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)

 

Spring is Coming, Just the Right Time For a Beautiful Vivaldi Album

Wow, a month without a post. Well, initially the flu got me, and then I had really busy times at work. I promise, I try to increase my posting frequency again.

Antonio Vivaldi

I’ve said it before, I’m not a big fan of Vivaldi in general. A lot of his music is a bit repetitive to my ears (Stravinsky famously said ” Vivaldi had written the same concerto 400 times”), and overall, I only listen to the four seasons about once per year, and not much beyond this. I try his operas every once in a while, but usually don’t finish the album.

But then again, Vivaldi, especially his concertos, are often just the music one needs for a sunny spring day, with their energy and vibrancy.

So therefore, the other day I decided to get myself a new Vivaldi album to celebrate the arrival of spring.

I’ve previously written about how much I like Giuliano Carmignola’s recording of the Four Seasons, so when I looked for a promising Vivaldi album and I saw this 2016 album, I was intrigued:

Vivaldi: Concerto per Due Violini – Giuliano Carmignola – Amandine Beyer – Gli Incogniti (Harmonia Mundi 2016)

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So, here we have said Carmignola, and on top of that Amandine Beyer, another very well-known baroque violin player. Very promising. I wasn’t always a fan of Beyer, sometimes her sound strikes me as a bit to “thin”, but I’ve been positively surprised by her Pachelbel album.

So how do these two outstanding soloist play together? Well, to make it quick: delightfully! This album is just a pleasure to listen to for all four concertos.

I’m really not the only one recognizing this as an excellent album, it actually received an Editors Choice from Gramophone, a Diapason d’Or, as well several other critics awards.

What about the music? Well, they are Vivaldi violin concertos, so I’m still willing to say, if you’ve heard one, you have a pretty good idea what to expect. Nevertheless, here are some nice gems, like the very nuanced interactions of the two soloists in the Allegro of RV529, so I promise you won’t get bored.

Especially on a sunny spring day!

My rating: 4 stars

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

Bach: Mass in B-minor by William Christie and Les Arts Florissants – A Review

William Christie and Les Arts Florissants

William Christie, now at the age of 73, is one of the greatest conductors of the historically informed practice (HIP).

The Baroque Ensemble Les Arts Florissants he founded is among the best period ensembles out there. I’ve written about them several times already, e.g. about their Händel Album Music for Queen Caroline, or their Monteverdi Madrigal recording.

I’ve also had the pleasure of seeing William Christie with his ensemble twice already, once performing Purcell’s Dido and Aeneas at the London Barbican Theatre, and more recently, with Xavier de Maistre at Hamburg’s new Elbphilharmonie.

Bach’s B-Minor Mass BWV 232

I’ve written about this masterpiece twice already, initially about Philippe Herreweghe’s 3rd recording, and later about John Eliot Gardiner’s new recording.

I’ve said previously that this is one of the most important masterpieces ever written, and really never get tired of hearing it. In the liner notes to this album, William Christie calls it “[Bach’s] testament, his epitaph, a legacy to those who would follow him

Bach: Mass in B-minor – William Christie – Les Arts Florissants (Harmonia Mundi 2018)

J.S. Bach Mass in B-minor William Christie Les Arts Florissants Live in Paris Harmonia Mundi 24/96

This is a very intimate recording (in spite of being live, this was recorded in 2016 at the Philharmonie de Paris). Both singing and playing are very delicate and balanced.

Tempi are relatively fast (especially compared to the old Karl Richter style) but never rushed. To quote Christie again from the liner notes: Quicker tempi suggest a more physical and dance-like approach to the music“.

Honestly, I really don’t know what to criticize here. I’m a fan of the lighter, more intimate approach, and of the faster tempi. I prefer this even to the very good 2015 Gardiner recording.

It doesn’t kick my all time favorite of Philippe Herreweghe of the throne of “best B-minor ever” for me personally, as the latter just adds a tiny bit more “sparkle”, but this an album really very much worth having.

My rating: 4 stars (actually very close to 5 stars, I just still give the edge to Herreweghe)

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

 

 

 

 

Keith Jarrett / Gary Peacock / Jack De Johnette – After The Fall – A Review

The Keith Jarrett Trio

Having Keith Jarrett in the sub-title of my blog, I obviously had to get excited.

Wow, a new recording of the legendary Keith Jarrett Trio?

Well, “new” is relative, we’re actually talking about a live recording from 1998 in New Jersey, that slept in some drawer for now about 20 years.

1998 wasn’t a bad time for Jarrett’s legendary combo, with Gary Peacock on bass and Jack De Johnette on drums. Standards in Norway, one of my favorite live albums ever, was recorded just a year later, so, musically, my expectations were high.

This was also an important moment for Jarrett himself, as he just recovered from Chronic Fatigue Syndrome which stopped him from playing for nearly two years in 1996-1998. In the liner notes, Jarrett calls this concert a “scary experiment”, as it was his first live appearance since the Italian solo concerts (that were also just recently released as A Multitude Of Angels, see my review here).

 

Keith Jarrett / Gary Peacock / Jack DeJohnette – After The Fall (ECM 2018)

 

Keith Jarrett Gary Peacock Jack DeJohnette After The Fall ECM 2018 24 44

And to make it clear, musically, this album is all you could ask for. The tracks on average 8-9 min longs, which is very enjoyable, as the musicians really get to develop the material and interplay.

This is a “double album” (a term that feels a bit silly in the days of downloads and streaming, but in reality it means you get a total of 1h45 of music and pay about the price of two regular albums should you decide to purchase it, so still has some form of meaning).

To mention some individual songs, Scrapple from the Apple is a very groovy bop track. Old Folks is beautiful ballad. And we get standards like Autumn Leaves with very enjoyable solos (unfortunately, like in so many concerts, Jarrett cannot stop himself from “singing” along. If any digital company could ever invent the AI-driven Keith Jarrett/Glenn Gould humming filter, i’d be extremely grateful).

So, where is the but?

Well, very similar to his recently released solo album A Multitude Of Angels, this album wasn’t professionally recorded, but was basically using Jarretts own DAT (Digital Audio Tape recorder).

And as much as I didn’t mind the shoe-box sound created by this recording set-up for Angels, for a trio where you need to better capture the nuances and interplay of three instruments, I find the sound quality a bit off-putting (and this in spite of the fact that this was remastered at the legendary Rainbow Studios in Oslo).

So, in conclusion, as a hard-core Jarrett fan, this is a must have. If you don’t mind the poor sound quality, I can recommend it as well.

However, if you don’t yet own most of his catalogue, there are many other live albums that benefit from the outstanding sound quality that ECM normally is famous for, like Standards in Norway, or Live At Blue Note from 1994 (one of my 25 Essential Jazz Albums), that you may want to check out first.

My rating: 4 stars (1 star taken off for sound quality)

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