Paul Stanhope turns Indigenous legend into choral hero.
Festival of Voices “slightly unusual concert,” proves to be just that.
The story of an Indigenous hero is about to become an epic choral work by Paul Stanhope. Access our paywalled content and archive of magazines, regular news and features for the limited offer of $3 per month. Support independent journalism. Subscribe now or log in to continue reading.
Treat for the ears from venerable and meticulous English masters.
The same is true, in a way, of great paintings, and of most Baroque and classical music. But there is something different about art song: while the works of the old masters now carry a patina of age, the stripped-back nature of the song-cycles means they have defied the years. On this recording, the words of the German poets Joseph von Eichendorff (Liederkreis) and Heinrich Heine (Dichterliebe) are brought to us with their freshness untouched by time. These compositions speak to us as a friend would in the most intimate conversation. Schumann’s songs of the joys of love and the anguish of unrequited yearnings are given a lucid and heartfelt reading by German tenor Werner Gura, who specialises in Lieder and oratorio. Although a tenor, he is reminiscent of the youthful Dietrich Fischer-Dieskau – this is a light voice, never strained, and with a flexible baritonal extension. His accompanist Jan Schultsz (who is also a horn-player and conductor) is supportive at all times, but very much the partner. Everyone has their favourites in this repertoire, but this one is a worthy rival for the most celebrated Lieder recordings. A recital for the ages.
Having already conquered Handel, Vivaldi and Bach on recent discs, Czech mezzo-soprano Magdalena Kožená is back in the Baroque yet again, but this time treading earlier and much less familiar ground. Lettere Amorose, her latest effort, is an esoteric and enchanting selection of vocal music by Monteverdi and his Italian contemporaries. These are songs, rather than arias: intimate and relatively simple in scope, and given luminous voice by Kožená. Rarities abound – nothing here could claim to be over-recorded – and Kožená revels palpably in the possibilities of this colourful and crucial musical era. From the tripping dance rhythms of Kapsberger’s Felici gl’animi, to Vitali’s silvery O bei lumi, to a vividly bereft rendition of Si dolce è il tormento (Monteverdi’s only appearance in the program), she is in superb form, remaining true to both the period and her own distinct, emotionally driven style. Another notable inclusion is Merula’s extraordinary (and extraordinarily long) lullaby Hor ch’é di dormire, in which Mary sings to the infant Jesus of his own crucifixion, accompanied by a ground bass of just two chords – a deceptively simple piece which Kožená sustains with devastating sincerity. Her opalescent timbre is well suited to this music, her…
Sadly I was forever turned off the soprano saxophone by smooth jazz superstar Kenny G. Not by his success – any instrumentalist who sells more than 75 million albums earns my awe, if not respect. No, it was his effortless frippery and shinily sugared tone that soundly nailed the coffin. Which brings me to that other soprano sax superstar, Jan Garbarek, and his latest pairing with The Hilliard Ensemble. On this, the second follow up to the phenomenally successfully 1994 collaboration Officium, they dovetail what they individually do best – liquefied saxophone improvisations and crisply sung early music – to create a gentle atmospheric fusion. The comparison that springs to mind is of a graffiti artist wandering through the Sistine Chapel and tagging at will. Don’t get me wrong – I’m all for breaking down genres. No, it’s the slack aesthetic and overall lack of purpose that I have a problem with. On the plus side, the recording itself is superb. Like the first two CDs, it was recorded in a richly reverberant Benedictine monastery in the Austrian mountains. Likewise, I cannot fault the technique and expressivity – they are, frankly, sublime. It’s just that overall the venture feels inconsequential.
Review: Hear my Words: Choral Classics from St. John’s (Choir of St. John’s College, Cambridge/Nethsingha)
For many, the hot ticket item will be Allegri’s Miserere, which opens the disc. The old Kings College recording set the benchmark with impeccable boy solo work. So it is a pleasure to say that the St John’s boys are in top form. Worth noting is the difference in style between the two famous choirs. St John’s evince a more robust sound. Grieg is represented by Ave, maris stella, which is a bit dull. Pärt’s brisker, O virgin, Mother of God, is welcome, and Rachmaninov gives us an entirely different reading of the same text, steeped in deep-throated Russian orthodoxy. Palestrina, Parsons and Tallis remind us of the austere world of earlier church music. Following the beautiful piety of these early composers, and especially the perfumed sweetness of Franck’s Panis angelicus and Fauré’s exquisite Cantique de Jean Racine, it is a relief to get to the engaging heartiness of Stanford’s Jubilate Deo. Vaughan Williams, John Rutter and James MacMillan are represented by O taste and see, Oh Lord, thou hast searched me out, and A New Song, respectively. Appropriately, Parry’s Hear my words, ye people brings this attractive collection to an end with a vigorous show of Anglican robustness. At…
Review: Brahms: Symphony No 4, Beethoven: Coriolan Overture (Orchestre Révolutionnaire et Romantique; The Monteverdi Choir/Gardiner)
At first glance, Gabrieli and Schütz, glorious as they are, seem to be at odds with the symphony. Gardiner’s notes are the key to this collation. Using original instruments he has juxtaposed the symphony with some of the composer’s neglected choral music. He argues that as these wonderful works came first they are germane to his orchestral writing. The other composers were selected for their influence on his choral style and the Coriolan Overture represents the defining shadow of Beethoven. This is steely, hard-edged tough as nails Brahms. There will be those for whom this is heaven-sent, yet for all Gardiner’s dedication and well-argued rationale, much of this performance is a tiresome dose of musical political correctness. For example, the scrawny violin tone does not sit well with the composer’s grand phrases and rich palette. However, his approach works well in the lively Allegro giocoso, with its sharp rhythms and bright woodwind writing and also serves the edgy restlessness of the last movement. Musical research will continue and performance practice will evolve, as it should. Tastes will change and change again. I recommend the CD for the extensive interview between Gardiner and Hugh Wood. That alone is worth the price…