A Truly Moving Performance of Brahms Requiem by Yannick-Nezet Séguin and the Berlin Philharmonic: My Review

Serendipity

Who would have thought that I end up back at the Berlin Philharmonie so soon after the last concert by Simon Rattle just some days ago? Certainly not me.

This was really pure coincidence. I happened to stroll by the Berlin Philharmonic hall purely by chance. Suddenly, a guy approaches me, and asks “Would you want a ticket for the concert? Brahms, right now?” Well, who can say no to that? So 5 min later I find myself sitting in the Berlin Philharmonic hall watching as the BPO and the Rundfunkchor Berlin reassemble (I only got there during the break).

Ein Deutsches Requiem

I haven’t written that much about requiems yet on my blog. I have a certain respect for this category of music, as I always remember it is written for a very serious occasion, the death of a loved one. Maybe because of this I don’t listen to requiems enough.

I’ve previously mentioned Mozart´s requiem on my blog as part of My Must-have Mozart Albums. The other requiems I really love are Fauré’s (this really would need its own blog post), and obviously Brahms’.

Brahms German Requiem is a particular in many ways. First of all, it was written under very personal circumstances, around the death of Brahms own mother. Second, given Brahms´protestant background (he’s from Hamburg), he doesn’t use the traditional latin text of the catholic requiem, but instead parts of the Bible that are of personal importance to him. These are sung in German, hence the name.

Yannick Nézet Séguin – Berlin Philharmonic Orchestra – Rundfunkchor Berlin – Hanna-Elisabeth Müller – Markus Werba

I was indeed very lucky last night. Not only I get to see again the BPO, one of the best orchestras in the world, but also finally get to see Yannick Nézet-Séguin live.

I’ve written a lot about his recordings, from his Cosi Fan Tutte to his FigaroMost recently I did a more ambivalent review of his Mendelssohn symphony box. But taken together, he is one of the most relevant conductors of the 21st century.

Yannick Nézet-Séguinm, The Berlin Philharmonic Orchestra, and the Rundfunkchor Berlin, Brahms German Requiem Oct 19, 2017
Yannick Nézet-Séguinm, The Berlin Philharmonic Orchestra, and the Rundfunkchor Berlin

Given his previous recordings, I expected this concert to be a relatively fast and lean performance. Well, from the first measure I was proven wrong. This was BPO beauty in full blast, with relatively slow tempo throughout.

Actually, I’m glad he did. Given the nature of this work, the grandiose and emotionally charged way Nézet-Séguin conducted this just worked out perfectly.

A word about the soloists: they don’t really have such an important role in this work (maybe with the exception of the central soprano solo Ihr habt nun Traurigkeit), and overall the soloists did an good job, but were not the most memorable parts of the evening. The audience seems to think the same: they got decent applause, but nothing out of the the ordinary.

The true star of the evening was the Rundfunkchor Berlin, under Gijs Leenaars.  Their performance was just amazing. Not surprisingly, they received standing ovations at the end. Well deserved

Yannick Nezet Seguin Berlin Philharmonic Orchestra Brahms Ein Deutsches Requiem Oct 19 2017
The BPO hall organ was a major player in the performance

 

The highlight of the evening for me was the second movement, Und alles Fleisch, es ist wie Gras.  The combined power of the BPO, the powerful BPO hall organ, and the 80+ voices power (but also nuances) of the choir made this a performance I will never forget.

Truly outstanding.

My rating: 5 star

P.S. If you want to see it yourself, and are not in Berlin (note that there are some tickets left for tonight Oct 20 and tomorrow Oct 21), you can also see the Saturday performance streamed live in the Digital Concert Hall.

 

François-Frédéric Guy Live at Maison de la Radio Paris – Sep 29, 2017

François-Frédéric Guy

I’ve written previously about Guy´s great recording of the Brahms piano sonatas. As I was in Paris last weekend, I noticed him giving a piano recital at the Maison de la Radio. Liszt, Beethoven, and Brahms sonata no. 3. I was lucky enough to still get tickets.

Guy is one of those underrated pianists that outside of his home country typically are not well known. But I heard good things about his Beethoven cycle as well, and had very high expectations.

François-Frédéric Guy: Clair de Lune – Liszt, Beethoven, and Brahms – Live at Maison de la Radio, Paris

Maison de la Radio, hidden in the quite 16th arrondissement of Paris, is a 1960s building that has housed French public radio for decades now.

They have several rooms for public concerts, but the biggest one is the beautiful Auditorium, very recently renovated.

Auditorium of Maison de la Radio, Paris
Auditorium of Maison de la Radio, Paris

Therefore I already had a visual treat, before the music even started

Auditorium Maison de la Radio, Paris
Auditorium Maison de la Radio, Paris

 

The concert itself started with Liszt, Bénédiction de Dieu dans la Solitude from his Harmonies poétiques et religieuses. Liszt these days often tends to be underestimated compared to the big names of Brahms and Beethoven. And maybe his orchestral work is not always top notch, and even his very large piano work sometimes tends to go a bit overboard.

But when Liszt gets it right, and is well played (not obvious, given the technical hurdles), it is really just outstandingly beautiful. This was the case here, I was mesmerized by the beauty of this piece.

François-Frédéric Guy at La Maison de la Radio (c) 2017 Musicophile
François-Frédéric Guy at La Maison de la Radio

After this fantastic start came the title piece of the concert, Beethoven’s Moonlight sonata no. 14, (Clair de lune in French). I wasn’t as taken by this part of the concert as I was by the Liszt. One part of the problem was potentially that a young teenager noisily dropped his cell phone and it fell several steps down in the middle of the quiet intense beginning. This kind of stuff really can ruin my mood for a bit.

It may also have been simply the fact that we all have heard the Mondscheinsonate so many times, that we form a certain idea in our head. Don’t get me wrong, it was beautifully played (even with the occasional false note in the Presto), with a lot of rubato in the slow movement, a very personal version. So let’s just blame it on the noisy kid that I couldn’t enjoy this part as much.

After the break, Guy started his Brahms sonata. And wow, he really played is as intensely as I’ve ever heard anybody play Brahms. You could literally see how physically exhausted he was after this long piece of music with its 5 movements. An outstanding experience.

François-Frédéric Guy at La Maison de la Radio
François-Frédéric Guy at La Maison de la Radio

Guy got the applause he deserved, and thanked us with not only one, but two encores.

After another Brahms, we were all ready to get up and leave, but he sat down again, and guess what he played: Für Elise. Yes, that one. the one that every piano student plays, the one that even people who don’t know anything about classical music recognize immediately. And guess what, it showed that there is so much more in this music than typically meets the eye.

A beautiful closure to an evening full of emotions.

My rating: 4 stars

Moods.digital – a great new online concert platform

Moods Zurich

It is no secret, I really like Moods, the best Jazz club in the Zurich area and probably one of the best in Switzerland.

I´ve written about some of the concerts there in the past, which allowed me to discover some truly outstanding artists, from Julia Hülsmann via GogoPenguin to Sarah McKenzie.

Moods has recently been closed for a while. Partially this was to renovate the club, but another major reason was to make the club “digital”.

moods.digital

What is Moods.digital? To quote their website, “the facility features 10 full HD mobile cameras plus state-of-the-art broadcast studio“. In a nutshell, since March 2017 concerts are being recorded in high definition, and are now available for streaming, be it live during the event, or offline for later consumption. The site offers a number of different subscription options.

The video quality is truly impressive, comparable to professional televised concerts. Audio is also pretty good, and the overall experience really works. Audio quality actually gets quite a bit better with the recent introduction of the Sennheiser AMBEO 3D technology for the most recent concerts, which is optimised for headphone listening.

Shai Maestro Live at Moods – March 17 – 2017

I´ve written about this concert experience here. To quote myself: “I’ve been to many concerts in my life, this was one of the most memorable experiences I had.”

Well, now you have the opportunity of seeing and hearing what I saw, by simply following this link. What do you think? Did I exaggerate? Having seen the concert again now, I still love it, but look very much forward to your opinions.

 

Here´s the link to Mood.digital. You will find one of the recent concerts online that isn´t behind the paywall, check it out: James Taylor at Moods

My Reflections on the 2017 Gramophone Awards – Part I

2017 Gramophone Awards

The 2017 Gramophone Awards nominees have been published. As in the two previous years(2015 and 2016, let me add my comments and reflections on the proposed selection.

Overall, this year I was suprised how very few of the recordings I actually knew.

Therefore, this year I’ll only do two overall post on this, unlike the posts per category I did in recent years.

Baroque Instrumental

Bach: Orchestral Suites: Zefiro

Johann Sebastian Bach: Overtures - Zefiro - Alessandro Bernadini - Arcana - 2017 (24/96)

I very much liked this recording, giving it 4 stars here. Is it good enough for album of the year? Well, maybe.

Bach: Goldberg Variations – Mahan Esfahani

I was never as enthousiastic about this album as was Gramophone, my rating in my review was a lukewarm 3 stars. So definitely not my album of the year.

I haven’t heard any of the other albums, with some Telemann and Vivaldi, but will check in and maybe report back later.

 

Baroque Vocal

Hyperion doesn’t stream, so I cannot comment about Cohens/Arcangelos cantata album.

Bach: Matthew Passion – Gardiner

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

As reviewed here, I fully agree that this is a five star album very much worth having.

 

I haven’t heard any of the other recommended albums, from Blow (never heard that name before), Couperin, Monteverdi and Scarlatti, but will check them out, as they are by Les Arts Florissants and Christophe Rousset among other, that I really admire.

Chamber

I haven’t heard any of the first three recommended albums, as they are all 20th century stuff which really isn’t my cup of tea, from Ades, via Bacewicz, Berg, Schönberg, and Webern. I’ll leave this to others.

I´d be interested in trying the Bruch String Quartets as I have very little chamber music from this composer, but Hyperion doesn´t stream so I have no way of risk free trying.

Then there are two Schubert albums. Quatuors 12 and 15 by the Doric Quartet. 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.

Finally, there is the Death and the Maiden and a quartet by Sibelius by the Ehnes Quartet. Unfortunately, Onyx is another label that doesn´t stream.

So basically, there´s unfortunately not a lot I can contribute to this category, which I usually love.

Choral

Several albums in here that are just not my cup of tea, eg. Berkeley or Elgar. Even Haydn´s Season, here with Paul McCreesh, is not a piece of music I´m particularly passionate about. Better to shut up then.

I´m more curious about the Cherubini album by Hervé Niquet, I´ll check that one out later today.

There have been a number of recent recordings of Rachmaninov´s All-Night Vigil, and I´m also very interested by this latest recording of John Scott. I will report back on this one as well.

And then there is my highlight of the year:

Mozart: C-minor Mass – Mazaki Suzuki

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

Truly a new reference, see also my review here

Concerto

Let me maybe start by the one recording I can really recommend in here:

Mozart: Violin Concertos – Isabelle Faust

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

I gave it a four star rating, as I don´t consider Mozart´s violin concertos to be essential, but the playing is truly five star.

I´m not a very huge fan of Lisa Batiashvili´s Sibelius and Tchaikovsky album, but this is more due to Barenboim, not Batiashvili´s fault. Augustin Hadelich Tchaikovsky is straightforward, but also not that much my cup of tea.

I will certainly check out Alexandre Tharaud´s Rachmaninov album and report back.

I can´t comment on the albums by Adams and Beach.

I´ll skip the contemporary and early categories, as I don´t feel qualified enough here.

 

Instrumental

Bach: French Suites – Murray Perahia

Johann Sebastian Bach: The French Suites - Murray Perahia (24/96) Deutsche Grammophon 2016

Yes, absolutely, great album. A must have. See also here

 

Bach: Goldberg Variations: Beatrice Rana

Bach: Goldberg Variations - Beatrice Rana Warner Classics

I´ve now played this album many times, and still haven´t fully made up my mind. I kind of like it, but it´s really not my personal reference.

I´d like to comment about Cedric Tiberghien´s Bartok album and Pavel Koselnikov´s Chopin Mazurkas, but due to Hyperion´s no streaming policy I can´t. Side note: I really understand why labels don´t want to support streaming, as the business model is not very attractive, but on the other hand it really limits discovery. Maybe labels should invent a streaming model where you can listen to an album only 2-3 times and then need to purchase it. I find that album´s I can´t test I often don´t buy.

 

Liszt: Transcendental Etudes: Daniel Trifonov (Deutsche Grammophon)

Liszt: Transcendental: Daniel Trifonov Deutsche Grammophon

I haven´t reviewed this album yet, but have listened to it many times. And yes, it is very good, justifying the Artist of the Year he received last year.

Mozart/Schumann: Fantaisies – Piotr Anderszewski (Warner)

Mozart/Schumann.: Fantaisies - Piotr Anderszewski Warner

I wasn´t such a big fan of Anderszewski´s Bach album that won 2 years ago, but this one (only one listen so far, so beware) sounds really very good. I´ll report back.

Click here for Part II of this article.

 

 

 

Quatuor Ebène Plays Mozart & Beethoven – Tonhalle Zürich – June 11, 2017 – A Review

Quatuor Ebène

About a year ago I wrote about Quatuor Ebènes outstanding Schubert recording with Gautier Capuçon. For me, it was the album that should have won the Gramphone awards in 2016 in their category.

My first encounter with this young French quartet was even before that, with their excellent recordings of quartets by Felix and Fanny Mendelssohn.

They really are among the best string quartets out there in 2017, and this is not for a lack of competition.

So I was very pleased when I saw that they’d be coming to Zurich on a day where I’d be close by, yesterday, June 11, 2017

Tonhalle Zürich

A quick word about the Tonhalle Zürich. I’m actually not such a great fan of that venue (Luzern’s modern KKL is much nicer for my taste), but that said, both the big and small concert hall are have their end of 19th century luxury baroque style, and the 1930s incorporation of the old concert halls into the Zurich congress center is an interesting contrast of style.

Quatuor Ebene Tonhalle
Detail of Tonhalle Zürich Lobby

 

Between the two halls, I quite prefer the smaller one use for chamber music. I’ve had a number of fantastic concerts in here, including the great Quatuor Mosaiques with Haydn.

As a side note, the Tonhalle and the Kongresshaus will be renovated soon, and Zurich is currently preparing the Maag Music Hall in Zurich’s industrial “Kreis 5”, far away from the fancy shores of Lake Zurich, where the Tonhalle is a direct neighbor to the posh Hotel Baur Au Lac, to a completely different environment.

Maag Music Hall
Maag Music Hall back in January 2017

 

Quatuor Ebène at Tonhalle Zürich, June 11, 2017

But back to the good old Tonhalle.

Quatuor Ebène, dressed in black,  as the name (ebony) implies, started with Mozart.

Quatuor Ebène at Tonhalle Kleiner Saal Jun 11, 2017
Quatuor Ebène

But not with your Kleine Nachtmusik “Happy Mozart”, but with a romantic Sturm and Drang Mozart, the Mozart of Don Giovanni, sharing the same key, d-minor, somehow transporting Mozart directly into the 19th century. There is a lot of chiaroscuro, changing from shadows to the light in this work.

They have recorded this on their 2011 Mozart album, but this live interpretation went beyond what they recorded, there was an enormous passion in the room.

The move to Beethoven felt like a logical next step, with a very intimate connection to the Mozart.

They started with the latest of the “middle quartets”, op. 95, also known as Quartetto Serioso. Unlike some other nicknames like e.g. Moonshine, it appears that this name is genuinely by Beethoven.

It is not the most accessible of the middle quartets, it’s “seriousness” making it one of the most drastic works he’s ever written. This work mentally belongs much more to the late quartets.

Quatuor Ebene put all their energy into this and played as if their lives depended on it. The passion was tangible in the room.

After the break we returned to get the opus magnum of the evening. Just one number later in the list of Beethoven’s string quartets, no. 12 to be precise, op. 127. This work not only has the length of a symphony (and I’m talking Beethoven symphony), but also the power. Who would have thought that only 4 strings can fill a room with so much power?

But there wasn’t only power. The more than 16 minutes long Adagio was all subtleness, which transported the audience out of this world for the moment.

After the final movement, the Swiss audience simply didn’t want to stop clapping, clearly expecting an encore.

At the end, the four musicians came back out, without their instruments this time, explaining in a very friendly way that they felt that after such a work as op. 127, which they compared to the chamber equivalent of Beethoven’s Ode To Joy, there simply wasn’t any music they could play that wouldn’t be out of place.

I couldn’t have said it better.

What a concert. Magnificent

 

Sarah McKenzie Live in Berlin – May 5, 2017

Better late than never

This will be a post about all the things I’ve recently been late at.

Well not all the things, but at least two of them. One is recognizing the 2nd anniversary of my blog!

On May 22, 2015, I’ve published my first post here. We’re now a bit more than two years and 194 posts later, and I’m still doing it.

And really, what keeps me motivated doing this, beyond my passion for good music, is your feedback. I’ve heard from so many of you individually, so many encouraging comments, and appreciative notes, I just have to say a big THANK YOU!

The second thing I’m really late at is a review of the concert of Sarah McKenzie I saw about a month ago now.

Sarah McKenzie Live at Passionskirche Berlin

I’ve written about her three times already (here, here, and here) and I remain a great fan of this young Australian singer. So when I had the opportunity to see her live in Berlin, I grabbed it.

And I’m very glad I did. My review of her last album was a bit mixed. There was nothing wrong with the music per se, I just felt the album was a bit overproduced, a bit sterile.

Obviously, live you get a completely different experience.

Let me get the negative points out of the way first.

  • Never do a Jazz concert in a church

The Passionskirche in Kreuzberg is a beautiful building and room, but why on earth somebody would want to do a Jazz concert in there really is beyond me. The acoustics are really bad, and the long reverb half killed the excellent swing of the band. Well at least, for the first time in my life I had a beer (they sold drinks before the concert) in a church. An interesting experience.

  • No pictures please

Unfortunately, the organizers didn’t want me to take any pictures, although I had brought my little Fuji X100T. That’s really a pity, as I believe a concert report with some pictures of the event is much more interesting for the reader. So sorry guys, text only.

But as of now starts the positive part: It really was a fantastic concert.

Her band was as good as ever, and we got a really great mix of standards and her own compositions. So the program switched between the good old classics of  I’m old fashioned to her new Paris in the Rain. 

What were my highlights? Well, as always, Moon River, in a duet with guitar only. Pierre Boussaguet on bass, who managed to even improvise a Bach Cello Suite into his bass solo. A blues, where the entire band was just swinging like crazy.

And, maybe my personal favorite, Sarah has now added You Must Believe In Spring to her repertoire. I´ve written here how much I love this Michel Legrand Song that was made famous in the Jazz world by Bill Evans. It was fantastic hearing her perform this gem.

In a nutshell: Sarah Mckenzie is still on tour, including her very first time at the legendary Montreux Jazz festival in July. Here are her tour dates, make sure you check her out when you can, she is just amazing!

 

First time at the Elbphilharmonie – finally! Xavier de Maistre’s Harp fireworks with William Christie

The Hamburg Elbphilharmonie

Hamburg’s latest addition to the number of beautiful classical venues, the Elbphilharmonie concert hall overlooking the harbor, is a true masterpiece by Swiss architects Herzog and de Meuron. Completed several years after plan and hugely over budget, most of Hamburg’s population has already forgiven all the bad planning (and their tax euros gone) seeing this beauty finally come alive.

I was lucky enough to buy tickets more than 6 months ago, because since the official opening tickets are basically only available through the black market. Huge media coverage including the New York Times didn’t really help. Well, at least we now have a classical venue that is most likely sold out for years, many other places would be happy to have such a problem, with ageing population and less people interested in classical music.

DSCF5302 Weihnachten 2016
The Elbphilharmonie Plaza

I had been to what is called the “Plaza” (see above), basically the publicly accessible space between the only brick harbor warehouse and the  new steel and glass construction on top, which houses not only the concert hall, but also a hotel, several restaurants, and even some private apartments. If you’re in Hamburg, check it out, the views and the architecture are spectacular. It is located within the fully new part of town call Hafencity, which on its own is already worth a visit.

This time, last Sunday, was my first time in the actual large hall. I had heard wonders about the supposedly fabulous acoustics and had seen pictures from the inside. But actually being in there is just amazing.

I’ve previously been to other beautiful concert halls, like the Berlin Philharmonie that inspired this new layout of the audience sitting all around the orchestra, the KKL in Lucerne, or the Disney Concert hall in LA, but this beats them all.

Elbphilharmonie interior Grosser Saal (c) 2017 Musicophile
Inside the Elbphilharmonie: Grosser Saal

The only issue I have withthis venue is that most walls  look like they’ve been covered in egg cartons. And actually, they kind of are, an acoustic measure to optimize the sound experience.

William Christie – Les Arts Florissants – Xavier de Maistre 

I went to see a rather atypical ensemble for this hall: William Christie’s Baroque Ensemble Les Arts Florissants. This great period ensemble is well known for their baroque performances, I had seen them once before at the Barbican Hall (a much less beautiful venue) in London in a great performance of Purcell’s Didon and Aeneas.

Xavier de Maistre, William Christie, Les Arts Florissants Elbphilharmonie March 26, 2017 (c) Musicophile
Xavier de Maistre, William Christie, and Les Arts Florissants at Elbphilharmonie

Here they went into a repertoire a little bit later than their typical fare, as they were playing Harp concertos from the time of Marie-Antoinette, as in their recently released album.

So we got exposed to some lesser known composers such as Johann Baptist Krumpholz and Johann David Hermann (the literature for harp concertos isn’t very large).

The concert opened with a lively played Kleine Nachtmusik (Little Night Music), one of the most well known Mozart pieces. It is not my favorite and I had never heard it play live, but it was a refreshing opener.

Krumpholz concerto wasn’t really my cup of tea, so I spent the 2nd half of the part before the break admiring the beautiful venue.

After the break and a glass of Cremant de Loire, Christie started with Haydn.  And to answer my own question: no you don’t have to be Italian to conduct Haydn, being an American living in France will do just well. The performance of symphony no. 85, La Reine, was impressive, and made the small ensemble sound at times nearly like a full Beethoven orchestra.

And then things were wrapped up with de Maistre back on stage and Herman’s harp concerto, a much more convincing piece to my ears than Krumpholz.

All in all, a hugely enjoyable evening. If you’re lucky enough to get your hands on Elbphilharmonie tickets, go for it!