A Quick Look at Gramophone’s November Edition Editor’s Picks

Gramophone

To this day, Gramophone Magazine is probably THE reference for classical music reviews.

I haven’t always been fully aligned with their latest recommendations. For example, Hillary Hahn’s new recording of the Bach violin sonatas they have as recording of the month in November, which I personally don’t really like, way too much vibrato for me.

Give me Milstein, Szeryng, or Isabelle Faust anytime instead.

Hilary Hahn Plays Bach Sonatas 1&2 Partita 1 Decca 2018

 

 

However, beyond this, there are a lot of familiar albums I’ve previously recommended on this blog:

 

Vikingur Olafsson – Johann Sebastian Bach

Víkingur Ólafsson Johann Sebastian Bach Vikingur Olafsson Deutsche Grammophon 2018 24/96

See my review here. Gramophone talks about “glowing lyricism and sparkling virtuosity”. Fully agree.

 

Igor Levit, Life

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Gramophone says “A triumph of imaginative programming that ranges from Bach to Rzewski, and elevated further by masterly pianism“. Yep, see also my thoughts here.

And finally, there’s an album I really like, have purchased, but didn’t get to review it yet:

Schubert: String Quartets No. 9 and 14 “Death and the Maiden” – Chiaroscuro Quartet – BIS 2018

Schubert String Quartet No. 14 Death and the Maiden No. 9 Chiaroscuro Quartet  24/96 BIS

I’m a big fan of the young Chiaroscuro quartet, which features Alina Ibragimova as first violin. The previous recording I bought from them is an excellent Haydn op. 20.

This latest recording is also excellent. Gramophone says it is “played with enourmous conviction and power by this very stylish ensemble”. I can’t really comment on the stylishness of the musician, but I fully agree that this album is strongly recommended. I hope I’ll get around to a formal review eventually, but in the meantime, it won’t replace my favorite versions by the Takacs and Pavel Haas Quartets, but it is a truly worthwile addition to the catalogue and worth having!

You can find it here (eclassical).

The links to the other albums you’ll find in my original reviews (see links above).

Well, I Actually DO Like Scarlatti – A Review of Jean Rondeau’s Latest Recording

Domenico Scarlatti

I had written previously some time ago that I don’t particularly like Scarlatti. Or to be more precise, to quote myself “I’ve never heard any Scarlatti that has touched me”.

I got quite a lot of readers comments on this, recommending some very good recordings of Scarlatti. And while there were some that I found somewhat interesting (e.g. Pletnev), I still really hadn’t found my way into the universe of Scarlatti.

I’m pleased to report I’ve finally found the first Scarlatti album I go back to on a regular basis.

Scarlatti: Sonatas – Jean Rondeau (Erato 2018)

Scarlatti Sonatas Jean Rondeau Erato 2018 (24/96) Warner Classics

I’ve mentioned Rondeau’s very good Bach album here; I really like this young French harpsichord player.

So I was naturally curious about his take on Scarlatti? Would it finally be for me?

Well, I’ve given it away above, the answer is a clear yes.

To be fair, an important factor is the very beautiful sound of the harpsichord Rondeau is playing, apparently a quite recent construction built in 2006 after historic German models by Jonte Knif and Arno Pelto just has a fantastic roundness, and none of the sometimes annoying characteristics of the harpsichord that can be annoying for longer listening sessions.

Rondeau,  winner of the first prize at the International Harpsichord Competition in Bruges, plays these with a power, energy, and conviction that is just blowing me away. Some other Scarlatti recordings sometimes can have that “typewriter” playing, none of that here.

I’m curious to hear what the Scarlatti experts, which I’m clearly not, will be saying about this new album.

In the meantime, I can strongly recommend you check it out!

My rating: 5 stars

You can find it here (Qobuz) and here (Acoustic Sounds)

Igor Levit – Life – A Beautiful Treasure

Does Gramophone read my blog?

I presume not, but it’s a nice coincidence that just a short time after I write a dedicated blog post about the piano transcriptions of Bach’s Chaconne, Gramophone releases a complete review of all historic recordings of Busoni’s transcription of the Chaconne. That’s great news for me as well, as there a lot of versions I haven’t checked out yet.

One very new one is also not yet mentioned in this review article, which brings us to this album.

Igor Levit – Life (Sony Classical 2016)

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If you’re a regular reader of my blog, you know that I’m a huge Levit fan. Not only I’ve praised his Bach/Beethoven/Rzewski album, but to me he is clearly one of my favorite pianists of all times.

He has a very particular style. There is a certain perfectionism (his outstanding technique clearly helps), but it is never going towards the mechanical perfection of some virtuosos, the perfectionism, particularly about timing, is always serving the music.

Levit doesn’t tend to be a virtuoso in general, he could easily be with his mastering of the piano, but he really never shows off. In many way, it is a very introvert way of playing which makes it even more interesting.

This album in many ways shows an even more intimate side of Levit. It is a very personal selection of music, from Busoni, via Schumann, to Rzewski and even Bill Evans. The common thread of the album can be found in the title, “Life”, as this album was strongly influenced by the death of a close friend of Levit.

The album starts with two transcriptions by Busoni of Bach originals. The Chaconne is a very good example of the intimate style I described above, in many ways it is the complete opposite of the somewhat overwhelming fireworks in fascinating recording of the same work by the young Benjamin Grosvenor.

We continue with a rarely played variations work by Schumann, which makes me really hope that Levit will record more of his work. I’d love to hear his take on the Davidsbündlertänze or the Kreisleriana.

Another highlight of this album are the two Wagner transcriptions, from Parsifal and Tristan. I must admit not being a great fan of Wagner in general (this is actually the first time this composer even appears on this blog), but he clearly has written some great harmonies.

The album wraps up with one of my favorite compositions of Bill Evans, the simple Peace Piece from the 1958 album Everybody Digs Bill Evans. 

There really couldn’t be a better ending to this very particular, personal album than this solemn, simple, but breathtakingly beautiful interpretation.

My rating: 5 stars

You can find it here (Qobuz) and here (Acoustic Sounds)

 

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)

 

UPDATE Oct 30: Well, my prediction of this being a very controversial album already holds true. Check out the comments of my readers below, and you’ll find both love and hate.

In terms of professional reviews, we generally are very positive so far, with four stars from Richard Fairman in the FT, five stars by Andrew Clements in the Guardian, another five stars by Normal Lebrecht. I’m still curious what Gramophone and Classica will think of this.

In any case, try before you buy!

 

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.

Murray Perahia Plays Beethoven Sonatas – Could This Be The Best “Moonlight” Ever?

Murray Perahia

Did I mention that I love Murray Perahia? Yes, actually, I did. He’s mentioned in my Top 10 Favorite Classical Pianists, his recent Bach Album made my Top 5 Classical Music albums of 2016.

So when a new Beethoven album from the great master came out on Deutsche Grammophon, I bought it pretty much immediately, without checking out the version via streaming as I’d typically do otherwise. His latest Beethoven sonata recording dates back to 2008, since then he’s been much more focused on Bach.

Beethoven: Sonatas No. 14 and 29 – Murray Perahia (Deutsche Grammophon 2018)

Beethoven: Sonatas No. 14 and 29 - Murray Perahia - Deutsche Grammophon 2018 24/96

Perahia attacks two of the most famous Beethoven sonatas here. No. 29, Hammerklavier, and the one that even non-classical listeners would recognize, the Moonlight.

Let me start by saying you immediately hear that Perahia has been playing a lot of Bach recently. If I had to summarize this album in one word, it would be “Clarity”, or “Transparency”. The counterpoint complexity of Bach certainly shines through on this album. Nothing is ever “too much”, even for these two sonatas that both mark the transition from the “classical” period to the starting “romantic” era.

Let’s start, as Perahia does, with the Hammerklavier heavyweight. This is one of the most pianistically challenging piano pieces out there. Especially if you’re trying to follow Beethoven’s original metronome marks, which some have considered unplayable. Perahia starts with a quite ambitious speed, but at no point this ever feels forced.

You get plenty of nuances especially in the beautiful Adagio, and the highlight could be the last movement, which stars seemingly simple with a little Largo, but then builds into a compex fuga type Allegro & Presto, where you can clearly hear that Beethoven knew his Bach, so Perahia really shines here.

I have yet to find my “perfect” Hammerklavier. Recently, the impressive version of Ronald Brautigam (played on an actual Hammerklavier-type historic instrument), or Igor Levit’s beautiful recording of the late sonatas, or you can obviously go back to the classics and pick your Serkin, Brendel, or Arrau. Actually, the complexity of this masterpiece is such that no one version will ever be “perfect”, you’ll always need more than one interpretation of this jewel.

Going to the Mondschein sonata, I’m going to contradict myself immediately: This could well be “the” perfect version of the Moonlight sonata, at least of the world famous Adagio sostenuto. 

Let me explain: He takes the movement relatively fast, with 5:16 I have only 3 versions in my library that take less time (my fastest version is Schnabel by the way, with 4:51).

What is so outstanding about this version goes back to the word I used earlier, “clarity”. This is played in a very plain, no-nonsense style. With such an overloaded romantic piece, there often is a tendency of just doing a bit too much, too much rubato, too much dynamic variation, etc. etc.

But honestly, this outstanding beauty of masterwork doesn’t need any of this. This apparent simplicity is just what makes this music truly shine. I can’t get enough of it. This could well become my new personal reference for No. 14.

My rating: 5 stars

 

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

 

UPDATE Feb 28, 2018: For once, we have an album where all critics agree. In their respective March editions, both Gramophone (Editor´s Choice & Recording Of The Month) and Classica (CHOC) give this album their highest rating.