My reflections on the 2019 Gramophone Awards Part III – Chamber

Chamber is a particularly rewarding catogory for the Gramophone awards this year, at least from my perspective. Out of the 6 initially shortlisted (now narrowed to 3, see below), I fully support and like 5. Nice quota.

So let’s take them one by one:

Britten’s string quartets played by the Doric quartet is the only album I’m not going to comment about. I like the Doric as an excellent quartet, but Britten is a composer I just don’t get. Probably again, mainly due to my general issue with 20th century music.

Britten Purcell String Fantasias in four parts String quartets no 1 - 3 Doric String Quartet Chandos

Another 20th century album that I had completely missed comes from Debussy (a lot of Debussy recordings due to the 100 years of his death in 1918). We’re talking about an album called in a nice international mixture Les Trois SonatesLate Works. Not sure how I missed this as it features my heroine, Isabelle Faust. I’ve only started streaming it over the last few days but really like it. Also look at the list of musicians, Queyras, Melnikov, Perianes. Wow! Expect a more detailed review, but in any case, this is really promising!

Debussy Les trois sonates The Late Works - Isabelle Faust Alexander Melnikov, Jean-Guihen Queyras, Javier Perianes, Xavier de Maistre, Antoine Tamestit, Magali Mosnier, Tanguy de Williencourt Harmonia Mundi

Next on the list is another favourite of mine, Christian Tetzlaff and his sister Tanja and Lars Vogt on piano playing the piano trios no. 3 & 4 by Antonin Dvorak.

This trio is truly fantastic, having recorded some outstanding Brahms albums previously, and from the first bars of this album it is very clear this new release is also very special. Dvorak isn’t part of my most core repertoire, but this album could easily make it into heavy rotation on my computer.

Antonin Dvorak Piano Trios No. 3 & 4 Dumky Christian Tetzlaff Tanja Tetzlaff, Lars Vogt Ondine 2019

I have a special relationship to the next album as well, given that I’ve seen the artists perform it live in concert. Alina Ibragimova and Cédric Tiberghien, two fantastic artists on their own, but even more special as a perfect duo. The composers on this album, Franck, Vierene, Boulanger and Ysaÿe are less known, but the music is very much worth discovering. The two of them have also recently recorded the Brahms sonatas, and I’ll probably have to get my credit card out soon.

Vierne Franck Ysaye Violin Sonatas Alina Ibragimova Cedric Tiberghien Hyperion 24 96 2019

“Papa Haydn” really isn’t my favourite composer. That said, his symphonies are being freshly recorded by Giovanni Antonini (see here), his string quartets are fantastic, and his trios are also really worth exploring.

The French Trio Wanderer has recorded some very good albums before, check out their complete Beethoven trios for example. What is there to say, beautiful playing, charming music, a treat!

Joseph Haydn Piano trios Trio Wanderer 24 96 2019 Harmonia Mundi

And, to wrap up the list of the 6 shortlisted albums, Shostakovich.

I must admit I’m still new to most of Shostakovich’s oeuvre, and finding my way through the very special world of this composer. But I’ve recently acquired the piano quintet which is really worth discovering. I bought the version by the Takacs Quartet with Marc-André Hamelin on Hyperion, but the album selected here was truly the best alternative and I probably will add it to my collection soon.

We’re talking about the Belcea quartet, with Piotr Anderszewski. You also get String Quartet no. 3.

Shostakovich String Quartet No. 3 Piano Quintet Belcea Quartet Piotr Anderszewski Alpha 2019 24 96

So, out of the 6 albums above, which ones made the shortlist of the shortlist? Let’s make it short (sorry for the bad pun): the Britten, Debussy, and the Franck. Given Gramophones slightly patriotic tendencies, I’m willing to bet that the Britten album will win, but I’d prefer Faust or Ibragimova to get the price. We’ll know more soon.

Overall, a very strong selection this year, or what do you think?

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

xojnuoc6qpxsb_600

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).

Schuberts String Quartet no. 15 by the Doric String Quartet – Outstanding

Why streaming is a good thing – at least for the consumers

It´s amazing how our listening habits have changed in so little time since streaming arrived. I was personally late to the game, only started less than two years ago (about the time when I started this blog).

In the not so “old days”, one had to go to a record store and listen to new music there. That was an adventure on its own, and if you had a good CD (or vinyl) dealer, you even got some great advice.

Well, we can safely assume that CD stores will mostly go the way of video rental stores, with few exceptions. You may like this trend or not, but for me, streaming has opened up  new worlds.

You basically get every single new album, the day it is out, directly onto your computer, in CD quality or even better. And this for a relatively modest fee, about the price of 1-2 CDs. I’ve  discovered so much new music like this, stuff that I wouldn’t otherwise have explored.

So from a customer perspective there is a real gain. From a musician perspective, things are obviously different, as musicians only make very little money from streaming if you’re not Beyonce. I assume for this reason, many smaller labels, like ECM, Chandos, or Hyperion didn’t allow streaming until now.

It looks like things are changing again, as labels do realize that streaming may be a tricky business model, but if you’re not on it, you’re out of mind for too many music lovers. ECM came first recently, Chandos just started, and I hope Hyperion will follow.

It is just that especially for classical music there is no decent way to sample music before you buy now that CD stores are gone, and the 30 seconds snippets from Amazon may work for Bruno Mars, but not for a 50 minute classical piece.

Which lead to me often ignoring recordings, like this particular one. I’ve mentioned it previously in my post about the 2017 Gramophone award nominations. To quote myself “I have only heard it once on the radio (again, also Chandos doesn´t stream), and liked it, but wasn´t blown away. Not interesting enough for me to spend money blindly on it“. There you go. I’ve simply ignored a truly great recording just because of their lack of streaming.

But please, fellow music lovers, remember, no musician can live off streaming only. So, please, if you like something, buy the album, or go to their concert. We want these great musicians to be able to live off what they are doing!

Schubert: String Quartets No. 12 & 15 – Doric Quartet (Chandos 2017)

I haven’t written about String Quartet No. 15 yet. That’s a shame. I’ve mentioned No. 13 “Rosamunde”, and obviously Death and the Maiden, No. 14.

No. 15 is the last one, and to me pretty much on par with the two others as well as the outstanding String Quintet (see here and here for my favorite versions).

No. 15 is a true masterpiece, and longer than most of Schubert´s symphonies. My initial versions of this were the great Alban Berg Quartet and the Quartetto Italiano.

Schubert String Quartet No. 12 and 15 - Doric String Quartet (24/96) Chandos 2017

The Doric String Quartet is a young UK-based quartet, with Alex Redington and Jonathan Stone on violin, Hélène Clément viola, and John Myerscough on cello. The quartet has won a number of prices and awards yet, including several high praises by Gramophone.

And as already mentioned above, my superficial listening on the radio simply wasn’t enough to make up my mind. The playing is truly excellent, showing all the passion that late Schubert requires, but at the same time the attention to detail that shows all the little nuances that Schubert is so good at hiding in the music. This is truly breathtaking.

Did I mention you also get the Quartettsatz, a one movement quartet from Schubert? We won’t say no to this!

My rating: 5 stars

As mentioned previously, Gramophone agrees, this was and Editor´s Choice, and shortlisted for the 2017 Gramophone Awards. Germany´s Fono Forum also gives 5 stars.

You can find it here (Qobuz, who at the time of writing has a special offer on all Chandos), and here (Chandos own online store)

Alina Ibragimova and Cedric Tiberghien at Boulez Saal – Fantastic!

New Year Resolutions

As most of you, I have made a couple of New Years resolutions. Among them was, not suprisingly, exercise more and eat healthier. Well, 7 days in and, while improving, I’m far from where I want to be (although slightly better than last year).

Another resolution was to go to more concerts. There are so many fantastic concerts out there, and I have the privilege of often being in places that offer excellent musical performances on a regular basis. Berlin is a case in point, where I happened to be quite a bit recently.

So, I guess starting with my first concert on January 6 is a good starting point for the last resolution. Let’s see how I continue from here.

A lot of firsts

This concert was a lot of “firsts” for me. First concert of the year, first time I’m listening to a concert performance of any of the three composers on the program (more about that later), first time I see Alina Igrabimova and Cedric Tiberghien in concert, first time the two are actually mentioned on this blog (beyond a small side note in passing), and first time a Berlin´s new Pierre Boulez Saal.

Pierre Boulez Saal

Barenboim-Said Academy (exterior) (c) Musicophile 2018
The Exterior of the Barenboim-Said Academy hosting the Boulez-Saal (c) Musicophile 2018

The Pierre Boulez Saal is the latest of the classical music venues in Berlin. It was built as part of the Barenboim-Said academy. It formally opened in March of 2017. It was planned by architecture legend Frank Gehry as a Salle Modulable, i.e. with a lot of flexibility.

Entering the building, I really like the architecture of the overall hallway, with a nice mix of traditional and modern elements over the several floors.

Boulez-Saal (Detail) (c) Musicophile 2018
Barenboim-Said Academy (detail) (c) 2018 Musicophile

However, entering the Boulez Saal itself, I was a bit underwhelmed. Being a big Frank Gehry fan, I kind of expected more. It kind of reminds me of a smaller Roman amphitheater, just more wood, less stone.

And honestly, who designed the patterns covering the seats? This weird mix of blue and red reminds me of some of the public transport seats in Europe that use complex patterns to deter graffiti. I don’t expect the typically 50+ classical music audience to be big into graffiti, so no idea what went on here.

Boulez-Saal (c) Musicophile 2018
Boulez-Saal – interior (c) 2018 Musicophile

But well, I shouldn’t be too negative, the acoustics were quite nice, you have excellent visibility from pretty much all seats, and to really honor the concept of a roundish concert hall, the piano was turned during the break having the artists face the other way in the second half of the concert.

Anyhow, there is quite an intriguing concept behind the hall, and it is hard to take pictures in there (and unfortunately forbidden during the concert, so no pictures from the artists here…), therefore I suggest you check out this video:

 

Alina Ibragimova and Cedric Tiberghien

Two young, brilliant artists that I’ve never mentioned on my blog in 2+ years. How come? I actually like both.

The reason is more or less technical. Both mainly record for Hyperion, and Hyperion doesn’t allow streaming. As mosts of my initial reviews are typically based on streaming (I like to sample before I buy), I haven’t really formally reviewed any of their recordings yet. However, the samples I was able to listen to were, plus the raving reviews everywhere, really made me curious.

32 year old Ibragimova has some highly praised albums, including her Bach solo sonatas, Ysaye´s solo sonatas, the Beethoven and Mozart sonatas with Tiberghien, and a really enjoyable recording of the Bach violin concertos. Tiberghien is not only her regular duo partner, but has also done some very nice solo recordings that are worth checking out.

So I was very enthusiastic to be able to see both of them live.

Ibragimova and Tiberghien At Boulez Saal playing Ysaye, Vierne, and Franck – January 6, 2018

In my recent review of Sabine Devielhe´s album Mirages, I already mention that I’m really not an expert on French composers.

And actually, to be fair, the first one isn’t even French but Belgian, Eugene Ysaye. I had heard about him, but never the Poème élégiaque that started the performance. As rare as it is for me, it is actually very refreshing hearing a piece of classical music performed for the very first time. You have a much more open reception.

And I was blown away. This relatively short piece was inspired by Shakespeare´s Romeo and Juliet, and you could certainly hear all the passion of this inspiration in there. Ibragimova played with a wonderful intensity, and Tiberghien was the perfect partner, never overshadowing, which the powerful sound of a Steinway can easily do.

Next came a composer I literally had to google. Louis Vierne. You may say Louis who? Turns out he’s relatively well known in France, but his reputation beyond the French borders is still very low. So I had no idea what to expect.

A violin sonata from a composer mainly known as an organist? Again, I was very positively surprised. My personal highlight was the second movement, Andante. I was literally mesmerized by the beauty of it. Isn’t it enjoyable that there is still so much beautiful music to be discovered?

After the break, we got my personal highlight of the evening, César Frank´s A-Major sonata. This piece I was much more familiar with, both from historic recordings with Heifetz, and from Isabelle Faust´s recent album on Franck and Chausson.

Regular readers of this blog will know that I’m a Faust fanboy. But what Ibragimova and Tiberghien did last night was even significantly better than Faust´s excellent recorded performance. Given that this was a live event, the performers took quite some liberties on timing, but only to the benefit of this music. The audience, like me, was extremely enthusiastic.

As an encore, we got a beautiful work of one of Vierne´s pupils, Lili Boulanger, the less-well known sister of Nadia Boulanger, who unfortunately passed away at the young age of 24. The Nocturne was again of outstanding beauty.

Overall, an evening of extreme emotional intensity and passion

My rating: 5 stars

My Top 5 Classical Albums of 2017

It is starting to be a tradition now; this is a third time I´ll be writing about my top 5 classical albums of the year (see here for 2016, and here for 2015).

It´s been a busy year both professionally (completely unrelated to this blog) and musically, with a lot of excellent recordings being published, my blog being listed among Musicaroo´s Top 100 Independent Music Blogs, and me reaching 200 blog posts this summer.

It´s probably a bit late for Christmas shopping, but if you’re still looking for something to put under the tree (or whatever other holiday you’re celebrating right now, if any), or if you just would like to make yourself a nice present, here’s my selection for 2017. For download links to each album, please follow the link to the original review.

 

Bach: St. Matthew Passion – John Eliot Gardiner

Bach St Matthew Passion John Eliot Gardiner SDG 2017 24/96

I may be a bit biased here as I heard Gardiner perform this live as part of the same European tour as when this was recorded, but while I’ve been not always convinced by Gardiner´s recent recordings, I feel this is one that will stand the test of time as a reference.

See my original review here.

 

Brahms: The Symphonies – Andris Nelsons – Boston Symphony Orchestra

Brahms: The Symphonies - Andris Nelsons - Boston Symphony Orchestra 24/192

Brahms being in the subtitle of my album, he is obviously featured on a regular basis.

Note that this album may not be of universal appeal. This is really not the new lean style of “historically informed”, with lean orchestras, which I actually often really like. This is “old-style” Brahms, big, broad, and romantic. I feel it works especially well for the first symphony, in the big tradition of the Klemperers and Walters of this world (not yet Furtwängler and Toscanini).

In, any case if you answer yes to “Aimez-vous Brahms?”, you need to check this box out.

You’ll find the original review here.

 

Volodos Plays Brahms

Arcadi Volodos Plays Brahms (24/96) Sony Classical 2017

And yes, 2 out of 5 for the grandmaster from Hamburg. Another Brahms album.

And this time I can get rid of any disclaimer, this is just outstanding in any way. While playing with all his virtuosity power, these little (underrated) gems of Brahms here really get the treatment they deserve.

A must have for any Brahms fan.

See my original review here.

Mozart: Great Mass in C – Masaaki Suzuki – Bach Collegium Japan

Mozart: Great Mass in C Minor Exsultate Jubliate Bach Collegium Japan Masaaki Suzuki Carolyn Sampson Olivia Vermeulen Makoto Sakurada Christian Immler

 

This gets a special treatment by me, because it is probably one of the most beautiful pieces of music ever written.

Masaaki Suzuki and his Bach Collegium have never produced a bad album to my knowledge. The “worst” you get from this excellent Japanese ensemble is recordings that are a bit too polished and tame to my taste.

But here, none of that. Just beauty! This could well become a new reference recording for this work.

You’ll find my original review here.

Alexandre Kantorow: A La Russe

Alexandre Kantorow A La Russe BIS 2017 (24/96)

This album again may not be of universal appeal. A slightly more eclectic selection of music, a very young pianist, and a lot of extremes in one album.

I still preferred it to let’s say the extreme perfection of Zimerman´s new Schubert recording (another contender for this list), simply because of the piano performance of Stravinsky´s Firebird. I’m not even a particular fan of Stravinsky in general, but this recording is simply out of this world.

You can find my original review here.

 

What do you think?

So, this is my list, what would be yours? Please share! As always, I appreciate your feedback and ideas!

In the meantime, let me wish all of you Happy Holidays!

 

P.S. 

One more album, which isn’t properly speaking a 2017 album, but “just a remaster” released this year, gets a special mention: The outstanding complete Beethoven string quartets by the Takács Quartet.

See my original review here.

Takacs Quartet Beethoven Complete String Quartets Decca 24 48 2017 remaster

 

 

A new Trout Quartet recording with Daniil Trifonov and Anne Sophie Mutter – Very Enjoyable

Two superstars and prodigies

Anne-Sophie Mutter, for those of us who are old enough to remember, was a classical music  prodigy. Herbert von Karajan put her on the map when he performed a Mozart violin concerto with her in 1977, when she was 13. Anne-Sophie Mutter was a major star for the Deutsche Grammphon label in the 1980s and 90s.

I must admit I never very much liked her early recordings, to my ears they suffered from the same problem as Karajan´s late work on DG, just too much of everything. However, in recent years, Mutter style has evolved significantly, and her recent recordings, e.g. her 2013 recording of the Dvorak concerto with the Berlin Philharmonic, or her 2008 recording of the Bach violin concertos with the Trondheim Soloists show a very different Anne-Sophie Mutter.

Daniil Trifonov (born in 1991) started a tiny bit later, winning third price in the Chopin competition in 2010, and winning some major competitions one year later. Since then, he has released some fantastic albums, e.g. his great Rachmaninov album in 2015, or his recent Liszt Transcedental Etudes, all justify that he was named “Artist of the year” by Gramophone in 2016. Deutsche Grammophon (or whatever is left of it within the big Universal Music Group conglomerate) clearly still has a good taste in selecting musicians.

Schubert: Forellenquintett – Anne-Sophie Mutter – Daniel Trifonov (Deutsche Grammophon 2017)

Schubert: Trout Quintet / Forellenquartett Anne-Sophie Mutter Daniil Trifoniv 24/96 Deutsche Grammophon 2017

I’ve written quite a bit how much I love Schubert´s Chamber music (see here and here for my favorite versions of the string quintet, or an article here about the Rosamunde quartet), but so far I’ve never mentioned the Forellen or Trout piano quintet.

I really don’t know why, but somehow this work never ranked as highly in my personal scale as the pure string chamber works. Silly, I know, it is truly beautiful.

Before we go into the album itself, who else do we have here beyond our two super stars? I must admit I had never heard the names of Hwayoon Lee (viola), Maximilian Hornung (cello), and Roman Patkoló (double bass) before. And even the booklet of the album doesn’t bother to give any more information about them. After some googling it turns out all of them are young musicians that Hornung and Lee both are being developed by Anne-Sophie Mutters Young Talent foundation. Patkoló himself is currently a professor in Basle and has played with Mutter beforehand.

So what do we get here?

This album is the result of a live recording in Baden-Baden in June 2017. And you really feel the energy of a live event. There is passion, drive, and pleasure in every single movement of the Trout. Sometimes, when you have musicians that are not playing in a regular ensemble do chamber music, there is a risk of the music not being fully coherent.

This is not the case here, while Mutter and Trifonov are clearly the stars, all of the instruments merge smoothly in this adventure.

On top of the Trout, you get the Notturno for piano, violin, and cello D897, one of my absolute favorite Schubert works, and some song adaptations for violin and piano, including the famous Schwanengesang.

The only thing I´d have to criticize is that sometimes Mutter (and to some extent also Trifonov) seem to fall back into what I didn’t like about the early recordings, i.e. a bit too much of everything, a bit too much drama and vibrato, where I´d personally prefer even more intimacy (e.g. in the Notturno).

But overall, this is a very enjoyable album.

My rating: 4 stars

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

 

UPDATE Feb 28, 2018: It took Classica a while to review this, and the result isn’t pretty: 1 star, doesn’t get worse than this. They criticize the focus on Mutter and Trifonov and a lack of coherence.

The Complete Beethoven String Quartets by the Takács Quartet – A Masterpiece

Beethoven’s String Quartets

I haven’t written that much yet about Beethoven’s string quartets. It is a hard to cover vast subject of 16 masterpieces, from the early ones that are still very reminiscent of Haydn, to the middle ones (mainly the Rasumovksy ones), that clearly match the power of the major Beethoven symphonies, to the entirely different universe that are the late quartets, that enter completely unheard harmonic complexities, that go even beyond his symphonic works.

How can one quartet really do them all justice? Typically, reviewers recommend getting different boxes for the different periods, and they are right.

However, some outstanding artists are able to just set a standard for all three periods. And the Takács Quartet is just one of them.

When Decca re-released the complete Beethoven box that was originally recorded in the early 2000s, I had to go back to it. I’m very glad I did, I was again blown away.

Beethoven: Complete String Quartets – Takács Quartet (Decca 2017 Remaster)

 

Takacs Quartet Beethoven Complete String Quartets Decca 24 48 2017 remaster

The Takacs Quartet has been around since 1975! They are probably one of the most outstanding string quartets ever. I’ve praised the Takacs´ several times already (See for example here my review of their fantastic Schubert), and remain a great fan of them.

In this box, in the early quartets of op. 18, you get all the Viennese lightness. These are just a pleasure to listen to. These works need to “swing”, and the Takacs just pull it off.

Moving to the more serious op. 59, the Takacs´switch gear appropriately. Take quartet no. 9, op. 59 no. 3, that starts with a very “serious” Andante con moto. This part occasionally reminds me of a Mahler symphony. And here, you get the full weight and emotional power this work requires, before moving on to the Allegro part, that gives you the Beethoven you are most likely to think of when you hear the name.

The late quartets again are a completely different animal. Let’s take for example op. 127. I have a pretty direct comparison, having only recently heard this played live by the equally fantastic Quatuor Ébène (see my concert review here). Comparing the two approaches here, let´s say we could characterise the Ébène’s live approach with “Passion”, and the Takacs’s with “Precision”. These are obviously simplifications, but you get the idea. Both are absolutely fantastic versions, and show you how much there is to discover in these masterworks, that are unfortunately not very approachable for the beginner. Give them some time, and they will grow on you.

If you only ever wanted to own one version of the Beethoven string quartets, this really would be the one to have. I´d strongly advise against having only one version, there are so many others to discover, and Beethoven’s quartets really are among the most outstanding masterpieces the Western world ever produced.

My rating: 5 stars

You can find it here (Prostudiomasters) or here (Prestoclassical, as limited edition disc set with some bonus DVDs)