Tag Archives: BIS

Alexandre Kantorow – A La Russe – Outstanding!

A quick comment on classical reviews

I’ve mentioned this several times before, reviewing classical music is a very subjective business. See examples here and here of cases where professional reviewers disagree a lot about the quality of a recording.

Therefore, it is even more impressive if you find reviews where nearly everybody agrees. Those are the recordings you should truly check out, as these are actually rather rare.

One of these outstanding recordings is the recent Arkadi Volodos recording of Brahms. This album got a “Choc” (i.e. 5 stars) from Classica AND an Album of the Month by Gramophone.

What is even more impressive is that not only these two agree, but 5 other classical reviewers (not counting me) do as well. Classica publishes every month an overview of what the leading critics in the French media (France 3, Le Figaro, Radio Classique, France Musique, and Le Monde) think of a number of recent albums on a scale from “X” (didn’t like at all) to “three hearts” (liked passionately). I check this overview every month, and it is really extremely rare to find that all reviewers give three hearts.

Well, for the Volodos recording, three hearts from all of them. The only outlier I’m aware off is Andrew Clements from the Guardian.

In a nutshell, we have a strong contender here for the piano album of the year (a bit early after only 5 months, but mark my words, I’ll get back to this later).

Why am I writing all this in a review of a completely different album?

Well, a because I just read the overview in the latest Classica, but also because the album I’ll be writing about now is to me the only serious contender for best piano album of the year (again, so far).

 

Alexandre Kantorow – A La Russe (BIS 2017)

I first heard about Kantorow, son of the conductor Jean-Jacques Kantorow, from a recent email by Robert von Bahr, the owner of the Swedish independent classical label BIS.

I’m on his mailing list, and on a monthly basis, you’ll get a note about BIS’s most recent releases. Obviously, this being the owner, you have to take his promotional talk with a grain of salt, but actually he has a rather refreshing open style, and more often than not, he can even be sometimes being quite critical of his own releases.

So when I received an email with the following text “I have absolutely no qualms in saying, nay, screaming, that we in ALEXANDRE KANTOROW have a super talent, indeed someone destined for a world career that is now starting (….) Alexandre Kantorow is a genius, and we are going to record as much with him as he can give us“, I at least got curious.

Well, Robert wasn’t overpromising. This album is truly spectacular, and really is so far the only real challenger for Arkadi Volodos this year.

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

What do you get? Well, as the title indicates, Russian composers. A sonata by Rachmaninov, some lesser known pieces by Tchaikovsky, and Balakirev’s Islamey.

But to me the absolute highlight of this album is the piano transcriptions of parts of L’Oiseau du Feu (Firebird) by Igor Stravinsky. I’m not a big fan of Stravinsky in general, his music doesn’t speak to me that much.

But here, I cannot be but mesmerized by the mixture of extreme virtuosity and outstanding musicality.

This is a must have album.

My review: 5 stars

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

Recommended: The 2nd volume of Mendelssohn’s Songs Without Words by Ronald Brautigam

Yes, I really like Mendelssohn (this is already my 5th blog entry on him). His works are unfortunately still underrated by many.

And his Lieder ohne Worte (Songs without Words) are truly among my favorite works, quite simple if you listen superficially, but so much beauty and detail can be found in there.

I’ve spoken very highly of the first volume of the Lieder ohne Worte by Ronald Brautigam.

Recently, he has released the second volume, the books 5-8 of these now complete recordings of these beautiful musical poems.

Mendelssohn: Lieder Ohne Worte books 5-8 – Ronald Brautigam (BIS 2016)

Felix Mendelssohn Lieder Ohne Worte Books 5-8 Ronald Brautigam 24 96 BIS 2016

If, like me, you liked the first edition of the books 1-4, this is a clear must have.

It is again played on a contemporary copy by Paul McNulty of a Pleyel piano from the 1830s, with a beautiful mellow sound, which I’ve already praised in my previous review.

The booklet is also very much worth checking out, not only for getting a picture of the instrument being used on p. 30. Horst A. Scholz really does an excellent job in describing the individual pieces. Given that eclassical offers the booklets for free, I highly suggest you have a look.

In short: if you like Chopin or Schumann, and are curious about the sound of a piano the way Mendelssohn may have  heard and played it, go for it!

My rating: 4 stars (although the more I listen to it, the closer this fortepiano recording  gets to the 5 stars I gave to Perianes modern piano version).

You can find it here (eclassical) and here (Prestoclassical)

Update December 28,2016: In their December issue, Classica agrees and gives this album a 4 star rating.

Mozart’s C-minor Mass: A New Reference by Masaaki Suzuki

Masaaki Suzuki and the Bach Collegium Japan

Can a Japanese ensemble play Bach? Of course they can, and even at an astonishing level.

I’ve yet to hear a recording with Suzuki and his Bach collegium Japan that wasn’t worth checking out at least.

The only thing you can sometimes say about their recordings is that they can be a bit too polished, too perfectionist, and therefore a bit too well behaved.

Moving from Bach to Mozart, they already released a quite beautiful recording of the requiem in 2014.

The C-Minor Mass

I’ve written previously about this absolute masterpiece by Mozart, and recommended Louis Langrées version, and Herreweghe’s classic. This recommendation is still valid,  however, the Japanese really throw in a new very serious competitor.

Mozart: Great Mass in c-minor / Exsultate Jubilate – Masaaki Suzuki – Bach Collegium Japan –  Carolyn Sampson – Olivia Vermeulen – Makoto Sakurata – Christian Immler (BIS 2016)

What is spectacular about this album is the sheer transparency. The typical precision of the Bach Collegium really helps illuminate every little detail in the recording.

The typical outstanding recording quality by BIS obvously helps.

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

This really draws you into the work, and makes it sound like something new, that you’ve never heard before.

Of the two female singers, while I like Olivia Vermeulen, Carolyn Sampson is even more gorgeous. Listen to her in the Et Incarnatus Est, and it really will make you cry. Such a beauty!

The Exsultate Jubilate K165 in contrast is nice, but clearly a work of a very young Mozart (he was 17 when he wrote it). You won’t regret getting it, but we’re far away from the masterpiece that is the K427.

In summary, will this kick Herrweghe off the throne? Well, not exactly, but in my opinion he gets to share the top position from now on.

Check it out!

My rating: 5 stars

You can find it here (eclassical)

UPDATE December 2, 2016: In the latest December issue, Gramophone agrees, giving it an Editor’s Choice and calling it one of the best period instrument choices.

My Reflections on the 2016 Gramophone Awards (Part V): All The Rest

And All The Rest

After 4 parts on my favorite categories of the 2016 Gramophone Award nominations, I discovered that I simply don’t have enough to say about most albums in the other categories, so I decided to lump all remaining categories (Baroque Instrumental, Choral, Contemporary, Early Music, Opera, Orchestral, Recital, Solo Vocal) into one big “super-post” and only write about the albums I really care about in this remaining sections.

So, here we go:

Baroque Instrumental

Masaaki Suzuki plays Bach Organ Works (BIS 2016)

I must admit, I bought this album initially because I finally wanted to have a well recorded modern version of the Toccata d-minor BWV565, probably Bach’s best known work even for lay people.

Masaaki Suzuki plays Bach Organ Works BIS 2016 24/96

Well, that and the fact that I truly admire Masaaki’s efforts with the Bach Collegium Japan, and have pretty much his entire Cantata cycle. So I was curious to hear him as a soloist.

Well, I wasn’t disappointed. BIS can usually be trusted for recording quality, and this recording delivers (although has quite a bit of reverb from the Marinikerk in Groninen, so if you don’t like this, look elsewhere).

The good thing of this album is as well that once you go beyond the Toccata earworm, there is lots of beautiful music to discover. I don’t listen to organ very regularly, so this album pushes me in the right direction.

And Masaaki surely knows how to play. This album has received some controversial reviews, some like Diapason and obviously Gramophone love it, some critisize Suzuki takes too many liberties. Well, I’m certainly in the first camp.

My rating: 4 stars

 

WF Bach Keyboard Concertos – Maude Gratton (Mirare 2015)

Wilhelm Friedemann Bach: Concertos pour Clavecin et Cordes / Cembalo Concerts Maude Gratton Il Convito

I’ve reviewed this album previously and unfortunately, it still isn’t my cup of tea.

 

Biber: Rosary Sonatas – Rachel Podger (Channel Classics 2016)

Ah, Rachel Podger. I’m a big fan, and like pretty much everything she recorded, see also here.

Biber: Rosary Sonatas - Rachel Podger Channel Classics 2016 DSD

Sometimes, even in the music world, there seem to be trends.

You barely heard about Heinrich Ignaz Franz von Biber (to quote his full name) for years, and all over sudden, you get 3 recordings of the Rosary Sonatas in a row.

Not sure about the exact order, but we got Ariadne Daskalakis on BIS, Hélène Schmitt on Aeolus, and Rachel Podger in the space of about 12 months.

What’s even more difficult: all of the above are very good.

Nevertheless Podger has an edge over the two others in my ear due to the sheer beauty of the playing. Now, you could argue, is beauty the right approach for these works.

Well I’m not religious, but if Wikipedia is correct, the Mystery of the Rosaries are meditations on important moments in the life of Christ and the Virgin Mary. I personally would want these to be beautiful. The outstanding recording quality of Channel Classics in DSD only makes it more breathtaking. 

My rating: 5 stars

In any case, check out the two others as well before buying.

My prediction

So who will win in the category? Both Suzuki and Podger have made it into the final three, I’d expect a tight race here. I personally give the edge to Podger.

Opera

I recently bought Netrebko’s beautiful recording of Tchaikovsky’s Iolanta and enjoyed it a lot, so I really need to check out the recording of Pique Dame that Gramophone recommends here by Mariss Jansons, but I haven’t done so yet, so will refrain from any comment at this stage.

The only album in the opera category I’ve heard (and own) is:

Verdi: Aidi – Antonio Pappano – Anja Harteros – Jonas Kaufmann (Warner 2015)

Verdi: Aida Pappanis Anja Harteros Jonas Kaufmann

Well, no change to my previous five star rating (see the review here), and I wouldn’t be surprised if this album will also win. Like the Tchaikovsky mentioned above, it made it into the final three candidates.

Orchestral

I’m a bit surprised myself that I wasn’t able to write a dedicated blog post about the Orchestral category, but there are simply too many albums nominated from composers that I dont’ care enough about, often 20th century, from Casella, Dutilleux, Elgar, to Vaughan Williams.

So just a quick note about two albums in this section:

Schubert: Symphony No. 9 – Claudio Abbado – Orchestra Mozart

Schubert Symphony No. 9 Abbado Orchestra Mozart Deutsche Grammophon 2015

Going to be brief here, I love a lot of the stuff that Abbado did with his Orchestra Mozart, this isn’t my favorite. I’d much rather go with Dohnanyi as reviewed here.

And then there is Andris Nelson’s BSO recording of Shostakovich symphony no. 10. I don’t have that one yet, but really like his even more recent release of symphonies no. 5 and 9.

Shostakovich Symphony No. 10 Andris Nelson Boston Symphony Orchestra Deutsche Grammophon 2016 24 96

Given that I haven’t heard 90% of the albums in this category, predicting the winner is obviously preposterous. But I wouldn’t be surprised if Nelsons wins here.

Recital

I’ve only spent a decent amout of time with one album in this section, the excellent Weber Sisters.

A side note on the Ricercar Cavalli album, I skipped through it, but found the Christina Pluhar album released pretty much at the same time more exciting. I may need to revisit that though.

And I gave Jonas Kaufmann’s Nessun Dorma as a present to my mother-in-law, she’s a big Kaufmann fan, and I must admit, the album is really worth checking out.

Mozart and the Weber Sisters – Sabine Devieilhe – Raphael Pichon – Ensemble Pygmalion

Mozart: The Weber Sisters Sabine Devielhe Raphael Pichon Pgymalion Erato 2015

I’ve already reviewed this album, with 5 stars.

And I keep going back to it over and over again.

This is again one of the rare birds of albums where Classica (Choc de l’année), Diapason (5 stars), Gramophone (Editor’s choice, Gramphone Award nominee), and Telerama (4F) all agree.

She is nominated among the final 3 contenders in this category, I really hope she wins!

 

So in summary: Podger’s Biber, Pappano’s Aida, and Devielhe’s Mozart are the must have albums for me here, with Suzuki’s organ works also highly recommended.

 

What do you think? I’d love to hear your opinions!

 

You can find the albums here:

Bach Suzuki Organ Works

WF Bach Cembalo Concertos

Biber Rosary Sonatas Podger

Verdi Aida Pappano

Schubert 9 Abbado

Nelsons BSO Shostakovich 10

The Weber Sisters

 

 

My Reflections on the 2016 Gramophone Awards (Part III): Instrumental

You can find Part I (concerto) and part II (Baroque Vocal) of this blog post here and here

Instrumental

Again, one of my absolute favorite categories, and some beautiful gems this year.

Let’s get right into it:

Bach/Beethoven/Rzewski: Variations – Igor Levit (Sony 2015)

Igor Levit Bach Goldberg Variations Beethoven Diabelli Variations Rzewski The People United Will Never Be Defeated Sony 2015

I’ve already reviewed this fantastic album, by one of the pianists I admire most these days. What else is there to say but “wow”, or 5 stars?

 

Brahms: The Complete Solo Piano Music vol. 3 – Jonathan Plowright (BIS 2016)

Brahms: The Complete Solo Piano Music, vol. 3 - Jonathan Plowright (BIS 2016)

I cannot really comment on this album very much, as BIS has a restriction on streaming albums for the first 6 months I believe, so I wasn’t able to hear more than 30 secs of each track, which really isn’t enough to review.

I must admit, that past releases from Plowright’s Brahms recordings (e.g. Sonata No. 3) were ok, but not so great that I was particularly motivated in purchasing this album blindly.

Plus, I’m not sure if Op. 21 no.2 and the Waltzes are essential Brahms (I love op. 76 and 118 though). Will check back when it frees up for streaming.

 

Grieg: Lyric Pieces – Stephen Hough

Grieg Lyric Pieces Stephen Hough Hyperion 2016

Hyperion is another one of the labels that refuses streaming, but unlike BIS not only for the first 6 months, but permanently. On the one hand, I get the point that artists make peanuts on streaming, so it is not something some labels want to endorse.

I must admit that even though I have a subscription to a lossless streaming services that let’s me listen to any album in full CD quality, when there’s something I really like I usually purchase the album anyhow. And in the few years I had access  to streaming, I got so used to being able to listen to an album fully before buying, that Hyperion is actually losing money with their policy on me. But I guess I’m rather the exception.

Long story short: again, only 30 secs samples available to me. Not enough to judge. First impression is quite positive though. I really like Grieg’s little gems so I may end up buying this anyhow.

 

Ravel: Complete Works For Solo Piano – Bertrand Chamayou

Ravel: Complete Works For Solo Piano - Bertrand Chamayou Erato 2016

This album was my surprise of the year.

As mentioned previously, the so-called French impressionists (Ravel and Debussy) are usually only partially my cup of tea. So I wasn’t particularly excited when this came out, by a young French pianist I’d never heard about.

But then this album received a Gramophone Editor’s Choice AND a Choc from Classica. This really is rarer than you’d think, as my two favorite classical magazines rarely agree (Classica was only lukewarm on the Brahms Plowright above, for example).

So I went and checked it out, and Erato nicely enough IS available for streaming.

And what can I say: I don’t see how you could play these works any more beautifully than what Chamayou does here. Just magic. Go and loose yourself in the magic of the opening Jeux d’eau, take the amazing Gaspard de la Nuit, or even simple stuff like the Haydn inspired Menuet, all is just perfect. Nothing is ever Kitsch or Too Much, this is painted with a very light brush, his style doesn’t remind me of the Impressionism of a Monet, but more of the Pointilism of a Seurat, if you get the analogy.

 

My rating: 5 stars

Eugène Ysaÿe: Sonatas for Solo Violon – Alina Ibragimowa (Hyperion 2016)

Ysaye: Sonatas for solo violin - Alina Ibragimova Hyperion 2016

Let’s make this one quick: I really like Ibragimova, don’t know a lot about Ysaÿe (beyond that he was a Belgian superstar). Thanks to Hyperion’s no streaming policy, this is not likely to change any time soon. I’ve read a lot of positive reviews about this elsewhere, so don’t let my ignorance scare you off.

 

Scarlatti (D): 18 Sonatas – Yevgeny Sudbin (BIS 2016)

Scarlatti: 18 Sonatas - Yevgeny Sudbin BIS 2016

And here we go again, BIS’ no streaming policy will stop me for another couple of months or so to listen to this album.

What I can say is that I’m a big fan of Sudbin, but my expertise on Scarlatti is rather light anyhow, so I wouldn’t take my judgment very seriously even if I had listened to the album.

Be warned, this album also received some “meh” reviews, it’s apparently not everybody’s cup of tea.

 

Conclusion?

You may complain, only two albums I properly bothered to comment about? Well, as a policy I rather shut up where I don’t know what I’m talking about or am unable to properly review.

But in any case, both the Levit and the Chamayou are such exceptional albums, that we’re already very well served here.

So, who will win? 2 days ago Gramophone announced the 3 finalists, namely Levit, Chamayou, and Sudbin.

My prediction: Chamayou will win the category, and I hope Levit will win the “Artist of the Year”, a public poll (I already voted for Mr. Levit, but votes are closed since end of July now).

As always, I’d love to hear your feedback!

 

You can find the albums here:

Levit: http://www.qobuz.com/fr-fr/album/bach-beethoven-rzewski-igor-levit/0886444998161

Brahms Plowright: http://www.eclassical.com/labels/bis/brahms-the-complete-solo-piano-music-iii.html

Grieg Hough: http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68070

Ravel Chamayou: http://www.qobuz.com/fr-fr/album/ravel-complete-works-for-solo-piano-bertrand-chamayou/0825646026777

Ysaÿe Ibragimova: http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67993

Scarlatti Sudbin: http://www.eclassical.com/labels/bis/scarlatti-18-sonatas.html

 

 

 

 

 

Mendelssohn, Shakespeare, and Dausgaard

Mendelssohn

I’ve already written previously that I consider Felix Mendelssohn an underrated composer. Well, here’s another proof, if needed.

Mendelssohn’s opus 21, Ein Sommernachtstraum after Shakespeare’s comedy A Midsummer Night’s Dream, is probably one of Mendelssohn’s most popular works. Not only for the music itself, but obviously because of the most important “hit”, his wedding march.

(Small parenthesis, it took me until after my own wedding to figure out that there are two world-famous wedding marches, this one, and the one taken from Wagner’s Lohengrin, nowadays known from American RomComs as “Here Comes The Bride”.

If you read the story of Lohengrin, and the sad ending with Lohengrin having to leave and Elsa dying, you wonder why everybody wants this to be played at your wedding.

Well, during my own civil ceremony, not realizing I should have been more specific, I just had ordered “The Wedding March” thinking of Mendelssohn, and ended up getting the Wagner one. Well, lesson learned. Lucikly, no swan nor dove has taken me away yet).

Thomas Dausgaard and the Swedish Chamber Orchestra

Mendelssohn Midsummer Night's Dream Thomas Dausgaard Swedish Chamber Orchestra BIS 2015

Have I already mentioned how much I appreciate BIS? It is really one of those amazing smaller labels that really care about music, like Hyperion, or Chandos, and that is giving the major labels a hard time. Luckily for us, they care about music and about sound quality, and are always exceedingly well recorded.

I already have a number of Dausgaard’s recordings with the Swedish Chamber, and am especially fond of his Schumann. So when this recording was flagged to me, I didn’t hesitate long, as this is just the right music for this ensemble. Dausgaard’s tempi are always fast, there’s tons of energy and drive, and the smaller size of the Swedish Chamber sounds just right here.

On top of Shakespeare, you get the rather well-known Hebrides overture (beautifully played), and the  Schöne Melusine overture which so far was unknown to me. Obviously, like everything Mendelssohn, it is a charming work and well worth discovering.

My rating: 4 stars

You can get it from the label’s own shop, classical. At the time of writing, the 24/96 version of the album is even discounted. This only lasts some weeks usually, so if you like it, get it now).

UPDATE Jan 4, 2016: Gramophone has just very positively reviewed this album in it’s January 2016 edition. They would love to see this as the beginning of a Mendelssohn symphony cycle, and I wholeheartedly agree!