Tag: Classical

La Chapelle Royale, Collegium Vocale Gent, Orchestre des Champs-Elysées, Philippe Herreweghe
60:19
harmonia mundi HMG 501393 (© 1992)
+ Meistermusik K. 477 (479a)

[dropcap]A[/dropcap]lthough this performance has aged well, for me it still lags behind the Eliot Gardiner version. Unusually for a Herreweghe recording, I was aware of a little too much micro-management, especially at cadences. As you would expect, the vocal and instrumental forces are first rate; to wrong an unpardonable oversight in the packaging (as far as I can see, at least), the four soloists are Christiane Oelze, Jennifer Larmore, Scott Weir and Peter Kooy (spellings from the cover of the original release).

Brian Clark

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Riccardo Cecchetti fortepiano
67:51
Challenge Classics CC72666
Wq 55:5, 57:3, 4 & 6, 59:1, 5, & 6

[dropcap]T[/dropcap]he phrase ‘sense and sensibility’ in the title is a very appropriate description of the playing here, as well as of the music. Cecchetti performs three mature sonatas, together with two Fantasias and a Rondo, with great sensitivity of feeling and of touch. In the same way as Miklos Spányi exploits the clavichord’s resources in his recent recording (read it here), Cecchetti exploits the fortepiano’s potential to the full as an equally strong instrument of choice for C. P. E. Bach’ music. He plays on an anonymous German fortepiano of 1785 from the Edwin Beunk Collection, built in the same year as the clavichord used by Spányi for his recording. There are no common sonatas between the two recordings but comparison is still intriguing, with Cecchetti less percussive and more flexible rhythmically. The sleeve notes here are a bit general and do not provide information on the specific sonatas played. Very fine playing and shows a deep understanding of C. P. E. Bach’s idiom.

Noel O’Regan

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Ensemble Resonanz, Riccardo Minasi
65:45
Es Dur ES 2053

[dropcap]B[/dropcap]ach’s six three-movement string symphonies represent the ultimate in the move from the Baroque, with its single mood (or affekt) within each movement, to the Pre-classical concept of depicting many short, contrasting motivic ideas in order to rapidly change the emotional experience of the listener within a short space of time. Here Minasi takes this concept to its ultimate limits, with wide-ranging dynamic contrasts and dramatic pauses. Ensemble Resonanz bridge that gap between period and ‘modern’ instruments while remaining as true as possible to the composer’s intentions. Such a repertoire taxes the most accomplished of players, and only very occasionally was I aware of some very slight imperfections in intonation from this ensemble, which did not detract from a pleasurable listening experience. ‘Pleasurable’, however, may not be the best choice of word, as these works demand intense and careful attention from the listener to fully appreciate the composer’s intentions. For they could never have been conceived, as so much music of the period was, as music to entertain the composer’s patron Baron van Swieten.

I knew the 3rd of these works particularly well, but never realised, until I read the excellent booklet notes, that the opening dramatic motif of it’s adagio spelt out ‘BACH’, followed by an E (for Emanuel)!

Ian Graham-Jones

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Kristian Bezuidenhout fortepiano
72:54
Harmonia Mundi HMU 907531
K.180, 264, 284, 310

[dropcap]K[/dropcap]ristian Bezuidenhout has already garnered many plaudits for his Mozart keyboard series and this latest volume continues the same exceptional level of engagement with the music. It combines two variation sets with two of the largest-scale of his earlier sonatas, showing the full range of the composer’s inspiration. Playing on a copy of an 1805 Walter piano by Paul McNulty, Bezuidenhout gets a particularly wide range of tone and dynamics which is always at the service of the music, showing beautiful control of that tone throughout and avoiding any harshness. I particularly appreciated his ability to separate the two hands in slower cantabile sections, as well as the absolute rhythmic precision he brings to faster ones. His playing is always intelligent, revealing the different structural levels in the music very clearly, while always allowing time for Mozart’s rhetorical and topic-based gestures to come through. The recording quality is excellent, clean and warm, and the CD is completed by some highly informative sleeve notes by John Irving. An outstanding recording.

Noel O’Regan

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Arcangelo, Jonathan Cohen
57:42
Hyperion CDA68090

This is – without a doubt – my recording of the month. As much for proving that Haydn is every bit as fun and charming as his younger countryman as for the brilliant playing (in every sense) of all concerned. Recorded between 2012 (bassoon concerto) and 2014 (Haydn), the orchestral lists read like a “Who’s Who” of the greats on the UK early music scene and the soloists are all outstanding – the rapport between the four in the Sinfonia concertante is palpable; I wonder if Haydn’s own performances were this good.

As for Mozart, well, I have long been in love with the slow movement of his bassoon concerto – among other things, it was my constant saviour when my niece and nephews would not sleep as young children! Peter Whelan’s dulcet tones would charm the noisiest child, and his understated virtuosity in the outer move-ments is all the more impressive for not being showy. I was not nearly so keen on the oboe concerto – until now! Somehow Alfredo Bernardini’s delicately rendered account (on an 1800 Grenser instrument) has persuaded me – and I laughed out loud when the ripieno oboes joined in the last movement cadenza. The outstanding string players in the Haydn are violinist Ilya Gringolts and cellist Nicolas Alstaedt, playing a Stradivarius and a Guarnerius respectively. A large part of the success must be down to young director, Jonathan Cohen, clearly a man to watch as much in classical repertoire as he has already shown himself to be in Baroque material. I have a sneaking suspicion he might move forward into Romantic music with this quite exceptional band and I will definitely be going along for the ride.

Brian Clark

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Il Giardino Armonico, Giovanni Antonini
75:18
Alpha 671
W. F. Bach Symphony in F FK67, Haydn Symphonies 22, 46 & 47

[dropcap]T[/dropcap]his second instalment in Alpha’s projected complete symphonies recording in time for the 300th anniversary of the composer’s birthday features three striking works from the master and another by Bach’s oldest son. With 44222 strings, pairs of oboes (or cor anglais in symphony 22, whose subtitle gives the CD its name), horns, bassoon and harpsichord, the band is well balanced and all of the voices are clearly audible in the remarkably clean and well captured acoustic.

Antonini lets the music speak for itself and there is never any audible hint of micromanagement. Each of the Haydn works has its own distinctive feature – 46 is in the frightening key of B major, 47 features a musical palendrome and 22 reverses the order of the first two movements – and they work well as a balanced programme. I really like the idea that each release in the series will not be devoted exclusively to his music though; so, as well as offering the finest period instrument performances, they will also contextualize it. I look forward to more discoveries along the way.

Brian Clark

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