollny

I’ve written about Wollny several times already (e.g. here and here), and I stand by my statement that Wollny is one of our most talented Jazz pianists of our times.

So, why has it taken me so long to write about a new album?

Michael Wollny Trio Live – Wartburg (Emile Parisien) (ACT 2018)

 

Michael Wollny Trio Live Wartburg Emile Parisien ACT 2018 24 96

Well, simply because this album doesn’t move me at all, I keep trying it, and it doesn’t “stick”. No idea why.

That’s why this “review” is going to be super short, as I really can’t put my finger on it. But the playing overall feels a bit random.

Emile Parisien appears on some tracks, but nothing really improves at least to my ear.

Maybe it is just a bit to “free” for me, after all, my simple musical brain needs some melodies.

I still suggest that you check out this album to see if you like it. After all, Wollny truly is a genius.

But I just wanted to share that I’ll rather stick to one of his many other live concert recordings.

Please let me know what you think, I’d especially like to hear if you disagree with my assessment.

My rating: 3 stars

P.S. if this is the first time you’re ever seeing my blog, the above isn’t my “typical” review. I usually try to explain a bit more what I like or don’t like about this album.

You can find it here (Qobuz) and here (Prostudiomasters)

Haydn’s Piano Sonatas by Paul Lewis – Delightful

Papa Haydn

I’ve written several times before about Haydn, mainly about his symphonies, e.g. here (Ottavio Dantone) and here (Giovanni Antonini).

Overall, I’m not such a big fan of this composer. He had a very important role in music history, but I’d much rather listen to Mozart than to Haydn most of the time.

However, exceptions confirm the rule. For example, this excellent album by Paul Lewis:

Haydn: Piano Sonatas 32, 40, 49, 50 – Paul Lewis (Harmonia Mundi 2018)

Haydn Piano Sonatas Nr. 32 40 49 50 Paul Lewis Harmonia Mundi 2018 24 96

Paul Lewis is one of the most famous pupils of the legendary Alfred Brendel. He’s already recorded quite a bit, and has often focused on a very similar repertoire to his master, e.g. Schubert and Beethoven (his complete Beethoven cycle is very nice).

You can hear a lot of his Schubert and Beethoven in this recording. The playing is always thoughtful, often energetic, but never too much, very nuanced, and overall extremely enjoyable. It is very clear that Lewis has learned a lot from Brendel, I’d use very similar adjectives for him.

What suprises me is that I keep going back to this album on a very regular basis, and in a way this is probably the one Haydn album I’ve listened to the most in my entire life of classical music listening.

Gramophone agrees and gives this an Editor’s Choice in their May 2018 issue (although they tend to be quite friendly to UK artists in general).

Overall, very much worth having.

My rating: 4 stars (5 star playing, 4 star repertoire)

You can find it here (Qobuz) and here (Prostudiomasters)

C.P.E. Bach’s Cello Concertos by Jean-Guihen Queyras – A Review

Carl Philipp Emanuel Bach

C.P.E. Bach probably is the best known of the Bach sons, but still is one of those underrated composer that don’t get played enough today.

His music really sits on this very interesting time of transition between baroque music, that his father still epitomises, and the Wiener Klassik period of Haydn and Mozart.

I’m also a bit responsible for not mentioning him enough, so far I’ve reviewed only one album by this composer, his excellent cembalo concertos with Andreas Staier.

Jean-Guihen Queyras

Queyras is one of the best cello players of our generation. He’s been featured on this blog already a couple of times, and typically getting very favourite reviews, e.g. here.

He plays both chamber music (often with Isabelle Faust) and performs as a soloist for orchestral works.

C.P.E. Bach – Cello Concertos – Jean-Guihen Queyras – Riccardo Minasi – Ensemble Resonanz (Harmonia Mundi 2018)

Carl Philipp Emanuel Bach Cello Concertos Jean-Guihen Queyras Ensemble Resonanz Riccardo Minasi Harmonia Mundi 2018 24 48

I knew Riccardo Minasi from his past recordings with Il Giardino Armonico and several other baroque ensembles where he was still playing the violin. And I’ve mentioned his excellent activities with the Pomo d’Oro here, but had never heard of Ensemble Resonanz. It turns out its been active since 1994 and is located in Hamburg. Well, you never stop learning.

So, how do they play? Well I must admit for these works I have only a handful of other versions, including for example a recent release on Erato with Truls Mørk, and Ophelie Gaillard on Aparté.

How does this recording compare? Well, it really hasn’t have to hide. It is joyful, energetic, and nuanced. This really is a prime example that this composer deserves to be heard more!

Queyras’ sound on the cello is beautiful, not too heavy, but with a nice singing tone. He really nicely integrates with Ensemble Resonanz, the soloist never being the dominant player, but it is more a marriage of equals.

Overall: Very enjoyable!

My rating: 4 stars

You can find it here (Qobuz) and here (Prostudiomaster)