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Honegger: Symphonies Nos 1-5, Pacific 231, Mouvement symphonique No. 3
Serge Baudo, Czech Philharmonic
Classical - Released January 1, 1991 | Supraphon a.s.
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Alkan: Paraphrases, Marches & Symphonie for Solo Piano, Op. 39
Mark Viner
Classical - Released January 29, 2021 | Piano Classics
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The latest volume in a revelatory Alkan series from an English pianist with a string of critically acclaimed albums of rare repertoire from the Golden Age of the piano virtuoso to his credit. Perhaps the most enigmatic figure in the history of music as a whole, let alone the 19th century, Charles-Valentin Alkan remains one of the most intriguing and alluring names among the pantheon of pianist-composers. According to Franz Liszt, Alkan possessed the finest technique he had ever seen yet preferred the life of a recluse. The outstanding masterpiece of the album is the Symphonie for solo piano which Alkan drew from his set of 12 Studies, Op. 39. It opens with an Allegro which is one of the composer’s most darkly impassioned conceptions, in which declamatory rhetoric, passionate outbursts and towering climaxes are all bound by a tightly organised structure. The piano writing is distinctly orchestral in nature, hence the ‘symphonic’ designation, demanding that the intrepid soloist make his or her way through towering conglomerations of sometimes ten note chords, thick, chordal tremoli and volleys of double octaves: only fully accredited virtuosi need apply! The Symphonie is placed on this album as the climax to a sequence of grand marches conceived on a similarly grand scale. They include the Three Cavalry Marches, Op. 39, which find Alkan at his most concise, in the Berliozian No. 1, his most eccentric (the trio of No. 2) and whimsical (No. 3). Like them, the Marche funèbre, Op. 26 bears witness to Alkan’s ability to channel a latent and, at times, menacing power through material of the slightest substance. The following Marche triomphale, Op. 27 is a massive, swaggering affair, in contrast to the ruminative melancholy of the opening paraphrase Op. 45 on a poem by Legouvé set in a cemetery and cast in Alkan’s most elegiac vein. A profound sadness also inflects the opening section of the composer’s ingenious instrumental setting of Psalm 137, ‘By the waters of Babylon’. The booklet contains an excellent essay on Alkan and his works by the artist himself. © Piano Classics
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Antonín Dvořák: Symphonie du nouveau monde
Philippe Fournier
Classical - Released October 7, 2000 | iMD-ORCHESTRE-CONFLUENCES
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Vivaldi: Four Seasons
Gidon Kremer
Classical - Released November 12, 2021 | Deutsche Grammophon (DG)
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Mozart: Sonatas for Piano & Violin
Renaud Capuçon
Classical - Released June 23, 2023 | Deutsche Grammophon (DG)
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There are various complete recordings of Mozart's sonatas for piano and violin, most of them leaving off the juvenilia or relegating them to a separate volume (here they are omitted). This one by violinist Renaud Capuçon and keyboardist Kit Armstrong, playing modern instruments, holds the listener's interest unusually strongly. There are several reasons for this. One is the easy rapport between the two players, responding quickly to slight expressive moves or alterations in the tempo by one player or the other. They capture the rapidly developing role of the violin over the course of the set as it is transformed from an accompanimental instrument to a full partner in the dialogue. A second plus is the inclusion of two variation sets, the 12 Variations on "La bergère Celimène," K. 359, and the Six Variations on "Hélas, j'ai perdu mon amant," K. 360. These are not often heard, and quite opposite to what one might expect from their lightweight themes, they are substantial works. The role of the violin here, too, is key; although the piano is still the dominant partner, the violin was ready and available as a sound that would vary the texture, and Mozart exploited it to the hilt. Other attractions include the variety of Capuçon's playing within a fairly circumscribed context and an excellent feel for the dry language of the later sonatas, with their counterpoint and daringly irregular phrase shapes. A major entry in the Mozart discography, which landed on classical best-seller charts in the summer of 2023.
© James Manheim /TiVo
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Sibelius: Symphony No. 4 - The Wood Nymph - Valse Triste
Santtu-Matias Rouvali
Classical - Released January 19, 2024 | Alpha Classics
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Choc de Classica
The Sibelius Symphony No. 4 in A minor, Op. 63, is a classically gloomy work, received coolly by its original audiences even though the composer was enormously popular. Sibelius wrote it while suffering from throat cancer that could easily have killed him; as it happened, surgery was successful, and he lived for another 46 years. It is generally taken to exemplify a peculiarly deep kind of Nordic gloom. Conductor Santtu-Matias Rouvali has gained quite a reputation for shaking up conventional interpretations, and interested listeners put this album on classical best-seller lists in early 2024. Here, he delivers more of the same, with a reading of the Fourth that is nervous and even a bit action-packed rather than gloomy. His performance is actually slightly slower than average, but it doesn't seem like it with all the little climaxes Rouvali inserts into the work. It is almost as if he is coming down on the side of the Sibelius contemporaries who argued for a hidden program in the symphony, something Sibelius himself denied. It is not a typical Sibelius Fourth, but it is intriguing, and the Gothenburg Symphony follows Rouvali effectively through unknown territory. In a work that does indeed have a program, The Wood Nymph, Op. 15, Rouvali offers a highly persuasive performance. He closes with a familiar work, the Valse triste, Op. 44, No. 1, but here again, he pushes the tempo; it is not an encore-type Valse triste. It is hard to know what to think of Rouvali's readings; perhaps he will set new standards, or perhaps they will be interpretational blips. Sample and decide.© James Manheim /TiVo
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Tchaikovsky: Symphony No. 5 & Schulhoff: Five Pieces
Pittsburgh Symphony Orchestra
Classical - Released July 28, 2023 | Reference Recordings
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Gramophone: Recording of the Month
This release made classical best-seller lists in the summer of 2023. It might seem that few listeners would be moved to add yet another version of Tchaikovsky's Symphony No. 5 in E minor, Op. 64, to their collections, but this is one of the strongest readings to come along in some years. Conductor Manfred Honeck and the Pittsburgh Symphony have specialized in big, bold interpretations of traditional Romantic repertory, and this one is no exception. It is an intense, brooding Tchaikovsky Fifth in the vein mined by the great Russian conductors of the middle 20th century (Honeck is not afraid to let the brass blare), and parts of it are really transcendent. After a bleak, moody first movement, hear the perfectly suspended horn solo in the second movement, sneaking in quietly at first, almost beneath notice. This is a virtuoso piece of playing, and even those not enamored of everything Honeck does will be hard-pressed to contend that he has not raised the Pittsburgh Symphony, which he has led since 2008, to the top rank of American orchestras. The work that rings down the curtain of this live recording is also unusual; the orchestration of Erwin Schulhoff's Five Pieces for String Quartet is by Honeck himself, with Tomás Ille. Another draw here for physical album buyers is the set of detailed booklet notes by Honeck; few conductors do that, and they offer plenty of insight into his interpretations. Top it off with clean live sound from Pittsburgh's Heinz Hall (no audience noise or applause), and the result is a superior Tchaikovsky recording.© James Manheim /TiVo
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Anton Dvorák : Complete Symphonies & Concertos
Czech Philharmonic
Classical - Released January 1, 2014 | Decca Music Group Ltd.
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5 Sterne Fono Forum Klassik
Even though Antonín Dvorák remains among the most popular of Romantic composers, compilations of his complete symphonies are somewhat scarce, especially when compared to those of other great symphonists of the 19th century. That's one reason why Jirí Belohlávek's 2014 set with the Czech Philharmonic Orchestra should get classical fans' attention, but a more valid reason to acquire this collection is the exceptionally high quality of the performances, which Decca recorded in a series of subscription concerts between 2010 and 2014. A deciding factor should be the strong feeling this conductor and orchestra have for Dvorák's music, not only because of a shared Bohemian tradition and the composer's legacy (Dvorák conducted the Czech Philharmonic's first concert in 1896), but also because few other orchestras communicate the rhythms and colors of the music as vibrantly and with as much excitement. As rare as sets of the complete symphonic cycle are, those that include Dvorák's concertos are rarer still. The recordings Belohlávek and the CPO made of the Cello Concerto in B minor with Alisa Weilerstein, the Violin Concerto in A minor with Frank Peter Zimmerman, and the Piano Concerto in G minor with Garrick Ohlsson are essential listening, and their inclusion with the symphonies gives the package much greater value. Decca's high-definition sound delivers clean details and close-up presence, so even though these recordings are live, they sound as fine as a studio recording. Highly recommended.© TiVo
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Carl Nielsen: The Symphonies
Danish National Symphony Orchestra
Classical - Released April 21, 2023 | Deutsche Grammophon (DG)
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Fabio Luisi and his musicians from the Danish National Symphony Orchestra, for which he has been the musical director since 2014, worked extensively to play the vast corpus of Carl Nielsen's Six Symphonies before recording them for Deutsche Grammophon over three sessions in 2022. We immediately revel in the beauty of the sound recordings made in the warm acoustics of the Copenhagen Symphony Hall built by Jean Nouvel. With a reverberating sound giving an airy sense to the entire ensemble, the sound plans are clearly defined and always remain readable, without overloading or saturating the ears.In the Scandinavian countries and Northern Europe, the symphony took some time to really take off. In the 19th century, the Swedish recluse, Franz Berwald, did not have a following despite the very original and personal style he gave to his four symphonies. While a few adventurous composers have made attempts, it wasn’t until after the two masterful cycles by Sibelius and Nielsen that the genre really came into its own.Composed between 1892 and 1925, Carl Nielsen's Six Symphonies are, like those of Sibelius, six masterpieces. They represent an immense field of research, with an expressive power of great force. While the first two remain somewhat dependent on the Brahmsian model, they already demonstrate a very personal fearlessness, combining both style and harmony. The array of moods expressed in these works did not escape Maestro Fabio Luisi, who endeavoured, above all to exalt the dark and dramatic, even violent, side of Nielsen's music, demonstrating similar levels of drama previously created by Bruckner, Mahler, and Shostakovich. He is accompanied by an all-encompassing orchestra of exceptional quality, endowed with a great richness of tone and incredible sound power resources. It represents an essential gateway for appreciating a great composer’s music, one who’s symphonic repertoire can be considered somewhat “off the beaten track,” in a world where we usually say “well-worn.” © François Hudry/Qobuz
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Fauré: Complete Music for Solo Piano
Lucas Debargue
Classical - Released March 22, 2024 | Sony Classical
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Choc de Classica -
Qobuz Album of the Week
Pianist, thinker, and author Lucas Debargue explains having wanted to inflect “an experimental accent” onto this album which compiles the complete solo piano works of Gabriel Fauré. Indeed, his intentions encompass both the music itself as well as its highly polished sound production, featuring the use of the now infamous Opus 102 piano, conceived and fabricated by French manufacturer Stephen Paulello. This innovative instrument features 102 keys instead of the typical 88, along with highly reactive mechanics which give it an exceptional sound identity and incomparable variability. Lucas Debargue puts his fluid and inspired technique at the service of music that he first approached quite late, at the end of his music education, upon hearing another student play the “Barcarolle N° 1.” For him, this was a sort of paradigm shift, the discovery of a world that he previously wasn’t aware of. The first major confinement of the COVID 19 crisis ended up being beneficial for him, as it allowed him to return to the long practice sessions that the explosive international success of his career prevented him from enjoying. Casting aside the idea of grouping the tracks together by title, as Fauré himself had given them titles merely for his editors’ convenience, Lucas Debargue follows the thread of this pure music by carefully adhering to the opus numbers. This gives listeners a measure of the composer’s evolution as he slowly distanced himself from his mentors in order to find his own harmonic richness, which also happens to resonate with Lucas Debargue’s own artistic concerns as a composer evolving within a tonal perspective. © François Hudry/Qobuz
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Vivaldi: The Four Seasons
Janine Jansen
Classical - Released October 21, 2023 | Decca Music Group Ltd.
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Eschewing its usual heavy orchestral sound in favor of a more stripped-down instrumentation, Dutch violinist Janine Jansen's second album offers a fresh interpretation of one of the most performed classical works, Vivaldi's The Four Seasons. The 2005 follow-up to her Barry Wordsworth-conducted debut, the subtle but passionate renditions of the "La Primavera," "L'estate," "L'autunno," and "L'inverno" concertos are performed with a sparse, eight-piece ensemble including Lithuanian violinist Julian Rachlin, her cellist brother Maarten, and harpsichordist father Jan.© TiVo
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Grieg : Complete Orchestral Works
Bjarte Engeset
Classical - Released May 8, 2014 | Naxos
Booklet
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5 de Diapason
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Haydn - 48 Piano Sonatas
Daniel-Ben Pienaar
Classical - Released August 25, 2023 | Avie Records
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Liszt: Piano Sonata & Transcendental Etudes
Francesco Piemontesi
Solo Piano - Released September 1, 2023 | PentaTone
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Booklet
To hear pianist Francesco Piemontesi tell it, he waited until middle age to attempt the Liszt Transcendental Etudes, even though these works are often programmed by hotshot young pianists intent on displaying their technical mastery. What Piemontesi gets is that Liszt's most difficult works have technical depths that are still achieved by only a few. A piece like "Scarbo," from Ravel's Gaspard de la nuit, was at the edge of the technically possible when it was written, but now any competent conservatory graduate can play it. The Transcendental Etudes and the Liszt Piano Sonata in B minor are different. A good performance is quite possible, but great ones that evoke the spell in which Liszt held his audiences are rarer. The latter is what the music gets here from Piemontesi. He is strong throughout, but it is in the dense virtuosic passages, with sheets of sound issuing from his piano, unfortunately unidentified in the booklet, that leave the listener amazed. Sample "Mazeppa" from the Etudes or the fugal treatment of the main sonata material for an idea; those sheets of sound never lose their individual notes. Piemontesi is hardly less effective in the slower passages, which have a kind of majesty. He records on home ground at the Auditorio Stelio Molo in Lugano, and it is an appropriate venue for his remarkable achievement.© James Manheim /TiVo
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The Complete Beethoven Piano Concertos
Garrick Ohlsson
Classical - Released May 12, 2023 | Reference Recordings
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Gramophone Editor's Choice
Musical careers last longer than they used to, and here, it is difficult to detect any weakening of the long-impressive technique of pianist Garrick Ohlsson, 74 years old, when this album was recorded in the summer of 2022. The feat is especially impressive in that all five of the Beethoven concertos (plus the Overture to The Creatures of Prometheus, Op. 43, with no piano) were performed live within a single week. Ohlsson is backed by the Grand Teton Music Festival Orchestra under the direction of veteran conductor Donald Runnicles, who points out that he and Ohlsson had very little discussion about interpretation prior to the performances. It is here that Ohlsson's expertise is evident. He doesn't blaze any new paths in these works, but one has the feeling that he holds the performances, to borrow a phrase from John Le Carré, like a thrush's egg in his hand. His readings are simple in the best way. Sample the arresting opening of the first movement of the Piano Concerto No. 4 in G major, Op. 58; it is direct, yet there are micro shapings that bespeak long familiarity. In fact, it is in the first two concertos, where the lengthy expositions make it less possible for Ohlsson to control the flow of events, that are less effective. The partnership between Ohlsson and the orchestra, though, is lively throughout, and Runnicles gets excellent results from what is likely essentially a pickup group; the orchestra is moderately sized and agile. Superb live recording from Reference Recordings, discussed in detail in the booklet, is another draw.
© James Manheim /TiVo
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Shostakovich & Kondrashin: Complete Symphonies
Kirill Kondrashin
Classical - Released January 1, 2006 | JSC Firma Melodiya
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The Tchaikovsky Project - Complete Symphonies - Orchestral Works - Complete Piano Concertos
Semyon Bychkov
Classical - Released August 30, 2019 | Decca Music Group Ltd.
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Booklet
Studio recordings are rare things today. Orchestras are of such great quality that publishers prefer live recordings, which are much cheaper than long studio sessions, with their complex production workloads. And so this is a rather "old-fashioned" (it's fashionable) publication here from Decca, directed by Smyon Bychkov, a conductor who has rarely appeared on records for some years. Born in the Soviet Union in 1952, Semyon Bychkov was destined for a fine career in his country when, at the age of 21, he was offered the opportunity to replace the titan Mravinski at the head of the Leningrad (today St Petersburg) Philharmonic Orchestra. But his contract was cancelled because of his political opinions: a move that obliged him to seek refuge in the USA, where his career truly began in earnest. Obtaining US nationality, he became the director of the Paris Orchestra for ten years, before accepting a similar post at the head of the WDR Cologne Radio Orchestra. Named the resident at the prestigious Czech Philharmonia following the premature death of its leader Jiří Bělohlávek, Semyon Bychkov started work on this anthology of Tchaikovsky's symphonic works, including the six symphonies, the rare and little-loved "Manfred" Symphony (in its original, uncut version, including the harmonium stipulated by the conductor), the piano concertos and the Serenade for strings. This was marathon job taken at a record-breaking sprint between 2015 and 2019. In the course of this project, the Russian conductor undertook minute work on the scores and studying the personal history of the composer, in particular around the Pathétique Symphony. For him, it wasn't a requiem to Tchaikovsky, but rather a "revolt against death and not the idea of death itself". As for the famous First Concerto, played here by Kirill Gerstein, he presents the more intimate original version, which is less emphatic than the one we are used to hearing. A fine piece of work with what Bychkov has described as an ideal orchestra, which mixes the highest expression of the Slavic spirit with a Western spirit: a synthesis which sums up Tchaikovsky's music itself. © François Hudry/Qobuz
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Beethoven: Diabelli Variations
Mitsuko Uchida
Classical - Released April 8, 2022 | Decca Music Group Ltd.
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Gramophone: Recording of the Month
The late Beethoven recordings of pianist Mitsuko Uchida have been career makers, and it is cause for celebration that she has capped them with the 33 Variations on a Waltz by Diabelli, Op. 120, a work that perhaps poses deeper interpretive challenges than any of the late sonatas. The Variations often show a kind of rough humor, and a performer may pick up on that, or the player may deemphasize the humor and seek out the epic qualities of the Piano Sonata No. 30 in E major, Op. 109, and Piano Sonata No. 32 in C minor, Op. 111. Uchida does neither. The outlines of her usual style, high-contrast and a bit dry, are apparent, but she does not let them dominate her reading. What Uchida realizes is that the abrupt transition from humor to the deepest existential ruminations is part and parcel of Beethoven's late style, and she works to hone the particular character of each Beethoven variation. Her left hand, as usual, is strikingly powerful, and this brings out many striking details (consider the stirring variation 16). The trio of slow minor variations toward the end are given great seriousness but are not in the least overwrought; Uchida achieves an elusive Olympian tone through the final variations. There is much more to experience here, for each variation is fully thought out, but suffice it to say that this is one of the great performances of the Diabelli Variations.© TiVo
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Bruckner: The Symphonies
Bernard Haitink
Symphonies - Released March 1, 2019 | Decca Music Group Ltd.
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Beethoven: Complete String Quartets
Takács Quartet
Classical - Released January 1, 2017 | Decca Music Group Ltd.
Hi-Res
Booklet
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