Wednesday, August 23, 2017
JS Bach Piano Concertos: Martha Argerich and friends The tracks on this recording are as follows: Improvisations I, performed by Gabriela Montero (piano) Improvisations II, performed by Gabriela Montero (piano) Bach, J S: Keyboard Concerto No. 3 in D major, BWV1054 Lilya Zilberstein (piano) Keyboard Concerto No. 4 in A major, BWV1055 Nelson Goerner (piano) Keyboard Concerto No. 5 in F minor, BWV1056 Stephen Kovacevich (piano) Keyboard Concerto No. 7 in G minor, BWV1058 Dong-Hyek Lim (piano) Concerto for Two Keyboards in C major, BWV1061 Dong-Hyek Lim & Frank Braley (pianos) Concerto for Two Keyboards in C minor, BWV1062 Khatia Buniatishvili, Gvantsa Buniatishvili (pianos) Concerto for Three Keyboards in D minor, BWV1063 Frank Braley, Michel Dalberto & David Kadouch (pianos) Concerto for Three Keyboards in C major, BWV1064 Dong-Hyek Lim, Mauricio Vallina & Akane Sakai (pianos) Concerto for Four Keyboards in A minor (after Vivaldi), BWV1065 Martha Argerich, Lilya Zilberstein, Mauricio Vallina & Dong-Hyek Lim (pianos) Concerto for Four Keyboards in A minor (after Vivaldi), BWV1065 Martha Argerich, Nicholas Angelich, Akane Sakai & Nelson Goerner (pianos) All selections are supported by the Orchestre de Chambre de Lausanne The great Martha Argerich and the Chamber Orchestra of Lausanne leads a team of amazing pianists from all around the world. These major figures and young soloists at the edge of a promising career are gathered to glorify Bach. These piano concertos are ideal for many combinations: one, two, three or even four pianists. This brilliant formation includes amongst others Nicholas Angelich and Frank Braley, the gifted Michel Dalberto and Nelson Goerner, the classic master Kovacevich, the great Russian pianist Lilya Zilberstein, the South Korean Dong-Hyek Lim as well as the talented David Kadouch. Here are Martha Argerich and her friends in music by Johann Sebastian Bach:
The Mozarteum Argentino is now a venerable institution and no one doubts that its trajectory is matchless in our country. The first two items of this year´s season proved again the acumen of its Artistic Director Gisela Timmermann and the fine leadership of President Luis Alberto Erize, for they presented in their two subscription series at the Colón admirable interpretations of Mozart and Vivaldi respectively by the Munich Chamber Orchestra with violinist Veronika Eberle and by the Venice Baroque Orchestra with mezzo Romina Basso. The Munich outfit has visited us several times; founded by Christoph Stepp in 1950, its local debut was in 1955 led by its founder Christoph Stepp; they came back in 1960 at the Museo de Arte Decorativo in the eighth season of the Mozarteum and with Hans Stadlmair, who was their leader for almost four decades. They visited us for the Mozarteum two more times before the present one, who had the characteristic of coming without their current conductor, Alexander Liebreich. In this tour the concertino was the Oriental Soyeun Kang (in early announcements it was going to be Giglberger) and she ran the show from her post, with almost imperceptible gestural indications. But the other twelve violins plus four violas, three cellos, two basses, one flute, two oboes, two bassoons and two horns (not always the whole was used), a total of 29 counting the concertino, were unflinchingly together, as the true and stylish professionals that they are. There were two programmes where only Mozart´s Symphony Nº33 was played in both, with talented violinist Veronika Eberle making her local debut. In fact Symphony Nº 33 replaced the originally announced Nº 29, for this one collided with the Kammerakademie Potsdam´s programme scheduled for June 14; a pity that an early Mozart Cassazione (a type of Divertimento) mentioned to begin the first of two concerts wasn´t included. Symphony Nº 33 in B flat, K.319, is rarely played and less interesting than other symphonies before the big six (35, 36, 38 to 41) such as Nos. 25, 29, 31 and 34, but it is a work of charm and consumate ability in its four compact movements. It was beautifully played and served as an apéritif to one of the two great moments of the first concert: the immaculate reading of Mozart´s Violin Concerto Nº4, K.218 by Eberle and the orchestra. He wrote five in the brief time of nine months in 1775, when he was 19. Eberle, now 27, a disciple of the great Ana Chumachenco, showed grace, refinement and transparent articulation, as well as impeccable taste in the small cadenzas added at appropriate points where the orchestral music arrives to a pause. The encore was Kreisler´s "Liebesleid" ("Love´s sorrows"). After the interval I didn´t enjoy the première of "Hirta rounds" by the Irish composer David Fennessy (born 1976), for me it is boring minimalism. After the brief "Lyric Andante" for strings, an agreeable piece by Reger far from his usual dense writing, we came to the other high spot of the evening: a wonderful performance of that very special Symphony Nº45 ("Farewell") by Franz Joseph Haydn. It´s one of the "Sturm und drang" ("Storm and impulse") symphonies (44 to 49), a precocious harbinger of Romanticism during Classicism paralleled in literature by Schiller and Goethe. Written in 1772, indeed it starts with a stormy first movement in F sharp minor, a complex tonality rarely used at the time. Followed by a melancholy Adagio and a formal Menuet, the last delicate movement makes us understand the "Farewell" sobriquet, as players gradually leave their seats until the last phrase is played only by the concertino: it was the composer´s subtle way to suggest to his patron, Prince Esterházy, that it was time to leave their Summer Palace and go back to Eisenstadt, their winter home; and the Prince complied... The playing was exquisite and stylish throughout, and led to the encore, the last movement of, yes, Mozart´s Symphony Nº 29! The second concert started with Mozart´s Symphony Nº 33, followed by his Concerto Nº5 for violin, called "Turkish" because of an episode in the last movement that parodies that music. It innovates by interrupting the first movement´s Allegro by an elegiac violin Adagio before the return of the Allegro. Eberle was marginally less convincing, not so exact in her playing and with added cadenzas sometimes too exotic for comfort in Mozart, but still quite good, as was the orchestra (whose only flaw in both concerts came from small smudges from the horns). We had Eberle also after the interval, for she played three Kreisler pieces: "Schön Rosmarin" ("Beautiful rosemarie"), "Liebesleid" and "Liebesfreud" ("Love´s joys"), orchestrated simply, for the violin soloist always leads (orchestrations unidentified). These are charming tidbits justly famous, and Eberle played them with the care and distinction they merit. The lovely Symphony Nº5 by Schubert, written at 19 in 1816, is a homage to Mozart but with the harmonic and melodic sensitivity that distinguished the great Pre-Romantic of tragically short life. The performance was delightful though without personal touches . A pity that their encore was a repeat of the Menuet. The Venice Baroque Orchestra sports its English name though it should properly be called the Orchestra Barocca di Venezia. It was founded in 1997 by investigator and harpsichordist Andrea Marcon. Since their inception they have made pioneer work rediscovering and in certain cases recording operas by Cavalli, Vivaldi, B.Marcello and Boccherini. In this debut tour they didn´t come with Marcon but concertino Gianpiero Zanocco proved a splendid leader. And with them came a talented mezzo, Romina Basso (also debut) who has recorded five Vivaldi operas (!) and been a soloist with a redoubtable covey of specialist ensembles. Together thay gave a memorable all-Vivaldi programme presenting two Sinfonias, four Concerti and six opera arias. A veritable feast disproving the still existing prejudice about Vivaldi´s sameness, for the evening was a constant discovery of contrasting marvels. The group is basically a string ensemble (13) plus harpsichord, but one of the violinists, Anna Fusek, is also a virtuoso player of the sopranino recorder and she wowed the audience with the Concerto RV 443 (RV: Ryom Verzeichnis=Ryom catalogue). The other Concerti were for two violins, RV 516 (Zanocco, Giorgio Baldan) and the only one for two cellos, RV 531 (Massino Raccanelli Zaborra, Federico Toffano). Excellent playing save for some acidity in high long notes from the violins, probably because they use no vibrato at all (they are very historicist in style, with strong dramatic colors, though their strings are metallic, not guts). The two Sinfonias were brief, in G major (RV 146) and minor (RV 157); the sinfonias of that time were as the concertos but without soloists, nothing to do with classicist symphonies. The treat of the evening was the very different operatic arias: they were turbulent in "Bajazet", dramatic and slow in "Farnace", florid in "Orlando furioso", mild in "Atenaide", expressive in "Giustino" and fast, intense in "Argippo". Musso has a remarkable technique and range, as well as theatrical temperament. She proved adaptable to dissimilar mooods and capped the evening with that wonderful slow Händel aria, "Lascia ch´io pianga", from "Rinaldo". For Buenos Aires Herald
In April of this year, I shared with you my reactions when I heard Russian pianist Arcadi Volodos play the music of Johannes Brahms on a Sony recording. He played some of my great favorites, including the three Intermezzos Opus 117, which I had used as introduction music for my radio show. One of my readers commented last night about his own great enjoyment of Mr. Volodos’ fine playing. So, today I bring you more music as performed by Arcadi Volodos, from his concert in Vienna several years ago: Mr. Volodos performs the following music: Sicilienne (after Vivaldi) (Encore) Bach Lullaby in a Storm (Encore) Tchaikovsky / Volodos Liszt: Après une lecture du Dante, fantasia quasi sonata (Années de pèlerinage II, S. 161 No. 7) Ravel: Valses nobles et sentimentales Schumann: Waldszenen, Op. 82 Scriabin: Prelude, Op. 37 No. 1 in B flat minor Prelude, Op. 11 No. 16 in B flat minor Danse languide, Op. 51 No. 4 Guirlandes, Op. 73 No. 1 Piano Sonata No. 7, Op. 64 ‘White Mass’ Feuillet d’album, Op. 45 No. 1 (Encore) All performed by Arcadi Volodos (piano) Since his debut recording released in 1997, Arcadi Volodos continues to be celebrated as a keyboard genius, and is without a doubt one of today’s most outstanding and internationally interesting pianists. His unlimited virtuosity along with his unique sense of timing, colour and poetry made him a romantic narrator of intensive stories. Several years ago, Volodos played at the Musikverein in Vienna, and subsequently toured the Vienna concert program in several German cities. The BBC Music magazine wrote: “The performance is an awesome display of keyboard command…The recorded sound does gorgeous justice both to the playing itself, and to the surrounding Vienna Musikvereinsaal acoustic.” Here is the video of the concert from Vienna!
From the Lebrecht Album of the Week: Never heard of Carbonelli? Don’t feel too bad about it. The Vivaldi scholar Michael Talbot writes that he ‘has remained unknown, even to specialists’. Listen to the music, though, and you will wonder how work of such quality and intricacy could vanish so comprehensively into the mists of history…. The restoration of Giovanni Stefano Carbonelli could be the musical rediscovery of 2017. Read on here. And here. And here.
On this recording, Elīna Garanča performs music by Mozart and Vivaldi. Mozart: Deh, se piacermi vuoi (from La clemenza di Tito) Camerata Salzburg, Louis Langrée Temerari!…Come scoglio! (from Così fan tutte) Camerata Salzburg, Louis Langrée Se l’augellin sen fugge (from La finta giardiniera) Camerata Salzburg, Louis Langrée Và pure ad altri in braccio (from La finta giardiniera) Camerata Salzburg, Louis Langrée Ah, scostati!…Smanie implacabili, che m’agitate (from Così fan tutte) Camerata Salzburg, Louis Langrée Ch’io mi scordi di te?… Non temer, amato bene, K505 Camerata Salzburg, Louis Langrée Vivaldi: Quel ciglio vezzosetto (from Bajazet) Europa Galante, Fabio Biondi E bella Irene (from Bajazet) Europa Galante, Fabio Biondi Non ho nel sen costanza (from Bajazet) Europa Galante, Fabio Biondi Ah disperato Andronico! (from Bajazet) Europa Galante, Fabio Biondi La sorte mia spietata (from Bajazet) Europa Galante, Fabio Biondi Lascerò di regnare (from Bajazet) Europa Galante, Fabio Biondi Spesso tra vaghe rose (from Bajazet) Europa Galante, Fabio Biondi Coronata di giglie e rose (from Bajazet) Europa Galante, Fabio Biondi Performed by Elīna Garanča (mezzo-soprano) Elīna Garanča’s velvety, versatile voice makes her one of the outstanding singers of the present day, of that there can be no doubt. She followed up her international breakthrough at the Salzburg Festival with two celebrated CD releases in 2005 that laid the foundation of her rich discography: a Mozart recital and the world premiere of Vivaldi’s opera Bajazet. The present album combines the loveliest moments from these recordings. Listen now as Ms. Garanca Sings two arias from Mozaer’s nozzle di Figaro:
My Classical Notes brings you today a review of “The Sound of Piazzolla” The individual tracks are as follows: Piazzólla: Libertango, with Alison Balsom (trumpet) Escualo Alison Balsom (trumpet) Oblivion Martha Argerich (piano) Histoire du Tango: Bordel 1900, withEmmanuel Pahud (flute) Fuga y Misterio, with The 12 Cellists of the Berliner Philharmoniker Adiós Nonino The 12 Cellists of the Berliner Philharmoniker Primavera Porteña, with Daniel Barenboim (piano) Verano Porteño with Daniel Barenboim (piano) Otoño Porteña with David Aaron Carpenter (viola) Invite no Porteño tenTHing Five Tango Sensations: Asleep, with the Alban Berg Quartett Le Grand Tango with Mstislav Rostropovich (cello) La Muerte del Angel Manuel Barrueco Los Pajaros Perdidos Philippe Jaroussky (countertenor) Concierto del angel Tango Ballet Maria de Buenos Aires Suite, with Gidon Kremer All performed by the Kremer Baltica, Kremer Musica, Coral Lirico Buenos Aires Some of the greatest names on today’s classical music scene pay Homage to Astor Piazzolla. Presented in two distinct programs, the first part highlights the most varied of influences: this is not just about the tango; there are influences from jazz and the classical traditions of Bach and Vivaldi, all brought together here. The second part combines original classical compositions – the ‘tango operita’ María de Buenos Aires, the Tango Ballet and Concierto del Angel. The recordings by Gidon Kremer and his KremerATA Baltica are a true piece of Piazzolla pioneer work. In the 1950’s when Astor Piazzolla went to Paris to study classical composition, the tango of his native Argentina was not considered fit for the concert stages of Europe; these were the sultry sounds of the street; the music of the demimonde. Luckily, the formidable composition teacher Nadia Boulanger encouraged her Argentinian pupil to draw precisely on those roots. Piazzolla at last found his true voice as a composer and bandoneon virtuoso. Today, he is considered the father of tango as we know it today, blending rhythmic vitality with orchestral textures. Twenty-five years after Piazzolla’s death, The Sound of Piazzolla confirms that the founder of Tango Nuevo left as his legacy a unique style of music that sounds just as fresh and vibrant today. Here is the music!
Antonio Vivaldi (March 4, 1678 - July 28, 1741), was an Italian Baroque composer, priest, and virtuoso violinist, born in Venice. Vivaldi is recognized as one of the greatest Baroque composers, and his influence during his lifetime was widespread over Europe. Vivaldi is known mainly for composing instrumental concertos, especially for the violin, as well as sacred choral works and over 40 operas. His best known work is a series of violin concertos known as The Four Seasons. Many of his compositions were written for the female music ensemble of the Ospedale della Pietà, a home for abandoned children where Vivaldi worked between 1703 and 1740. Vivaldi also had some success with stagings of his operas in Venice, Mantua and Vienna. After meeting the Emperor Charles VI, Vivaldi moved to Vienna hoping for preferment. The Emperor died soon after Vivaldi's arrival, and the composer died a pauper, without a steady source of income. Though Vivaldi's music was well received during his lifetime, it later declined in popularity until its vigorous revival in the first half of the 20th century. Today, Vivaldi ranks among the most popular and widely recorded Baroque composers.
Great composers of classical music