The power of diversity in music and writing – and a great new book on poetry

With ‘diversity’ a current buzz word, I’ve been pondering what it means to me, personally. Take the idea that black culture matters (which is what ‘diversity’ has come to signify in popular modern parlance). A no-brainer as far as I’m concerned, but whereas others are identifying black musicians or writers to back up their cause I’d rather ponder the great, ride high on their gifts – I’m thinking Langston Hughes, Parker, Mingus, Walcott, Baldwin, Morrison, Armstrong, Holliday, Ellington, Basie, Fitzgerald, Angelou, the MJQ (Modern Jazz Quartet) and so on – accepting the riches they’ve given me and forgetting the issues of colour or racial origins. When I first encountered Fitzgerald, Ellington and Bechet (as a kid I’d play their records constantly) I had no idea they were black, but I did know that they were better than virtually anyone else in the genre at the time – and still are. Quality is what matters and it’s still the Number One priority, at least as far as I’m concerned.

I listen to the enriching music of Max Reger – who’s about as dead and white as it’s possible to be, stylistically at least – watching a video where the conductor is Wayne Marshall. Would either you or I guess that Marshall is black without foreknowledge? Not by listening, that’s for sure. Take the MJQ’s late pianist John Lewis playing straight Bach, or Keith Jarrett in Bach or Shostakovich. The stew is boiling and no one sensitive to culture can resist its powerful aroma. Celebrate individual ingredients by all means, but never forget that context is everything. A good deal has gone pear-shaped since the Sixties, but one Sixties legacy has remained potent: cultural cross-pollination (and by that I don’t mean multi-culturalism, which is a very different subject).

What prompted this heartfelt outburst is a recent book on poetry, the best ‘history’ I’ve ever read as it so happens, John Carey’s ‘A Little History of Poetry’ (Yale, £14.99). Most studies on the subject ply their narrative with a certain level of pedantry, dotting ‘I’s and crossing ‘T’s where eagerly pushing forwards would be a far better option, and which is precisely what Carey does here. He starts with the Epic of Gilgamesh, enters the realms of war, adventure and love with Homer and Sappho, then proceeds among the Latin classics (including Virgil), Anglo-Saxon poetry and, beyond that, the likes of Dante, Petrarch and Villon, the Elizabethans, John Donne, then the age of individualism, including the gnomic Herrick whose work I hardly knew. Happily, and with thanks to Oxfam in nearby Watford, I was able to acquire a handsome Herrick ‘complete works’ and am currently lapping it up. Religious individualists are covered, as are the Romantics and the likes of Yeats, Pound and Eliot, their vices as much illuminated as their virtues. Major Americans such as Whitman, Stevens and Dickinson are prominent, and so are the Germans Goethe, Rilke and Heine, though oddly Hölderlin is absent.  Meaningful – and memorable – quotations are plentiful and, yes, [Langston] Hughes, Walcott and Angelou are all there. The beauty of Carey’s book is that it gives you reasons to take poetry on as an urgent project (20th century Brits such Larkin, [Ted] Hughes and the likes fire straight from the hip), making it a necessary subject. Of writers on music only Alex Ross, whose newly issued ‘Wagnerism’ is a modern masterpiece, can compare. So if you’ve a friend or relative who reckons he/she doesn’t like poetry, this is your chance to prove them wrong.  

The joy of choosing ‘classical’ boxed sets as Christmas gifts – a personal selection ahead of time (with brief comments)

updated version (*)

There’s nothing like great music to lift the spirits during times of crisis – though hopefully the coming Christmas season will offer some respite for everyone. And as cd boxes make wonderful gifts, even when pricey (prices here range from £13.75 to £288.00), I thought that pre-Christmas I’d get in early ‘while stocks last’ (as they say). I’ve divided these personally chosen selections into specific categories, to help you identify which ones might be suitable for which friends or relations. Most should be available online (virtually all my choices were released during the course of this year, or thereabouts) and I’ve either reviewed – or will review – quite a few of them in fuller detail for Gramophone magazine.

You can always drop me a line on this blog at if there’s anything else I can at least attempt to help you with. Perhaps post your query as a response to this feature.

All prices are rounded up to an average.

Ravel complete

*Classic tracks from the earliest days of recording to 2019

Among Ravel’s most magical creations is his concise and occasionally jazzy ‘lyric fantasy’ L’enfant et les sortilèges, a cautionary but ultimately touching tale about a  naughty child who is reprimanded by objects in his room that he has been destroying. The end of the work is a real tear-jerker, so be warned. Warner’s admirable collection includes a vivid 2016 French recording of L’enfant under Mikko Franck, which is followed by performances of other, briefer works under Ravel’s own direction. The riches on offer here are substantial, not least the Daphnis et Chloe under André Cluytens, Sir Simon Rattle conducting the Mother Goose ballet, other orchestral works under the likes of Jean Martinon, Carlo Maria Giulini and Riccardo Muti, piano works with Bertrand Chamayou, Alexandre Tharaud, Samson François and Anne Queffélec and countless rarities. The deal is crowned by superb notes by Ravel expert Roger Nichols.

Ravel: the complete works

Warner Classics (21 cds)  0902952832




A winning collection that offers good performances of key Bach orchestral works (Brandenburg Concertos, orchestral Suites, and Violin Concertos), Corelli’s ground-breaking 12 Concerti grossi Op. 6, Handel’s Water/Royal Fireworks Music and first four organ concertos, Vivaldi (including ‘The Four Seasons’), Telemann (selections from ‘Tafelmusik’ or ‘Table Music’) and so forth. While hardly benchmark renditions, this is a reliable and sensibly priced starting point for anyone who fancies the ‘sound’ of baroque music but isn’t, as yet, too fussed about the finer details.


Brilliant Classics (25 cds)


Masters of the German Baroque

Now this really is high quality. Ricercar has over the years issued numerous recordings featuring top-of-the-range early music performers in sound that presents a most beautiful tonal blend. The repertoire featured in this generous anniversary box includes little-known members of the Bach family whose hypnotic works often sound unexpectedly modern (while JSB himself isn’t forgotten), as well as attractive dance music by Michael Praetorius, and compositions by Heinrich Schütz, Dietrich Buxtehüde, and numerous other composers who are very little known outside of specialist Baroque circles. I have personally derived untold hours of pleasure from this collection and would recommend it unreservedly.

Masters of the German Baroque

Ricercar set RC110 (31 cds)


Iona Brown revisits Handel’s Concerti Grossi at the Academy

Decca recently re-released, in the context of their big Academy of St Martin in the Fields anniversary box (485 0093, 60 cds), Iona Brown’s spirited 1979 Philips recordings of Handel’s complete Concerti Grossi Opp. 3 and 6, claiming Op.6 was a first cd reissue though in fact it wasn’t. Now Hänssler Classic offer a bargain box of her later digital recordings with the same band, stylistically very different, less rhythmically pungent and with added woodwind lines. Also, this later set is less ornamental: note the curlicues in the First Concerto’s second movement that have vanished during the intervening years. I’d say that of the two this newer set is more prone to dance; it’s also lighter on its feet, more keenly inflected and rather more in keeping with current performing practices for Baroque music. The sound is excellent.

Handel Concerti grossi Opp. 3 & 6

Academy of St Martin in the Fields, Iona Brown

Hänssler Classic HC17035 (4cds)



Andor Foldes: A musician’s virtuoso

Andor Foldes’s style of piano playing is both spontaneous and perfectionist. You might call him a musician’s virtuoso. No-one surely has tapped out the first movement of Beethoven’s Waldstein Sonata with a firmer sense of rhythm or made Bach’s Chromatic Fantasia sound less ostentatiously virtuosic. Foldes’s major achievement on disc is his survey of Bartók’s solo piano works for Deutsche Grammophon, here supplemented by an earlier version of the Sonata and his only recording of the Second Concerto, which is propulsive, powerful and where needs be elegant. His Mozart concerto recordings are often sublime while other Beethoven – virtually half of the sonatas are included – exhibit formidable levels of understanding. Among other highlights are works by Copland and Kodály, including Foldes’s own imaginative piano transcription of excerpts from Kodály’s Háry János Suite

Andor Foldes: the Complete Deutsche Grammphon recordings

Eloquence (19 cds) ELQ4841256


Alexandre Tharaud: from Scarlatti to the Beach Boys

Try Chabrier’s ‘Idylle’, rather like a Frenchified equivalent of a late Brahms miniature, equivocal music, gaily tripping along in its own very private world. The beauty of Tharaud’s approach is that he has the music greeted by countless rainbow hues, the approach both mobile and eventful, quite unlike anyone else’s. There’s charismatic Scarlatti and a most imaginative reworking – Tharaud’s own – of the Adagietto from Mahler’s Fifth. For most of the time you could easily imagine that Mahler’s original is in fact an orchestration of what Tharaud plays here.  He also offers us his colour-coded transcription of Debussy’s Prélude à l’après-midi d’un faune, extracts from concertos and numerous modern works from Hans Abrahamsen and a piano piece ‘around the Beach Boys’ to his own Corpus Volubilis. I loved every minute and my advice would be to hide the booklet under the table and listen ‘blind’, just for the fun of it. In that context identification hardly matters, only the music and the wonderful way Tharaud plays it.

Alexandre Tharaud: le poète du piano

Warner Classics (3 cds) 9029518087


Russia’s Lipatti

The pianist Rose Tamarkin was once married to Emil Gilels, and died in Moscow at the age of 30 almost exactly seventy years ago. According to Wikipedia’s fairly informative article at ‘Tamarkina started appearing in public at the age of 13, astounding listeners and critics with the maturity of her interpretation, temperament and her virtuosity’. The evidence on disc is unbelievable, most especially the Liszt items (the Rigoletto Paraphrase, Petrarch Sonnet No. 104 and Hungarian Rhapsody No. 10), the Sonnet raging with the full force of that ‘temperament and virtuosity’ As to the opening of Rachmaninov’s Second Concerto, yes, the piano initially drowns out the orchestra but once into its stride the performance proves among the most compelling ever committed to disc. Also included, a warmly phrased and at times heroic account of Franck’s Violin Sonata where Tamarkina partners the expressive Marina Kosolupova and there are performances of the Brahms and Taneyev Piano Quintets with the Bolshoi Theatre Quartet, the Brahms featuring remarkably clean finger work (as well as the first movement’s sizeable exposition repeat). The final disc opens to a Schubert and Schubert-Liszt sequence, two Impromptus from D899 (the E flat pure filigree), and Liszt’s versions of ‘Der Müller und der Bach’ and ‘Erstarrung’, both recorded live, sometimes minutely flawed, but anguished and full of foreboding.

The Art of Rosa Tamarkina

Scribendum Argento SC819 (3 cds)

*Chic Frenchman with a mind of his own

Fifty years ago this month the great French pianist Samson François died at the age of 46, having recorded Debussy for EMI (Warners) on that very morning (22nd October to be exact). François – who the great Alfred Cortot claimed was unteachable – regularly pushed the interpretative boat out, touting novel ideas that would never have occurred to lesser musical minds. This latest ‘complete edition’ includes a first-ever release of a live Nohant recital given just months before the pianist’s death, minutely flawed its true but with an account of Schumann’s mercurial Papillons that is so personal, so exquisitely nuanced that notated fact becomes musical fantasy. Other live recitals are also included, as are near complete traversals of the piano works of Chopin and Debussy and various concertos, one of the most striking being Prokofiev’s acerbic Fifth (the stereo version under Witold Rowicki) where François merely flicks at the second movement, making others (including Sviatoslav Richter) sound bullish. You’re unlikely to agree with everything you hear, but I’d be very surprised if you leave this wonderful set without having experienced some level of inspiration or stimulation. Also included, an interesting DVD ‘Samson François: The Enchanter of the Piano’.

Samson François: Complete Recordings

Warner Classics (54 cds + 1 DVD) 0190295261863



Beethoven complete violin and cello sonatas, plus the two greatest piano trios

For starters, beam up the central section of the third movement from the Piano Trio Op. 70 No. 2 (1:54), where the wittily affected string playing-style apes early music, while Melnikov’s response to it is uncompromisingly firm. Real conversation, this. Furthermore, the tipsily descending piano line at 0:41 is one of the weirdest passages in all of Beethoven. The Archduke Trio and sonatas (Violin and Cello) are memorably played, balletic in the faster music, charged with a symbiotic sense of dialogue elsewhere. While not pretending that Busch, Heifetz, Piatigorsky, the Beaux Arts, the Stern Trio et al are kicked out of court, Melnikov and friends have plenty to teach us and I for one was consistently attentive. Just one minor caveat, a production fault on the last cd might mean a temporary delay in availability.

Beethoven – Isabelle Faust, Jean-Guihen Queyras, Alexander Melnikov

Harmonia mundi HMX (6 cds) 2908873.78

Price not yet available –  probably around £35.00

Beethoven captured live around the globe

Quatuor Ébène’s epoch-making ‘Beethoven around the World’ project shared Beethoven’s quartet cycle between seven international venues though you’d never guess from the consistency of the sound. Nor would you guess that they were recorded live and in rehearsal: there’s virtually no evidence of an audience and no applause. As to the performances, we’re talking nose-to-nose confrontation, lacerating attack too, but in Op.132’s sublime slow movement a matchless level of involvement, at least in terms of digital recordings. If Beethoven’s ‘sixteen’ is on your bucket list, use Quatuor Ébène’s compelling reportage to learn the ropes.

Beethoven around the world (the complete string quartets): Quatuor Ébène

Erato (7 cds) 0190295339814


The Smetana Quartet recorded live in Prague 1976-1985 – first Western release

There are times when the Smetana Quartet levels with Quatuor Ébène from brilliance but in general their Prague stereo recordings for Nippon Columbia are less extreme than those of their younger rivals (Op.132’s sublime slow movement clocks in at 16:28 whereas Quatuor Ébène opt for a heavenly 21:00). But tempo isn’t everything and when it comes to refined expression, stylistic appropriateness and the sensitive balancing of parts, ‘rightness’ is a word that frequently springs to mind. The sound too is superb.

Beethoven Quartets complete – the Smetana Quartet

Supraphon (7 cds) SU 4283-2

Beethoven Smetana


Russian Chamber Music

The Borodin Quartet (personnel at this stage of their game: Kopelman-Abramenkov-Shebalin-Berlinsky) are handsomely authoritative in a Shostakovich Quartet selection which reaches across Nos. 1, 2, 3, 7, 8, 12 & 15 alongside the Piano Quintet and Second Piano Trio with the formidable Elisabeth Leonskaja, all compellingly performed. Then there’s the complete run of Tchaikovsky quartets and the sunnily affirmative string sextet Souvenir de Florence and Alfred Schnittke’s arrangement of Mahler’s piano quartet, as well as other pieces by Schnittke and works by Stravinsky and Weinberg.

Tchaikovsky, Shostakovich, Schnittke, etc Borodin Quartet, Leonskaja, etc

Warner Classics (8 cds) 0190295204631



Celebrating Ida

Eloquence’s posthumous celebration of the violin’s Grand Dame includes a first-release VW Lark Ascending under Sir Roger Norrington imbued with great feeling and a passionate 1982 Sibelius Concerto with Zubin Mehta conducting. The bulk of the set however is devoted to a portrait of the artist as a young girl, recordings of mostly short pieces with some concertos added that report Haendel’s youthful combination of tonal sweetness and breath-taking agility. As an expressive virtuoso Ida Haendel was up there with the best of them, and it’s great to have her rarer 78s sounding so smooth.

Ida Haendel: the Decca Legacy

Decca Eloquence (6 cds) 484 1688

c£35.00 – in preparation

* Henryk Szeryng – the ultimate ambassador of great culture

At the outbreak of World War II the great Polish-Mexican violinist Henryk Szeryng (“Szeryng” by the way a Polish transliteration of his Yiddish surname, which nowadays would be spelled “Shering” in the modern Yiddish-to-English transliteration), who was fluent in seven languages, served as liaison officer and interpreter to the premier of the Polish government in exile, Wladyslaw Sikorski. Szeryng died in March 1988, his headstone bearing the concluding bars of the ‘Chaconne’ from Bach’s Partita No.2 for Solo Violin. All this gives some indication of Szerying’s breadth of culture and this SWR collection while not exactly the last word in ‘hi-fi’ presents consistently insightful accounts of concertos by Bach, Beethoven, Berg, Brahms, Lalo, Mozart, Schumann, Sibelius and Szymanowski. If I tell you that the conductors involved include such notables as Paul Sacher, Ernest Bour and Stanislaw Skrowaczewski, you’ll know – or at least guess – that interpretative standards are consistently high. The two Bach concertos are seamlessly played, the Beethoven and Brahms Concertos imbued with a rare sense of musical vision and as for Schumann, Berg and Szymanowski (the Second Concerto), to this day Szeryng has few if any serious rivals. A magnificent set.

Henryk Szeryng: Concertos (the SWR recordings 1956-1984)

SWR Classic (5 cds) 19092CD


Isaac Stern at 100: Sony’s analogue legacy

I’d call him the Marlon Brando of violinists – except he was a contender. Stern was a tough player, his tone sinewy and forthright, his playing heartfelt in every bar. Stern’s analogue legacy is full of glorious things, not least recordings made at the Casals Festival in Prades, especially Brahms’s Second Sextet Op.111, recorded, as I recall, at dead of night and achieving all the impulse of the Third Symphony’s heroic opening. Duo-sonatas with Alexander Zakin and concerto recordings with Eugene Ormandy are also memorable as is Franz Waxman’s Tristan und Isolde Fantasy, a brief but emotional roller coaster. If you’re a fiddle fancier, this one’s worth saving your pennies for.

Isaac Stern: The Complete Columbia Analogue Recordings

Sony Classical (75 cds) 19439724272


Sony Classical marks Itzhak Perlman’s 75th birthday

Few violinists of the last seventy years have proved more productive in the recording studio than Itzhak Perlman. This particular collection includes Perlman’s early Boston Symphony recordings of concertos by Prokofiev (No. 2), Sibelius and Tchaikovsky, all three with Erich Leinsdorf conducting, Lalo’s Symphonie espagnole under André Previn, two discs’ worth of lush film music with John Williams on the rostrum, chamber music and various encore pieces. The playing style is consistently sweet, or brilliant, or both, a workable template for aspiring virtuosos. 

Itzhak Perlman te Complete Columbia and RCA Album collection 

Sony 19439752272

18 cds



A Belgian seductress sings opera, French melodies and lieder

Among the most erotic of song cycles is Debussy’s Trois chansons de Bilitis, especially the central ‘La chevelure’, a poem about sensual love, which very few singers have managed convey with anything like the requite measure of intensity. One who does is Suzanne Danco whose spellbinding art is celebrated on an 8-cd set that also includes  Fauré’s magical cycle La Bonne Chanson and key cycles by Ravel and Berlioz, various arie antiche and lieder by Brahms, Schubert, Mozart, Strauss, Wolf and Schumann – not least Dichterliebe and the Eichendorff set of Liederkreis – as well as various opera excerpts. Danco’s singing combines tonal sweetness, charm, depth of feeling and impressive interpretative intelligence. Andrew Dalton provides excellent annotations.

Suzanne Danco: The Decca Recitals

Decca Eloquence (8 cds) (484 0868)


Soviet Rimsky-Korsakov: great voices and conductors from the Bolshoi in the complete operas plus fragments

Quite a few repertory revelations here and some unforgettable voices (including Andrei Ivanov, Mark Reizen and Ivan Kozlovsky). Mlada is in stereo (under Yevgeny Svetlanov) and includes the sort of ceremonial orchestral writing – more than you’d expect to hear in an opera – that R-K also lavished on Mussorgsky’s Boris Godunov. Among the bonuses is a Tsar Sultan Suite under the maverick baton of Nikolai Golovanov, one of his most memorable recordings – the Suite’s close is especially thrilling. He also conducts two complete operas in the set, May Night and Christmas Eve.  Other notable vintage Bolshoi recordings include Mozart and Salieri, Ivan the Terrible, Kaschei the Immortal, The Golden Cockerel, and many others. Variable sound, it’s true, but if you’re after performance authenticity in Russian opera, look no further.


The Complete Operas and Fragments

Hänssler Profil (25 cds) PH 19010


Rudolf Kempe’s finest Ring

Take Birgit Nilsson as Brünnhilde (or Astrid Varnay in Walküre), Hermann Uhde as Wotan and Hans  Hopf as Siegfried with a generally excellent supporting cast and you have the basis of a Ring where thanks to Rudolf Kempe’s sensitively crafted conducting, his knowing way of when to push forwards or draw back, and the lyrical slant of his overall approach, the music’s impact overwhelms you rather than slaps you full in the face (as it does with Solti in Vienna, for all the spectacular impact of Decca’s stereo engineering). There’s an earlier (1957) Kempe Ring from Covent Garden, equally well cast but a good deal less well played and recorded. This 1960 Bayreuth Festival option pips it to the post with relative ease. Wagner expert Michael Tanner offers brief but highly relevant notes.

Wagner: The Ring

Bayreuth Festival (1960), Rudolf Kempe

Pan Classics PC 10418 (12 cds)


Fabulous singing rescued from the mists of time

She was lined up for HMV’s 1930s Hugo Wolf Society but because she was Jewish – and the market was German – she was dropped. Not that Lotte Schoene (1891-1977) was embittered. She soldiered on regardless giving performances notable for their charm, beauty of tone, abundance of feeling and technical brilliance. Marston’s beautifully annotated set features copious opera extracts and lieder, including a 1948 performance of Schumann’s ‘Mondnacht’ that will likely take your breath away. Also well worth noting are collections devoted to the great Russian bass Fyodor Chaliapin (5130-2 [13 cds], $175.00), the incomparable Irish tenor John McCormack (51601-2 [16 CDs], $185.00) and Lotte Lehmann (Vol 2, 56004-2 [6 CDs], $72.00), a soprano in a million. I know these sets are expensive but given the level of artistry on offer, and the enormous (ie, successful) work that has gone into making some very old records listenable, they’re worth every penny/cent/euro

The complete Lotte Schoene

Marston (5 cds) 55002-2

c£70.00 ($72.00)


Doráti conducts Haydn and Mozart on Mercury ‘Living Presence’

Back in the analogue era Decca recorded the complete run of Haydn numbered symphonies (plus extras) with Antál Doráti conducting Philharmonia Hungarica, an orchestra that was first established by Hungarian musicians who had uprooted after Hungary had been invaded by Soviet troops. Less well known perhaps are selected Haydn recordings that Dorati made earlier for the American ‘hi-fi’ Mercury label, some with the same Orchestra, others with the LSO or the Bath Festival Orchestra. These precision tooled readings (of Symphonies 45, 59, 81, 94, 100, 101, 103), spirited though frequently lyrical, are supplemented by various Mozart selections including two versions of the great G minor Symphony, the first fast and furious, recorded in mono with the Minneapolis Symphony, the second, a stereo production with the LSO, far more thoughtful and transparent.

Mozart, Haydn Doráti

Decca Eloquence (4) 484 0385


Honesty is the best policy: Michael Gielen conducts Beethoven

Gielen’s Beethoven takes a common-sense interpretative route where although scholarship is respected you can tell there’s an individual driving force in charge. We’re given a complete digital cycle of the symphonies plus alternative versions (the Eroica fares especially well, including a DVD), the C major Mass, overtures and a performance of the ‘Grosse fuge’ where the tone palette is varied to mimic the effect of new music. It’s astonishing. No Missa Solemnis, true – but in case you’re interested there’s a superb Gielen-led recording of that on the Orfeo label (C999201).

Michael Gielen Edition Vol. 9: Beethoven

SWR (9 cds + 1 DVD) SWR19090CD


Modern music pioneer puts Beethoven symphonies in the can

Years ago, there were two conductors who frequently took Beethoven’s metronome markings to heart, Rene Leibowitz and before him that fearless promoter of new music Hermann Scherchen. DG’s bargain reissue of Scherchen’s Beethoven recordings for the Westminster label includes all nine symphonies with the Royal Philharmonic and Vienna State Opera Orchestras, some performances super-urgent (the RPO Fifth for example, or the stereo re-makes of 3 and 6), others taking a rather more conventional course tempo-wise. Scherchen gives terrific performances of various overtures and also included are the ‘Grosse fuge’ and Wellington’s Victory (in very vivid stereo). Not for the feint hearted, but certainly a shot of adrenalin.

Beethoven symphonies, etc  Hermann Scherchen

DG (8 cds) 4838163


Mahler as he might have heard himself

Hans Rosbaud gives you Mahler both ways. He’ll play up the storminess of the Fifth Symphony’s second movement while the Fourth, although profoundly affecting, is never touched by exaggeration. The Ninth’s first movement might be the fastest – and most intense – on record whereas the grim reaper element of No.6 is realised with nobility rather than exaggerated rhetoric. Das Lied von der Erde features tenor Ernst Haefliger in especially fresh voice and there’s the Seventh, Mahler’s stream-of-consciousness’ symphony, the one that’s all invention rather than all emotion, and absolutely Rosbaud’s bag. The 50s mono sound is perfectly adequate.

Mahler Symphonies Nos. 1, 4, 5, 6, 7 and 9, Das Lied von der Erde

Hans Rosbaud in Cologne and Baden-Baden

SWR Classic (8 cds) (M) SWR19099CD


Barenboim’s Staatskapelle Berlin Bruckner: third time lucky

Daniel Barenboim has recorded Bruckner’s symphonies three times, first in Chicago (DG), then with the Berlin Phil (Teldec) and now, ‘live’, with Staatskapelle Berlin, taped in Vienna (Nos. 1-3, 2012) ad Berlin (Nos. 4-9, 2010), again for. DG. My attention was first drawn to the Fifth, a magnificent performance, in the context of DG’s Staatskapelle Berlin collection and immediately went online to order this Bruckner set (which I have to admit I didn’t even realise existed). I wasn’t disappointed, especially by Symphonies Nos. 4-9 where although the earlier versions are extremely fine, these live revisits have a naturalness about them, a sense of grandeur, an all-embracing breadth of vision that really do elevate them above most digital rivals, Barenboim’s own included. Furthermore, the playing is quite magnificent. The recordings, which are technically first-rate, are available either on cd (the way I have them) or as downloads.

Bruckner Symphonies Nos. 1-9

DG 479 6985 (9 cds)


Charismatic Dutch rostrum master emerges from the shadows

Try van Kempen’s take on Tchaikovsky’s Capriccio Italien, re-orchestrated to spectacular effect while the speed-up at the end finds the Concertgebouw Orchestra racing hell-for-leather yet holding the pace with ease. Then there are Tchaikovsky’s 5th and 6th Symphonies, not dissimilar to electrifying readings by the Orchestra’s reigning maestro for 50-odd years Willem Mengelberg, the 5th especially. Marvellous Beethoven and Reger, too. Like Mengelberg after the War, Van Kempen was accused of collaborating with the Nazis which makes the sessions with the Netherlands Radio Philharmonic of Alexandre Tansman’s moving commemoration of the Shoah and tribute to the founding of the State of Israel, his ‘Isiah the Prophet’ (1950), doubly surprising – and very good to have.

Paul van Kempen Concertgebouw, Berlin sessions etc

Decca (10 cds) Eloquence 484 0237


*A benchmark set of Franz Schmidt’s four symphonies

The first recording of a major orchestral work by the Austro-Hungarian composer Franz Schmidt to really hit the headlines was Zubin Mehta’s superb Vienna Philharmonic version (for Decca) of the composer’s grieving tribute to his daughter, his orchestral masterpiece in fact, his Fourth Symphony. Complete recordings of all four symphonies under, for example, Schmidt’s pupil Ľudovít Rajter, and Neeme Järvi, are now joined by a consistently compelling cycle by the Frankfurt Radio Symphony Orchestra under Neeme’s son Paavo, who drives the Fourth with maximum ardour but also realises the Third’s Schubertian axis (the slow movement is especially magical) and the very different characters of the First and Second Symphonies. The First in particular opens like a hymn to the sun, the best version I’ve ever heard. Schmidt was an accomplished instrumentalist, praised to the skies as a pianist by the legendary Leopold Godowsky while Mahler regularly chose him for orchestral cello solos when he (Schmidt) was with the Vienna Philharmonic. The music is of genuinely high quality, imbued with a sense of nature – you could say looking towards the mountains from the metropolis whereas Mahler looks towards the metropolis from the mountains. The set also includes the popular Intermezzo from Schmidt’s opera ‘Notre Dame’.

Franz Schmidt: Complete Symphonies

DG (3 cds) 483 8336


Glorious John: the complete Warner Classics legacy

It’s all here – everything that Sir John Barbirolli recorded for the Warner Classics group, with various orchestras, though mostly with the Hallé. And in case you don’t realise what ‘everything’ implies, we’re talking old records of orchestral opera potpourris, accompaniments for great singers (Schorr, Melchior, Turner, Widdop and so on), collaborations with such masters of the bow as Jascha Heifetz and Mischa Elman, pianists of the calibre of Rubinstein and Alfred Cortot, English music (including the celebrated ‘late’ stereo recordings of Elgar and Vaughan Williams), French music, Mahler (not least songs with Dame Janet Baker), Schoenberg and lighter fare such as Suppé Overtures, all of it performed with considerable flair. There’s also affecting spoken material – including Vaughan Williams presenting JB with the Royal Philharmonic Society medal – and so much more that to list it all would be to monopolise this entire column. It’s my reissue of the year.

Sir John Barbirolli: The Complete Warner Recordings

Warner Classics (109 cds) 0190295386085


The soul of Elgar’s Cello Concerto

For most people of a certain age the mere mention of Elgar’s Cello Concerto means Jacqueline du Pré, one of two versions of the work included in Warners’ Barbirolli box. But for me the version that Pablo Casals recorded with the BBC Symphony Orchestra under Sir Adrian Boult in 1945 delivers levels of pathos, defiance and inwardness that no other version on disc can quite rival. Where du Pré offers a candid confessional, Casals allows us a peep at his very soul, with Boult keeping a firm hand on the tiller. It’s the most wonderful performance most recently presented in the context of a 5-cd Casals set on the Biddulph label which also includes four versions of  Kol Nidre – all very unalike – more concertos, and a whole host of sweet morceaux, some in dusty acoustic (ie horn-recorded) sound but all beautifully played. Biddulph have also brought out two of the ultimate antidotes to all those tiresome viola jokes, excellent collections devoted to the legendary viola players Lionel Tertis (LAB3057, 3 cds) and William Primrose (LAB2058, 3 cds), the latter being especially lovely to listen to.

Pablo Casals: Victor recordings; Complete Acoustic recordings; HMV Concerto recordings

Biddulph LAB 5059 (5 cds)


Epic Russian symphony cycle played with conviction

And from Yevgeny Svetlanov an invaluable ‘limited edition’ package of all 27 Myaskovsky symphonies plus a handful of shorter works. There’s so much to savour from this ‘father of the Soviet Symphony’ as he was sometimes known. The Fourth, for example, which opens to a mournful solo flute line before a more tempestuous mood sets in. And tell me is there much other Russian orchestral music of the period (we’re talking 1918) that’s as deeply affecting as the beginning of the Largo second movement?  The cycle starts in 1908 (the First Symphony, revised in 1921) and reaches its conclusion in 1949, a year before the composer’s death. It’s the sort of repertoire that can hold you captive for hours such is the quality of the music and Svetlanov’s compelling brand of interpretation.  

Myaskovsky Symphonies 1-27, Svetlanov

Alto (14cds) ALC 3141



Polish music in the 20th century

A journey to another galaxy, albeit one clearly reflected on terra firma. The period covered is 1918 to 2018. It’s the inspired work of Polskie Wydawnictwo Muzyczne (PWM), established in 1945, principally for publishing scores and books on music but of late cds have also joined their agenda. In this context musical pioneers such as Karol Szymanowski, Ludomir Rogowski, Eugeniusz Morawski and Szymon Laks (scores by the last two are especially gripping) reach through the ages to the likes of Lutosławski (who also conducts), Wojciech Kilar, Penderecki, Górecki, Tadeusz Baird and Grażyna Bacewicz with works ranging from full-scale symphonies to Passion settings by Pawel Mykietyn (St Mark), Krzysztof Knittel (St Matthew) and Penderecki (St Luke). Poland was always at the forefront of the post-war avant-garde and this incredible set offers inspired evidence. Yes, the set is pricey and it’s also bulky. In addition to the 36 cds, there’s a book of recordings and biographies, ten separate volumes on each of the decades dealt with and Danuta Gwizdalanka’s valuable 280-page ‘One Hundred Years of Polish Music History’. Performance standards are extremely high throughout and the same goes for sound quality – many of the featured recordings are fairly recent. Poland’s musical legacy is famous for its kaleidoscopic range of colours, and for those eager to enter the inner sanctum of their own musical imaginations this is without doubt a gift in a million, well worth spending those lockdown savings on – either for you or for someone special. 

100 For 100 – 100 Musical Decades of Freedom (36cds)

Anaklasis Anabox




Film music fiddler takes to the rostrum

Father of the highly gifted conductor Leonard Slatkin, Felix sung a sweet fiddle on film soundtracks and was leader of the legendary Hollywood String Quartet. And he could certainly train an orchestra, inspiring results that compared with the best that America had on offer at the time – and believe me that was mightily good. This fine-sounding box contains a plethora of showpieces (including an account of Gaité Parisienne that has never been bettered) and, more unexpectedly, some extremely sensitive Delius.

The Art of Felix Slatkin

Scribendum (13 discs) SC822


Crossing over in style

‘Sock-it-to-me’ vintage Hollywood-style hi-fi sonics, some of it recorded in London and a range of repertoire that embraces Elgar, Tchaikovsky, Glazunov, Elgar, Addinsell, Wildman, Bath, an extended tone poem based on The Volga Boatmen and a Cole Porter programme where the song So in Love takes on the epic grandeur of a Rachmaninov symphony. Fabulous playing throughout but no annotation

The Art of Carmen Dragon

Scribendum (17 discs) SC820


Tristan on the tiles

Some years ago, I chanced up a French EMI double CD album that featured the two-piano and solo recordings of pianists Jean Wiéner and Clément Doucet. It included Doucet’s deliciously camp – some would say outrageous – Isoldina, a sort of stride/foxtrot hybrid where the ecstatic climax of Isolde’s ‘Liebestod’ is thrown off like a flirtatious giggle. Over time I’ve scored many laughs with this track and recently, just by accident, I discovered that in 2013 EMI Classics released the complete Wiéner/Doucet legacy from the 1920s and 1930s on four cds where supporting artists include Maurice Chevalier, Jean, Mireille and Germaine Sablon, and Yvonne Vallée. Other classical masters ‘tweaked’ include Grieg, Liszt, Chopin, Dvorák, Johann Strauss and more Wagner. Gershwin is very well represented, as are Jerome Kern, and Cole Porter. There are even super-cool versions of Love for Sale and Saint Louis Blues played by Wiéner on the harpsichord – and a very musical ‘straight’ complete account of Mozart’s Sonata for two pianos K.448, plus Bach.

Les Années Folles

EMI France 50999 725703 2 6



From small beginnings … a dazzling tour de force from pianist Andreas Haefliger

The very start of Dieter Ammann’s year-old ‘The Piano Concerto’ (Gran Toccata) balances on a single note before percussion join in the fray, then strings, then more percussion – some of it decidedly aquatic-sounding – and once up and running Ammann calls on the work’s dedicatee Andreas Haefliger to toy with Gershwinian syncopations, face a huge orchestra head-on (a tuba sometimes growls conspicuously) and keep up the pace. Absolutely no flagging allowed, you understand. The second part of this highly inventive half-hour tussle is perhaps the most argumentative, at least initially, whereas once into part three after some Reichian pulsing and what sounds like a visit to the grimy backstreets where Bartók’s Mandarin was murdered Ammann pauses for thought and cues a spot of genuinely Romantic piano writing. It’s here more than elsewhere in the work that you encounter some ethereal tone painting (the brass in particular are quite magical) whereas for the end there are more gnomic, staccato chords repeated again and again.

So, that’s the measure of it: we end as we began, on the edge of a question of no little significance. It’s a terrific piece and Haefliger successively shifts roles from virtuoso, to a collaborative first among equals, an attentive bystander and a poet. His playing, which is never less than sensitive, is often stupendous: he shows absolutely no fear and the Helsinki Philharmonic under the highly gifted Susanna Mälkki are consistently on the ball, whether picking up from where he leaves off or goading him to further action. How to sum up this extraordinary piece? I spontaneously came up with idea of John Adams and Bartók having a jar or two at Prokofiev’s pad. That’s the general drift, anyway and BIS’s recording is nothing short of fabulous (thank you, executive producer Robert Suff).

Next up on this remarkable programme Haefliger, Mälkki and the Helsinki band embrace the Concerto for the Left Hand that Ravel wrote for pianist Paul Wittgenstein (brother of the philosopher Ludwig) who lost his right arm in the First World War. Again, the musical symbiosis really tells for a performance where tautness and clarity of articulation combine and the bitter, black humour of the marching central section jars as it should. Then there’s Bartók’s airy Third Concerto, Haefliger here parading a lightness of touch I haven’t encountered since the wonderful Czech pianist Eva Bernathová recorded the work with the Czech Philharmonic under Karel Ancerl many years ago. The central ‘Adagio religioso’ is especially beautiful: Haefliger’s first entry held me utterly captive. In short we’re treated to three very different musical worlds brought together by skilled performers who are fully up to the task of interpreting each of them with conviction.

Ammann, Ravel, Bartók  Andreas Haefliger (piano), Helsinki Philharmonic Orchestra, Susanna Mälkki  BIS BIS-2310 SACD

Mozart transported out of this world

When it comes to capturing music’s essence in words, the Missouri-born poet Langston Hughes offers a credible definition, albeit by referring to dreams rather than to dots on the stave

“Hold fast to dreams,” he writes
“For if dreams die
Life is a broken-winged bird,
That cannot fly.”

I can’t think that many composers would baulk at the idea that their music is dream-inducing, that we can profitably hold fast to those dreams while listening, keeping them alive, and a new cd by that most charismatic of pianists Hélène Grimaud gently coaxes us to the edge of creative sleep with Valentin Silvestrov’s haunting The Messenger for string orchestra and piano of 1996, Mozartean motives heard from afar with subtly applied sound effects, warming and mysterious and that might easily force you to slow down even if you don’t want to. Pieces based on Schubert and Wagner, as well as a solo piano version of The Messenger, compound the effect which had already set in with a fascinating presentation of pure Mozart, starting with the variously shaded Fantasia in D minor which Grimaud has morph ingeniously into the D minor piano concerto (No.20), though you’ll need to forgive her lopping off the Fantasia’s closing bars. No problems in my book, such is the impact of what we hear. Her approach to Mozart – at once impetuous, lyrical and vividly coloured – recalls the great Austrian pianist Artur Schnabel, often pressing forwards though, uncannily, with time on her side, or so it seems. Immediately prior to Silvestrov we hear Mozart’s C minor Fantasia, silent film music before its time (beam up from 4:28) whereas later passages of the same work anticipate Beethoven’s Appassionata. Surely Mozart never looked further into the future than he does here. This is one of the most absorbing piano programmes of recent years, principally because of the way it activates the senses, stimulates the intellect and has the imagination going into overdrive. Grimaud’s alert collaborators are Camerata Salzburg.

The Messenger, music by Mozart and Silvestrov, Hélène Grimaud (piano), Camerata Salzburg DG 483 7853

Proms musings

Although happily ensconced at, when harking back to my days as a regular presenter for BBC Radio 3 among my fondest memories are two Proms ‘Last Nights’ that I hosted alongside the lovely Stephanie Hughes. Attitudes to these rowdy Proms ‘party bags’ vary from condescension and distaste to a heart-felt love for their unashamed popularism, but I can tell you that seeing and hearing the spectacle from an open presenters’ box in the Royal Albert Hall is an inspiration, the colour of it all, the waving of flags (not all of them Union Jacks by any means), the swaying minions that fill the arena, the cheers and heave-ho’s as the piano lid is lifted, the rapturous applause for almost everything – irrespective of musical quality – and, most of all, the sense of community. It’s the ideal series ‘encore’ beyond the stronger meat of the preceding concerts in the festival.

Once over and the crowds spill out into the night air, the feeling of having shared a great event remains. And the tuneful perennials? It’s easy to forget that in the midst of ‘Black Lives Matter’ and fears about igniting memories of colonialism that the words for ‘Rule Britannia’ were written by James Thomson whose The Tragedy of Sophonisba (1730) is based around a proud princess of Carthage who had committed suicide rather than submit to slavery at the hands of the Romans. What matters most on the Last Night are the tunes – you get utterly swept up in them –  and as for ‘Land of Hope and Glory, mother of the free’ who could possibly object either to Arthur Benson’s words or the ennobling melody, the centrepiece of the first of five uplifting symphonic marches by the man many of us consider to be our greatest composer.

The whole business of judging whether, given their lyrics, certain old songs are still fit for purpose is complex, just as it is with literature, with Othello, Shylock, Fagin and the like. Years ago, as a sheet music archivist, I’d regularly encounter such ballad horrors as ‘The Happy Jappy’ and ‘De Gorn Coon’, occurrences gladly cancelled out not only by the ghastly lyrics but by the music’s substandard quality. Or there was another occasion when I was shocked to find, in a local thrift shop, a vinyl record of Dvorak’s 12th String Quartet called not the ‘American’ but the ‘Nigger’ Quartet, a nickname that had no negative connotations for the composition, and was abandoned after the 1950s. Although I was curious about the performance (by a highly reputable quartet) I couldn’t bring myself to buy the record.  And take Debussy’s ‘Golliwog’s Cakewalk’, now commonly called just ‘Cakewalk’ or Gershwin’s masterpiece Porgy and Bess. Most of the opera’s songs couldn’t cause offence but what about the immigrant illiteracy of ‘Bess you IS my woman now’? Shouldn’t we now be changing it to ‘Bess you ARE my woman now’? Maybe worth thinking about. When it comes to history, you can ‘right’ it for the present, or at least attempt to, but you can’t ‘re-write’ it for the past.

A POKER-FACE GENIUS WHO WILL BREAK YOUR HEART: The inimitable art of Jascha Heifetz

The much-missed violinist Aaron Rosand once recalled a specific Heifetz concert performance – it was the world premiere of Louis Gruenberg’s action-packed, movie-style Violin Concerto. “He stood there like a god,” mused Aaron affectionately, “immobile and immaculate with his waistcoat, silver watch and chain, bowing these sounds that went straight to your heart. It was incredible”. Extant films of Heifetz in performance confirm that same impression and yet even now some commentators equate a lack of visual demonstrativeness with a supposed coolness of interpretation, the strongest possible argument for not seeing who’s playing. (‘Who wants to watch people work?’ was Sviatoslav Richter’s take on music videos). ‘Poker-face’ by the way is a term that Heifetz claimed others used when describing how he looked on stage. And fast speeds? The ‘Complete Stereo Collection’ that I’m recommending below includes, in addition to elegant Mozart, assertive Beethoven, forceful Brahms (Solo and Double concertos), searing Sibelius and expressive 20th century works by Rózsa and Arthur Benjamin, a whole plethora of chamber music recordings where your pulse will quicken as the tempo increases.

Take Mozart’s G minor Quintet – one of numerous recordings from the ‘Heifetz-Piatigorsky’ chamber music series (sample below) – the breathless sense or urgency, tragedy even, of the first movement, light years removed from the more relaxed, dainty ‘crooked pinkie’ style so often favoured by the Viennese. I remember Gramophone magazine raving about this recording when it first came out as part of a vinyl box set, and when Radio 3 (then the Third Programme) broadcast the G minor one Saturday morning this Mozart-sceptic was won over by the sheer intensity of the playing – the minuet pitilessly dramatic, the slow movement so rich in expressive inflections that I could hardly breathe for the duration. Come the super-swift finale and I was overwhelmed, much as I would be by the accompanying Schubert, Brahms, Franck and Mendelssohn masterpieces that confirmed elevated standards already established by the Quintet. People wrote in terms of a string playing ‘summit’ and they weren’t wrong. Yes there are other ways to play this sort of music (think of Adolf Busch, Joseph Szigeti, Sándor Végh, Pablo Casals, Isaac Stern and so forth) but Heifetz & co would regularly visit a single phrase with such ardour and heightened colour that the effect stayed with you long after the music had faded from earshot.

Schubert’s late Fantasie provides a fine example of the older Heifetz at his most rugged, a cork-faced W H Auden to compare with the dashing Errol Flynn of his youth (or Busch’s princely traversal) … but, again, it’s what you learn from listening that matters most – the sense of line, even when frail, and the elevated transition to the excited closing variation. Tchaikovsky’s sextet Souvenir de Florence (another fairly ‘late’ recording) is as rough as hell, a real onslaught in fact, but so honest in its reckless enthusiasm, so fearless, that any attempt at resistance is futile.

I shan’t bore you with a blow-by-blow resumé of the whole collection. There’s no need for that, but if you can follow my thinking thus far you’ll know what to expect from the rest. Heifetz levels with you nose-to-nose; he’ll brook no compromise when it comes to musical feeling and he won’t let the odd slipped note get in the way of an ‘as-live’ spontaneous performance (there’s a whopping slip near the end of the finale of Beethoven’s Trio Op. 1 No. 1). Heifetz was famously averse to stitching re-takes into the main recording; the truth and nothing but …, might have been his motto. Try the brief trio of Bach Inventions for size, or the (cut) finale to Mozart’s ‘Turkish’ Concerto. Always there’s this feeling that Heifetz is allowing you access to elevated front-room music-making. You feel privileged and enriched to be there. At least I do, always.

Mozart G minor Quintet – i (allegro)

PERFECTION WITH A PURPOSE – the priceless art of Andór Foldes

Years ago, as a youthful Bartók acolyte, I learned the three piano concertos via Géza Anda’s marvellous DG recordings (with Ferenc Fricsay conducting) and the solo piano works from György Sándor’s near-complete series on Vox. Years later I acquired Andor Foldes’ DG mono set of the solo works (less comprehensive than Sándor’s but still representative) and was amazed at just how different the music sounded, chiselled and well drilled as opposed to improvisatory and relatively unbuttoned, which was more the case with Sándor. Foldes is at his best in the pile-driving opening movements of the Sonata (sample below) and the suite Out of Doors, but he also achieves a sense of stillness in the slower music (the Suite’s ‘Night Music’ for example), and being Hungarian-born his mastery of the Hungarian folk idiom is evident in his grandly assertive performances of, for example, Kodály’s Marosszék Dances and Háry Janós suite (excerpts), the latter as arranged by Foldes himself. All of these recordings have already been released on Australia’s miracle reissue label Eloquence but now find themselves boxed together with countless other goodies in the context of a handsome and superbly documented 19-cd bargain set ‘Andor Foldes: Complete Deutsche Grammophon Recordings’, (484 1256).

If it were possible to wear out cds, I’d already be on my second set – and I’ve only had it a week! I kid you not, this is for the most part remarkable playing, the first disc devoted to elderly Decca/Polydor recordings (1949/1950) of music by Prokofiev and Bartók, the latter’s Sonata similar in concept to the better recorded DG re-make, the Second Concerto (with the Lamoureux Orchestra under Eugène Bigot) tight as a drum ensemble-wise (premonitions of Anda and Fricsay), with a central movement that comes closer than any I’ve encountered to Bartók’s own rule-bending revelation (ie, a pretty dire-sounding pre-war broadcast recording of excerpts issued by Hungaroton). Other early recordings, never previously released on CD (the vinyl originals are as rare as hen’s teeth) originate from Mercury’s earliest years and consist of music by Schumann (including a quite magical account of ‘Papillons’) and Grieg (Norwegian Peasant Dances), Foldes proving himself as adept in the musical folklore of Norway as he is – or was – in the folkish works of Bartók and Kodály.

The other indispensable 20th century repertoire disc features music by Barber, Copland, Stravinsky, Thomson and Albéniz. It’s fascinating to compare Foldes’s relatively inwards-looking account of Copland’s magnificent solo Sonata with Leon Fleisher’s stereo version from just a few years later (recently reissued as a bonus CD in Sony Classical’s admirable Fromm Music Foundation 20th Century music collection, 19439715642), Fleisher equally nimble but more assertive whereas in the Vivace Foldes seems to be dancing among the shadows of another world. Then again Foldes humanises the sustained finale like no-one else – while in his hands Stravinsky’s Sonata could be said virtually to define neoclassical elegance.

The beauty of Foldes’s playing is in the way he articulates every note of each piece, even at speed, though speed is never an end in itself, as is obvious from his thoughtful yet viscerally exciting account of Liszt’s B minor Sonata (the sort of reading I could imagine Lipatti giving) and the brilliant opening of Bach’s Chromatic Fantasia and Fugue while the first movement of Beethoven’s Waldstein Sonata dazzles with its clarity, precision and faultless sense of rhythm. Foldes’s Beethoven in general has both muscle and bounce (virtually half of the sonata cycle is included), the opening movement of the Sonata Op. 7 like that of his idol Wilhelm Backhaus (I’m thinking of Backhaus’s second [stereo] recording in particular) a model of how to ‘explain’, in performance terms, the common sense of sonata form. The First Concerto under Ferdinand Leitner is another instance of immaculate musical judgement, the fun-filled finale both swift and sparkling. And there are the Mozart concertos (five are included), the Andante of No. 15 in B flat a performance that gave rise to the claim at the head of this review, ie ‘perfection with a purpose’. I’ve heard Mozart playing that’s as good as this, but none that’s better. So a rapturous thumbs-up from me for a set that although unlikely to reveal all its secrets in one go has enough in store to nourish you for a lifetime. These sets tend not to hang around forever but on the off chance that you do – make sure to have this one on your shelves, a worthy accompaniment for eternity!–andor-foldes-complete-deutsche-grammophon-recordings

TRISTAN ON THE TILES – a major tip-off

Some years ago I chanced up a French EMI double CD album that featured the two-piano and solo recordings of pianists Jean Wiéner and Clément Doucet. It included Doucet’s deliciously camp – some would say outrageous – Isoldina (doesn’t the name give it away?), a sort of stride/foxtrot hybrid where the ecstatic climax of Isolde’s ‘Liebestod’ is thrown off like a flirtatious giggle. Over time I’ve scored many laughs with this track and recently, just by accident, I discovered that in 2013 EMI Classics released the complete Wiéner/Doucet legacy from the 1920s and 1930s on four cds (none of which plays for less than 79 minutes, 50999 72570326) where supporting artists include Maurice Chevalier; Jean, Mireille and Germaine Sablon, and Yvonne Vallée. Other classical masters ‘tweaked’ include Grieg, Liszt, Chopin, Dvorák, Johann Strauss and more Wagner. Gershwin is very well represented, as are Jerome Kern, and Cole Porter; there are even super-cool versions of Love for Sale and Saint Louis Blues played by Wiéner on the harpsichord – and a very musical ‘straight’ complete account of Mozart’s Sonata for two pianos K.448, plus Bach. But it’s the bravura and the panache of the playing that will have you hooked for hours, the mastery of rhythm and inner voices, smiles that are never forced (or worse still, patronising) and what sounds like the sheer joy of making music. And what style! The extensive booklet notes are in French only but you’ll find useful stuff on Wiki. The booklet also includes photos and comprehensive discographical information. I bought my set on line from Amazon at around £25.00

Here’s a sampling of Doucet’s way with Chopin and Wagner.

An Eroica to treasure

Having already released Jascha Horenstein’s 1957 Baden-Baden recording of Beethoven’s Eroica Symphony (PASC505) Pristine Audio have now decided to add the conductor’s broader 1953 account with the Vienna Symphony Orchestra to their sizeable catalogue. Back in the late 1960s while working for the BBC as a concerts management assistant I was fortunate enough to make the acquaintance of Deryck Cooke. Being in awe of Cooke’s Gramophone reviews I’d frequently waylay him for chats about (LP) records. One afternoon we hit upon the subject of Horenstein’s Eroica, which Cooke had a great fondness for, “but not the later version,” he insisted, continuing (and here I’m relying on memory), “in the earlier version you really notice how, towards the end of the first movement, he builds the music, layer upon layer, with everything audible – woodwinds especially – so that the peroration is truly overwhelming.” Needless to say, I rushed to my local (Hendon) library, ordered the Vox lp and on receiving it was suitably impressed. Things were just as Cooke suggested they would be. The playing of the VSO is dramatic in the extreme, the timpanist often cueing a thunderous roar above the rest of the orchestra, the deep-toned lower strings almost Furtwänglerian in their contribution to the ‘Funeral March’.  According to Misha Horenstein, his cousin Jascha reportedly told an interviewer that “the first Eroica I conducted with my heart, the second with my head.”  Only the start of the finale is rather effortful for an Allegro molto but otherwise this is a most memorable performance, more so than the coupling, a 1952 version of the Eighth with Orchestre National de France which though lively enough is interpretatively unmemorable. Good sound throughout.

Beethoven Eroica Jasch Horenstein

Pristine Audio PASC 589

DISCOVERING ALEXANDER VEPRIK: A musical force to reckon with

It’s said that at the time of his second denunciation by Andrei Zhdanov, Dmitri Shostakovich “waited for his arrest at night, out on the landing by the lift, so that at least his family wouldn’t be disturbed.” Prior to his rehabilitation at home the composer suffered untold hardships but at least he avoided a much-feared fate that was possibly worse than death: the torturous, lonely and pain-inducing Gulag. That was indeed the fate that the Ukrainian-born Jewish composer Alexander Veprik faced after his arrest in 1950. The promised eight years of forced labour turned out to be four, but still, Veprik returned home a broken man. And the effect on his music? Amazingly, inspiringly, we can sense a lightening glow somewhere beyond darkened skies, much like Yevgeny Ukhnalyov’s wonderful painting that adorns the booklet cover for MDG’s superb all-Veprik CD, Ukhnalyov another Gulag victim, six years interred this time rather than four.

In the second of Veprik’s expertly orchestrated Two Poems, at 5:16, after a poetic opening, the composer ups the pace for some highly variegated and dramatic writing, sometimes reflecting Prokofiev, at other times Shostakovich himself, but then at 9:35, quiet but promising fanfares and whooping brass signal a valiant arrival. Could we be approaching Liberty Island (echoes of Gershwin at 11:53, and the Second Rhapsody in particular – probably coincidental – seem to suggest so), an optimistic New World being traded for the shackles of the Old, though the triumphant close recalls Shostakovich, whose Eleventh Symphony seems to hover 40 seconds into the Dances and Songs of the Ghetto, Viprek’s opus having been composed thirty years earlier. Mention of Veprik’s contemporaries (the Greek composer Skalkottas seems conspicuous by his prophetic dancing presence in this same work) brings me to Sibelius whose spirit fills the Pastorale, maybe the Hasidic Baal Shem sitting by the river Tuoni, watching the long-necked Swan signalling terrible sadness yet to come. These references to other composers are intended merely as a guide to what you might expect when listening. And then there’s the last of Five Little Pieces for Orchestra, a devastatingly simple Lento, all 3:15 of it, music that seems to encapsulate the troubled but at times comforting spirit of this quite remarkable composer. The Two Symphonic Songs are also mightily impressive.

Look hard enough and you’ll always be able to find little-known music that appeals. But music of this quality, that seems to score the stream of life with such immense facility and level of intuition? Not in my experience. Among recent discoveries Mieczysław Weinberg is maybe the closest point of reference. Christoph-Mathias Mueller draws brilliant performances from the BBC National Orchestra of Wales, who seem committed to every note of each score. The recorded sound is first-rate and so are the booklet annotations. A potential Award-winner I’d say.

Alexander Veprik Orchestral Works

BBC National Orchestra of Wales, Christoph-Mathias Mueller

Dabringhaus und Grimm MDG 901 2133-6