So, obviously when he recently released the Chopin piano concertos, I was all ears.
So was Gramophone (Editor’s Choice March 2020), and the French magazine Diapason, who gave a Diapason d’or, their highest rating.
So far, my favorite versions of these were the great classics (Zimerman and Argerich), so do I agree with the praise this album got?
Chopin Piano Concertos – Benjamin Grosvenor – Elim Chan – Royal Scottish National Orchestra (Decca 2020)
And the simple answer is: Absolutely!
I must admit in the past when listening to the Chopin concertos I often skipped directly to the 2nd movements only. They are obviously the true peak of these works. But here with Grosvenor even the 1st and 3rd movements are highly enjoyable. I
One of the favourite pieces of the first movement starts from the 10 min mark. Here you really hear what an exceptional pianist Grosvenor is. He plays with the melody, keeps it singing all the time.
I must admit I didn’t know what to expect from the Royal Scottish National Orchestra. With the exception of a few recordings from the Neeme Järvi time this orchestra had never made it into my library.
And this album cover was the first time I’d ever heard of Elim Chan. One of the reasons is simply that she’s only 33, a very young age for a conductor. I’m very happy to see we’re finally getting more female conductors! Let’s watch her career closely.
The orchestra in any case isn’t the highlight of any Chopin concerto recording, many critics over the last one and and a half centuries dismissed it as mere “background” and claimed that Chopin didn’t know how to orchestrate. Whatever truth there is to this claim, in any case in this album, soloist and orchestra really complement each other, in a beautiful intensity.
So, while I presume you may already have a recording of the Chopin concerti, get this one anyhow. And if you don’t, get it now! This one is up there (or at least pretty close) with the Zimermans and Argerichs of this world.
I haven’t written a lot about Max Bruch yet. To be a bit more precise, there is not a single blog entry in 5 years that is dedicated to Max Bruch.
Why is that? Maybe because he’s the 19th century equivalent of the One Hit Wonder. Do you know any work beyond his violin concerto (which is to be precise his violin concerto no. 1, but nobody knows the two others)?
Maybe occasionally you’ll find a recording of Kol Nidrei, a orchestral work with a solo cello part. Even more rarely, you’ll get the Romance in F (sometimes coupled with the violin concerto no. 1).
And beyond this, you have to be a proper classical music buff, if you’ve heard his symphonies, his chamber music works, or even his choral works. All pretty much disappeared today. And by the way, not only today, even while he was alive, Bruch complained that he was always reduced to this work, and apparently became quite bitter about it.
Overall, he should probably not have complained to much, his violin concerto no. 1 is still considered part of the list of the 4 great German violin concertos, the others being Beethoven, Brahms, and Mendelssohn.
So what triggered me to write about this concerto right now? Well a nice coincidence of two of the media I follow for classical music inspiration talked about it at the same time.
The first one is the Swiss radio program Disques en lice, from the French speaking part of Switzerland, which usually compares 6 versions of a given work, with 3 experts in a blind test. If you do speak French, I strongly encourage you to seek this program out, you’ll get it twice per week on their worldwide live stream (select Espace2) or if you are lucky enough to pass through Switzerland, you can even download the podcast (unfortunately the podcast has a rather strict geolocating feature).
So, as mentioned Disques en lice covered Bruch’s concerto on September 23, 2019. At the very same time, the most recent September issue of the French magazine Classica that I subscribe to on my iPad has a monthly section Ecoute en aveugle (blind listening) in which they go through pretty much the entire history of recordings of a given work, select what they believe are the 8 most promising ones, and then again proceed to a blind listening session comparing said 8 recordings.
So, which albums got selected?
Let me start with Disques en lice.
The host, Jean-Luc Rieder, had a hard time choosing, so ended up selecting 8 instead of the usual 6. So during the 2h30 of the program, we compared some legendary classics (Christian Ferras and Jascha Heifetz) from the 1950s, two recordings from the 1980s and 90s, Shlomo Mintz and Kyung-Wha Chung, and four more contemporary versions, notably Renaud Capuçon, Nicola Benedetti, Daniel Hope, and Janine Jansen.
Interestingly enough, the selection by the Classica reviewers Stéphanie-Marie Degand, Fabienne Bouvet and Michel le Naour ended up selecting a choice with only one overlap: Itzak Perlman, Isaac Stern, Nathan Milstein, Maxim Vengerov, Ida Haendel, Isabelle van Keulen, Salvatore Accordo, and the overlap being Mintz.
Now, who won at Classica: the top 3 are Perlman (with Haitink), Stern (with Ormandy), and Milstein (with Barzin). As much as I usually agree with Classica’s reviews, I checked out the winning recording with Perlman, and really didn’t like it.
So, who then is my favourite recording you are going to ask after all this intro?
Well, while often I don’t agree with the winning choices of Disques en lice (I much prefer the winning recordings of the Swiss German equivalent by SRF2, Diskothek im 2.), in this particular case I fully agree with the winning album.
(And allow me to brag a little bit, I actually did recognise that recording blindly, together with my other favourite, Jascha Heifetz).
It turns out to be Janine Jansen’s excellent2006 recording with Riccardo Chailly and the Leipzig Gewandhaus.
This recording is just perfect to me. It combines the appropriate level of romantic engagement with Chailly’s perfect leadership of the magnificent Gewandhaus.
To be fully transparent, this isn’t the first time I write about this album. It is actually featured in my 25 Essential Classical Albums post, but I must admit I focused much more on her Mendelssohn recording in my comment there than on her equally outstanding Bruch.
So you get it, this album is an absolute must have.
And on top of one of the best ever recorded versions of Mendelssohn’s concerto, you even get Bruch’s Romance in F (op. 85).
I’m a bit late reviewing this album, it actually already came out some time ago.
In spite of the fact that I’m a big fan of Sol Gabetta (I’ve now seen her live twice, once in Lucerne and once in LA) and Cecilia Bartoli is obviously already a living legend, I presume it was the extremely cheesy cover (see below) that put me off a bit initially, and I kind of ignored it.
But then, this album ended up being a Gramophone Editor´s Choice, and was highly praised by pretty much every reviewer out there.
So I had a closer look.
Cecilia & Sol – Dolce Duello (Decca 2017)
Sol Gabetta is a very talented Cello player from Argentina, who now lives in Switzerland. And does the famous Italian mezzo-soprano Cecila Bartoli really need an intro?
So, what do we get here? Most of the album is a mix of Italian and German baroque arias from Albinoni, Händel, Porpora, or Caldara. This may look like a slightly random selection, they were obviously all chosen to ensure the Cello gets appropriately featured.
And the result is really very touching. The instrumental backing is Sol Gabetta´s own baroque ensemble Cappella Gabetta, with her brother Andrés as Concert Master. You really are drawn in by the purity and beauty of this album. My favorite tracks is track 5, from Händel´s Ode For Saint Cecilia´s Day.
As an add-on, we get a recording of Boccherini´s Cello Concerto. While I kind of like this concerto, I´d actually have preferred to get more of the “duels”. But well, we really can’t complain, this is a beautiful album throughout.
My rating: 4 stars (5 star playing throughout, I’m just not a particular Boccherini fan).
You can find it here (Qobuz) and here (Prostudiomasters)
She is a fantastic talent, with an amazing voice, and a very versatile style, from her early vocal jazz/singer-songwriter style albums Some Lessons, Worrisome Heart, and My One And Only Thrill,via the latin Swing of The Absence, to the much more soul-oriented Currency Of Man.
However, so far I haven’t yet seen her live (what a miss), so I was very excited when this latest live album was announced in late 2017.
Now it’s out, and I must admit it exceeded even my high expectations.
Live in Europe (Decca 2018)
So, what’s so great about this album?
First of all, the length, 1h45, so the band can really take the time to develop the songs, with the longest example, Morning Sun taking more than 12 minutes. Not one too many by the way, as this is one of the true highlights of the album.
The other great thing is that this in many places is a very minimalistic, “unplugged” style album, just Melody’s fantastic voice with very little instrumentation, which makes this even more special, and a very intimate experience. One example is the opening track, Our Love Is Easy, which over quite a while has her together with only a double bass. Outstanding!
This is a mix of several concerts in Europe, and you get the full bandwidth of styles. Lisboa (nicely enough taken from a concert in Lisbon)is an excellent example that the band can do a true latin samba-style swing, you get her “classics” like My One And Only Thrill, but even the more soul-type songs like Morning Sun get a very special, fresh treatment.
Melody Gardot is clearly surrounded by outstanding musicians here, as witnessed in the nearly 4 minutes instrumental intro of The Rain.
Another highlight of the album is March For Mingus, as it is really swinging and groving like crazy. The “original” of this song was a short 1:02 fragment on Currency of Man, which finally gets the 11:03 that it truly deserves.
Get this album as fast as you can! This is an instant classic.
My rating: 5 stars
You can find it here (Qobuz) and here (Prostudiomasters)
I haven’t written that much yet about Beethoven’s string quartets. It is a hard to cover vast subject of 16 masterpieces, from the early ones that are still very reminiscent of Haydn, to the middle ones (mainly the Rasumovksy ones), that clearly match the power of the major Beethoven symphonies, to the entirely different universe that are the late quartets, that enter completely unheard harmonic complexities, that go even beyond his symphonic works.
How can one quartet really do them all justice? Typically, reviewers recommend getting different boxes for the different periods, and they are right.
However, some outstanding artists are able to just set a standard for all three periods. And the Takács Quartet is just one of them.
When Decca re-released the complete Beethoven box that was originally recorded in the early 2000s, I had to go back to it. I’m very glad I did, I was again blown away.
The Takacs Quartet has been around since 1975! They are probably one of the most outstanding string quartets ever. I’ve praised the Takacs´ several times already (See for example here my review of their fantastic Schubert), and remain a great fan of them.
In this box, in the early quartets of op. 18, you get all the Viennese lightness. These are just a pleasure to listen to. These works need to “swing”, and the Takacs just pull it off.
Moving to the more serious op. 59, the Takacs´switch gear appropriately. Take quartet no. 9, op. 59 no. 3, that starts with a very “serious” Andante con moto. This part occasionally reminds me of a Mahler symphony. And here, you get the full weight and emotional power this work requires, before moving on to the Allegro part, that gives you the Beethoven you are most likely to think of when you hear the name.
The late quartets again are a completely different animal. Let’s take for example op. 127. I have a pretty direct comparison, having only recently heard this played live by the equally fantastic Quatuor Ébène (see my concert review here). Comparing the two approaches here, let´s say we could characterise the Ébène’s live approach with “Passion”, and the Takacs’s with “Precision”. These are obviously simplifications, but you get the idea. Both are absolutely fantastic versions, and show you how much there is to discover in these masterworks, that are unfortunately not very approachable for the beginner. Give them some time, and they will grow on you.
If you only ever wanted to own one version of the Beethoven string quartets, this really would be the one to have. I´d strongly advise against having only one version, there are so many others to discover, and Beethoven’s quartets really are among the most outstanding masterpieces the Western world ever produced.
I’ve mentioned Benjamin Grosvenor several times already, including here, and here in my comments about last year’s Gramophone Awards. If you read through these reviews and comments, you’ll quickly see I’m a huge fan. This young artist (he’s only 24!) is really spectacular.
So far, I have yet to hear a disappointing album from him.
So my hopes were high when he released his new album, Homages.
Homages (Decca 2016)
Grosvenor likes albums mixing several composers around a theme. His last album was called Dances, now we’re talking about Homages.
And we start strongly, with Busoni’s piano setting of the famous Chaconne from Bach’s suites for solo violin. This is rather rarely played, which is a pity, as for once a transcription actually adds something (more often than not, they do not work that well for me). You really get the full bandwidth of this beautiful piece, and the outstanding beauty of Milstein’s legendary interpretation comes to mind, while Busoni’s fireworks around the well known melody really works. This sounds almost like Brahms (who by the way also transcribed the Chaconne, but into a version for left hand only), or actually even occasionally like Rachmaninov. A true showpiece, but without any negative connotation that is usually associated with this term.
From this grandiose opening, we move to another rather unfamiliar music, Mendelssohn’s preludes & fuges op. 35. Mendelssohn was essential for the “rediscovery” of Bach in his time, and you can hear the spirit of Bach in these little-known, but beautiful gems.
From these Bach homages, we move on to more traditional romantic piano music with Chopin and Liszt, an area where Grosvenor feels very much at home.
The booklet tries to give some story around why Chopin’s beloved Barcarolle and parts of Liszt’ Années de Pélérinage are homages as well. I must admit I don’t care that much, I just love his playing.
The Barcarolle op. 60 is one of my all time favorites from Chopin. I heard it some years ago by Krystian Zimerman live, in what remains my personal reference. However, this interpretaion really stands on its own, and I like it a lot.Liszt’s Venezia e Napoli is also really well played.
He closes off with Ravel, as already in his Decca debut, focusing Le Tombeau de Couperin, where the homage aspect is already evident from the title.
I wonder if Grosvenor ever will record e.g. an entire cycle or work, or if he’ll stick to this kind of “concept” album. I wouldn’t be surprised if he sticks to the latter, which is great, because it gets me to discover music I wouldn’t necessarily have discovered without him.
My rating: 4 stars (to clarify: this is absolutely 5 stars playing, but not always essential repertoire)
You can find it here (Qobuz) or here (Prestoclassical)
I haven’t written a lot about Haydn yet, actually, there is so far only one blog that mentions a Haydn album in passing.
This is not entirely by chance, I’m generally not a big Haydn fan.
Baroque, yes please! Mozart, Beethoven, give me more. But Haydn? Somewhere stuck in between.
The old saying of “Papa” Haydn certainly has a point. I very much like his Cello concertos, and his masterly string quartets. But his symphonies? More than 100? Not really my cup of tea.
Or so I thought. Apparently I’m not alone, in the most recent issue of Gramophone, an article commenting about the recording I’ll be discussing below mentioned that Haydn apparently doesn’t sell well.
So what has changed?
Haydn: Symphonies No. 78-81 by Ottavio Dantone and the Academia Bizantina (Decca 2016)
Ottavio Dantone? Isn’t that the guy that I have several lovely Corelli recordings from? Yes indeed, he is mainly known for his Baroque albums. And now he attacks the traditional “Wiener Klassik”. How does he manage this material?
Actually, really well. The historically informed practice, gut strings et al., really helps Haydn a lot. What it adds is precision and clarity.
This album to be sounds like very precisely drawn with a fine pencil. You don’t miss a single detail. At the same time, there is a lot of energy. “Papa” Haydn really gets a kick in the butt, metaphorically speaking (excuse my French), and this is what this music needs. Extremely refreshing.
Now, about the music itself. Are we talking about something similar to a Beethoven symphony? Well, not to me (although especially the early Beethoven symphonies were clearly inspired by Haydn). But there is enough going on to make this recording interesting and worth discovering even for people (like me) who would usually shun Haydn.
Side note: There currently is a highly exciting complete Haydn HIP style cycle in the making, called Haydn 2032, by Giovanni Antonini and the Kammerorchester Basel. This cycle so far has only released some of Haydn’s earlier symphonies that I really cannot be bothered with, but are played so well that I’ll be closely following this project.
Back to Dantone: My rating: 4 stars
You can find it here (Qobuz) or here (Prostudiomasters)