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)

Esbjörn Svensson Trio – Live in London – A Review

Esbjörn Svensson Trio

What – a new album of the famous E.S.T.? Well, obviously not a NEW album by the trio after Svensson passed away way to early in 2008 in a diving accident.

But at least a not yet released album, from a live concert at the Barbican Theatre in London, recorded in 2005, was just released on ACT.

I’ve written previously about their album Live in Hamburg , giving it a 5 star rating. To me, E.S.T. was one of the founding fathers of the modern piano jazz trio, picking up from the tradition of a Bill Evans, that was picked up again by Keith Jarrett, but bringing it into  the 21st century. Many of today’s trios (GoGoPengiun, etc.) wouldn’t sound the same without E.S.T.

Live in London (ACT 2018)

Esbjörn Svensson Trio E.S.T. live in London ACT 2018 24/48

So, we obviously feature the Esbjörn Svensson Trio here, with Svensson himself on piano, as usual quite clearly in charge, Dan Berglund on bass, and Magnus Öström on drums.

Did I say Svensson dominates? Well, this is clearly quite piano driven, with Svensson getting a lot of solo time, but E.S.T. wouldn’t be E.S.T. without the complex rhythms driven by Öström.

And this being E.S.T. at their best time, you’re getting the usual dose of electronic effects, electro-inspired rhythms, and quite long tracks (the longest goes on for 17:32, making this a nice double album for those who still buy CDs) that are characteristic for the trio.

My favourite song probably is Eighty-Eight Days In My Veins from Viaticum, but there really isn’t a single bad track on this album.

While to me, this album doesn’t have the amazing power and refinement of Live In Hamburg that was recorded about two years later, this album is still highly recommended. If you’re into E.S.T. this is a must have, if you like piano trio in general, you should really check it out as well.

My rating: 4 stars

You can find it here (Highresaudio)

 

Vivaldi’s Gloria RV589 with Diego Fasolis, Julia Lezhneva, and Franco Fagio – A Review

My Favorite Vivaldi Work

I recently said that I’m not a particularly huge Vivaldi fan, which got some reactions from my readers defending his work.

To correct my image as a Vivaldi-basher, I’ve already praised Rachel Podger’s recent release of the Four Seasons.

I haven’t written about my favorite Vivaldi piece of all times, the Gloria RV 589 yet. (Well to be fair, it was mentioned here in this early post about what gives goose bumps to my readers).

Gloria RV589

RV589 is commonly known as “The” Vivaldi Gloria, but in fact there are others. But in my personal opinion (which is shared by many music lovers), RV589 beats them all. It may well be the most often performed Vivaldi Choral work.

So, if I like it that much, why didn’t I write about it earlier? Well, simply said, because I haven’t yet found my personal reference version.

The version I “grew up with” is the recording with David Willcocks and the King’s College Choir isn’t a bad starting point actually, in spite of it’s age, dating from the 1960s. Most baroque music from this time is heavy, slow and very far away from today’s standard of the historically informed practice, that I barely listen to it (Karl Richter’s b-minor mass being the occasional exception). Not so Willcocks, he was in a way HIP before it became a thing.

Later I discovered Rinaldo Alessandrini. With his ensemble “Concerto Italiano” he is one of the leading interpreters of HIP Vivaldi.

He’s actually recorded this work twice. Both versions have been released and re-released so many times that it is hard to distinguish them. The easiest way is the playing time.

In his first version, he gets through the initial Gloria in Excelsis Deo in a breathtaking 1:55. The poor strings barely get to follow this breathtaking speed. As much as I appreciate baroque music with a certain drive, this is just TOO fast.

You’re much better of with his second recording featuring Sara Mingardo among his soloists. The same Gloria is still fast, but at 2:10 a bit less Mickey Mouse on speed than the first one. So far, this has been my preferred version, but I still feel more can be done.

Therefore, I was very curious when this new recording was released:

Vivaldi: Gloria – Julia Lezhneva – Franco Fagioli – Diego Fasolis (Decca 2018)

Vivaldi Gloria Julia Lezhneva Diego Fasolis I Barocchisti NIsi Dominus Nulla in Mundo Pax Sincera Decca 2018

I very much liked Russian soprano’s Julia Lezhneva’s early album Alleluia, and also enjoyed her more recent release on arias from Carl Heinrich Graun. I was less of a fan of her release of Pergolesi’s Stabat Mater.

Diego Fasolis with his Swiss ensemble I Barocchisti is usually very reliable to give you something at least very enjoyable.

The same here, this version is good. The speed is always appropriate, dynamic, but never overly rushed.

Lezhneva is nicely complemented by Franco Fagioli, an excellent countertenor.

Now, is this version my new reference? Well, it’s hard to put my finger on it, but there is something missing. As with Alessandrini, I feel that still “more” could be done. I’m not a conductor nor a musicologist, otherwise I’d probably find better words. Is it the chorus?Anyhow, in the meantime, I’ll close by saying this is very much recommended, but I’ll keep on looking.

Do you have any versions of the RV589 that I should be checking out? Please share!

My rating: 4 stars

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

 

Alina Ibragimova’s Mesmerizing Bach Concertos

Alina Ibragimova

Regular readers know that I’m a fanboy of some violin players, notably Rachel Podger (see last weeks post on her Four Seasons, and several others, e.g. this one) and Isabelle Faust (see for example here and here).

Since this year, I have to add a third name to that list, Alina Ibragimova. I’ve seen her live earlier this year playing French chamber music, and was blown away.

The real reason why I haven’t heard more of her is quite simple: Hyperion doesn’t allow streaming. Given that having access to a great streaming service is now my number one source for new music discovery, and how much new music there is to discover, it’s just hard to buy stuff blindly these days.

Plus, on the Bach violin concertos in question, I really had more than enough choice already in my library (just checked, 15 versions of BWV1041), not to mention the hundreds of versions available via streaming. And there is great stuff like above mentioned Rachel Podger, Julia Fischer, Janine Jansen, Giuliano Carmignola, just to mention a few.

So the hurdles for buying this were high. But I’m very glad that today I clicked on “Buy” on the Hyperion website this weekend and added version number 16 to my library.

Bach: Violin Concertos – Alina Ibragimova – Jonathan Cohen – Arcangelo (Hyperion 2015)

 

Alina Ibragimova Bach Violin Concertos Acrangelo Jonathan Cohen Hyperion Records 24 96

So, this version immediately rises to the top  of my recommendations.

Before I talk about the soloist, let me first spend some words on the excellent orchestra. Given it’s young age, it was founded in 2010 by Jonathan Cohen, it is not yet as well known as for example Les Arts Florissants or other historically informed ensembles.

However, it immediately becomes audible that this really is a world class ensemble. They play with both precision and joy, and really are essential in making this album so enjoyable.

Now to Ibragimova. She keeps things very simple. Very little vibrato (HIP obliging), but even beyond that, she keeps everything very transparent and clear. To my ears, this is exactly what this music needs, it is of such an outstanding beauty (take for example the adagio of BWV 1042) that really there is nothing that needs to be added. It is just blowing you away by the sheer power of the music.

Outstanding!

I think I have to return to Hyperion’s website (link below) more often. Ibragmova’s Mozart sonatas just received fantastic reviews, and I’ll need to see how they compare to my favorite version with, again, Rachel Podger (see here).

My rating: 5 stars

You can find it here (Hyperion Records, download) or here (Prestoclassical, CD)

P.S. I know I’ve been reviewing a lot of baroque music recently, I promise a bit more diversity going forward

 

A New Excellent Four Seasons Recording by Rachel Podger

Antonio Vivaldi (again)

In my post last week about Vivaldi’s violin concertos where I mentioned that I’m not such a particular fan of the “Red Priest”, I got a lot of reader reactions.

Many of them where trying to convince me that there’s more to Vivaldi, and that he certainly hasn’t written the same concerto 400 times as Stravinsky famously joked.

Well to set the record straight: I do like Vivaldi, kind of. Not all of it, and only in certain doses. And just to prove that I do, I’ll be doing a little mini-series about Vivaldi now.

The Four Seasons (again)

And yes, please don’t kill me if I start with the most overplayed piece of classical music ever (well, in close competition with the opening of Beethoven’s 5th symphony probably).

I’ve written about my favorite version of the four seasons already, it is the version with Giuliano Carmignola. This, to this day, is outstanding. So why do I really need to write about yet another recording (Discogs shows nearly 2,500 entries of this work already…)?

Well, because Rachel Podger just recorded it!

I’ve written about Rachel Podger several times already, e.g. her recent album Grandissima Gravita, her magnificent Mozart sonatas, and her Biber Rosary Sonatas, which won a 2016 Gramophone Award in her category. So be warned, like Gramophone I really tend to like her recordings and hardly ever find fault with them.

Vivaldi: Le Quattro Stagioni – Rachel Podger – Brecon Baroque (Channel Classics 2018)

Vivaldi Le Quattro Stagioni (Four Seasons) Rachel Podger Brecon Baroque Channel Classics DSD 2018

So, sorry to repeat myself, but this is yet another outstanding recording by Mrs. Podger.

Her ensemble, Brecon Baroque, isn’t particularly large. This conveys a nice sense of intimacy. The entire recording is extremely nuanced, subtle, but always joyful.

The highlight of the album is the 3 movements of Winter. The Allegro non-molto is even a bit scary, you can feel the shivers of the cold in the opening chords (and I’m writing this on a sunny spring weekend).

And when you get to the second movement of the Winter, the Largo (which has always been a favorite of mine), it is the most “swinging” largo I’ve ever heard, you can really feel yourself taking a nice walk in the sun in a white winter landscape.

So, I’m sure you already have a Four Seasons recording in your collection. If you don’t, this is a must have. if you do, you should still strongly consider this, it is one of the best versions ever recorded, in a very particular and individual style. And as a plus, Channel Classics is known for their excellent recording technique, so this is an audiophile gem as well.

And to top it of, you get two other violin concertos by Vivaldi thrown in  (and yes, they don’t all sound the same!).

My rating: 5 stars

 

You can find it here (Channelclassics), and here (NativeDSD), in both cases you get it in native DSD resolution up to multichannel.

I ended up as usual buying it here (Qobuz, PCM 24/192 only), as with my Sublime subscription it is quite significantly discounted (and no, I’m still not sponsored by Qobuz).

 

UPDATE April 23, 2018: Gramophone agrees, giving it an Editor’s Choice in it’s May 2018 issue, with this statement: “If ever a disc were self-recommending, this is it: one of today’s most consistently brilliant Baroque violinists, records one of the era’s most famed and engaging works. Enjoy!”. Please note that Gramophone, very much like me, is a bit positively biased on Podger.