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).

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!

 

Sophie Pacini – In Between – Truly Passionate Romantic Piano

Schumann and Mendelssohn

I must admit, the core of my listening when I was younger was the Romantic period.

Brahms really was my first love, but also Bruckner, Schumann, and later increasingly Mendelssohn.

I have written previously about Mendelssohn’s solo piano works, e.g. the beautiful recordings of the Lieder ohne Worte (Song without Words) by Ronald Brautigam here and Xavier Perianes here.

But I’ve been a bit too silent about Schumann’s beautiful piano works. I was just recently reminded of Schumann’s tragic life when I saw a re-run of the 2008 German TV production Beloved Clara (Geliebte Clara) that is set in the last years of Schumann’s life when Brahms suddenly shows up, and witnesses Schumann’s increasing mental degradation. The movie isn’t the best ever, but the true story is really fascinating. And actress Martina Gedeck as Clara is good as ever.

So when I quite recently discovered a new release of a young Italian pianist, that of all possible mentors was endorsed and encouraged by none other than the magnificent Martha Argerich, I was curious.

Sophie Pacini – In Between (Warner Classics 2018)

Sophie Pacini is 26 years old, but has already had a quite impressive career, and winning several prices. Somehow she wasn’t yet on my radar screen yet. What a miss. She’s a truly passionate pianist.

Sophie Pacini In Between Schumann & Mendelssohn Warner Classics 2018 24/96 review

This entire album is split between Schumann and Mendelssohn. We really get the full level of energy throughout, I’m really not suprised that Matha endorses her, in many way she reminds me of her.

My favorite piece is already the starting piece. Here we’re getting the Liszt translation of the beautiful love song Widmung. 

This piece really is already fully putting you into the mood, virtuosity, energy, but also a lot of nuance.

When in the second half we get to Mendelssohn, we see that Pacini also is very powerful in the less virtuoso passages, she plays e.g. the beautiful Lieder ohne Worte with a lot of intimacy.

The only thing you could criticize on this album, if you really wanted to, is the occasional moment of “power over precision”, and a lot of use of rubato. But this really is nitpicking.

 

Sophie Pacini is a promising artist to watch (well, don’t believe me, but Martha apparently after initially hearing her play called her Veramente Bravisssima), and I can recommend this album very highly.

My rating: 4 stars

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

 

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)

Lisa Batiashvili playing Brahms at Tonhalle Zurich – Fantastic

5 fantastic female violin players

So, this was supposed to be just a concert report about last night at Tonhalle Maag in Zurich. But please allow me a small parenthesis.

These days we’re extremely lucky, as we have many outstanding classical music artists that are currently active. I’ve already written about my Top 10 Favourite Classical Pianists some time ago, but I’ve never done the same for the violin.

Right now, there are about 5 female violinists that I truly admire, all of which are world-class. I had seen Alina Ibragimova earlier this year already, and had the pleasure of seeing Lisa Batiashvili for the first time last night.

But then, innocently enough, there was a little sign post in front of the Tonhalle Maag building, announcing Julia Fischer playing Mendelssohn’s violin concert at the very same Tonhalle in about a month time. The ticket office was open, so I obviously got tickets for that one as well. I don’t know why I haven’t written about Julia Fischer on this blog yet, but I’ll start a post on my top 10  favorite violinist soon, she’ll be in there.

So I was joking to the guy at the ticket office, if now I could only see Isabelle Faust and Janine Jansen live this year as well, I’d finally have covered all my favorite players. And then I realised, that was exactly what I had to do. So while waiting for the gates of the Tonhalle to open, I bought tickets for Isabelle Faust with the Akademie für Alte Musik playing Bach concertos, and I now just need to pick one of Jansen’s great concerts this year (Sibelius, Brahms, Berg, some chamber music in Verbier, there’s a lot of choice).

Let me close the long parenthesis here, but one of my new year resolutions was to see more live concerts. I started well, but slowed down in recent month. (By the way, I completely missed writing about seeing Aracadi Volodos live some months ago, my bad)

But now it looks like it is going to be a really good year now!

Lisa Batiatishvili, Antonio Pappano, Chamber Orchestra of Europe – Ligeti & Brahms – May 23, 2018, Tonhalle Maag, Zurich

So, now let’s get to the concert itself.

The Chamber Orchestra is a great ensemble, especially under an outstanding conductor.

Antonio Pappano really is one of those great conductors. I’ve written about him already twice on this blog, and in both cases we’re talking about 5 star albums. First his great Aida, and then even more relevant for last night’s performance, the Brahms violin concerto with Janine Jansen.

So while the orchestra and the soloist is different, I already had some idea how Pappano would potentially approach the orchestral part of this great violin concerto. Obviously, here we had the Chamber Orchestra of Europe and not his own Accademia di Santa Cecilia, but it was clear that Pappano and the orchestra knew each other well, as they are currently touring all over Europe with this program.

But first things first, the program started with Ligeti’s Concert Românesc. I must admit I had no idea what to expect, as I mentioned previously on this blog, I’m really not very knowledgable with classical music after 1920. I barely ever venture beyond the safe bets of Bartok, Shostakovich, and Prokofiev.

I was very positively surprised. The short work really is a firework of musical ideas and energy. I definitely need to check out more of Ligeti, one more (rather late) new year resolution then.

But now to the Masterpiece of the evening, the Brahms violin concerto.

I really had high hopes for this. As mentioned above, Pappano had already shown with Jansen that he really knows this work, and Batiashvili earlier recording of the Sibelius violin concerto with Oramo is one of my favourite versions on disc.

I was a little hesitant though as I’m not such a big fan of the only time Batiashvili recorded this concerto before, with Christian Thielemann in Dresden. I mean, it’s not bad, but something always felt slightly off. By now I feel this slightly off thing actually was Thielemann, not Batishvili (I never was a fan of Thielemann in the first place).

Luckily, no Thielemann here, just Pappano. What did we get?

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To make it short: an outstanding experience. Pappano and the COE put in an amazing energy and pleasure, and Batiatishvili really played with all her heart. This was BIG Brahms, and it really was the full Cinemascope experience of this masterpiece.

The overall concert was so outstanding, that even the iPhone that was ringing TWICE! in the handbag of the elderly lady just in front of me didn’t spoil the experience (she clearly probably just received this phone and had no idea how to even switch off the sound).

The Tonhalle audience agreed, this was one of the most overwhelming applauses I’ve seen from in Zurich. We got treated to a nice encore.

I was even thinking, maybe I should just leave during the break, I cannot get any better.

I probably should have. After the break, we got Brahms’ Serenade no. 1. And I must admit I really don’t get why you can schedule Brahms most boring orchestral work EVER after the masterpiece of the violin concerto.

It really wasn’t the fault of Pappano and the COE not putting in an effort. This was am excellent performance on par with my current reference, Riccardo Chailly with the Gewandhaus.

But still I really think the serenades were nothing but trial works for his real symphonies, and I rather would have had ANY other Brahms orchestral work, even the rather silly Academic Festival overture, than this.

Nevertheless, this was truly an evening to remember!

Now I’m looking forward to Julia Fischer and Herbert Blomstedt.