In more than 5 years of this blog, I’ve only formally reviewed one version of the Bach piano/harpsichord concertos, the very surprisingly disappointing (to my ears) recording with Andreas Staier.
In that article I mentioned that I’m still looking for my favorite version of these beautiful works. So far I typically went with Cafe Zimmermann’s recordings that I haven’t reviewed yet individually.
So, what was wrong (again, IMHO) with the Staier recording? Well, Gramophone at the time summarised it nicely: “If you’re looking for fun, abandon, lyricism, radiant lift off […] and luminosity, then maybe this one is not for you“.
And yes, that’s exactly what I was looking for. And it seems like I finally found it.
Bach: Harpsichord Concertos vol. 1 & 2 – Francesco Corti – Il Pomo d’Oro (Pentatone 2020/2021)
For some reason, I missed the release of vol. 1 of these two separate albums back last year, and really only fully discovered this when vol. 2 was released some days ago.
Francesco Corti is a well known Italian organ and harpsichord player, and Il Pomo d’Oro is a recently (2012) founded ensemble specialized in baroque music.
Both bring together two recordings that are playful, enjoyable, bouncy, lively, and engaging. Very much the opposite of the somewhat dull Andreas Staier recording.
Is it perfect? Well, no. Corti and the ensemble occasionally have some quirks, particularly with regards to tempo selection in some parts.
But, to quote Duke Ellington, It don’t mean a thing if it ain’t got that swing. And swing there is, plenty. It is just a sheer pleasure to listen to. And that, to me at least, is worth more than technical perfection.
Therefore, this may well become my new go-to version for these works I bought both volumes immediately, which I encourage you to do as well.
But I’ve never written explicitly about Brahms 4th symphony.
To me, there’s a clear (personal) hierarchy among the Brahms symphonies. The first will always come, well, first, the 2nd is still nice but I listen to it much more occasionally, the 3rd is beautiful, but has the super famous 3rd movement that has been a bit overused in popular culture. And then there’s the 4th symphony.
After all, this could actually be the greatest masterpiece of all of them. Why? Well, I’m just totally in awe of the fourth movement, which is basically just a set of variations on a very simple motif, a Passacaglia. I’ve written before how much I really appreciate variations these days, they are a true art form (even though it is something that one appreciates only after some learning), be it the Goldberg variations, the Diabelli Variations, or Brahms several other variations, like the Haydn or Händel variations.
Each one of these little variations in the 4th movement is such a gem, with an emotional depth (some say down to very deep despair) in a bit more than 9 minutes. And unlike most other symphonies, this symphony doesn’t end in happiness. It starts in the e-minor key, and ends in e-minor. Compare this to Brahms own first symphony where you start with the nearly menacing timpani but you end in a chorale that tells you that all will end well. Nothing ends well here.
Don’t get me wrong, it is not only the last movement that is fantastic. In this symphony there’s more than enough to discover in each of the movements. In comparison, Brahms’ 1st has a fantastic first and last movement, but the two in between feel more like an interlude.
So, now to my current favorite version of the 4th. I put the “current” in the title, as I always keep discovering and looking, and my taste clearly changes and evolves over time.
Before I get into Chailly’s excellent recording, a quick note on some other versions you should check out. Many critics will give you Carlos Kleiber’s legendary recording with the Vienna Philharmonic, and they have a point. It really among the best. I’ve long been in love with Fritz Reiner’s beautiful reading with the Royal Philharmonic. Another all time classic is George Szell with the Cleveland Orchestra. (Side note: Szell takes the 4th movement much more slowly at 10:42 compared to Chailly’s 9:23, only to be exceeded by Karajan’s reading with 10:49, as well as Kurt Masur in 10:52).
If we look at the more contemporary versions, beyond the already mentioned Andris Nelsons, you should also check out John Eliot Gardiner’s historically informed reading with his own Orchestre Révolutionnaire et Romantique (I’m not totally convinced of his approach, but it is nevertheless quite insightful).
But now enough of the alternatives, here’s my current champion: Riccardo Chailly with the Gewandhausorchester. By the way, this is not the first recording I love from Chailly in Leipzig, my favorite version ever of the Bruch violin concerto with Janine Jansen was recorded with this great team, and the same recording also features my favorite Mendelssohn violin concerto (mentioned in my 25 Essential Classical albums). Chailly’s recording of the Brahms piano concertos with Nelson Freire is also one of my all-time favourites, and the complete Brahms’ serenades recording is also outstanding.
So why do I prefer Chailly over all the other versions mentioned? I’d say it is not one little thing, but a sum of all the small things. This recording just feels “right”, balanced, nuanced, going deep when it needs to, but still tightly controlled.
And this doesn’t only apply to the 4th symphony. As you can only get this as a box set (if you decide to buy and not to stream, which I strongly encourage you to do), you’d also need to know that all the other three symphonies are top notch. They are IMHO, together with Nelsons, the best contemporary set you can buy.
To compare the two: Nelsons & the BSO really go big, this really is Brahms in Cinemascope in the great tradition of Karajan. Chailly’s approach in pretty much all cases is a bit more nuanced and delicate. Both versions really have very strong merit, and you won’t be disappointed with any of them.
And on top of that, going back to Chailly, in this very reasonably priced set, you also get most of the other orchestral works that Brahms has written, e.g. the above mentioned Haydn-Variations, the Tragic Overture, the rarely played Liebeslieder Walzer, and even to wrap it up some of the famous Hungarian Dances.
Happy New Year, dear readers! I assume all of you are keeping your fingers crossed that 2021 will be the year that will make things better, and that we all can attend live concerts again
In the meantime, recorded live concerts are for most of us the only option to recreate that feeling, so I thought it would be a good idea to write about some of these.
As the subtitle of my blog indicates, I’m a big Keith Jarrett fan. And his “Standards” trio with Gary Peacock and Jack de Johnette, remains, after Bill Evans legendary trios, the archetype of the Jazz Piano Trio, one of my favorite art forms.
The Standards Trio was formed semi-formally in 1983, when the trio recorded the album Standards, featuring, guess what, the jazz standards of the Great American Song Book (I’ve reviewed the legendary vol. 2 of this album here). This is not the first time the trio played together, but it was the start of more than a decade of albums, many of them live, of the trio playing together. This came as a return to more accessible music, after the 1970s, which for me Jazz-wise were not very interesting (I really don’t like free jazz, jazz-rock, fusion, or most of the other stuff that came out of that decade that for me was much more interesting on the art-rock side of things).
This album was recorded in 1985, two years after Standards, at a live concert in Paris.
It captures all the energy of the trio at the peak of their performance, and unlike After The Fall, is recorded with the excellent recording quality that ECM is well known for.
Thanks to the live format, the trio always has sufficient times to develop the songs, with the average track length being 8-11 minutes. You can hear the fun the trio is having.
We start out with a true standard, the beautiful Stella By Starlight, that Jarrett takes a while to intro solo before the trio kicks in. They follow up with a solid The Wrong Blues, that has absolutely nothing wrong with it. Falling In Love With Love is the archetype of the swinging and grooving together. But the track from this album that I go back over and over again is Too Young To Go Steady, that Jarrett again intros solo. This is 10:11 of pure bliss to me. This is a textbook example of the trio playing truly as one.
The only downside of this, as of pretty much every other Jarrett album is his constant humming and vocalising. I still hope at some point that an AI will be able to filter this out….
My rating: 5 stars (it’s not the absolute best of the Standards trio live albums, the rating is mainly driven by the sublime To Young To Go Steady, but it id still so much better to my ears than so much other music that’s out there).
You can find it here (Highresaudio, audiophile DSD remaster) and here (Qobuz)
I don’t need to tell anybody that 2020 was a weird year to say the least. It was supposed to be the big Beethoven anniversary year, with concerts all over the world and a lot of new album releases.
We certainly got a lot of new album releases, but we clearly didn’t have the live concerts we all wished for. I got lucky, I attended two socially distanced concerts during the times when Covid in Europe was still at lower levels, both involving Beethoven by the way (Igor Levit playing some piano sonatas, and Lars Vogt playing the 4th piano concerto with Paavo Järvi).
But without further ado, let’s jump right into it and list my top 5 classical albums of the year. Interestingly, less Beethoven than I’d have expected in here.
Chopin’s Piano Concertos by Benjamin Grosvenor (Decca 2020)
Beethoven and Sibelius Violin Concertos – Christian Tetzlaff
In this Beethoven year, two German artists recorded excellent versions of the Beethoven classics, both with the Deutsches Sinfonieorchester Berlin. I must admit, this second or third (depending on how you rank) orchestra of Berlin always flew a bit under my radar, behind the Berlin Philharmonic and the Staatskapelle Berlin. This was probably undeserved. Both the recordings of Martin Helmchen with Andrew Manze as conductor, and this recording with Christian Tetzlaff under Robin Ticciati both show the full potential of this orchestra.
Between Helmchen’s now complete Beethoven cycle (I reviewed one volume here), and this new recording of the violin concerto by Tetzlaff, I’m highlighting Tetzlaff here.
He really is one of the best violin players of our era, and probably also somewhat underrated. Both his Beethoven and the Sibelius give a very fresh take on these concertos.
Beethoven Complete String Quartets by the Quatuor Ebène
They have now recorded all Beethoven String Quartets in a world tour (mostly pre-Covid). I’ve reviewed one of the releases here.
Now, is their new complete cycle something that will replace my favorite box of all times, the complete recordings by the legendary Takacs Quartet? No, but honestly, the Beethoven string quartets are such masterpieces, and have such a breadth of material from the early op. 18 to the amazing but not very accessible late works, that one should never have only one complete cycle.
Bach: St John Passion – Herreweghe (2020 recording)
How could a best of list on my blog be complete without some Bach? This year, we had several great recordings of the choral masterpieces. Masaaki Suzuki has released both a St John (recorded in Cologne) and a St Matthew Passion, that have both won accolades from critics.
But let me flag here another recording by another artist that I admire (and had the pleasure of seeing live already), the great Philippe Herreweghe.
I had initially missed this and only really noticed it when it popped up in the Gramophone Awards. This is not his first recording but potentially his best. I can’t wait until Easter (I know, Christmas is just barely over…) so I can play it again in repetition.
So, here you go. This will be my last post of the year, there won’t be a similar list for Jazz. I just wasn’t able to find 5 albums that I liked enough to give them 5 stars this year. Let’s keep our fingers crossed for 2021.
In spite of Covid, GoGo Penguin this year has managed not only to release a new studio album (which I loved), but is now even giving us a “live” EP. Well, it is played live, but actually from the famous Abbey Road Studios, so without an audience around, given the circumstances.
GoGo Penguin – Live At Studio 2 (BlueNote 2020)
Audience or not, the energy in this album is incredible.
This video of one of the songs, Petit_a, should give you a good idea what to expect.
My favorite song from this EP is Atomised, from their 2020 self-titled album. This really epitomizes what I like about them, the powerful grooves, the ability to take a simple fragment arpeggio and turn it into an entire song, and the mesmerizing energy.
Check it out, you won’t be disappointed. And please remember, if you want to support artists in this challenging year 2020, do buy their music!
This is just going to be a short update on the recently held ceremony for the 2020 Gramophone awards and the winners that weren’t announced previously. If you want more detail on the individual category winners, check out this previous post.
Recording Of The Year
Recording of the year is the Weinberg Symphonies. Probably well deserved, and I’m happy to see a female conductor win this award, but the music really doesn’t speak to me. If your tolerance/interest of 20th century music is more developed than mine, you should really check this out.
Artist Of The Year – Igor Levit
Absolutely. He really is an outstanding pianist. In this section, Gramophone particularly recommends his album Life (see my review here, I agree), and his complete Beethoven cycle really is a must have (or pretty much everything else he’s recorded for that matter).
Lifetime Achievement – Itzhak Perlman
I just checked my library and I actually have only 5 albums Perlman, so I’m really not an expert. That said, his Brahms and Beethoven violin sonatas with Vladimir Ashkenazy are really nice. I should probably check out more of his repertoire.
Orchestra of the Year – Philadelphia Orchestra
I agree, Yannick Nézet-Séguin really has helped to bring this grand old orchestras which fame dates from the Stokowki and Ormandy era back to life, e.g. with this great Rachmaninov album.
Young Artist Of The Year – Natalya Romaniw
I must admit this is the first time my attention is drawn to this young Russian singer, but I’ll make sure I’ll keep out an eye for her.
Special Achievement – Robert von Bahr
Here’s another award that I 100% agree with. Robert von Bahr, founder and still the boss of the independent label BIS, has released so many recordings I adore, and always very well recorded. I’ve mentioned earlier that independent labels like Alpha (see below), BIS, Hyperion, Harmonia Mundi, or Naïve are these days in many ways even more significant to the advancement of classical music than the so-called majors.
The Beethoven 250 Award – Martin Helmchen – Andrew Manze – Beethoven concertos No. 2 & 5
Fully agree again, this is a very nice album.
Label Of The Year – Alpha Classics
Another one that is spot on. I’ve hardly ever been disappointed by a release on this great independent French label.
So, what do you think? Do you agree with the choices?
I’m a bit late in reviewing this, as it came out already 3 months ago, but I bought it the day it came out.
The album is now simply called GoGo Penguin. Naming an album simply after the band name is a major step, as Marc Zisman notes in his album comments on Qobuz.
The album shows that they’ve now developed their truly owned style, the “GoGo Penguin style”, for lack of a better word, that’s clearly recognisable.
The combination of grooves inspired by electronic music, but played (mostly) on an acoustic jazz trio, is really fascinating.
There is something hypnotic about the groove and the repeating piano patterns of Atomised. Or take To the Nth, where Pianist Chris Illingworth plays with some reverb effects, or Don’t Go, that features bass player Rob Turner, supported by a (prepared) piano. Just beautiful.
I’m going to quote again Marc Zisman from Qobuz: With GoGo Penguin, GoGoPenguin goes to the essential. Couldn’t have said it better.