I’ve said it before, I’m not a huge fan of Antonio Vivaldi in general. OK, I put Rachel Podger’s fantastic Four Seasons into my Top 5 Classical Albums of 2018, but beyond this I typically much rather listen to Bach, Beethoven, or Brahms to just name a few.
That said, one thing that Vivaldi really is good at is improving my mood. One good example of this is this Amandine Beyer album, that I also reviewed in April, pretty much exactly two years ago. Seems like spring time really is my Vivaldi time.
Obviously this is one of the weirdest Spring times most of us have lived through. Don’t worry, you won’t be reading about Covid here, it is sufficient that every other website on this planet talks about it. But especially in not so easy times, music can really play a role in bringing us back some of the cheerfulness that we all could be using more of right now.
Martin Fröst – Vivaldi – Concerto Köln (Sony Classical 2020)
When I saw this cover among the very recent new releases, I had high hopes. Martin Fröst is one of the best clarinet players of our times (his recording of Mozart’s clarinet concerto is mentioned in My Must Have Mozart Albums), and Concerto Köln hardly ever disappoints in the baroque repertoire.
I’m glad to report I wasn’t disappointed, this album is a little gem.
The Concerto Köln do what they always do, bringing the music to life with passion, nuance, and precision, and Martin Fröst’s beautiful tone is singing more than ever (check out the Adagio of the first clarinet concerto).
Check out this video trailer to get a first impression, and hear some of Fröst’s thinking about why he did this album in the first place:
One thing to note is that there wasn’t any clarinet at the time of Vivaldi, so this is a bit of an adaptation. But nothing wrong with this, and the end result is very convincing.
So, if you need some music that doesn’t require you to think too much, but just live in the moment and enjoy, this is the album to get.
My rating: 4 stars (to be clear, the playing is absolutely 5 star worthy, but this still is Vivaldi after all, and not an absolute must have for me).
This album just had to be there. I’m a big Isabelle Faust fan, as most of my regular readers know.
This is just a fantastic album overall, and an must have. Hugely enjoyable, Faust’s signature Sleeping Beauty Stradivarius sound, and the AKAMUS is a perfect partner. I had heard the same combination live in 2018, and it was already a great experience.
The Chamayou album got the 2019 Gramophone award, and I can only highly recommend this, particularly for the concerto no. 2 which really has become a favourite of mine now.
Yuya Wang’s Berlin Recital
I’ve said it in the review, I wasn’t a big fan of Yuja Wang before this album. This live recital really has become one of my absolute favourites, for the playing, the recording quality, and the exciting repertoire. Highly recommended.
Savall’s mesmerising Messiah
This album, which only came out some weeks ago, has been in constant rotation on my playlist. Being in the Christmas season helps, but this album constantly keeps playing in the back of my head, even when not listening to music at all. You’ll find my original review here.
Igor Levit’s Beethoven Cycle
I had several contenders for the last spot on this list. There’s Volodos’ beautiful recording of the Schubert sonata D959 (not yet reviewed), Pichon’s Liberta compilation, several of the great Debussy recordings on Harmonia Mundi (e.g. Faust, or Roth), or Petrenko’s Tchaikovsky Pathétique. But ultimately I ended up choosing this fantastic cycle. I have yet to fully discover in detail every of the 32 sonatas (there’s just so much material), and I don’t think I’ll ever feel fully qualified to review all 32 sonatas in detail.
And I don’t necessarily agree with every single choice of style or particularly tempo. But one this is for sure, this cycle is special, and will make you think. Isn’t this what musical enjoyment is all about?
You’ll find the download links to all of the above in the original reviews.
So, up to you? Do you agree with my choices? Anything I missed?
I’ve already written several blog posts on music for the Christmas season.
By the way, should you follow any other faith, please be aware that while I grew up in a Christian country, I’m agnostic and really see Christmas more as a beautiful family tradition, that nicely enough has led to the creation of some really beautiful music.
Both works I’ll be discussing here, Tchaikovsky’s Nutcracker and Händel’s Messiah, are not properly speaking Christmas music, but the Nutcracker is obviously strongly associated with the season, and at least part I of the Messiah deals directly with the birth of Jesus, so has a more direct connection.
The last couple of weeks saw the release of two new great recordings of these old warhorses. Jordi Savall has attacked the Messiah, and Vladimir Jurowski the Nutcracker. Let me start with Savall
Händel: The Messiah – Jordi Savall – Le Concert des Nations (AliaVox 2019)
I’ve already written about 3 excellent versions of the Messiah. So is there really a need to add another one? Well I just bought it, so for me, the answer is yes.
Savall often takes slower tempi, but the entire recording has just so much brilliance, shine and sparkle, that I was immediately reminded of one of those giant Christmas trees that many cities put up (e.g. the Rockefeller one in NYC).
And this is music you really want to sparkle. The singers really shine as well. One of my favourites is “He shall feed his flock” from part II, with Rachel Redmond and Damien Guillon. Just beautiful.
The Nutcracker – Vladimir Jurowski – State Academic Symphony Orchestra of Russia “Evgeny Svetlanov” (Pentatone 2019)
Jurowski had already recorded a very beautiful Swan Lake, so I was curious to hear what he did with the Nutcracker, especially in an all live recording.
I wasn’t disappointed. In a way, this album is kind of the reversal of the Messiah situation, here my favourite Rattle version is the shiny Christmas tree, whereas the Jurowski version clearly has a lot of swing and verve. You are drawn in from the first minute of the overture, and if you can sit still during the enchanting Flower Waltz, you’re probably deaf.
The only minor issue I have with this album is the occasional imprecision in timing of the orchestra, these are due to the live recording here, I’m sure in a studio version these would have been edited out.
But this is nitpicking, overall this is a truly engaging and beautiful Nutcracker.
So in a nutshell, both are albums that are a must have for the season, and as a cherry on the cake, are actually quite well recorded on top of everything else.
My rating: 5 stars for both
You can find them here (Messiah) and here (Nutcracker), both on Qobuz.
Yet another French composer that I know very little about. If like me you’ve grown up in Central Europe and have been watching television, you typically know Charpentier as the composer of the Eurovision theme, the fanfare that was played when several European countries decided to do a joint production.
This theme is actually the prelude to his Te Deum.
Beyond this, again giving away my ignorance, I barely knew anything about him. He occasionally pops up on some French baroque compilation I own, but in my entire library which really isn’t that small, I have a total of 2 albums featuring this composer.
Listening to this album as part of writing this blog post made it clear to me that I really missed something here. I have zero benchmark to compare the version to obviously, but Sebastien Daucé’s Ensemble Correspondances plays truly engaging early baroque vocal music, beautifully sung and played. It immediately reminded me of Monteverdi, which turns out isn’t misleading. Monteverdi’s operas clearly influenced the Versailles court and Charpentier’s composing.
Really worth checking out. No formal rating given my ignorance of the composer, but informally this is 4 stars upwards.
Antonio Vivaldi: Il Giustino – Ottavio Dantone (Naïve 2019)
Only two things to say here from my side: Dantone’s Vivaldi playing is truly fantastic, but unfortunately I can stand Vivaldi’s operas in doses of 10 min max.
So don’t expect a formal review here. But if you like Vivaldi, this is a no brainer.
Bach: 6 Partitas – Robert Levin (2019
I was already confused when I saw the original review of this in Classica some months ago. I tried it again, and I just don’t get it: the interpretation is so bland and boring to my ears, I really don’t understand what Classica likes about this.
I had already checked this out when I read the original review. A contemporary composer (born 1990), and female, which unfortunately is still a rarity, I was intrigued.
No formal review here, I still struggle with contemporary music, but this is not atonal, and actually quite rhythmic, so I encourage you to check this out, especially if you like e.g. the ECM New Series style.
Weinberg: Symphony No. 2 and 21 – Mirga Grazinyte-Tyla – City of Birmingham Symphony – Gidon Kremer (DG 2019)
A 20th century composer, with a young female conductor (also here we have way to few), and Gidon Kremer to top it all off, again I was interested. This album actually got huge praise by both Gramophone and Classica, and these two magazines don’t often overlap.
I checked this out several times, initially liking the tonal passages, then the music drifts into chordal progressions that just leave me confused. Which typically makes me give up to quickly. Now that I’m getting more and more (with baby steps) into Shostakovich, I may start to appreciate it more. I’ll certainly come back to this and so should you.
And keep an eye on Mirga Grazinyte-Tyla. This young Lithuanian conductor is a great talent worth watching.
Classica also recommends another Weinberg album by Gidon Kremer, also on DG; focusing on his chamber music.
Sure, Classica likes French composers. Fair enough for a French classical music magazine. But actually, for Camille Saint-Saëns I truly share their enthousiasm. I must again admit my ignorance, but 2019 has been my year of discovery of his piano concertos. After the fantastic recording with Bertrand Chamayou which won a well deserved Gramophone Award, comes another outstanding recording, by French pianist Alexandre Kantorow, playing here with his father, Jean-Jacques at the baton. Kantorow is a fantastic pianist (see my review of his recent Russian album here, which also made it into my top classical albums of 2017). In short, a five star album that you should really own!
Brahms’ chamber music for clarinet is still a part of his oeuvre that I find among the least accessible. I’ve so far only reviewed the recording of the sonatas with Lorenzo Coppola and Andreas Staier, but have never written about the clarinet trio.
This excellent album is a good occasion to change the latter, you get very nuanced and delicate playing that really helps exploring these beautiful and intimate works. Give them a try!
So, any feedback from your side? What do you think about this selection?
You can find the albums I mention above here (or in the original review):
This is another favorite category of mine, as typically it is mainly piano recordings.
This year, interestingly enough a solo violin recording starts the selection, Giuliani Carmignola’s recent recording of the Bach Sonatas and Partitas. I’m really puzzled by this choice. Let me make it clear, I really like Carmignola (his Four Seasons are among my absolute favorites), and I also love the solo sonatas and partitas. However, Carmignola’s version sounds completely “wrong” to me. I know this is a very unspecific remark, and I’m not going to dwell on it, as this won’t be helpful for my readers. But I’ll stick with Milstein anytime.
So let’s rather go directly to the recording that is most likely going to make my Top 5 Classical albums of the year 2019, and that I sincerely hope will win this category: Yuja Wang’s fantastic Berlin recital.
As you can see from my review, I really love this album. It has completely changed my perception of Wang as an artist. This recital combines a fantastic selection of repertoire, a playing that is both nuanced and passionate.
I’d like to thank my reader Ed for his comment on the article flagging the extra album of the 4 encores she played at this concerto. This is a must have as well. You could argue with DG why they simply didn’t include this into the main album, but in any case this 4 track album is very cheap, and a must have.
Next in line is another favorite artist of mine, Igor Levit. I haven’t yet formally reviewed his latest recording of the Beethoven sonatas, but have seen him play a selection live at this year’s Lucerne festival, and can already say his set is worth checking out. You may not like all his choices, especially on his sometimes extreme tempi, but this will be a worthy addition to the long catalogue of complete sonata recordings, more to come).
But Gramophone focused on Levit’s other release in the last 12 months, his very personal album “Life”.
I’ve reviewed it here, and if you haven’t done so yet, you should absolutely check out this five star gem.
I’ve only just started listening to another recommendation of this selection, Alexander Melnikov’s recording of Debussy’s 2nd book of Préludes.
As you know, I’m far from being a Debussy expert, I typically just go to my complete Debussy recordings by Jean-Efflam Bavouzet, but my first impression of this album is very positive. What is very interesting about this recording is the sound of the piano, an Erard, presumably from the time of Debussy. Melnikov has recorded quite a bit on period instruments, and it truly gives a different color and perspective.
I can’t comment on the two other albums that made the original 6 album shortlist, Steven Osborne’s recording o fthe late Beethoven sonatas, and Stephen Hough’s “Dream Album”, as Hyperion still refuses to stream and I refuse to buy albums blindly.
Now, as you know in the meantime Gramphone has narrowed down the shortlist from 6 to 3 albums. The finalists are Carmignola, Wang, and Levit.
I’m willing to bet that Wang will be the winner this year, and it would be well deserved!
I presume this will be the last part of this year’s mini-series on the Gramophone Awards. Maybe I’ll do one more post on the remaining categories lumped together (Choral, Contemporary, Early Music, and Opera, Recital, Solo Vocal) if I find time, but I’m much less comfortable and familar here, so let’s see. So most likely you’ll hear back from me on the Gramphone Awards once the winners are announced on October 1st.
What do you think? What would be your favorites among all these albums?
Therefore, when I went on my “quest” last year to see all of my favorite violin players in one year, I obviously had to go for Alina Ibragimova, Janine Jansen, Lisa Batiashvili, Julia Fischer, and yes, maybe the queen of all, Isabelle Faust. I was very lucky I managed to squeeze all of these live performances into one year.
Isabelle Faust offered one of my preferred programs (I saw her on Lake Geneva last summer during the festival at Château de Tannay), playing exclusively Bach. The program included some of the violin concertos, but also some chamber works. The concert (only slightly spoiled by being in the main air corridor towards Geneva airport) was not surprisingly hugely enjoyable.
So what a pleasure it was when I saw that Faust just released a very similar program on Harmonia Mundi
Bach: Violin Concertos – Isabelle Faust – Akademie für Alte Musik Berlin (Harmonia Mundi 2019)
Isabelle Faust had recorded the violin concertos previously around the year 2000, with Helmut Rilling for the Hänssler label (included in their complete Bach edition). Already this recording was really very nice.
But here it get’s even better. The keywords here are precision, balance, and a complete lack of showmanship. This is one of the most introvert recordings of these concertos that I’ve ever heard.
So this recording is the complete opposite. That said, I like it probably even a bit better. You really hear all the complexity of Bach’s counterpoint, the delicacy of the different instruments and their balance to form something bigger together. And Faust, just as she did in Tannay, wasn’t the star of the show, but really just one more musician as part of a team.
Another similarity to my Tannay experience is also that this album not only includes all violin concertos, including the reconstructed ones, but also one of the Orchestral Suites, several individual tracks such as the Sinfonia BWV1045, and some chamber music, the trio sonatas BWV 527 and 529. In total, you get nearly 2h30 of music.
If you like Bach and historically informed performance, this album is an absolute must have.
UPDATE March 26: Listening to a recent Gramophone podcast where Gramophone speaks with Faust about this recording, I noticed I completely forgot to mention that Faust doesn’t play her typical Sleeping Beauty Stradivarius, but instead a German Steiner violin that Bach himself would have found familiar. In the interview she explained that this much better fits the ensemble sound than the Stradivarius, and that in general she really tries to be as close to what the composer intended as possible.
It is the same violin already used in the previous recording of the Bach violin sonatas (reviewed here).
In the podcast, the interviewer already said that the upcoming review of this album will be very positive. I’m not surprised.
UPDATE March 30: Classica likes it, but only gives it 4 stars, quoting the slightly remote sound quality, and the sometimes somewhat “martial” style of the orchestra. I can somewhat understand the first point, but don’t agree on the 2nd point.
Whereas Gramophone fully agrees with me and gives this album an “Editor’s Choice” in their April 2019 issue, calling it a “hugely enjoyable celebration of Bach”
Yes, you can accuse me of being a fanboy. I’m a Belieber. Well, not exactly of the Canadian with the interesting haircuts, but there are some artists that I just pretty much like every single album of.
This list includes the brilliant Igor Levit, the amazing Isabelle Faust, but also French soprano Sabine Devielhe. I really must pay attention that I don’t just praise an album just because they release it. At least I’ve got one example to prove that even my gods are not perfect, but these are really the exception to the rule. Anyhow, I’ll stay vigilant, and please let me know in the comments if you disagree, as always! I really like hearing your opinions.
Handel: Italian Cantatas – Emmanuelle Haïm – Le Concert d’Astrée – Sabine Devielhe – Lea Desandre (Erato 2018)
In this album, we get another favourite of mine, Emmanuelle Haïm. I’ve first encountered her on another Händel album,Il trionfo del Tempo e del Disinganno with the great Nathalie Dessay, and have praised her fantastic Messiah.
Young French/Italian Mezzo Lea Desandre wasn’t on my radar screen yet, but after this album she certainly will be.
So what do you get on this album?
Well, you get Händel’s beauty, but in lesser known works. These cantatas, as the well written booklet tells me, were all written in Italy (hence non-surprisingly the album title). But unlike with many of the longer baroque operas, you don’t need to worry about the rather complicated and cumbersome stories. The cantatas do have stories (nicely enough shorter) as well, which you can follow thanks to the extensive booklet, but you can just be like me, and just enjoy the breathtaking beauty of this music. My personal favorite is track no. 10, Se vago rio fra sassi.
I’m a bit late to the party recommending this album, it’s already been Recording of the Month by Gramophone, has received a Choc by Classica, and 5 stars by Diapason.
So don’t hesitate and just go buy it now. You won’t regret it.