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Locatelli: il virtuoso, il poeta (Violin Concertos & Concerti Grossi)
Isabelle Faust
Concertos - Released August 25, 2023 | harmonia mundi
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Not only is Isabelle Faust one of the greatest violinists of our age (and perhaps all ages), but she is also blessed with a powerful curiosity, seemingly always on the lookout for composers and repertoire off the beaten track, as a glance at her discography will show. This collection of compositions by the eccentric genius Pietro Antonio Locatelli, is a splendid illustration of Faust's adventuresome repertoire. Locatelli's violin works run the gamut, from staggering virtuosity, exemplified here by his Concerto for Violin in A, Op. 3, No. 11, where the composer stretches the capabilities of both violin and violinist, to the achingly beautiful and tender Concerto Grosso in E-Flat, Il pianto d'Arianna, Op. 7, No. 6. Faust is easily up to all the challenges posed: the jaw-dropping difficulties of the Concerto in A—including finger-busting double stops and high notes (16th position!) played just a fraction of an inch from the bridge—as well as the gorgeous lyricism of Il pianto d'Arianna. Also on this release are other works by Locatelli that are all striking in their originality and played with equal aplomb by Faust and sensitively accompanied by Giovanni Antonini and his forces. © Anthony Fountain/Qobuz
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Schumann: Piano Quartet - Piano Quintet
Isabelle Faust
Chamber Music - Released November 24, 2023 | harmonia mundi
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Violinist Isabelle Faust and fortepianist Alexander Melnikov have been accumulating a catalog of distinctive historical performances of Schumann. Here, they turn to the composer's most famous chamber works, the Piano Quartet in E flat major, Op. 47, and Piano Quintet in E flat major, Op. 44, bringing on board violist Antoine Tamestit, cellist Jean-Guihen Queyras, and violinist Anne Katharina Schreiber in the Piano Quintet. Despite the common key and the fact that the two works were written just a few weeks apart, they're quite different, and one strength of these performances is that the players catch the difference. The Piano Quartet is quiet and inward, with Faust's "Sleeping Beauty" Stradivarius purring in the opening Sostenuto assai passage. The slow movement of this work gets a performance of rare lyricism here. The Piano Quintet looks forward to a more public, orchestral kind of chamber music, and the players succeed in transforming the entire sound environment of the music, aided immeasurably by Harmonia's engineers. The music was recorded at the small hall of the German federal youth music academy in Trossingen, and this is a superb space for the music. Of interest far beyond historical performance circles, these are wonderful performances of Schumann's major chamber works.© James Manheim /TiVo
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Ravel: L'Heure espagnole - Bolero
François-Xavier Roth
Opera - Released June 16, 2023 | harmonia mundi
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The main attraction of the orchestra Les Siècles and its conductor François-Xavier Roth is its use of period instruments from around 1900, the time period in which the group specializes. One could hardly ask for a better demonstration record (as audiophiles used to call them) than this take on Maurice Ravel's L'Heure espagnole, an edgy, rather tawdry but undeniably funny little opera about the extramarital escapades of a clockmaker's wife, complete with excellent satirical characterizations of her two lovers. The opera receives a pitch-perfect performance here from a quintet of younger singers, who deliver the kind of dry, close-to-spoken singing Ravel wanted. Even better, though, is the orchestral sound, where the opera's large contingent of winds, brass, and percussion displays the sound of Les Siècles at its most vivid. The score calls for trios of oboes, clarinets, and bassoons, and these all have a tangier sound than modern instruments provide. The program ends with Boléro, and this, too, stands out from among the hundreds or thousands of other recordings on the market. Ravel had very fixed ideas about how he wanted the work to sound, and he wrangled with Arturo Toscanini, who conducted the premiere in New York, about it: it should be played absolutely straight, with no variation in tempo and little expression. Notwithstanding the connotations that became attached to the work later on, he viewed it as an abstract work, and that is exactly what it becomes in Roth's bracing reading. Listeners who have been wanting to sample Roth's work with this orchestra are enthusiastically encouraged to try this release, which made classical best-seller charts in the summer of 2023.© James Manheim /TiVo
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Robert Schumann: Complete Piano Trios, Quartet & Quintet
Trio Wanderer
Chamber Music - Released April 30, 2021 | harmonia mundi
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Diapason d'or -
Diapason d'or / Arte
Constantly shifting from the most impulsive exuberance to the most restrained meditation, from the most intense passion to the most innocent tenderness, this programme forms a representative panorama of Schumann’s chamber music. Going beyond the Piano Trios, which already give us a fully rounded account of Schumann, the Trio Wanderer have invited their favourite partners to join them for their interpretation of two supreme masterpieces, the Piano Quartet and Piano Quintet. © harmonia mundi
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Rachmaninov : 24 Preludes
Nikolai Lugansky
Solo Piano - Released February 16, 2018 | harmonia mundi
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5 Sterne Fono Forum Klassik
Unfortunately no, dear reader, there is no such thing as a cycle of “24 Preludes” by Rachmaninoff; however there are indeed 24 Preludes: a collection of ten Op. 23 from 1903, 13 other Op. 32 from 1910 and one isolated Prelude from the Morceaux de fantaisie Op. 3 (Fantasy Pieces) from 1893. In total: 24 Preludes, in which as a simple count shows Rachmaninoff − much like Chopin and of course Bach − illustrated all major and minor tones. Deliberately random, or the involuntary drive to create a reasonably coherent cycle? Contrary to his two illustrious predecessors, Rachmaninoff didn’t order his Preludes according to a specific tonal plan: the musician’s fantasy develops bit by bit. Nikolai Lugansky – described by the famous magazine Gramophone as “the most innovative and transcendent interpreter of all” (so much for the others…), truly an extraordinarily deep and polyvalent pianist – decided to present the Preludes in the order prescribed by partitions, rather than reorganising them according to some hypothetical tonal logic, without knowing if Rachmaninoff would even have recommended or even considered it, particularly as the constant alternation of moods, independently of any tonal consideration, gives the piece a sense of perfect coherence. Finally it’s worth mentioning that Lugansky offers a very “original” interpretation of this divine music, which may feel like a re-discovery to some listeners. © SM/Qobuz
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Haydn: Cello Concertos Nos. 1 & 2 - Monn: Cello Concerto
Freiburger Barockorchester
Concertos - Released March 27, 2003 | harmonia mundi
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This admirable Harmonia Mundi release presents Franz Josef Haydn's two cello concertos and the Cello Concerto in G minor by Georg Matthias Monn with the luster of period instruments; refined, idiomatic playing; and exceptional sound quality, with full resonance; and cellist Jean-Guihan Queyras and the Freiburg Baroque Orchestra, directed by Petra Müllejans, render these works with exquisite details and emotional depth. In a real sense, their performances are acts of rediscovery, for Haydn's cello concertos have become routine fare from too many modern renditions, and Monn's piece is unfamiliar from too few performances. Indeed, all three concertos have suffered the vagaries of preservation and interpretation. Haydn's Cello Concerto No. 1 in C major was once considered lost until its discovery in 1961; the Cello Concerto No. 2 in D major suffered false attribution and its authorship was debated until the appearance of the manuscript in 1954; and Monn's concerto survived only in an arrangement for harpsichord and strings until Arnold Schoenberg edited it in 1912. To set the record straight, this disc presents the concertos intelligently refurbished, with appropriate eighteenth century style and color. Through their insightful scholarship and sensitive performances, Queyras and Müllejans have produced a fine alternative to the less authentic mainstream recordings.© TiVo
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Schubert: Piano Sonata, D. 959 - Moments musicaux D. 780
Adam Laloum
Solo Piano - Released January 19, 2024 | harmonia mundi
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4F de Télérama
Adam Laloum has offered low-key Schubert in the past, and it has gone against the current grain of finding big Beethovenian drama in Schubert. Here, in the Piano Sonata in A major, D. 959, he shifts gears a bit. His first movement involves flexible tempos and a good deal of general instability. Then he settles down, resulting in a first-movement-heavy treatment of the sonata. It is unusual and probably fulfills the goal of standing out from the large crowd of recordings of this late Schubert work. Perhaps stronger are the six Moments Musicaux, where Laloum's perfect control results in crystalline miniatures that truly entrance the listener if external thoughts are set aside. Sample the Allegro, D. 780, No. 3, a perfect miniature. Harmonia Mundi finds idiomatic sound at the Théâtre Auditorium de Poitiers but mikes Laloum too closely, picking up a good deal of non-musical noise. Laloum is perhaps a pianist who excels in music of small dimensions, a valuable thing in a field where heroics are usually what is valued, and he produces an excellent example here.© James Manheim /TiVo
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Handel: Coronation Anthems
Rias Kammerchor
Classical - Released April 28, 2023 | harmonia mundi
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Just in time for the coronation of King Charles III comes this release, featuring music written for the coronations of George II in 1727 and of George I before him. The Handel works, written for the 1727 event, are the pure public Handel, with imposing choral-orchestral chords interspersed with straightforward but not simple episodes of counterpoint. They are meant to be crowd-pleasers, and indeed, they are; they're hard to ruin. What is on offer here from the RIAS-Kammerchor Berlin and the Akademie für alte Musik Berlin under conductor Justin Doyle are elegant but undersized performances characteristic of the Continental historical performance movement. Reports from Handel's time indicated an orchestra of 160; here are but 20 players. The choir, at 36 singers, is closer to Handel's 40, and this veteran group delivers a rich, satisfying sound with a rounded tone from the smaller solo group (not indicated in the score but often performed as it is here). The anthem The Lord Is a Sun and Shield is not by Handel but by William Croft, and one will be struck by how close it is to Handel stylistically. The overture to Handel's Occasional Oratorio, HWV 62, serves as an overture to the whole program, and there is a typically odd Chaconne by John Blow as an interlude. These are less-splendid but highly enjoyable performances for reliving the coronation atmosphere.© James Manheim /TiVo
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Saint-Saëns: Cello Concerto No. 1 - Franck, Fauré & Poulenc
Bruno Philippe
Chamber Music - Released November 10, 2023 | harmonia mundi
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Gramophone: Recording of the Month
Of the various young cellists contending for the crown these days, Bruno Philippe is among the strongest, with a highly varied palette of tone production. He applies the full power of the instrument sparingly, keeping a light touch in lyrical sections and making details clear even at the growling bottom of the instrument's range. The large pieces here are perhaps of varying quality, but they serve Philippe well. The Violin Sonata in A major of César Franck was transcribed for cello with the composer's approval, but it is a different work lower down, losing the soaring quality of the finale's melodies. Still, it fits Philippe's way with a tune nicely, and he applies a good deal of tempo rubato in a way that holds the interest. Philippe keeps the cello lines clear in Saint-Saëns Cello Concerto No. 1 in A minor, Op. 33 (the mix of cello-and-piano works with a cello concerto is entirely characteristic of what might have been offered in these composers' own era), featuring the Frankfurt Radio Symphony Orchestra. Francis Poulenc's Cello Sonata was sketched out by the composer in 1940, laid aside, and completed only reluctantly in 1948. The composer disparaged it, and no one would pick it as top-grade Poulenc, but for all that, it has a remarkable Cavatine slow movement that displays Philippe's lyrical gifts to the hilt. Serving as intermezzi among these works are short pieces by Fauré, and these, too, show Philippe as the possessor of a remarkable cantabile. Philippe is ably accompanied by the veteran pianist Tanguy de Williencourt; they make an effective pair, with the pianist's restrained style seeming to keep the young Philippe within bounds. Harmonia Mundi contributes idiomatic chamber music sound from the Hessische Rundfunk studios in Frankfurt on an album that will appeal to any lover of French chamber music.© James Manheim /TiVo
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Granados: Goyescas - El pelele
Javier Perianes
Classical - Released December 1, 2023 | harmonia mundi
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The Goyescas of Enrique Granados are a suite of six pieces plus a seventh of similar inspiration, El pelele, that is often performed with the set (as here by pianist Javier Perianes). These are technically difficult pieces, surely among the heights of the Spanish piano repertory. The Goyescas were inspired by the art of Francisco Goya, but only two works -- the tenebrous "El amor y la muerte" and El pelele -- can be traced to specific Goya works. Both the performance by Javier Perianes and the excellent notes by Claire Fraysse illuminate why this is not the problem it might seem. Goya's paintings captured a whole milieu, forming a picture of what might be called hip Madrid society around 1800; both Goya and Granados, in Fraysse's works, were fin-de-siècle artists. Granados' pieces also have a stream-of-consciousness quality, seeming to tell a story even when the story is not there. It is this quality that is captured in Perianes' playing, which is not only technically confident but also moves forward as if animated by buried thoughts. Sample the second Goyesca, "Coloquio en la reja," which has the flavor of a conversation at the window, even if one does not know what is being talked about. If it wasn't based on an actual Goya painting, it could have been, as it were. Perianes is brilliant when he needs to be, but it is the small subtleties that put this performance across. There are plenty of performances of the Goyescas, many of them Spanish, going back to that of Alicia de Larrocha, but this one has what it takes to stand out.© James Manheim /TiVo
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Schubert: Die schöne Müllerin
Samuel Hasselhorn
Art Songs, Mélodies & Lieder - Released September 22, 2023 | harmonia mundi
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This 2023 release inaugurates an ongoing series from baritone Samuel Hasselhorn and pianist Ammiel Bushakevitz, performing Schubert works two centuries on from their date of composition, and slated to culminate in 2028, the bicentennial of the composer's death. The project begins with one of the most famous Schubert song cycles of all, Die schöne Müllerin, D. 795, depicting the crackup and despair of a young wanderer who falls in love with a beautiful miller's daughter. Hasselhorn has plenty of recent competition in this cycle; listeners can sample the 2017 recording by Christian Gerhaher and Gerold Huber for another approach, but this one promises well for the ongoing project. Die schöne Müllerin is a work in which Schubert took vast strides toward the emancipation of the piano in the lied, and Bushakevitz leans into this aspect, with details that illuminate and often foreshadow themes developing in the text. Hasselhorn has a warm baritone with an appealing conversational tone that turns chilly and quiet toward the cycle's downer conclusion. Another draw is Harmonia Mundi's sound from the b-sharp studio in Berlin; the engineers put Bushakevitz just a bit forward in the mix, not so much as to sap energy from Hasselhorn's singing, but enough to highlight his perceptive performance. This release bodes well indeed for the duo's future work.© James Manheim /TiVo
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J. S. Bach: A Life in Music (Vol. 1). Arnstadt & Mühlhausen (1703-1708), Early Cantatas
Les Arts Florissants
Cantatas (sacred) - Released April 5, 2024 | harmonia mundi
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César Franck: Violin Sonata, Piano Trio No.1 & Piano Quintet - Vierne: Piano Quintet
Trio Wanderer
Chamber Music - Released May 26, 2023 | harmonia mundi
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French chamber music is, in general, underexposed, notwithstanding the popularity of Franck's Piano Quintet in F minor and Violin Sonata in A major. Those two works receive strong performances here from a subset and an expanded version, respectively, of the Wanderer Trio. The players capture the over-the-top quality of both works, the exceptional difficulty and range of the piano part in the sonata, and the emotional extremes of the Quintet, but what makes this double album a must for chamber music lovers is the presence of the other two works on the album, both of them much less common: the Piano Quintet in C minor, Op. 42, of Louis Vierne and Franck's Piano Trio No. 1 in F sharp minor, Op. 1, No. 1. The Vierne quintet is a revelation. The booklet makes much of Vierne's indebtedness to Franck, and indeed, Franck's cyclical procedure and his general combination of contrapuntal density with intense expressivity are present. Yet the work is wholly characteristic of Vierne. It often has the flavor of Vierne's better-known organ music (sample the Larghetto sostenuto slow movement), and it has a distinctively somber tone resulting from its origins as a memorial piece for the composer's son, dead in World War I. The Franck F sharp minor trio, one of several early Franck trios, is in a Mendelssohnian vein, but Franck's melodicism was fully present even at this early date (1839). The program as a whole sustains interest over its length, and Harmonia Mundi's sound from the Théâtre Auditorium de Poitiers is resonant and idiomatic, not damaging the players' properly extreme dynamic range. An exciting chamber music release.© James Manheim /TiVo
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Beethoven: Complete Variations for Piano, Vol. 2
Cédric Tiberghien
Classical - Released January 12, 2024 | harmonia mundi
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This is the second volume in pianist Cedric Tiberghien's survey of Beethoven's variations for piano. The pieces here are mostly youthful ones, written while Beethoven was still a touring pianist. Beethoven composed a lot of variation sets, although he didn't always speak well of them later; when he heard someone playing the 32 Variations in C minor, WoO 80, he asked who had written it, and then, learning that it was himself, exclaimed, "Oh, Beethoven, what an ass you were back then!" Yet, it is an entertainingly varied piece that is not unconnected to Beethoven's transcendent late variation style. Tiberghien also includes some rarely heard pieces, such as the 24 Variations on "Venni amore," WoO 65, variations on Rule, Britannia! (WoO 79), and God Save the King (WoO 78), as well as assorted other early works. These often contain examples of Beethoven's rough humor, nicely caught by Tiberghien, and, while not profound, are probably worth hearing more often. As on his first volume, Tiberghien includes variations by other composers as intermezzi. This is the sense of the curious "Variation(s)" title; here, the works are more contemporary, and the ones by John Cage and Morton Feldman seem to come out of left field. The Beethoven performances, however, are solid, and one hopes that perhaps a third volume, containing the Diabelli Variations, Op. 120, is still on the way. The album made classical best-seller lists in early 2024.© James Manheim /TiVo
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Mozart: Sonatas for Fortepiano & Violin, Vol. 3
Isabelle Faust
Classical - Released May 21, 2021 | harmonia mundi
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By modifying the balance of the dialogue between the two protagonists, whom he turns into genuine alter egos, Mozart leads the genre of the sonata for fortepiano and violin onto the road to modernity. Isabelle Faust and Alexander Melnikov present here the third volume of an exciting complete set on period instruments. Their playing, showing "great elegance and utter rigour", is distinguished by "a tender and delicate expressiveness served by exceptionally subtle nuances" (Classica). © harmonia mundi
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Rachmaninov: Études-Tableaux - 3 Pieces
Nikolai Lugansky
Classical - Released February 3, 2023 | harmonia mundi
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Nikolai Lugansky has been honing and distilling his vision of Rachmaninoff for years. He recorded his first complete Études-Tableaux in 1992, at the age of just 20, when he was still the 'favourite pupil' of the great Tatiana Nikolayeva in Moscow, and yet to launch his international career. Having gained the artistic maturity of 30 years of experience, Nikolai decided to re-record this entire corpus in 2022, in order to complete the composer’s entire works for the French label Harmonia Mundi, with whom he regularly collaborates. In 1911 Rachmaninoff began composing his first cycle of eight Études-Tableaux, Op. 33, which he extended in 1917 with a new series, forming Op. 39. In all, there are seventeen gems in which Rachmaninoff, more at ease in the great concerto form, successfully undertakes an uncharacteristic search for conciseness. His Études-Tableaux stand out as major achievements as they reimagine the forms and modes of expression of last century’s piano world.In this new performance, Nikolai Lugansky seems to emphasise the word "Tableau" (Pictures) more than the word "Étude" (Study). He has a tremendous mastery that allows him to describe the ever-changing, but always passionate, landscapes of the Russian composer's complex, and sometimes tortured, states of mind, making him one of its best and most talented interpreters. © François Hudry/Qobuz
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Bach : Sonatas & Partitas for solo violin, vol. 1 (BWV 1004, 1005, 1006)
Isabelle Faust
Violin Solos - Released April 20, 2010 | harmonia mundi
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J.S. Bach: Sonatas for Violin and Harpsichord
Isabelle Faust
Duets - Released January 12, 2018 | harmonia mundi
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5 Sterne Fono Forum Klassik -
5 étoiles de Classica
The six Sonatas for Violin and Obbligato Harpsichord BWV 1014-1019 (“obbligato” – compulsory – means the keyboard is fully scored, as opposed to basso continuo for which only the bass is scored, the rest being left to the discretion of the performer, who improvises) are some of these works that Bach kept revisiting and reworking. The oldest remaining source – from around 1725, through one of his nephews – already highlights the will to make these compositions evolve by refining them with successive adjustments. The work underwent another overhaul in Agricola’s manuscript, around 1741, while a copy made around 1750 by Altnickol reveals a third cycle status. An observation made by the musician’s second youngest son, Johann Christoph Friedrich Bach – “He wrote these trios just before his end” – seems to have been interpreted as proof that Bach was still working on these sonatas in the last years of his life. This new recording by Isabelle Faust, a great specialist of baroque interpretation, and Christian Bezuidenhout on the harpsichord, discretely reveals the extraordinary richness of these works’ three-voice writing, that resembles the format of a trio sonata. © SM/Qobuz
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Ravel: Concertos pour piano - Mélodies
Cédric Tiberghien
Concertos - Released May 20, 2022 | harmonia mundi
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Utilising to the full the unique timbres of their period instruments alongside a superb Pleyel piano of 1892, François-Xavier Roth and Les Siècles explore some of Ravel’s major works. With Cédric Tiberghien and Stéphane Degout, two of the finest specialists in this repertory, this recording provides an opportunity to hear many aspects of his colourful, kaleidoscopic world, from the youthful Pavane to the testamentary cycle Don Quichotte à Dulcinée. © harmonia mundi
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A Lionel Tertis Celebration
Timothy Ridout
Classical - Released January 26, 2024 | harmonia mundi
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Violist Lionel Tertis and cellist Pablo Casals were both born on December 29, 1876. They were friends, and both did much to popularize and attract repertory to their respective instruments. It was a good day to be born, for both lived into their late nineties. Tertis is a familiar-enough figure among string players and aficionados of the early 20th century British scene, but he deserved the tribute that violist Timothy Ridout (who has already recorded Tertis' transcription of the Walton Cello Concerto for viola) offers here. Tertis is not well represented on recordings, so it is not really clear to what degree Ridout replicates his style. (Certainly, it does to some degree; Tertis' influence on British viola teaching was and remains deep.) Yet the program represents his activities in an engaging way. Although Arnold Bax wrote a good deal of music for Tertis, there is nothing by him here; perhaps another album is on the way, but there is a good deal of music that is not widely available elsewhere, certainly not in one place. There are attractive miniatures by Tertis himself, a variety of transcriptions he made of well-known pieces, and a genuine oddity, an obbligato part for the first movement of Beethoven's "Moonlight" Sonata. There are three more substantial works, the Viola Sonata No. 1 in C minor, Op. 18 by York Bowen; the viola version of Vaughan Williams' Six Studies in English Folk Song; and the Viola Sonata of Rebecca Clarke. The last two were not written for Tertis, but Clarke was a fine violist herself, and nothing seems out of place. The Clarke work, skillfully exploiting the viola's lower reaches, is especially nicely done. A must for violists, this is of interest to any lover of 20th century English music, and it made classical best-seller charts in early 2024.© James Manheim /TiVo
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