Musicophile’s 25 Essential Classical Music Albums – Part II

Continued from part I here.

Anton Bruckner: Sinfonie Nr. 4 – Günter Wand – Berliner Philharmoniker

The 4th Big B as some call him, Bruckner had to be on my list.

The album I’m recommending nicely enough is a collection of all his relevant symphonies, but I’d really like to focus on Symphony no. 4, my first love, and still my preferred Bruckner symphony.

Günter Wand Anton Bruckner Symphonies Berliner Philharmoniker RCA Red Seal

I’ve written about it previously, and am not going to repeat the entire blog post. As I mentioned there, I’m not listening to Bruckner that much any more, my taste has moved on from the romantic period to much more Mozart and especially Bach, but my Essential Album list couldn’t be complete without Symphony No. 4. Even if I listen to it only a couple of times per year, the broad symphonic sound will always remain close to my heart.

There is especially one part in the first movement, that really give me goose bumps (for 10 other tracks doing the same, check out this blog post), it is a little part that connects two larger sections of the movement, and on the Wand album mentioned here, from 9:48 to 11:02, and has a beauty from out of this world.

 

Chopin: Nocturnes – Moravec

Finally moving away from the letter B, my first Chopin album. Chopin to me is one of the absolute masters of the piano to me. You’ll notice that I haven’t mentioned any Beethoven piano sonata, as much as I love them, Chopin is still closer to my heart.

And if you only have to have one Chopin album, it should be Moravec’s legendary Nocturnes. Already, to me the Nocturnes are quintessential Chopin, and nobody plays them better than Ivan Moravec.

Ivan Moravec Chopin Nocturnes

See my full review here.

Not surprisingly, Moravec also shows up in my Top 10 Classical Pianists.

 

Chopin: Preludes – Blechacz

Another Chopin album, another pianist I already featured in my Top 10 pianists. At least you cannot call me inconsistent.

Chopin Complete The Preludes Rafal Blechacz Deutsche Grammophon

See my review here

Obviously, there are many other pieces you could get from Chopin, the Etudes (Pollini), the piano concertos, Benjamin Grosvenor’s beautiful albums, etc. etc.

But really, the Nocturnes and Preludes should be in everybody’s music library.

 

Mendelssohn: Violin Concerto – Janine Jansen

Skipping quite a lot of letters of the alphabet, and with this really good composers like Berlioz, Debussy, Dvořák, Fauré, Händel, Haydn (although I was close in adding his Cello concertos), Grieg, Mahler, all of which have composed great music and that I’ll write or have written about. But none of these composers have made it on my, again, extremely subjective list of “essential”, i.e. something I really wouldn’t want to live without. I know, we can discuss this endlessly, but I had to make a choice, and here we go.

So finally an album and piece that I haven’t written about yet.

You could argue, of the great violin concertos, why do I chose Brahms and Mendelssohn, and not Beethoven or Tchaikovsky (or, to a lesser extent, Bruch)? Well, again for the same subjective reasons as above, both really touch me the most.

Janine Jansen Riccardo Chailly Gewandhausorchester Mendelssohn Bruch Violin Concertos Decca

I’ve previously praised Janine Jansen’s recent Brahms recording, and am also quite a fan of what Riccardo Chailly has done with the Gewandhaus, be it his complete Brahms symphonies, or the piano concertos with Nelson Freire.

On this excellent album, on top of Mendelssohn’s masterpiece, you also get an outstanding version of Bruch, so this really is another must have.

Other music from Mendelssohn I can highly recommend includes his Songs Without Words, and his symphonies no. 3 and 4.

 

Mozart: Cosi Fan Tutte – Nézet-Séguin

Moving on to Mozart. And getting into dangerous territory. My favorite pieces of all times are his great DaPonte operas, most of all Cosi, closely followed by Figaro.

Nezet-Seguin Mozart Cosi Fan Tutte Chamber Orchestra of Europe Deutsche Grammophon

However, as mentioned in my review of this album, I still don’t consider myself an opera expert. So take my recommendations with a grain of salt, and I’d particularly appreciate any feedback from any opera lovers about their favorite versions.

That said, this 2013 live recording is great, much better than the more recent, slightly disappointing Figaro.

 

Le Nozze Di Figaro – René Jacobs

Even more difficult territory here, as René Jacobs operas are usually love/hate affairs, i.e. you either love them or hate them.

I personally usually find them really interesting and insightful.

Mozart: Le Nozze Di Figaro René Jacobs Concerto Köln Harmonia Mundi

I also have about 10 other versions, including the classics from Böhm, Muti, Erich Kleiber, but keep returning to this version, as well as the first I ever owned, by James Levine.

 

Mozart: C-minor Mass – Masaaki Suzuki

Mozart: Great Mass in C-Minor Exsultate Jubilate Masaaki Suzuki Bach Collegium Japan BIS 2016 24/96

I’ve written twice previously about Mozart’s choral masterpiece, one of the most amazing works of music ever written. And I must admit that Masaaki Suzuki’s recent version really made something very special.

Read my full review here.

You’ll find more great Mozart in my blog post about My Must-Have Mozart albums.

 

Rachmaninov: Piano Concerto No. 3 – Leif Ove Andsnes

Again, jumping a couple of letters ahead, skipping Liszt (although his b-minor sonata was close to making the list), Monteverdi, Mussorgsky, and Prokofiev), directly to Rachmaninov.

And for Rachmaninov, as much as I like quite a bit of his solo piano work, the true essentials are his piano concertos no. 2, and even more so, no. 3

Rachmaninov Complete Piano Concertos Leif Ove Andsnes London Symphony Orchestra Berliner Philharmoniker Antonio Pappano Warner Classics

I’ve previously mentioned this album in my post about My Top 10 pianists.

Obviously, there are many other legendary performances of the Rach’s, including Horowitz, and Van Cliburn, but Andsnes and Pappano really stand out.

 

Schubert: The Late Piano Sonatas – Uchida

Moving one letter ahead again, to S.

Mitsuko Uchida plays Schubert

Schubert’s “late” (all relative, given that he passed away at the age of 31) piano sonatas, D958-960, are absolute masterpieces again. It is not easy to pick my favorite.

Luckily, quite recently I did a systematic comparison of D959, where Uchida, Perahia, and Brendel came out on top.

I’m here rather arbitrarely recommending Uchida, given that her rather exhaustive Schubert box contains 8 CDs for a really low price, you may as well get this directly. You won’t regret it.

 

Schubert: Winterreise – Prégardien – Staier

Schubert: Die Winterreise - Christoph Prégardien - Andreas Staier Warner Classics

A Schubert Lied just had to be in the list, and Winterreise really is such a gem.

As written here, I really like Christoph Prégardien with Andreas Staier, but this is one where one could easily collect 20 and more versions and still discover something new.

 

Schubert: String Quintet – Pavel Haas Quintet

Pavel Haas Quartet String Quintet Schubert Death and the Maiden Supraphon

As you can see, I really like Schubert. He get’s 3 entries, and I could easily have given him four or five. Luckily, on this album you get two of my favorites, the amazing quintet, and the nearly as outstandingly beautiful Death and the Maiden Quartet.

You’ll find my initial review here. I could have easily recommended the more recent version by the Quatuor Ebène as well, I just find the coupling more attractive of the Pavel Haas.

 

Schumann: Symphony No. 3 – Daussgard – Swedish Chamber Orchestra

 

Schubert: Symphony No. 3 and 4 - Thomas Dausgaard - Swedish Chamber Orchestra - BIS

And last but not least, Schumann.

Given that this is the last entry, you’ll notice the absence of Stravinsky, Tchaikovsky (although you’ll find I’ve reviewed quite a bit of Tchaikovsky on my blog), Ravel, Telemann, Sibelius (although his violin concerto was close to making the list), or Vivaldi.

And for Schumann, I didn’t chose his piano concerto, nor his solo piano music, but his symphony no. 3, the “Rhenish”. Moreover, I’m recommending an atypical version, by Thomas Dausgaard with the Swedish Chamber orchestra. Why? Well, it has often been written that Schumann didn’t know how to orchestrate properly, the balance was supposedly off.

Well, actually, if you listen to it played by a smaller chamber orchestra, like here, or on Nézet-Séguin’s recent recording with the Chamber Orchestra of Europe, another excellent version, you get a totally different picture. Well, obviously the classic recordings of Klemperer, Szell or Sawallisch also have their charm. But for me, a smaller ensemble is what works best.

 

Again, I very much appreciate any feedback!

Thanks again for all of you who already commented on part I, I can assure you, your feedback is always very welcome. Agree, or even better, disagree, and tell me why!

All albums mentioned here are five stars on my personal rating scale.

 

 

You can find the albums here:

Bruckner / Wand: here (Qobuz) and here (Prestoclassical)

Chopin / Moravec:  here (Prestoclassical)

Chopin / Blechacz: here (Prestoclassical)

Mendelssohn / Janssen: here (Qobuz)

Mozart Cosi Séguin: here (Qobuz)

Mozart Figaro Jacobs: here (Qobuz) and here (Prestoclassical)

Mozart / Suzuki: here (eclassical)

Rachmaninov / Andsnes: here (Qobuz)

Schubert / Uchida: here (Prestoclassical)

Schubert / Pavel Haas: here (HDTracks)

Schubert  Winterreise: here (Qobuz) or here (Prestoclassical)

Schumann / Dausgaard: here (eclassical)

Mozart’s Violin Concertos with Isabelle Faust – Highly Enjoyable

Happy New Year!

Dear readers, I hope many of you were able to have some days off during the holidays over the last weeks. I’d like to thank you again for your interest in my blog, and look forward to sharing more exciting music with you in 2017.

As always, I really appreciate any form of feedback. Do you like my articles? Let me know! Hate them, let me know as well! Any form of feedback is useful.

Mozart’s Violin Concertos

Let me start by saying that as much as I like Mozart, his violin concertos aren’t very high on my priority list. They are the works of a teenager, written between ages 16 and 20. That said, they are enjoyable, and at least one version of them should be in any classical music library.

But which one? In My Must-have Mozart Albums, I’ve already recommended Giuliano Carmignola’s great recording with the late Claudio Abbado and the Orchestra Mozart  he founded (which unfortunately lost funding some time ago).

However, regular readers will know that I’m a big fan of Isabelle Faust (see here, or here), so when she released a recording of the complete Mozart concertos, I obviously had to check it out. Unfortunately, it took some months for reasons unknown to me for this to be available on Qobuz, my streaming provider (and I didn’t want to buy this blindly).Now Qobuz finally has it, so here comes my review.

Mozart: Violin Concertos – Isabelle Faust – Il Giardino Armonico (Harmonia Mundi 2016)

Mozart: Violin Concertos Isabelle Faust Il Giardino Armonico Giovanni Antonini Harmonia Mundi 2016 24/96

Not only you get Isabelle Faust here, as mentioned above one of my all-time favorite violinists, but you also get Giovanni Antonini with his Giardino Armonico. They have done countless excellent baroque albums in the last 30 years. More recently they moved up to the Viennese Classical period with Haydn, in their excellent Haydn2032 cycle (see my review of vol. 3 here), so Mozart is a logical next step.

So, how does it sound? Two words, transparency and energy! Antonini takes the same inspiring approach he uses to awaken Papa Haydn, and plays it with a lot of verve and swing. And even Faust, who can be a tiny bit intellectual in her approach at times, gets fully into the mood and goes with the flow, making this youthful music just highly enjoyable. I seriously wouldn’t know what to criticize on this recording. This really is on par with Carmignola, if not even slightly better.

In summary: highly recommended (all reviews I’ve seen vary between very good and outstanding, so I’m not really going against the consensus here).

My rating: 4 stars (full 5 star playing, but as mentioned above I don’t think Mozart’s violin concertos are truly essential, so one point off for repertoire).

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

 

It’s Gramophone Award Time Again – My Reflections Part I: Concerto

Feeling terribly guilty

Dear readers, I’m really sorry.

I just checked, and my last entry dates back more than a month ago. Shame on me. Lots of reasons, too much travel, too busy, too whatever. Who cares, let’s get back to it, shall we?

Gramophone Awards

Although I’ve recently had quite a number of disagreements with reviews by this venerable magazine, it probably remains the most important source for the entire classical music industry, and winning a Gramophone Award is rather prestigious.

I’ve already started reflecting about them last year, which generated some really interesting discussions here and elsewhere (plus lead me to discover David Watkin’s outstanding Cello Suites), so let’s have a look at who has been nominated this year.

If you want to do the same, best is to get our your tablet, get the Gramophone App, and get the Gramophone Awards issue for free.

As last year, I have no ambition to be exhaustive, I’m just giving my 2 cents on a number of albums that I’ve heard as well.

Concerto

Concerto is usually my favorite category, and the one where I’ve heard the largest number of the recordings.

We have 8 albums nominated this year, 5 of which I’ve heard and can comment on.

Brahms Violin Concerto x 2

We start with two versions of Brahms violin concerto, one coupled with Bartok, the other one with Brahms’ own String Quintet No. 2.

The first one is the new Janine Jansen recording, which I’ve reviewed here. I still fully stand by the 5 stars I’ve given there, and this is an album absolutely worth having in spite of heavy competition.

 

Janine Jansen Brahms Bartok Violin Concertos Antonio Pappano London Symphony Orchestra Orchestra dell'Accademia Nazionale di Santa Cecilia Decca 2015

The second Brahms recording is with the less known German violinist Antje Weithaas, with the Camerata Bern.

Brahms Violin Concerto String Quartet No. 2 Antje Weithaas Camerata Bern

I must admit I didn’t expect a lot, as I was pretty disappointed by the recording of Bach’s keyboard concertos with the Camerata Bern (2010  on Universal).

Well, I was positively surprised, up to a point. To be clear: Weithaas really plays exceptionally well.

However, the Camerata Bern is unfortunately no match for Pappano’s Santa Cecilia. They are really the limiting factor on this recording, which becomes especially apparent in the highly energetic third movement.

The string quintet is ok, but a bit heavy. Overall, I’d probably give this 3 stars.

Beethoven’s piano concertos x 2

The next two albums aren’t albums, but DVDs. I don’t have a DVD/Blueray player, and so have no way of reviewing these.

DVD no. 1 is Maria Joao Pires with Frans Brüggen playing Beethoven’s concerto no. 3.

Beethoven Piano Concerto No. 3 Frans Brüggen Orchestra of the 18th Century Maria Joao Pires DVD

There is a snippet on Youtube, and I wasn’t particularly impressed, but one shouldn’t judge from 39 seconds.

Interestingly enough, Pires won already last year with the same concerto but Daniel Harding conducting. Again, didn’t really impress me back then either. But if you’re into DVD’s, you may want to check it out. Just to clarify, I’m a big fan of Pires for a lot of solo recordings (e.g. Chopin, Mozart), but her recent orchestral recordings just aren’t my cup of tea (see also my review of her Schumann recording with Gardiner here).

The other DVD, also from Warsaw, again with Frans Brüggen, has one of my absolute piano godesses on the piano, the mighty Martha Argerich.

Beethoven Piano Concerto No. 1 Frans Brüggen Orchestra of the 18th Century Martha Argerich DVD

Here’s the 40 second Youtube snippet:

This is already more to my taste. But again, you simply cannot judge a recording on 40 seconds.

Britten & Korngold by Vilde Frang

Britten/Korngold Violin Concertos James Gaffigan Frankfurt Radio Symphony James Gaffigan

I’m a big Vilde Frang fan, her Sibelius is one of my all time favorites, see here.

Unfortunately, the music on this album really isn’t getting me excited, so I’m not qualified enough to comment about the interpretation.

I must admit I wouldn’t even know Korngold if it weren’t for some old Heifetz albums, and even here, his music that would at moments be rather fitting for the next Star Wars soundtrack doesn’t inspire me very much. OK to listen to once or twice, but nothing I’d consider purchasing.

I can comment even less on the Britten. There is unfortunately only one English composer I really love, Henry Purcell, everything after just isn’t for me.

Rachmaninov by Trifonov

Rachmaninov Variations Trifonov Nézét-Séguin Philhadelphia Orchestra Deutsche Grammophon 2016

Now we’re getting back into my home turf (not physically, obviously, I’m not Russian), but musically speaking.

This is an album I should have reviewed a long time ago, as it is a true 5 star recording.

We start with Nézét-Séguin, who here again is in top form, and with the Paganini Variations. Already an exceptional start.

However, this album shouldn’t actually be in the “Orchestral” section, as the entire rest of the 1:18 are all solo piano.

We’re talking about the Variations On A Theme Of Chopin, Op.22, the Variations On A Theme Of Corelli, Op.42, and some Rachmaniana pieces by Trifonov himself.

The Corelli’s are already great, but my absolute favorite here are the quite rarely played Chopin variations. Amazing, you really get the best of both worlds here, the melodical genius of Chopin together with the romantic virtuoso of Rachmaninov. Absolutely worth having.

My rating: 5 stars

So, my take home messages (or albums) are clearly Jansen and Trifonov. Both are absolutely worth having.

And my prediction for the Gramophone Award winner? The Trifonov.

What do you think? Let me hear!

 

Update August 18,2016: Gramophone has released the three finalists for the category: Pires’ Beethoven, Frang’s Britten, and Trifonov’s Rachmaninov. So my prediction above (written previously) could still come true.

 

You can find the albums here:

Brahms/Jansen

Brahms/Weithaas

Beethoven/Pires

Beethoven/Argerich

Korngold & Britten/Frang

Rachmaninov/Trifonov

How Many Versions Of Brahms Violin Concerto Does One Need?

My dear readers and fellow music lovers, no I’m not dead nor sick, I’ve just been on an intense 3 weeks business trip which kept me from posting.

Everything should be back to the regular 2-3x update schedule as of now. Thanks for your patience!

Brahms Violin Concerto

To answer my own rhetorical above question first: One more than you currently own as of recently.

OK, if you were a purist, you could say, just get Heifetz and be done with it. And you’d have a valid point. But then again, you’d be missing so much, for example the recording I’m just about to write about.

At latest count, I have 24 versions of this masterpiece in my library, and this is not counting the huge number of versions I could access any time via Qobuz streaming.

So why the heck would I want to add one more? Especially with Heifetz’ legendary version around, not even mentioning Faust’s fantastic version (reviewed here previously, 5 stars)?

Janine Jansen

The answer is simple and is called Janine Jansen. If you’ve been reading this blog for a while you know I’m a big Isabelle Faust fanboy, and gobble up and love pretty much all she’s doing.

Janine Jansen, the Dutch violinist, is another example where I’ve rarely ever been disappointed. Her Beethoven and Mendelssohn recordings are among my absolute favorites, and even her Four Seasons are a lot of fun. I’ve already mentioned her a couple of times, including here and here, in her role as excellent chamber musician. But obviously she really shines when she is in the lead.

Janine Jansen and Antonio Pappano playing Brahms and Bartók

Janine Jansen Brahms Bartok Violin Concertos Antonio Pappano London Symphony Orchestra Orchestra dell'Accademia Nazionale di Santa Cecilia Decca 2015

How to describe Jansen’s Brahms? Well, between the two extremes of Heifetz (extreme passion) and Faust (extreme clarity), you probably get a nice balance in between.

There is definitely more vibrato and more rubato than with Faust, and while I love the clean sound of Faust’s Sleeping Beauty Stradivarius,  Jansen’s Barrere from the same genius violin maker’s factory, with a slightly darker tone, is outstanding as well.

Another difference is the cadenza, Faust playing the rare Busoni cadenza, with Jansen chasing the more traditional Joachim cadenza (by Brahms’ friend and favorite violinist).

Obviously I also need to mention Pappano. He’s done great things with his recent opera recordings (e.g. the Aida reviewed here), but if any more proof was needed he’s also an excellent conductor for concertos, here you have it.

In a nutshell, this is perfection. A different kind of perfection than Faust or Heifetz, but perfection nevertheless. A must have if you like Brahms. (At some point I’ll do a comparison between all my 25 versions, from Neveu to Jansen. Just need to find a LOT of time).

Bartók

I haven’t written a word about the Bartók yet. This is simply because I’m much more unfamiliar with this work than the Brahms, my only two comparators being Faust (again, I know), and Oistrakh, so I won’t comment here beyond the fact that I like what I hear. Maybe this is the version that will finally get me more hooked on the Hungarian composer (I really appreciate him, but rarely listen extensively).

My rating: 5 stars

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

Two Recent Releases I Really Don’t Like

What “Not Good” Looks Like

I’ve been writing a lot about albums I really like, just witness the number of 4 and 5 star reviews (you can click on the link on the side bar, categories to find them) I’ve recently written (for more information about my personal rating scale, see here)

However, for this site to be useful to anybody, I strongly believe I also need to write about stuff I don’t like that much, so you can check if your taste really agrees with mine.

Too many reviewers seem to have their rating scale only between 4 and 5. How do you really separate the good from the bad this way? Obviously, a  big part of this is just selection bias.

I assume, professional reviewers are not too much unlike me and much more prefer to write about stuff they like vs. stuff they don’t  like. Same has happened on my site so far, with few exceptions.

My two main sources of classical reviews, Gramophone (UK) and Classica (FR) don’t shy away from low ratings, that’s what I like about them. Gramophone doesn’t use a rating scale beyond the Editor’s Choice, but you can clearly read from the text whether they are enthusiastic or not.

And Classica really doesn’t shy away from using 1 stars, given the two examples below. And unfortunately, I wholeheartedly agree with their assessment.

Dudamel, Barenboim and Brahms

Classical uses a 4 star plus “Choc” scale, which equals about my 5 star system. However, in their most recent October issue, I’ve seen a new rating of a hollow star which I had never noticed before, for this recent DG release of Barenboim for once back at the piano, with the young superstar Dudamel. Unfortunately, I must agree with Classica here. I really cannot find any positive element to these recordings of the two concertos that I love so much (how weird I haven’t mentioned them yet on the blog).

Honestly, 1 min into the opening of the first piano concerto I had enough; there was nothing at all of the drama and desperation that so much impressed me when I heard this first at the age of 17. I know Dudamel has many fans, but I have yet to hear a recording of him that I really like (admittedly, I’ve only heard a few). And when Barenboim comes in, it doesn’t get any better. I’m really thankful for streaming these days that let’s you listen to recordings without having to buy them, I’d really have major regrets for this one.

Brahms Piano Concertos Dudamel Barenboim 2015

My rating: 2 stars (1 star for me really means un-listenable, and Brahms will always be Brahms, even if butchered like here).

For the Brahms concertos, you have many good alternatives, from pretty much every recording that Georges Szell ever made of them (be it Fleischer, Curzon, or Serkin), to Chailly with Freire for a more contemporary one.

Arabella Steinbacher Plays Mendelssohn and Tchaikovsky

Arabella Steinbacher Mendelssohn Tchaikovsky Violin Concertos Orchestre de la Suisse Romande Charles Duitoit Pentatone

Here’s another disappointment: Arabella Steinbacher is a truly great violin player. However, from the opening moments of the Mendelssohn I knew something was very wrong. A very sweet tone with a lot of vibrato, but very little energy behind it.

And in comes the orchestra (let me open a little parenthesis here for fun: Mendelssohn is one of the very few orchestras that starts with the soloist, not with the orchestra, there’s an urban legend that a violinist player was relaxed at the beginning of the concert, assuming he’ll have to play Beethoven. The conductor gives him signal after signal, but the violinist doesn’t get it. Finally, the conductor desperately starts, the violinist after the first second realizes his mistake and raises up the violin literally last-minute. Parenthesis closed. If somebody has a source that this has really happened, please let me know) and it really doesn’t get any better.

The Tchaikovsky is equally uninteresting unfortunately.

Classica agrees with me, giving this recording a rather brutal 1 star and talking about a “lack of engagement” which nicely summarizes my feelings as well.

My rating: 2 stars (again, 1 star would be too brutal, I can listen to this, I just don’t want to).

Excellent alternatives are Janine Jansen on Decca for the Mendelssohn , and Julia Fischer for the Tchaikovsky (like the Steinbacher, on Pentatone).

My Reflections on the 2015 Gramophone Award Nominees – Part II – Concerto

After my comments on the “Instrumental” category of the Gramophone Awards last Saturday here, let me highlight some more gems in the Concerto category.

Nominated are:

The Beethoven Journey – Leif Ove Andsnes with the Mahler Chamber Orchestra playing Beethoven’s piano concertos 2 & 4

The Beethoven Journey - Beethoven Piano Concertos 2 & 4 - Leif Ove Andsnes - Mahler Chamber Orchestra

Beethoven again, piano concertos 3 & 4 by Maria Joao Pires with Daniel Harding and the Swedish Radio Symphony Orchestra

Beethoven Piano Concertos 3 & 4 - Maria Joao Pires - Daniel Harding - Swedish Radio Symphony Orchestra

Britten / MacMIllan / Vaughan Williams played by the Britten Sinfonia (not heard)

Bruch & Prokofiev’s Violin Concertos by Guro Kleven Hagen with the Oslo Phlharmonic and Bjarte Engeset

Bruch Prokofiev Violin Concertos Guro Kleven Hagen Oslo Philharmonic Bjaerte Engeset

Dvorak’s Cello Concerto by Alisa Weilerstein with Jiri Belohlavek and the Czech Philharmonic Orchestra

Alisa Weilerstein Jiri Belohlavek Dvorak Cello Concerto Decca Classics

Mozarts Violin Concertos 3 – 5, Arabella Steinbacher, Daniel Dodds, Festival Strings Lucerne

Mozart Violin Concertos 3, 4, 5 - Arabella Steinbacher - Festival Strings Lucerne - Daniel Dodds

As said above, I haven’t heard the Britten album (and actually don’t care much about Britten in the first place, so wouldn’t be in a good place to talk about the album.

Two other albums I only gave a quick spin, so I’m not going to rate them, which are the Mozart concertos by Arabella Steinbacher, and the Prokofiev/Bruch combo by the young Norvegian violin player Guro Kleven Hagen, that I hadn’t heard of before. My admittedly superficial impression on both were solid performances, nothing wrong with them, but also nothing that would motivate me to go back. One argument in favor of the Arabella Steinbacher is that it is recorded on Pentatone, that usually has an outstanding recording quality, so if you have a good Hifi, you may want to check it out.

The three albums I have heard in more detail are the two Beethovens and the Dvorak.

Let me start with Maria Joao Pires first. I’m very happy to report that after my rather lukewarm review of her Schumann concerto with Gardiner, in this recording I can reconfirm that I’m a fan. Very delicate, nuanced playing. I’ve already praised Daniel Harding in his recording of the Brahms Violin Concerto, and also the Orchestral part is doing a fine job here.

My rating: 4 stars

However, to my ears, with Leif Ove Andsnes it gets even better. I’ve already declared how much I like his Grieg, and here on Beethoven with the excellent Mahler Chamber Orchestra which Andsnes conducts from the piano, the result is just really really nice. I’ve had the pleasure of hearing this combo play concertos 2-4 live late last year, and the recording fully  captures the energy and passion by both soloist and orchestra. No. 4 is anyhow my preferred Beethoven concerto, and this is definitely one of the best versions I have. However, to my ears, they are even better on piano concerto no. 2 (side note: wrongly numbered, this should have been his no. 1 chronologically), which really benefits from the lighter sound of the Mahler Chamber.

My rating: 5 stars

But who is my predicted category winner? Well, by exclusion you could have guessed it: Alisa Weilerstein’s Dvorak. We recently already got an excellent reading of this concerto with Stephen Isserlis on Hyperion, and obviously there are a lot of outstanding historic recordings (Starker, Du Pré, etc.), this version just gets what is the essential for me in this concerto (my favorite piece by Dvorak by the way): the romantic passion. (Side note: When Brahms, who mentored Dvorak for a while, read the score, he’s quoted: “If I had known that it was possible to compose such a concerto for the cello, I would have tried it myself!” If only he had…). This recording is pure emotion. I suppose having a Czech orchestra playing music by their most famous local composer helps. There are some minor technical glitches here and there, but they don’t really matter, you don’t even notice.

My rating: 5 stars

So, what do you think? What are your predictions?

Isabelle Faust and Brahms’ Violin Concerto – Just Magical

My blog’s subtitle has Brahms in it, and I haven’t even mentioned good old Johannes for a while.So let me correct this by writing about his violin concerto, and my favorite versions.

Brahms’ Violin Concerto

Brahms was a pianist, not a violinist, and so he needed an expert on what to do and not to do. Luckily, one of his best friends, Joseph Joachim, was one of the leading violinists of his time, so he consulted extensively with him while writing this piece in 1878.

Obviously, this concerto has been recorded over and over again, so there are a lot of amazing versions to choose from. However, there is a relatively recent 2011 recording which I really love more than most others.

Isabelle Faust

Isabelle Faust Brahms Violin Concerto Daniel Harding Mahler Chamber Orchestra Harmonia Mundi 2011

There are so many outstanding young violin players these days, Julia Fischer, Janine Jansen, Hillary Hahn, etc. etc. etc. We are really spoilt these days. However, Isabelle Faust is in a way my personal favorite, probably because she does a lot of excellent chamber music as well (more about that later).

This recording of the violin concerto with the excellent Mahler Chamber Orchestra and Daniel Harding, a young rising star in the conductor scene, has not received praise across the board. Some even called her tone “thin”. Well, I agree her way of playing is always rather on the light than the heavy side, but to me it feels just right. Faust writes in the excellent liner notes that she has studied Joseph Joachim extensively, both his personality, but also historic sources about his playing style. Overall, Faust plays historically informed, but unlike in some other cases this doesn’t mean no vibrato at all, but just a more selective use of it.

The smaller size of the Mahler Chamber Orchestra matches her transparency very well, this is a match made in heaven. As a side note, these days younger orchestras like the MCO or the Chamber Orchestra of Europe are becoming more and more serious competition to the established big boys in Berlin/Vienna/London. I suppose we music lovers we can only be happy about this, as it hopefully keeps everybody on their toes.

A curiosity about this version is the use of the unusual Busoni cadenza, so if you are familiar with this work you’re in for a little surprise.

String Sextet No. 2

As mentioned before, Faust is an excellent chamber musician as well (her Beethoven sonatas are my absolute favorite). So as a “filler” we get the beautiful String Sextet No. 2, which is well worth listening to. A sextet is a more rarely heard form of chamber music, but for Brahms these were actually his first venture into pure string chamber music, and successful in the way that helped further build his name as a composer.

A little piece of trivia: Brahms fell in love many times during his life, but remained a bachelor nevertheless. Occasionally, we get glimpses into his love life from his music, like in the case of the Alto Rhapsody (see my earlier post here). In this case, he was in love with Agathe von Siebold, and nicely enough, you’ll get the motive “A-G-A-H-E” (H being the key for B in German notation) as a leitmotif several times in the first movement.

Overall rating: 5 stars. This, as usual is a very personal judgment. If you agree with me, please comment, if you don’t, I’d love to hear why!

And if you want a more traditional Brahms, you can always go to Oistrakh/Klemperer and Heifetz/Reiner, both outstanding in their own way.

You can get it here as download and here as physical album.