Decca’s Most Wanted Recitals series continues. As before, the discs are digitally remastered but contain no biographical or musical notes. Most of this material has not been reissued since its first appearance decades ago. Some should have been left undisturbed, but these six releases contain much of interest. Baritone Hermann Prey (1929-1998) was overshadowed during his lifetime by Fischer-Dieskau, yet Prey has a lovely voice and a distinctive approach to Schubert’s Schwanengesang. Listen to his passionate, committed rendition of In der Ferne: not as detailed (some would say mannered) as Fischer-Dieskau but by no means bland. Walter Klein’s accompaniments support him all the way. Renato Bruson’s honeyed operatic baritone is revisited in a recital of Donizetti arias, recorded in 1979, including a duet from Donizetti’s Requiem where he is joined by Pavarotti. Bruson’s soft singing is exceptional. French baritone Gerard Souzay gives us two discs of Schumann, both containing the Dichterliebe. The earlier one, with pianist Jacqueline Bonneau, finds him in fresher voice in 1953 but the mono recording is rough. His 1960s Philips records with Dalton Baldwin are preferable; his voice is less stable at forte but his artistry remains supreme. He sings the Liederkreis Op. 24 and… Continue…

Anyone who still considers Pierre Boulez to be a threat or a dangerous malcontent – where to put those obligatory mentions of torching opera houses and valueless tonal music? here will do – might be pleasantly surprised at the playlist served up by this box of Boulez’s complete recordings for Columbia Records. Berlioz, Mahler, Debussy, Stravinsky, Ravel, Bartók and Wagner are the dominant narrative. The occasional disc of music by Elliott Carter, Luciano Berio and Boulez himself oblige us to play plink-plonk; but even these apparently unwelcome brushes with the avant-garde get offset by a performance of Beethoven’s Fifth Symphony and discs of Handel Water and Fireworks Music. And as he prepares to celebrate his 90th birthday in 2015, the most dangerous truth of all is revealed. Boulez was an insider all along, who, unlike his frenemy John Cage, has always viewed progress as an embedded part of, and never an alternative to, tradition. That said, admire Boulez as I do, as a Beethoven conductor, he ain’t no great shakes. A plodding, micro-managed Fifth Symphony plays the notes but utterly misses the music. His Handel, though, is rhythmically assertive and detailed. Makes you wish Boulez had recorded some Bach. The…

The Rite of Spring can sound even more raw-boned and serrated on piano than in Stravinsky’s orchestral concept. The timpani of fingers against keyboard; this is no place for soft-pedalled or inappropriately decorative playing. In the hands – four of them at one piano – of Susanne Huber and André Thomet the score becomes a terrifying edifice, breathing with a directness that chills the soul. We’re used to hearing the introductory bassoon solo emerge as though from a faraway horizon, Stravinsky’s line stooping against metric regularity as it inches centre stage. But now we’re thrown bodily inside the unfolding argument, snow-blinded by the busyness of Stravinsky’s counterpoint.  Some recordings of this four-hand redux can sound overly polite and too ‘pianoey’. But Huber and Thomet make their intentions clear with “Danses des adolescents”, as those accented string chords are pummelled with pile-driver might.And ditto the crunchy reading of Debussy’s two-piano En Blanc et Noir (1915), the black and white of the piano keys symbolising the black and white morality, as Debussy saw it, of one nation imposing itself on others during the Great War. German composer Bernd Alois Zimmermann’s Monologe (1964) slices through history as source material co-opted from Bach, Mozart…

For the past ten years Cinquecento have been carving themselves a niche in the specialised field of pre-Baroque sacred works, and madrigals by composers whom most of us have never encountered. Formed in Vienna and based in Germany, the group comprises six singers from five countries. For their eighth release on the British Hyperion label Cinquecento revisits three 16th-century Flemish singer-composers, Philippe del Monte, Jacobus Vaet and Jacob Regnart, this time performing their secular songs, and introduce us to a previously unknown composer. Not much is chronicled about Jean Guyot de Chatelet (Joannes Castileti), other than that he served briefly as Kapellmeister to Emperor Ferdinand I before returning to his home in Liege. However Guyot is not afraid to express his feelings, hence: “Instead of happy distractions, melancholy attacks me/I am bound by the ties of love/discipline holds me harshly prisoner”. Or his song about Susanne who has to fend off two dirty old men to preserve her innocence. These songs have all the colour and earthy life of the contemporaneous paintings of Pieter Brueghel and his sons and they sit well with the sextet’s pleasing vocal blend. Recorded at the Deutschlandfunk’s chamber music studio in Cologne, the program mixes…

I’m sure everyone has a favourite Karajan recording – no doubt he’s a regular in this feature. But my pick isn’t a Beethoven or a Mahler Symphony, nor is it mighty Wagner. No, I’m a sucker for the Berlin Philharmonic’s Baroque – and I don’t even mean their Four Seasons. One of my all-time favourite recordings is a very modest 1987 Deutsche Grammophon compilation of random Baroque gems, most of them Italian. This CD has been a part of my life since childhood – and surely all good classic recordings have an element of nostalgia attached to them. But what I find most endearing about Karajan’s Baroque is the orchestra’s sumptuous, full tone (boosted by generous helpings of vibrato). These recordings were made between 1970 and 1972, at a time when the Historically Informed Performance (HIP) movement was picking up in Europe and specialist ensembles were being founded all over the place to give us authentic readings of all that early repertoire.  Don’t get me wrong: I absolutely love contemporary approaches to early music performance, and I’m usually for the ‘less is more’ approach when it comes to vibrato. But there’s something about the way the Berlin Phil’s playing never betrays…

Italian mezzo Cecilia Bartoli will be remembered in years to come not only for her formidable, many would say matchless, talent as a singer but also for her ability to uncover lost or neglected treasures from the Baroque and early Classical eras. Starting with her Vivaldi album, then with the Salieri and Sacrificium projects to the dazzling Steffani series, the Roman diva has been stamping her considerable personality on a rich vein of musical gold and bringing ‘new’ old music to the wider public. Now, with St Petersburg, she turns her attention to a fascinating period in Russian history, the 18th century when, under three empresses, the nation’s culture and politics were wrenched from the dark ages and brought into the sunshine of western European enlightenment. The troika of Tsaritsas – Anna who reigned from 1730-40, Elizabeth (1741-61) and Catherine the Great (1762-96) – imported Italian musicians and composers and commissioned the first Russian operas. Once performed, though, the scores languished in the archives of St Petersburg’s Mariinsky Theatre until Bartoli came along and set them free. Five composers feature on 11 tracks in this treasure trove of delights, opening appropriately with Neapolitan Francesco Araja, the first of the court…

This wide-ranging survey of Pärt’s choral music is the third disc of his music performed by Stephen Layton’s Polyphony. As with the other two recordings, the singers’ clarity and unanimity of tone confirm them as ideal interpreters of this music. An added attraction is that this program takes us to back to some of Pärt’s earliest choral writing: the austere Solfeggio of 1963. The haunting musical stasis of this piece belies its unswerving adherence to the rules of serialism. Seven years later Pärt’s setting of the Nicean Creed, Summa shows the composer emerging into his “tintinnabulist” period and embracing the so-called “holy minimalism” that has become a hallmark of his music. Another movement charted by this disc is Pärt’s journey from the confines of Soviet-era Estonia into the freedom of the wider, multicultural world of the last quarter-century. The works recorded here demonstrate that Pärt’s style both transcends time and place, but is also influenced by people and history. Virgencita, a 2012 work receiving its first recording, celebrates the story of the apparition of the Virgin Mary at Guadalupe, Mexico and reflects both the tenderness and passion of… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

Soprano Lisa Harper-Brown and pianist David Wickham, both English but now based in Perth, have released a sequel to The Poet Sings (2012), their first volume devoted to neglected 20th-century Australian art song, and particularly by female composers. The Red of a Woman’s Heart features three collections by Margaret Sutherland, including a cycle of William Blake poetry and six settings of Judith Wright, which for Wickham “are the best of the genre in Australia.” Many composers were still looking to England for lyrical material, so the Wright cycle is particularly significant, as are Raymond Hanson’s two settings of poems by the extraordinary Australian radical socialist poet Mary Gilmore. Other highlights include two sets by Peggy Glanville-Hicks, Profiles from China and Thirteen ways of looking at a blackbird. There is a lightness of touch about this recording, with a great sense of presence and space that makes it an excellent complement to the selections recorded by Ian Munro and Elizabeth Campbell nearly a decade ago. The interplay between Harper-Brown and Wickham is seamless, as though the music is being produced by a single entity. Harper-Brown is completely at home with… Continue reading Get unlimited digital access from $4 per month Subscribe…

Mitsuko Uchida is a force to be reckoned with. Her interpretations of Mozart, Beethoven, Schubert and Schoenberg have won her numerous prizes and accolades (including a Damehood), as well as garnered her international acclaim. Here, she continues her Grammy award-winning recording project of the Mozart piano concerti with the Cleveland Orchestra.  The disc opens with the concerto No 19 in F, a more softly spoken work than No 18 in B Flat. The Cleveland Orchestra is in fine form, with a sound that’s warm and gentle, and beautifully balanced against the piano. Uchida’s first notes say it all: pristine clarity, perfect technique, finessed but not a hint of ostentation (particularly in the delicate second movement). She conveys the sincerity of the music, and the result is just gorgeous. The final movement is a bright and robust end to this charming work.  The opening of No 18 is another delight – buoyant and fun. The second movement is a darker and more sombre work, while the finale is more light-hearted and joyful. Uchida’s performance contains the sparkling refinement for which she has become famous. Her method is never exaggerated or muddied, and she never compromises her tone in exuberant moments. She…

Bruch’s reputation was dealt a blow during the Nazi period as the dopey fascists thought that, as a result of his fine cello work, Kol Nidrei, he was probably a Jew and consequently banned his music. It took a long time for it to be returned to favour. The Scottish Fantasy is among his most popular works, and deservedly so. The mordant opening doesn’t promise much, but the violin soon emerges in a series of ruminative phrases and beguiling sea surges from which the fine melody (for which the work is famous) develops. The Adagio is gorgeous and the five-movement fantasia finishes with a robust swirl of the kilts. His third violin concerto is rarely played and it’s not hard to see why. Although professionally written, it seems to have little appeal and cannot hold a candle to the popular First Concerto. The final movement is the strongest, with many attractive phrases reminding us of his better works. At the risk of seeming a smart-Alec, it may have helped had he included some Scottish folk tunes. Nonetheless, Bruch considered it his best concerto and who am I to argue?… Continue reading Get unlimited digital access from $4 per month Subscribe…

Daniel Barenboim recorded a fine Elgar Falstaff with the London Philharmonic in 1974 so it is touching that he should program the work 40 years later for this Europakonzert recorded in Berlin’s Philharmonie. It is thrilling to hear players rip into the piece as though it were Don Juan or Till Eulenspiegel and the performance emphasises Elgar’s affinity with Strauss. The big moments come across with visceral impact while the gentle reflective moments are breathtakingly beautiful.  Tchaikovsky’s Fifth Symphony may divide opinion; those who believe the Russian way is the only way will turn their noses up, but those with open ears will recognise a deeply emotional reading with broad tempi and grandly moulded gestures. Barenboim goes straight through with barely a breath between movements, and his conducting is a miracle of economy; there are big rallentandi and obvious gear changes but they are always organic and the orchestra stick to him like glue. Tonal resources mean there’s always something in reserve and the huge climaxes are always rounded; an iron fist in a velvet glove. Individual contributions are predictably superb but principal clarinettist Wenzel Fuchs stands… Continue reading Get unlimited digital access from $4 per month Subscribe Already a…

The name Siegfried Mauser may not be familiar to Western European ears, but those who do know the name know him as a pianist who has specialised in 20th century German contrapuntal pianism from the likes of Hindemith, Hartmann and Henze. Now is probably the optimum time for him to be investigating Mozart’s keyboard sonatas as he has also published a text on them and has recently been made head of the Salzburg’s esteemed Mozarteum. Of course there have been many surveys of this cycle and it often comes down to personal favourites. Mine include the straightforward approach of the 50s’ EMI cycle by Walter Gieseking. For modern cycles, I’ve long been an advocate of Mitsuko Uchida’s fine Philips traversal. Frustrating and amusing by turn, I’ve also been fascinated by Glenn Gould (Sony), where critics have gone so far as to suggest that this must rank amongst the worst discs ever made! Yet somehow in spite of his distortions, Mozart’s music survives and encourages debate, and surely this is important. Against this backdrop Mauser may appear as coy if not conservative, for he is completely at ease in letting this music speak on its own behalf. And surely the fact…