Камерная и инструментальная музыка
Камерная и инструментальная музыка
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Ernest Chausson is a most unusual figure in French music, positioned at the crossroads where the romanticism of Berlioz and Franck meet the language of Wagner and the symbolism of the young Debussy. His Poème de l amour et de la mer is a unique score for the period and certainly his greatest work; simultaneously a profane, naturistic cantata, a monologue, and a song cycle, it was composed between 1882 and 1892.
Véronique Gens is recording this cycle for the first time, although she has already issued Le temps des lilas with Susan Manoff at the piano for her disc Néère (ALPHA 215), about which Ernst Van Bek wrote in Classiquenews: it mesmerises with the nuancing of its colours, the allusive precision of every sung word. Véronique Gens talent is equally on display in this recording too, with the Orchestre National de Lille an orchestra she already knows well under Alexandre Bloch, its new chief conductor, whose appointment and first concerts and recordings have already caused a sensation... The Symphony in B flat major completes this programme: a summit of French symphonic writing, for some a milestone as important as the Symphony in D of Chausson's teacher.
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The brilliant soprano María Cristina Kiehr, together with lutenist-vihuelist Ariel Abramovich, presents her first solo album devoted to Renaissance music. With her broad experience in sixteenth-century polyphonic repertoire (in La Colombina and Ensemble Daedelus, among others), and a project almost completely using her native language, Kiehr brings to the music of Spain’s Golden Age her own unique perspective.
Imaginario reconstructs an imaginary and unknown book of vihuela songs, inspired by the seven marvellous books published between 1536 and 1576, but this time as if published in Valladolid or Seville between 1570 and 1580. Constructed in the shadow of the earlier books, each one of its songs makes reference either in its music or text to another song from those earlier books.
The vihuelist Jacob Heringman, together with whom Abramovich created and recorded Cifras imaginarias (Arcana A428) is also part of this project, together with the mythical British tenor John Potter, ex Hilliard Ensemble and ECM artist, who performs an enigmatic piece for tenor and vihuela.
A unique project, in every sense of the word, this stretch of the imagination takes the recorded repertory of the Spanish Renaissance one step further, venturing into the world of musical fiction based on a blend of creativity and science, and with a team of researchers difficult to surpass.
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This fruitful “encounter” between Leonard Bernstein and Maurice Ravel juxtaposes Bernstein’s intensity and rhythmic vitality with the melancholy refinement of Ravel’s colours, while also highlighting the composers’ commonalities, such as a shared tonal language and masterful incorporation of jazz idioms. Our purpose, however, is not only to appreciate an artistic cross-exchange but also to build upon it. This is what Trio Zadig and Benjamin Attahir seek in Asfar, a new work that springs from the creative nexus of these 20th-century giants and continues the conversation.
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Raimund Lissy, violinist with the Vienna Philharmonic, has been supporting the rediscovered work of Viennese composer and violinist Joseph Mayseder (1798-1863) for years. He is already presenting his fourth CD with works by the Bieder-meier composer, who himself had worked with Haydn, Beethoven and Schubert. Mayseder gained great fame in his lifetime, and bought a city house in Vienna for himself and his son-in-law, a jeweller whose descendants still are active there today. His works, mostly written for chamber music with violin participation, combine virtuosity with Viennese charm. In this volume, the Viennese Mayseder ensemble (with Lissy as 1st violinist) play the string quartet No. 2 and the string quintet No. 2.
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Mario Castelnuovo-Tedesco wrote that ‘the cello is an instrument I’ve always particularly loved’, and this is reflected in the deft way he exploits its colours and techniques in chamber works recorded here that include unpublished gems and a world premiere. The sophisticated Cello Sonata and Sonatina also reveal the composer’s skill as a pianist, giving equal roles in a symbiotic relationship that tests both players’ virtuosity. Impressionist flavours in I nottambuli or ‘Night Owls’ contrast with a Toccata that blends fireworks with lyricism, as does the Jewish soulfulness of the popular Chant hébraïque with the playful Scherzo that uses the English traditional tune Sumer is icumen in.
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Agustín Barrios Mangoré’s first public appearance was as ’the Paganini of the guitar from the jungles of Paraguay’. This flamboyant image was soon retired, but his legacy as a composer has endured and flourished, as have the recordings he made as the first guitarist to take advantage of new technology from as early as 1910. Ranging from romantic enchantment to fearsome virtuosity via works with Bach-like restraint, this programme embraces Barrios Mangoré’s art from his earliest known piece, Abrí la puerta mi china, to the reconstruction of the substantial Diana Guaraní from a recording made in 1943.
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In an exciting collaboration, guitarists Adam del Monte and Mak Grgic journey through the wide landscape of Spanish and Latin American music. With brand new arrangements they explore classics of Iberian romanticism from Albéniz and Granados as well as promoting the vivid ethnic rhythms of Ginastera and the beautiful filmic nostalgia of Carlos Gardel, master of the tango-song. The bittersweet poetic richness of Héctor Stamponi is balanced by del Monte’s own original flamenco dances, which take the genre into vivid new directions.
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Johann Sebastian Bach has always been considered one of the greatest music transcribers of all times. Many of his transcriptions (mostly the ones from Italian composers Vivaldi and Marcello) have become instant classics, and they are still viewed as masterpieces of the baroque repertoire. Bach has always been very active as a transcriber of his own music too. His masterful transcription of his Sonata for viola da gamba and keyboard no.1, which he transformed into a trio for two flutes and continuo, has given the inspiration for this CD project. Tripla Concordia and Walter van Hauwe decided to transcribe even the other two Gamba Sonatas as Trio Sonatas, walking in Bach footsteps. In doing so, the members of the ensemble actually fulfilled their desire of offering a new listening experience of this set of sonatas, with fresh colours and textures. Tripla Concordia sincerely hopes that those new versions will cast a new light on these works, thus giving the listener the opportunity of discovering new details and fresh instrumental combinations.
Transcriptions of other two Bach masterpieces, the Organ Sonata no.3 (transcription by Sour Cream) and the Partita for Lute BWV 997, complete the recording.
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This solo album by cellist Wilhelmina Smith features works for solo cello by Esa-Pekka Salonen and Kaija Saariaho. Both composers belong to a generation of modernist Finnish composers whose work has gained broad acceptance in musical culture throughout the world. While each composer has a clear individual artistic persona, as a group they are known for pushing sonic boundaries. In writing for strings and, in particular on this recording, the cello, Salonen and Saariaho exploit the outer reaches of the technical possibilities for both the instrument and the performer. Wilhelmina Smith is an artist of intense commitment, poetic insight and dazzling versatility. As a soloist and recitalist as well as a collaborative musician and festival director, Smith has consistently advocated for composers with whom she has developed vital relationships, to have their music creatively positioned within an intellectually engaging context and performed with the utmost passion and technical assurance.
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So greatly did Ignaz Lachner venerate Mozart that he arranged twelve of the 27 piano concertos for performance by small ensembles. Lachner, who had known Schubert in Vienna and had met Beethoven, was superbly equipped for these arrangements ensuring that the string quintet of soloists, with the double bass largely doubling the cello role, sounds thoroughly idiomatic. The three selected works represent the different sized orchestras Mozart employed, K. 246 being the most lightly scored, and K. 488 the most complex. The anonymous arrangement of excerpts from Die Zauberflöte proves equally vital and attractive.
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Busatti: Angela siete
+Fontana: Sonatas VIII & XVI für 3 Violinen & Bc
+Monteverdi: Szene "Messaggera ed Orfeo"; Lettera amorosa; Combattimento di Tancredi e Clorinda
+Frescobaldi: Aria di Romanesca; Cento Partite sopra Passacagli
+Caccini: Amro ch'attendi; Ch'io non t'ami, cor mio
+Porsile: Kantate "sopra l'arcicalascione"
+Rubino: Kantate "Lena"
+Liguori: Quanno nascette Ninno a Bettlemme
+Matteis: Sonate für 2 Violinen & Bc
+A. Scarlatti: Kantate "Ammore, brutto figlio de pottana"
+Ragazzi: Sonate Nr. 1 für 3 Violinen & Bc
+Morini: Kantate "L'Arfeo annammurato"
+Frottole im Italien des 16.Jahrhunderts: Werke von Cara, Azzaiolo, Stringari, Caprioli, Morini, Fogliano, Lasso, Giuggiola, Scoto, Dalza, Lurano, Borrono, Beasley
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Herbert Howells’s style, immediately recognisable for its long melodic lines, rhapsodic nature and rich harmonies, defined the sound of English cathedral music in the 20th century. His studies in London imbued his works with sophistication and a French influence, which were intertwined with a nostalgic ‘heart-ache’ for the ‘real Gloucestershire’, as can be heard in String Quartet No.3. The charming little character stories in Lady Audrey’s Suite tell of countryside and church, while the Piano Quartet in A minor is dedicated ‘To the Hill at Chosen and Ivor Gurney who knows it’, portraying a favourite local vantage point at different seasons as well as poignantly remembering a lost friendship.
Naxos have long had a warm affection for the music of Herbert Howells, with recordings that have included his deeply personal Hymnus paradisi (8570352) and the Stabat Mater (8573176). This new programme of his earlier chamber music complements one with musicians from the mobius ensemble released in 2004 that includes the Rhapsodic Quintet (8557188). This was summed up by Gramophone as ‘Rewarding repertoire, handsomely served by this talented, multi-national ensemble’.
The Gould Piano Trio has provided us with a growing discography of excellent British chamber music, including works by Arnold Bax (8557698) of which Gramophone wrote that ‘Enthusiasts can rest assured that these admirably agile and idiomatic performers give Bax’s youthful inspiration every chance to shine; indeed, it’s impossible imagine a more convincing account of the Trio.’ Gramophone also admired their ‘magnificently stylish’ recording of Stanford’s First Piano Trio
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Bach and Gabrielli: the focus of this recording is an unusual musical match involving the famous 6 Suites for violoncello solo by Johann Sebastian Bach and the little-known 7 Ricercari for violoncello solo (1689) by Domenico Gabrielli of Bologna, the first example of a work for unaccompanied cello in history, and thus the only precedent and possible model for the Bach masterpiece. In what ways are the two series of compositions linked? Cellist Mauro Valli is convinced that there is a connection between the two for a number of reasons, including the preponderant correspondence of the keys.
Bach assiduously performed and transcribed works by Italian composers, not only those of his contemporaries but also of earlier musicians, so it is highly likely that he was familiar with Gabrielli’s works, in particular with the Ricercari.
Mauro Valli provides an intriguingly new interpretation of Bach’s six masterpieces by heralding each one with the corresponding Ricercare. The outcome is strikingly fresh and original, with a wealth of courageously personal diminutions and embellishments that derive from Valli’s deep knowledge of the Italian baroque repertoire. Bach was fascinated by composers such as Frescobaldi, Albinoni and Vivaldi, and it certainly makes good sense to perform his Suites in the Italian style!
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In early 18th-century England, the recorder was a popular instrument among music lovers, therefore – since the eminent Italian composer Arcangelo Corelli’s works made an enormous impression in the country – it was only a matter of time before numerous virtuoso recorder arrangements of his string works began to appear. Estro Cromatico leader Marco Scorticati (recorder) and his longstanding partner Davide Pozzi (harpsichord and organ) join forces with Evangelina Mascardi (archlute), Sara Campobasso (recorder), Michela Gardini (cello) and Pietro Pasquini (organ), to deliver a new rendition of this well-loved music, including two premiere recordings. Improvised ornamentation, as well as the multifaceted texture provided by diversified combinations of the continuo instruments, play a central role in the present interpretation, thus bringing Corelli's extraordinary music back to life; as Roger North wrote in 1710 «if music can be immortal, Corelli’s consorts will be so». Booklet notes include a short essay on Corelli and the recorder written by Dr. David Lasocki, recognized as one of the world’s leading scholars regarding woodwind instruments, particularly members of the flute family.
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“I hear the embodiment of the wanderer resounding in my musical language. Each ‘end’ of a piece only brings forth the beginning of a new one”, says Sri Lankan-Australian composer Nirmali Fenn. The Hong Kong New Music Ensemble dedicates its first KAIROS release to Fenn’s small-scale chamber music: solos, duos and trios. This is an intimate journey to the composer’s soul.
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Mstislav Rostropovich (1927-2007) is unquestionably one of the great personalities of the 20th century - as a cellist, as a pianist, as a conductor, but also as a politically active citizen, who made use of his international artistic renown to help dissidents or strengthen democracies. After it became known abroad that he had written to four Russian newspapers in defence of Alexander Solzhenitsyn, he found it harder to work in the Soviet Union and he and his wife, soprano Galina Vishnevskaya, were eventually stripped of their citizenship. Although rehabilitated by Gorbachev and awarded the highest order of merit by Putin, they declined the restoration of citizenship, preferring to remain stateless. The recordings compiled into this set were made when Rostropovich was already famous in the Soviet Union (Stalin Prize 1951, Lenin Prize 1961) but largely unknown in the West. They document the early career of Mstislav Rostropovich, which is of particular significance for the premieres of major works by Shostakovich, Prokofiev and Kabalevsky.
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This new release features Schumann violin sonatas played with period instruments, including an Anselmo Bellosio violin, ca. 1770 with Gut strings and an Erard piano, serial number 32602, built in 1862. Maalismaa and Holmström have worked as a duo since 2011. They are co-directors of both the Ristiveto Festival, which specializes in performing late 19th-century music on period instruments, and the Classical Hietsu concert series in Helsinki. Finnish violinist Eriikka Maalismaa plays in a variety of ensembles and collectives and visits frequently as leader of orchestras. She is fascinated by saying Yes to things that scare her. Performing music of our time as well as collaborating with composers is one of her biggest interests. She finds it a musician's duty and a privilege. As a quite natural part of the profession, Eriikka loves setting her violin up with raw gut strings and finding sounds and colors that are no longer available to listeners of modern-day instrumentalism. Emil Holmström has performed as a soloist, chamber musician, and ensemble keyboard player throughout Europe, the Americas, Japan, and Australia. He appears frequently at Finnish music festivals and concert series and has been a featured soloist with the Finnish Radio Symphony Orchestra, the Lapland Chamber Orchestra, and the Lahti Symphony Orchestra. An ardent champion of new music, Holmström is a member Finnish groups defunensemble, the Uusinta Ensemble, and the Tristero Piano Trio, and plays as a regular guest with the Avanti! Chamber Orchestra.
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Guitar works by New Zealand composers continue to display a richness of imagination and sense of colour that makes them intensely attractive to listeners. In 1990 Jack Body wrote African Strings, which transcribed music of the Madagascan valiha tube zither and West African kora harp to captivating effect. John Psathas’ Muisca refers to the Chibcha-speaking people of what is now Colombia in music of conversational vitality and driving rhythm. Anthony Ritchie evokes lovers’ dances in Pas de Deux and there is a beautiful arrangement of the famous traditional Maori love song Pokarekare Ana
