Schumann’s symphonies have long been underrated. The idea of “Schumann cannot compose for orchestra” has been going around in musicology circles for many years.
I really disagree. OK, he’s no Beethoven or Brahms, but I still really like his symphonies, especially no. 3 and 4.
To be fair, there are excellent recordings already out there, e.g. from Gardiner, Nezét-Séguin, or, a bit more unorthodox, Thomas Dausgaard, (mentioned in My 25 Essential Classical Albums).
Rattle is now on his way out from the Berlin Philharmonic, with Kirill Petrenko coming.
I’ve not always been a fan of Rattle’s work at the BPO, but he has left some very good recordings, so I was very interested when I recently rediscovered this 2014 cycle which launched BPO’s own label (I had missed it at the time).
Schumann: The Symphonies – Simon Rattle – Berliner Philharmoniker (BPO Recordings 2014)
So, what do we get? Overall, a very convincing package. I really enjoy every single symphony on this box. My favorite is actually no. 1, subtitled “spring”; where Rattle takes a very fresh and precise approach.
Potentially the weakest of the 4 is symphony no. 2, which I found slightly incoherent in certain parts. The “Rhenish” (my other favorite), and no. 4 both are presented in a way that combines on one hand a good view of the big picture, but really looks at many exciting details.
Overall, Rattle was clearly influenced by the historically informed movement, and the BPO doesn’t sound like during the Karajan era any more. Everything is much lighter and transparent.
If you’re following this blog on a regular basic you know I’m not a specialist of Early Music (to simplify, most anything before Bach), and don’t listen to it very often.
Therefore, there is not a lot of coverage of the 16th century on this blog, and I want to put out a disclaimer that my review below is even more subjective than my regular ones, I’d certainly say my judgment is more educated in the 18th and 19th century than here.
But this brand new album has particularly touched me, so I still wanted to write about it. It’s been some weeks since my last review, because most of the recent new releases didn’t particularly motivate to write about them. This is the first one that does.
Paolo Pandolfo is one of the leading soloists of the Early Music movement, but also plays a lot of baroque. His recording of the Bach cello suites is really quite beautiful and worth checking out. He plays both the cello, but also the Viola da Gamba, a string instrument that nearly disappeared around the 18th century.
Regina bastarda – Paolo Pandolfo – La Pedrina (Glossa 2019)
So what’s the “bastard queen” in the title all about? Well “alla bastarda” was basically an improvised version of popular songs and madrigals played on a solo instrument like the Viola da Gamba.
And that really is what we get here, a lot of solo improvisations of a true master of the Viola da Gamba of several composers of the 16th century.
To lighten the mix, the solo improvisations (which are not truly solo, there is a “continuo” of other instruments supporting Pandolfo (played by the excellent La Pedrina), are mixed with Madrigals from the same period, mostly by Palestrina.
Overall, this results in a mesmerizing mix of fascinating music, that will draw you in and require all your attention. This is not background music, but requires your full dedication. You won’t regret it!
I’m not religious, but I understand that Easter is the most important Christian holiday, and the history of his suffering and resurrection have dominated about 2000 years of European history.
Typically, around this time of the year, I’d be listening to the two masterpieces that Johann Sebastian Bach has composed, telling the story of the passion of Christ as recorded by the apostels John and Matthew (click on the links before and this one to see some of my reviews around them).
But obviously the great Bach is not the only one inspired by this important point of Western religion and culture. From Gesualdo, Pergolesi, via Telemann, Rossini, all the way to Pärt, all have written often amazingly beautiful music about it.
Regular readers of my blog know that I typically mainly write about music between 1700 and 1900, more or less from Bach to Mahler. In the 20th century, I often struggle, and before Bach, I’m often equally lost.
Therefore, if you look around at the 4.5 years of blogging history on this site, you’ll find only a small handful of mentions of Claudio Monteverdi, and that’s it.
So therefore, take the following review with a grain of salt, I’m clearly not an expert on Early Music.
Dieterich Buxtehude isn’t particularly well known any more today. He’s of Danish/German origins, and lived his entire life in the area of Southern Denmark and the very Northern end of Germany, and passed away in 1707.
However, in his time, he was a living legend. In his young years, Bach himself walked the 250 miles separating his home in Thüringen to Lübeck in Northern Germany just to hear Buxtehude play (and presumably study with him), and Händel even considered taking over his job after he died.
Buxtehude: Membra Jesu Nostri – Philippe Pierlot – Ricercar Consort (Mirare 2019)
Membra Jesu Nostri, or if you prefer the full title Membra Jesu nostri patientis sanctissima (“The most holy limbs of our suffering Jesus”) is actually a selection of seven cantatas written in 1680 (so 5 years before Bach was even born).
I’m not going to bore you with more detail on the structure and story of the work, Wikipedia has some really good information here.
What I do want to share is the beauty of all of this. You have a small baroque ensemble, just a handful of voices. But this album is captivating every single one of the 1h20 of the album (you get another cantata as “filler” at the end as well).
Again, I’m not an early music expert, but I briefly compared this to some of the well known recordings of this work (Gardiner, Koopman, van Veldhofen), and can guarantee that you won’t regret the purchase of this album.
My rating: 4 stars (5 star playing, 4 star repertoire)
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.
Pretty much simultaneously two recordings of the Mendelssohn piano concertos were released, by Jan Lisiecki and the Orpheus Chamber Orchestra, as reviewed by me recently, and another one by Ronald Brautigam with the Kölner Akademie under Michael Alexander Willens.
So, which one should you get?
Mendelssohn Piano Concertos – Ronald Brautigam – Michael Alexander Willens – Die Kölner Akademie (BIS 2018)
Let me focus more on the differences to Jan Lisiecki. The obvious one is the choice of instruments, Brautigam plays on his typical reconstructed Fortepiano, a Pleyel this time, and the Kölner Akademie clearly plays on historical instruments.
Overall, this gives a rougher, more unpolished, wilder sound than the more polished sound of Lisiecki’s modern Steinway.
Honestly, it’s very hard to choose. Both in their own way are excellent. I probably have a slight preference for Lisiecki and the Orpheus, the sound is just SOOO beautiful.
But then again, Brautigam clearly knows a thing or two about Mendelssohn. Furthermore, the two recordings differ by the choice of the “fillers” that you get on top of the piano concertos.
For Lisiecki, he intersperses some of the beautiful solo piano pieces. Brautigam and Willens instead go for some other lesser know pieces of the piano and concerto repertoire, the Rondo brilliant, the Capriccio brilliant, and the Serenade and Allegro giojoso. None of these works are particularly memorable individually, but taken together they really complement the piano concertos well, and are nice discoveries.
So back to the question, which one to choose? Well, while my slight preference goes to Lisiecki, in the days of streaming, just check out both and make up your own mind. You won’t regret either of the two.
Can one still wish a Happy New Year three weeks in? Well I’ll just do it anyway, given that the Chinese New Year is anyway still ahead of us.
I didn’t often use to write, or even listen to, Requiems. While I acknowledged the beautiful music of Mozart, Verdi, Fauré and others, it always felt “wrong” listening to music meant for mourning the death of somebody.
Well, now it is me being touched by a death in the family, that I still have a hard time mentally acknowledging, let alone fully digest. It turns out that the beautiful music written by these legends is just what you need in these situations.
So bear with me, you’ll read more about requiems on this blog this year. Don’t worry, life has to go on, so I’ll write about other stuff as well.
So I won’t repeat myself here, just re-alert you to the fact that this is a requiem that doesn’t use the typical latin text of pretty much any other requiem around, but instead uses handpicked parts of the bible that Brahms chose himself, and it is sung in German, hence the name.
It remains among my absolute favorite requiems.
Brahms: Ein Deutsches Requiem – Otto Klemperer – Philharmonia Chorus & Orchestra – Elisabeth Schwarzkopf – Dietrich Fischer Dieskau
I tend to often write about contemporary recordings here, a) because typically they are recorded much better sonically, b) because there’s already been written so much about the great classics, and c) because performance practice evolves and I could for example not really enjoy Bach played in the 1960’s symphony style, before historically informed practice came in the 1970s.
That said, there are some classics that have truly stood the test of time, and if there ever is one, this could be the one.
Otto Klemperer is an absolute Brahms legend, his symphony cycle was my first and still is one of my favorite ever.
And take a look at the soloist cast of this 1961 recording: We have Elisabeth Schwarzkopf AND Dietrich Fischer Dieskau! We get the full dramatic power of the Philharmonia Orchestra under Klemperer, that already made his stereo symphony cycle (also on EMI, Warner classics) so great. By the way, if you like this, you may want to consider getting the entire Klemperer Brahms box on Warner. I’ll provide a link below.
My favorite part of this requiem remains the intimate, simple, and amazingly touching Ihr habt nun Traurigkeit (You now have sorrow). This is really what sets this requiem apart from all the other Latin ones with their Days Of Wrath (Dies Irae). Just look at the consoling text:
My rating: 5 stars
You can find it here (Qobuz) and here (Prestoclassical)
If you prefer to get the entire Klemperer Brahms Warner box, which I highly recommend, as you’ll get all the symphonic works as well for just a little more money, you’ll find it here (Qobuz) and here (Prestoclassical)