This album just had to be there. I’m a big Isabelle Faust fan, as most of my regular readers know.
This is just a fantastic album overall, and an must have. Hugely enjoyable, Faust’s signature Sleeping Beauty Stradivarius sound, and the AKAMUS is a perfect partner. I had heard the same combination live in 2018, and it was already a great experience.
The Chamayou album got the 2019 Gramophone award, and I can only highly recommend this, particularly for the concerto no. 2 which really has become a favourite of mine now.
Yuya Wang’s Berlin Recital
I’ve said it in the review, I wasn’t a big fan of Yuja Wang before this album. This live recital really has become one of my absolute favourites, for the playing, the recording quality, and the exciting repertoire. Highly recommended.
Savall’s mesmerising Messiah
This album, which only came out some weeks ago, has been in constant rotation on my playlist. Being in the Christmas season helps, but this album constantly keeps playing in the back of my head, even when not listening to music at all. You’ll find my original review here.
Igor Levit’s Beethoven Cycle
I had several contenders for the last spot on this list. There’s Volodos’ beautiful recording of the Schubert sonata D959 (not yet reviewed), Pichon’s Liberta compilation, several of the great Debussy recordings on Harmonia Mundi (e.g. Faust, or Roth), or Petrenko’s Tchaikovsky Pathétique. But ultimately I ended up choosing this fantastic cycle. I have yet to fully discover in detail every of the 32 sonatas (there’s just so much material), and I don’t think I’ll ever feel fully qualified to review all 32 sonatas in detail.
And I don’t necessarily agree with every single choice of style or particularly tempo. But one this is for sure, this cycle is special, and will make you think. Isn’t this what musical enjoyment is all about?
You’ll find the download links to all of the above in the original reviews.
So, up to you? Do you agree with my choices? Anything I missed?
Yet another French composer that I know very little about. If like me you’ve grown up in Central Europe and have been watching television, you typically know Charpentier as the composer of the Eurovision theme, the fanfare that was played when several European countries decided to do a joint production.
This theme is actually the prelude to his Te Deum.
Beyond this, again giving away my ignorance, I barely knew anything about him. He occasionally pops up on some French baroque compilation I own, but in my entire library which really isn’t that small, I have a total of 2 albums featuring this composer.
Listening to this album as part of writing this blog post made it clear to me that I really missed something here. I have zero benchmark to compare the version to obviously, but Sebastien Daucé’s Ensemble Correspondances plays truly engaging early baroque vocal music, beautifully sung and played. It immediately reminded me of Monteverdi, which turns out isn’t misleading. Monteverdi’s operas clearly influenced the Versailles court and Charpentier’s composing.
Really worth checking out. No formal rating given my ignorance of the composer, but informally this is 4 stars upwards.
Antonio Vivaldi: Il Giustino – Ottavio Dantone (Naïve 2019)
Only two things to say here from my side: Dantone’s Vivaldi playing is truly fantastic, but unfortunately I can stand Vivaldi’s operas in doses of 10 min max.
So don’t expect a formal review here. But if you like Vivaldi, this is a no brainer.
Bach: 6 Partitas – Robert Levin (2019
I was already confused when I saw the original review of this in Classica some months ago. I tried it again, and I just don’t get it: the interpretation is so bland and boring to my ears, I really don’t understand what Classica likes about this.
I had already checked this out when I read the original review. A contemporary composer (born 1990), and female, which unfortunately is still a rarity, I was intrigued.
No formal review here, I still struggle with contemporary music, but this is not atonal, and actually quite rhythmic, so I encourage you to check this out, especially if you like e.g. the ECM New Series style.
Weinberg: Symphony No. 2 and 21 – Mirga Grazinyte-Tyla – City of Birmingham Symphony – Gidon Kremer (DG 2019)
A 20th century composer, with a young female conductor (also here we have way to few), and Gidon Kremer to top it all off, again I was interested. This album actually got huge praise by both Gramophone and Classica, and these two magazines don’t often overlap.
I checked this out several times, initially liking the tonal passages, then the music drifts into chordal progressions that just leave me confused. Which typically makes me give up to quickly. Now that I’m getting more and more (with baby steps) into Shostakovich, I may start to appreciate it more. I’ll certainly come back to this and so should you.
And keep an eye on Mirga Grazinyte-Tyla. This young Lithuanian conductor is a great talent worth watching.
Classica also recommends another Weinberg album by Gidon Kremer, also on DG; focusing on his chamber music.
Sure, Classica likes French composers. Fair enough for a French classical music magazine. But actually, for Camille Saint-Saëns I truly share their enthousiasm. I must again admit my ignorance, but 2019 has been my year of discovery of his piano concertos. After the fantastic recording with Bertrand Chamayou which won a well deserved Gramophone Award, comes another outstanding recording, by French pianist Alexandre Kantorow, playing here with his father, Jean-Jacques at the baton. Kantorow is a fantastic pianist (see my review of his recent Russian album here, which also made it into my top classical albums of 2017). In short, a five star album that you should really own!
Brahms’ chamber music for clarinet is still a part of his oeuvre that I find among the least accessible. I’ve so far only reviewed the recording of the sonatas with Lorenzo Coppola and Andreas Staier, but have never written about the clarinet trio.
This excellent album is a good occasion to change the latter, you get very nuanced and delicate playing that really helps exploring these beautiful and intimate works. Give them a try!
So, any feedback from your side? What do you think about this selection?
You can find the albums I mention above here (or in the original review):
Chamayou’s recording deserves the price. (As I predicted in my post, though my personal favourite would have been Isabelle Faust Bach album which I love).
Gramophone went with the Langgaard recording, while my personal preference would have been for the Sibelius, I predicted again that this album would win (sorry for all the bragging). And it is a really interesting discovery. Not sure it will make my personal top 5 for 2019 though.
And yes, 3/4 predictions correct! (last time bragging, promised!). In any case, Gramophone was spot on when they said (much better than I could ever have, there’s clearly an advantage to being a native speaker…) “Anyone hitherto more put off than drawn in by Yuja Wang’s glamorous image may have to do some rethinking in the light of this recital.”
So, with such a success rate, Grammophone, do you have a job for me? (Just kidding, I’m happily employed in a completely unrelated industry).
Take home for you as a reader: get the Wang & get the Chamayou. And sure, also get the Debussy while you’re at it. You won’t regret any of these purchases, I promise.
And if you disagree, just let me know in the comments (I don’t offer any money back guarantee though, that’s why we have streaming in 2019…).
Camille Saint-Saëns is one of those composers that outside of his native France isn’t that well known. Sure, many of us will have heard his most famous piece, Le Carnaval des Animaux (The Carnival of the Animals), if you’re a little bit deeper into classical music, you may know his Organ Symphony (no. 3).
And typically, that’s where most average classical listeners wits will end. I must admit it was very similar for me until quite recently. In fact, this is the very first time I even write a blot post about this composer.
However, nicely enough in the recent months, two new recordings of some of his piano concertos were released, triggering my interest. Both feature his apparently most famous concerto, no. 2. The first new release, with Louis Lortie, Edward Gardner, and the BBC Philharmonic, is more complete, featuring also concertos no. 1 & 4. You’ll find it on the Chandos label (and here on Qobuz). However, I overall have a slight preference for the other new release of 2018, namely:
Saint-Saëns: Piano Concertos No. 2 and 5 – Bertrand Chamayou – Emmanuel Krivine – Orchestre National de France (Erato 2018)
The 2nd concerto starts like a Bach solo work, which as a great fan of Johann Sebastian I really appreciate. But obviously, this is concerto of the romantic era (written in 1868), and once the orchestra sets in, there is no doubt about that. The concerto isn’t very “balanced”, the first movement being nearly as long, and “heavier” than the two other movements together.
You’d never be able to tell this work was written in only 17 days (it was written in a rush for Anton Rubinstein), and it is for a good reason the best known of the concertos.
That said, don’t skip concerto no. 5. It is a bit more intimate, but has many beautiful moments as well.
I’ve praised Chamyou for his beautiful Ravel box, and his playing is brilliant here as well. The ONF does a great job too, I believe they have a natural advantage over foreign orchestras as Saint-Saëns still gets much more air time in his home country and abroad.
To complete the album, Chamayou also plays several of Saint-Saëns Piano works, which were completely unknown to me. A particularly beautiful example are the 6 Etudes op. 111, that really show a close relationship to Debussy and Ravel, reminding us that Sain-Saëns lived long into the 20th century (he died in 1921).
Overall, a very enjoyable album that I highly recommend
My rating: 4 stars (5 star playing, 4 star repertoire)
You can find it here (Qobuz) and here (Prestoclassical)