I read somewhere that Ludwig van Beethoven liked to use the key of A-flat major as his key signature for music that is intended to communicate consolation. Perhaps it was Michael Tilson Thomas, in one of his talks, who mentioned that.

Every person faces challenges of many kinds. And every so often we need musical consolation to help us to overcome the challenge, and to keep going.

I’ll have to do some research into different composers’ use of A-flat, but these days my favorite is Beethoven’s Piano sonata #31 in A-flat. I’ve been listening to the opening 16 bars of the first movement, and it’s possible that my DVD of that music, as performed by pianist Daniel Barenboim, is getting worn out from the frequency of playing it.

For those of you who use Spotify, here is a playlist of five different pianists you can enjoy; each performing this music. It is interesting to see how widely the interpretations vary. Glenn Gould’s interpretation of the Beethoven first movement takes 08:44 minutes, while Wilhelm Kempff’s takes 06:04 minutes. Check it out for yourself, and tell me via a comment below which interpretation you like best. The other pianists are:

• Steven Kovacevich
• Claudio Arrau
• Rudolph Serkin

Spotify Playlist: Music to be Consoled by

Tags: Music of consolation, Beethoven Op. 110, pianists

Bach, J C:

• Symphonies Op. 6

• Symphonies Op. 9

• Symphonies Op. 18

• La calamità Overture

Netherlands Chamber Orchestra, conducted by David Zinman

Johann Christian was the youngest son of Johann Sebastian Bach. His musical taste, melodies, and spirit are quite enjoyable in these symphonies from the 1760’s and later. J.C. Bach’s use of the old three-movement symphony form is always imaginative, and features attractive scoring for solo winds and strings. Some of the slow movements are certainly instrumental arias and very beautiful.

In all these symphonies, an energetic Allegro with a bold, attention-grabbing opening gesture leads to a slow movement, and a fast final movement, often in a brisk triple time or with dancing or hunting associations. It might have been these examples that led the eight-year-old Mozart to compose his first symphonies. Mozart often spoke well of J. C. Bach in his letters to his family. ‘I suppose you have heard that the English Bach is dead?’ he wrote to his father in April 1782. ‘What a loss to the musical world!’

Gramophone Magazine wrote of David Zinman’s performances:

“David Zinman’s well-recorded, modern-instrument performances with the Netherlands Chamber Orchestra are polished and elegant, and they have vigor as well as finesse.”

Here is David Zinman conducting something other than this Bach; it is Elgar’s Violin Concerto with Gil Shaham and the Berliner Philharmoniker

If you’d like to purchase this CD at Amazon, please click below to complete your purchase:

Tags: David Zinman, J C Bach, Symphonies

Leif Ove Andsnes, piano, violinist Christian Tetzlaff and cellist Tanja Tetzlaff recorded three of Robert Schumann’s Piano Trios for this excellent 2-CD set. In addition there are some other pieces by Schumann in this collection (see below)

Engaged by many of the world’s leading orchestras and also a regular guest at the major international festivals, Christian Tetzlaff enjoys partnerships with many of the most distinguished conductors and chamber music colleagues. He has made a number of highly regarded recordings for Virgin Classics and EMI which won several awards including the Diapason D’Or and ECHO Klassik prize.

The Wall Street Journal has called Leif Ove Andsnes “one of the most gifted musicians of his generation,” while the New York Times has described him as “a pianist of magisterial elegance, power and insight.”

http://www.andsnes.com/newsstory.php?nid=282

“Andsnes and the Tetzlaffs conjured a rich, brooding sonority from the melancholic slow waltz of the central Larghetto with Tanja’s warmly expressive cello musing restlessly up and down the fingerboard. But it was the return of the opening theme which brought the most soulful harmonies and magically, reassuringly, the healing light of an angelic voice high in the keyboard”. ———-The Independent

Schumann:

• Piano Trio No. 1 in D minor, Op. 63

• Piano Trio No. 2 in F major, Op. 80

• Piano Trio No. 3 in G minor, Op. 110

• Studies (6) in Canonic Form, Op. 56 arr. for Piano Trio

• Fantasiestücke in A minor for Piano Trio, Op. 88

Leif Ove Andsnes (piano), Christian Tetzlaff (violin) & Tanja Tetzlaff (cello)

Tracks on these two CD’s are:

• Disc: 1

1. I. Mit Energie und Leidenschaft- Piano Trio No. 1 in D Minor, Op.63
2. II. Lebhaft, doch nicht zu rasch- Piano Trio No. 1 in D Minor, Op.63
3. III. Langsam, mit inniger Empfindung- Piano Trio No. 1 in D Minor, Op.63
4. IV. Mit Feuer- Piano Trio No. 1 in D Minor, Op.63
5. I. Sehr lebhaft- Piano Trio No. 2 in F Major, Op.80
6. II. Mit innigem Ausdruck- Piano Trio No. 2 in F Major, Op.80
7. III. In massiger Bewegung- Piano Trio No. 2 in F Major, Op.80
8. IV. Nicht zu rasch- Piano Trio No. 2 in F Major, Op.80
9. I. Nicht zu schnell- Sech Stückein kanonischer Form, Op.56 arr. for Piano Trio
10. II. Mit inningem Ausdruck- Sech Stückein kanonischer Form, Op.56 arr. for Piano Trio

• Disc 2

1. I. Bewegt, doch nicht zu rasch- Piano Trio No. 3 in G Minor, Op.110
2. II. Ziemlich langsam – Etwas bewegter – Schneller – Erstes Tempo- Piano Trio No. 3 in G Minor, Op.110
3. III. Rasch- Piano Trio No. 3 in G Minor, Op.110
4. IV. Kräftig, mit Humor- Piano Trio No. 3 in G Minor, Op.110
5. I. Romanze. Nicht schnell, mit innigem Ausdruck- Fantasiestücke für klavier, Violine and Violoncello, Op.88
6. II. Humoreske. Lebhaft- Fantasiestücke für klavier, Violine and Violoncello, Op.88
7. III. Duett. Langsam und mit Ausdruck- Fantasiestücke für klavier, Violine and Violoncello, Op.88
8. IV. Finale. Im Marsch-Tempo- Fantasiestücke für klavier, Violine and Violoncello, Op.88

Here is a video of Leif Ove Andsnes as he records the Rachmaninov Piano Concertos 3 & 4:

Tags: Leif Ove Andsness, Tetzlaff, Schumann

• String Quartet No. 4 in C major, K157

• String Quartet No. 17 in B flat major, K458 ‘The Hunt’

• String Quartet No. 22 in B flat major, K589 ‘Prussian No. 2′

Performed by the Jerusalem Quartet

After two recordings featuring the works of Haydn, the Jerusalem Quartet turns to the compositions of Mozart in this terrific CD.
This collection of three quartets ranges from the early one, K157, to the very late Prussian Quartet #2. This CD provides the listener with some wonderful music, interpreted in a warm, capable, and exciting way by a terrific group of musicians.

Members of the quartet are:

• Alexander Pavlovsky – 1st violin

• Sergei Bresler – 2nd violin

• Amichai Grosz – viola

• Kyril Zlotnikov – cello

The Jerusalem Quartet was founded in 1993, and began its training in Jerusalem, under the direction of the violinist Avi Abramovitch. The young quartet soon became a force to reckon with on the international scene: in 1996 it won First Prize in chamber music at the Jerusalem Academy, and in 1997 a double prize at the Graz International Competition for its performances of works by Kurtág and Bartók. Then in 2003 it was the recipient of the first Borletti-Buitoni Trust Award.

The Jerusalem Quartet regularly partners Mitsuko Uchida, Daniel Barenboim, and many other artists. With harmonia mundi, the quartet has recorded works by Dvořák , Shostakovich, Haydn and Schubert, and has been awarded several international distinctions including a BBC Music Magazine Award for their Shostakovich with Editor’s Choice and BBC Choice for their ‘Death and the Maiden’.

The Quartet is grateful to Daniel Barenboim who generously loans Jacqueline du Pré’s ‘Sergio Perresson’ cello to Kyril Zlotnikov.

Here’s a wonderful video of the Jerusalem Quartet performing Haydn:

Tags: Jerusalem Quartet, Mozart, Haydn

• Piano Sonata No. 1 in C major, Op. 1

• Piano Sonata No. 2 in F sharp minor, Op. 2

• Scherzo in E flat minor, Op. 4

________________________________________
Performed by Alexander Melnikov
Johannes Brahms was just 19 years old in 1852-53 when he wrote his first two piano sonatas that he felt were worthy of publication. In these extended 4-movement compositions he built on the heritage of Beethoven, as was the case with his later symphonies.

These compositions are quite serious, and may require more than one hearing to be fully appreciated. Still they are important because Brahms was very critical of his own works and destroyed a lot of his own compositions with which he was dissatisfied.

Alexander Melnikov was born in Moscow in 1973 and began his music studies at the age of six, at Moscow’s Central Music School, then continued at the city’s Tchaikovsky Conservatory from which he graduated in 1997.

Alexander Melnikov appears regularly in recital at the world’s leading concert halls with major orchestras. Besides his well-established duo with violinist Isabelle Faust, his other partners include Vadim Repin, Yuri Bashmet, and many others.

Here are the tracks on this CD:
1. Piano Sonata in F sharp minor, op.2: I. Allegro non troppo, ma energico

2. Piano Sonata in F sharp minor, op.2: II. Andante con espressione

3. Piano Sonata in F sharp minor, op.2: III. Scherzo. Allegro – Trio

4. Piano Sonata in F sharp minor, op.2: IV. Finale. Introduzione – Allegro non troppo e rubato

5. Scherzo in E flat minor, op.4

6. Piano Sonata in C major, op.1: I. Allegro

7. Piano Sonata in C major, op.1: II. Andante (nach einem altdeutschen Minnelied)

8. Piano Sonata in C major, op.1: III. Scherzo. Allegro molto e con fuoco

9. Piano Sonata in C major, op.1: IV. Finale. Allegro con fuoco

And… here’s a video of Melnikov playing Shostakovich:

If you’d like to purchase this CD at Amazon, please click on the image below to complete your purchase:

Tags: Alexander Melnikov, Brahms, Shostakovich

In the world of Guitar performers, Andres Segovia is supreme. When I heard some of this recording, I became aware again of the wonderful musical style and great phrasing that this man brought to his art.

Like Jascha Heifetz, or Artur Rubinstein, these performers fade into the past, but those of us who grew up while they were still in the limelight, will always remember them

This CD features the following music:

Castelnuovo-Tedesco:

• Sonata in D major, Op. 77 ‘Omaggio a Boccherini’

Studio Recording, 1957

Haug:

• Alba; Postlude

Studio Recording, 1956

Haydn:

• String Quartet, Op. 74 No. 3 in G minor ‘The Rider’: Largo Assai

Studio Recording, 1960

• String Quartet, Op. 74 No. 3 in G minor ‘The Rider’: Menuetto

Studio Recording, 1960

Sanz:

• Espanoletas

Studio Recording, 1960

• Gallarda

Studio Recording, 1960

Scarlatti, D:

• Keyboard Sonata K391 in G major

Studio Recording, 1960

Torroba:

• Piezas caracteristicas

Studio recording 1958

• Romanza de los piños

Studio Recording, 1960

Original Release Date: August 31, 2010

Here is Segovia, playing Asturias by Isaac Albéniz:

Tags: Andres Segovia, Guitar, Asturias, Torroba, Haydn

Thomas Hampson, Baritone, with the Wiener Virtuosen

Thomas Hampson has been a special performer of the Lieder of Gustav Mahler for many years. Mahler died in 1911, and as such, 2011 is a year when many commemorative music will be issued.

This album is Hampson’s first studio recording of the orchestral version of Des Knaben Wunderhorn. Hampson is joined by The Wiener Virtuosen, a chamber ensemble of the highly – regarded principal players of the Vienna Philharmonic Orchestra.

Hampson said:
“Mahler’s music is a ‘sound cosmos’ unto itself […] It is a reflection of my own world, something that’s extraordinarily informative to me as human being.”

And the BBC Music Magazine of January 2011 commented:

“[Hampson] refines his forces to those of the Wiener Virtuosen…This has the effect of creating a wonderfully fresh imaginative take on the songs…these slimmer forces really put a spring in the music’s step…And his choice of tempos…is often inspired…A constantly absorbing recital.”

Finally, here’s a comment from Gramophone Magazine, February 2011:

“No performer has ever had a more comprehensive knowledge of the manuscript sources…Instrumentally speaking, the results are fabulous…Long-term admirers should not expect the immaculate finish…of the singer’s youth. Instead we have a more autumnal brand of vocalization, one that arguably suits these feisty, individualistic songs of ordinary folk.”

Here is a trailer for this recording, with Hampson providing an introduction:

Tags: Gustav Mahler, Thomas Hampson, Des Knaben Wunderhorn, Wiener Virtuosen

This album contains 3 CD’s of Alfred Brendel’s favorite music compositions.
Brendel celebrated his 80th birthday on January 5th 2011, and in some sense this is his birthday gift for us!

He’s a legend of the piano world, revered and applauded the world over. Famous for his amazing interpretations of the classics, we get the artist to personally select recordings that have been significant in his performance and recorded career. Including Bach’s Italian Concerto, Mussorgsky’s ‘Pictures’, and Liszt’s ‘Légendes’, and more.

All of the above comes with Brendel’s own, personal reminiscences. This limited edition product also includes several currently unavailable recordings.

While Brendel does not perform much anymore, I personally see in this great artist a person of humility, and a sensitive man who specialized in the music of Schubert, and who concentrated on being committed to the intention of the composer

There is a wonderful diversity of musical style and musical periods in this collection, ranging from Bach to Liszt. I am relieved to see that Schubert retains a place in this collection, as well.

Tracks on this CD are:
Bach, J S:

• Italian Concerto, BWV971

• Fantasia & Fugue in A minor, BWV904

Beethoven:

• Piano Sonata No. 29 in B-flat major, Op. 106 ‘Hammerklavier’

• 6 Variations for Piano on an Original Theme in F major, Op. 34

Busoni:

• Toccata

Liszt:

• Legendes (2) for piano, S. 175

Mozart:

• Piano Concerto No. 17 in G major, K453 (Cadenzas: Mozart.)

• Scottish Chamber Orchestra, Sir Charles Mackerras

Mussorgsky:

• Pictures at an Exhibition (piano version)

• Original Piano Version.

Schubert:

• Fantasie in C major, D760 ‘Wanderer’

Weber:

• Konzertstück in F minor, Op. 79 for piano & orchestra

• London Symphony Orchestra, Claudio Abbado

Here is a video of the Piano Concerto No. 3 in C minor, op.37 by Ludwig van Beethoven, with Alfred Brendel, piano, and Claudio Abbado – conductor, directing the Lucerne Festival Orchestra:

And here’s Alfred Brendel in Japan playing an all Liszt’s concert:

If you’d like to purchase this CD album at Amazon, please click on the image below:

Tags: Alfred Brendel, 80th birthday, Beethoven, Schubert, Liszt, Bach, Busoni, Mozart, Weber

• Divertimento in E flat major, K563

• Prelude & Fugue for string trio, K404a No. 4 in D minor

• Prelude & Fugue for string trio, K404a No. 5 in E Flat

Performed by the Hermitage String Trio: Boris Garlitsky (violin), Alexander Zemtsov (viola) & Leonid Gorokhov (cello)

This new release highlights some of Mozart’s lesser-known works, all for string trio: the Divertimento in E flat major, KV 563 and two of the Fugues with slow Preludes from the set of six, KV 404a (after Bach).
The Divertimento, KV 563 is not only Mozart’s only composition for string trio, it is also one of the first works ever written for the combination of violin, viola, and cello. It was composed in 1788, the same year as three of Mozart’s greatest and best-known works, the symphonies in E flat, G minor, and C (the ‘Jupiter’). Mozart was at the absolute height of his powers as a composer, and at the premiere of the divertimento in Dresden in 1789, he himself played the viola part.

The title ‘Divertimento’ implies music that is not restricted to the so-called Sonata Form, but which exhibits a light-hearted appeal that was intended for the social and musical gatherings of the late eighteenth century. In this work, however, Mozart asks each of the three instruments in turn to take on the role of the soloist, which develops this composition into something more expressive and focused.

The composer of the Six Fugues with Slow Preludes, KV 404a is uncertain, but they are generally considered to be works by Mozart. Numbers 4 and 5, featured on this release, are transcriptions of works by Bach. In No. 4, the prelude comes from Bach’s organ trio Sonata No. 3, and the fugue is from Die Kunst der Fuge. The fifth prelude and fugue are formed from the second and third movements of Bach’s second organ sonata.

‘True brilliance!’ noted The Strad magazine of a recent performance by The Hermitage String Trio, adding: ‘This ensemble will do much to put more string trio repertoire on the musical map.’

Here is the “Camerata Pacifica” in the 4th movement of Mozart’s Divertimento in E Flat Major, K 563:

If you would like to purchase this CD at Amazon, please click on the image below to complete your purchase:

Tags: Hermitage String Trio, Mozart, Divertimento, KV 563, Preludes

There are occasions where certain musical compositions become associated with certain performers. The reason, of course, is that the public senses a particular emotional expression in the performance of a particular work which the listener cherishes.

The Elgar Cello concerto is one such work. Early in its history, the concerto was made famous by the legendary British Cellist, Jacqueline DuPre. Then later, after Ms. DuPre’s tragic death, I personally have loved the performance by Yo Yo Ma.

My sense is that Mr. Ma originally recorded this masterpiece in 1989 or 1990, and I don’t believe that we have a newer recording, although there are many occasions where a video of Mr. Ma doing this work at an occasion such as the season opening at Carnegie Hall comes to mind.

What an amazing musical composition this is: full of melodic grandeur, emotional expression, tender sections, and opportunities for an orchestra and soloist to shine.

In the following video we have Yo-Yo Ma with Daniel Barenboim and the Chicago Symphony Orchestra in this performance from 1997. Mr. Ma gives a performance that is beyond breathtaking. It is also fitting that Barenboim is the conductor; he was married to Jacqueline DuPre during the years when she championed this masterpiece by Edward Elgar.

And here’s the Elgar Cello Concerto, 2nd movement:

If you’d like to purchase this CD at Amazon, please click on the image below:

Tags: Edward Elgar, Yo Yo Ma, Jacqueline DuPre, Barenboim

The Adagietto movement of Mahler’s 5th symphony is certainly a masterpiece that is loved by Millions.

Let’s explore how three conductors interpret this music:

1. Herbert von Karajan
2. Claudio Abbado
3. Leonard Bernstein

Take a look and listen to these three interpretations. Drop a comment at the comment box at the bottom of this post with your own opinion.

Here is Karajan’s way:

Karajan – Mahler symphony no.5 (IV) – Adagietto. Sehr Langsam

And now, Abbado’s way:

And finally, the way Bernstein does it:

What’s my view?

I like the Bernstein interpretation best. The reason is that I feel he’s more committed to the composer’s instructions. Mahler wrote the following instructions for this movement:

“Adagietto. Sehr langsam” (VERY slowly). And I feel that Bernstein’s adherence to a somewhat slower tempo than either Karajan or Abbado adds a lot to the drama of this movement.

And your opinion? (Enter your comment below)

Tags: Gustav Mahler, 5th symphony, Adagietto

• String Quartet No. 13 in G major, Op. 106
• String Quartet No. 12 in F major, Op. 96 ‘American’

Performed by The Pavel Haas Quartet

On September 24, 2010 I first wrote in this Blog about the Pavel Haas Quartet, on their performances of Prokofiev’s chamber music. Now here they are again, in music of Antonin Dvorak!

Dvořák’s String Quartet Op. 96 is one of the most beautiful quartet pieces in the chamber music literature; it originated while the composer was in the US, following the composer’s “New World” Symphony. The so-called “American” quartet, and the subsequent quartet, Op. 106, the first composition Dvořák created after his return from America, are the challenging compositions that are tackled by the Pavel Haas Quartet on this CD.

Here are some press comments:

“The Pavel Haas players revel in the turbulence of the opening movement, but they savor the lyricism of the beautiful adagio, the rhythmic energy of the scherzo and the exuberance of the finale’s fiery allegro. Their account of the American Quartet belongs alongside the greatest performances on disc. In this repertoire, they are simply matchless today.”

………………Sunday Times, 14th November 2010

“The Pavel Haas Quartet play with plenty of feeling and they also relish the rhythmic cut and thrust of the Molto Vivace third movement, capturing to perfection the more relaxed Trio’s sunny spirit. The finale opens to a gentle smile then keys up for some dancing exuberance…there’s an abundance of varied drama”

………………Gramophone Magazine, December 2010

Here is the Pavel Haas Quartet, performing extracts from the Dvorak String Quartet 12, called the ‘American’:

And here is the Pavel Haas Quartet, again, playing the Haydn Quartet called ‘Fifths’

Tags: Pavel Haas Quartet, Dvorak, Haydn

CD’s of Elgar’s violin concerto are issued much more frequently now. Now here’s another, with soloist Tasmin Little, the Royal Scottish National Orchestra, and with another fine Elgar performer, conductor Andrew Davis.

This CD was just issued on 11/16/2010, and it celebrates 100 years since the first performance, and includes, on a separate track, the special cadenza – with wonderful harp flourishes – used in the first recording in 1916.

This is a fascinating document for Elgar-lovers, and Tasmin Little’s performance, humorous, poetic and powerful, with sympathetic accompaniment from Davis and the RSNO, demands attention in its own right.

The tracks are:

1. Violin Concerto in B minor, Op. 61: I. Allegro

2. Violin Concerto in B minor, Op. 61: II. Andante

3. Violin Concerto in B minor, Op. 61: III. Allegro molto -

4. Violin Concerto in B minor, Op. 61: III. Alternative cadenza by the composer

5. The Crown of India, Op. 66: Interlude

6. Polonia, Op. 76

Here is Tasmin Little in the Partita for solo violin No. 3 in E major, BWV 1006 – 3. Gavotte en Rondeau

Tags: Tasmin Little, violin, Edward Elgar

Here’s yet another young European violinist that is joining the scene of fine performers on this new CD:

Beethoven:

• Violin Concerto in D major, Op. 61
• Romances Nos. 1 & 2 for violin and orchestra

Liza Ferschtman (violin), and the Netherlands Symphony Orchestra, conducted by Jan Willem de Vriend.

The three major works that Beethoven wrote for violin and orchestra are the Concerto in D Major, and the two Romances. These are performed on this Hybrid SACD by the outstanding young violinist Liza Ferschtman and the Netherlands Symphony Orchestra under the baton of Jan Willem de Vriend.

Born to Russian parents, Netherlands-based violinist Liza Ferschtman is recognized as one of the most significant young artist. In recent seasons Liza Ferschtman has performed with all the major Dutch orchestras, including the Royal Concertgebouw Orchestra, the Amsterdam Sinfonietta and the Rotterdam Philharmonic Orchestra, Residentie Orchestra, and the Netherlands Philharmonic Orchestra, and has worked with conductors such as Leonard Slatkin, Jaap van Zweden, Thierry Fisher, and Christoph von Dohnányi.

In 2006 Liza Ferschtman received the Dutch Music Award 2006, which is the highest distinction awarded to musicians in the Netherlands.

After a memorable premiere in 1806, nothing was heard of Beethoven’s Violin Concerto. Then, 38 years later, in 1844, Felix Mendelssohn conducted a hugely successful performance of the concert during a London Philharmonic Society concert with the then 14-year-old Joseph Joachim as soloist.

Here is a video of Liza Ferschtman performing J.S. Bach; From: Sonate number 1 – Adagio

Tags: Beethoven, Liza Ferschtman, violin concerto

This is a wonderful collection of some great piano music by Johannes Brahms, as performed by pianist Garrick Ohlsson! His musicianship and pianistic skill are very apparent, and the music selected is both fascinating and exciting. I always learn some new things from listening to these new recordings: This time it is the fact that Brahms wrote a set of variations on the slow movement theme of the String sextet Op. 18. Brahms composed these D minor Theme and Variations as a birthday present for Clara Schumann in 1860.

Garrick Ohlsson included six sets of Brahms’ variations in these two CD’s, though only two of them, the Variations and Fugue on a theme by Handel, Op 24, and the Paganini Variations, Op 35, are well known and appear regularly in recital programs. The difficult Paganini variations, an amazing display of pyrotechnic virtuosity, are frequently featured in piano competitions, and they are performed to demonstrate extraordinary technique. Still, many of the early variations are quite different from the intimacy of Brahms’s late piano pieces, and Ohlsson’s excellent technique and warm tone generally suit them beautifully.

The Variations and Fugue on a theme of Handel is one of the summits of Brahms’ entire keyboard output, showing the composer at the height of his powers. This 2-disc set also contains some little-known gems, including the wonderful Variations on an Original Theme.

Below are the track titles:

Disc: 1

1. Theme and variations, for piano in D minor (after sextet for strings, Op. 18)
2. Variations (25) and Fugue on a Theme of Handel, for piano, in B flat major, Op. 24: Aria – Variations 1 to 25 -
3. Variations (25) and Fugue on a Theme of Handel, for piano, in B flat major, Op. 24: Fugue
4. Variations (11) on an Original Theme in D major for piano, Op. 21/1
5. Variations (13) on a Hungarian song for piano in D major, Op. 21/2

Disc: 2

1. Variations on a Theme of Schumann, for piano in F sharp minor, Op. 9
2. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book 1

Here is Garrick Ohlsson performing Scriabin’s Prelude #2 in A minor opus 11 at the Museum of Arts and Design, NYC, November 2008:

Tags: Brahms, Variations for Piano, Garrick Ohlsson

I had to drive to an appointment first thing yesterday morning, Thursday, October 21, 2010. I knew that the drive would likely take 30 minutes, so I turned on my favorite classical music station. And… there was Mozart! The music quickly got my attention for many reasons: First… thank you, Wolfgang, for giving me your wonderful compositions! Here we are, 219 years after your death, and millions of us are still finding the time to spend with your melodies, and they are so meaningful!

And hey… it’s the Mozart Violin Concerto #3 that I am hearing. I struggled with that piece many years ago! I knew how I wanted it to sound, emanating from my violin; but I never was able to achieve what I wanted. If I knew then what I know now about learning tough new skills, I might have gone about my aim very differently…

I loved this violinist’s playing! But I could not place her/him. I was pretty sure it was not Gil Shaham or Victoria Mulova, or Anne-Sophie Mutter. So I was eager and waiting to hear the performer’s name, and it turned out to be Joshua Bell!

When I returned from my appointment, I located the CD that I heard:

There are, in fact, two CD’s in this album; and the tracks are as follows:

1. Max Bruch: Violin Concerto No.1 in G minor, Op. 26
2. Mendelssohn: Violin Concerto in E minor, Op. 64
3. Mozart: Violin Concerto No. 3 in G major, K. 216
4. Mozart: Adagio for violin & orchestra in E major, K. 261
5. Mozart: Violin Concerto No. 5 in A major (“Turkish”) K. 219
6. Mozart: Rondo for violin & orchestra in C major, K. 373

This is an older recording, and my sense is that there are few recordings of the Mozart concertos No. 3 in G major that can compare with these 1992 performances by Joshua Bell and the English Chamber Orchestra conducted by Peter Maag. The playing is direct, tender, and technically excellent as well as being played with lots of “heart”. Bell uses his own cadenzas as has become his trademark and without exception these cadenzas show the amount of insight and careful study behind Bell’s performances.

At one point in the 3rd movement, I heard a few bars of music that was not Mozart! Wow… I thought: Bell is embellishing on Mozart! While I was amazed at first; then I ‘forgave’ Mr. Bell: Why? Because Mozart himself was a great improviser, and basically that’s what Bell was doing in two or three spots in the final movement of the 3rd concerto.

As an added bonus for this album, Bell and Peter Maag offer the ‘Adagio in E major’, K261 and the ‘Rondo in C major’, K373 and it would be difficult to find finer recordings of these two gems in the current CD library.
Here is a video that presents some scenes Joshua Bell’s younger years:

If you’d like to purchase this album at Amazon, please click on the image below:

Tags: Joshua Bell, Mozart, Bruch, Mendelssohn

This is a collection of 5 CD’s with the symphonies numbered 93 to 104, the so-called “London” Symphonies, of Haydn

Performed by the Austro-Hungarian Haydn Orchestra, under the direction of Adam Fischer

This is an excellent collection of Haydn symphonies. It is the highest numbered volume in an 8 – volume set. It is an excellent digital recording and it is beautifully performed. If you are looking for a complete collection of Haydn symphonies, this is one of the sets that you should consider.

Aside from having a high level of technical skill, the orchestra puts terrific feeling and life into their performances. This is coupled with Fischer’s flair for the dramatic, and each symphony shines with the sense that it is being thoroughly interpreted, not just generally played through. These are interpretations that are thoughtful, well executed, and technically excellent.

Here is a sample of the sensitivity that Adam Fischer brings to Haydn performances:

Haydn: Symphony No 66/2. Adagio — Adam Fischer and the Austro-Hungarian Haydn Orchestra

And here is a section of the Symphony #56:

To purchase this CD from Amazon, click below:

Tags: Haydn, London Symphonies, Adam Fischer

Michael Collins is an excellent clarinet player, and his virtuosity and sensitive musicianship have made him a favorite of conductors, composers, and audiences throughout the world.

This recording presents a varied repertoire, concentrating generally on its more virtuoso aspects and offering some impressive show-stoppers. Well-known works such as Rachmaninoff’s Vocalise contrast with the brilliance of Giampieri’s “Il Carnevale di Venezia”, and the playful, humorous French pieces by Milhaud and Messager provide a further contrast in mood and color.

Tracks on this CD are as follows:

Gershwin:
Preludes Nos. 1-3

Giampieri:
Il Carnevale di Venezia’

Lovreglio, D:
Fantasia da Concerto su motivi de ‘La Traviata’ by Verdi, Op. 45

Messager:
Solo de concours

Milhaud:
Scaramouche, suite for clarinet & piano (or orchestra), Op. 165d

Milton, S:
Carmen Fantasy

Rachmaninov:
Vocalise, Op. 34 No. 14

Weber:
Grand Duo Concertant for clarinet and piano, Op. 48

Weber’s bubbly Grand Duo Concertant is also among the many highlights on this CD. Unlike other works of his, in which the main purpose of the accompanying instruments is to support the virtuoso solo part, the Grand Duo presents an equal presentation of two virtuoso solo parts, one being the clarinet, the other the piano. The piece is a Duo in the true sense of the word.

Another key piece is Milhaud’s famous Scaramouche. This was initially composed as a work for two pianos, but due to its immediate and immense popularity, the composer was soon called on to make several arrangements of it, starting with the one for clarinet and piano which we hear on this CD.

This disc also presents Simon Milton’s Carmen Fantasy which was premiered at the Harrogate Festival in 2009. Milton stays closely to Bizet’s harmony and keeps the tunes highly recognizable despite all the elaborations and mini-cadenzas. It is a thoroughly engaging work.

Here is Michael Collins With Julien Quentin, piano, in Carl Maria von Weber’s Grand Duo Concertante in E-flat major Op. 48; the 3rd movement: Rondo/Allegro

Tags: Michael Collins, Virtuoso clarinet, Carl Maria von Weber, Milhaud, Simon Milton, Gershwin

Elīna Garanča’s new album – ‘Habanera’ – is full of the summer sounds from Spain! The disc is based around gypsies, with arias from Bizet’s Carmen mixed with various Spanish songs and a few other selections with a gypsy or Spanish flavor.

‘Habanera’ is a fine CD album which shows off the seductive voice of Elina Garanča to the fulest. The repertoire is a mixture of well-known and virtually unknown songs. You can hear a lot of flamenco influence throughout this disc and the accompaniments vary between full orchestra, small ensemble and guitar. The Spanish songs by composers such as Emanuel de Falla and Montsalvatge are also particularly enjoyable. Ms. Garanča’s appearance, acting, and singing are particularly well-suited for her temperament.

Carmen is one of the most famous operas of all time, and there have been some great Carmen’s in the past, but I’m pleased to say that Garanča is right up there with the best. She sings with a seductive and alluring tone, and her technique is superb.

Tenor Roberto Alagna also makes an excellent Don José for Elina. He seems to enjoy this role, and he sings with both power and refinement.

With gorgeous pieces eliciting every strength Elîna Garanca boasts as a musician, Habanera’s instrumental accompaniments – whether RAI’s full orchestra, small ensemble or guitar – add to the very sultry atmosphere.

Conductor Karel Mark Chichon contributes taut yet sensitive leadership that enhances the charm and variety of Elîna Garanca’s selections.

Here is Ms. Garanča in two exciting video’s:

Julia Fischer was born in 1983, in Munich, Germany. She began studying the violin at age 3, and at 4 she began simultaneous studies on the piano with her mother. Young Julia’s first advanced studies on the violin came a few years later in Augsburg, Germany at the Leopold Mozart Conservatory; at 9, she began studying at the Munich Academy of Music.

In 1995 Fischer won first prize at the International Yehudi Menuhin Competition, where she also captured a special prize for best performance of a J.S. Bach solo work.

Julia Fischer’s recording of Paganini’s 24 Caprices will be released in the U.S. digitally on August 31 exclusively at the iTunes store, with the recording available in stores September 7. Ms. Fischer, now 27, first heard the 24 Caprices when she was eight years old at a children’s music course at which Austrian violinist Thomas Zehetmair performed: “I thought that these are the most difficult compositions that a violinist can play. When I was 10, I learned my first Caprice – number 17 – and I felt like I was a real, true violinist.”

Julia Fischer’s playing is always highly musical, and shows us her terrific technical capabilities. Her interpretation is sensitive, thoughtful, and carefully executed to underscore variations in dynamics, and expression of different colors.

Here is a video of Ms. Fischer playing the 24th Caprice by Paganini:

For a brief interview with Ms. Fisher, click here:

This CD of great songs and Arias was issued earlier this month (August, 2010). It contains two CD of wonderful performances by Ms. Te Kanawa.

CD 1 is a collection of amazing arias from many different Mozart Operas. Each of these is a gem of its own. The second CD is devoted to the music of Richard Strauss. We hear one of Ms. Te Kanawas great interpretations of Strauss’ “Four Last Songs”. She also sings selections from many Strauss Operas, and a series of Strauss’ songs with orchestra.

Kiri Te Kanawa was born 6 March 1944 in Gisborne, New Zealand, and during her active career brought immeasurable pleasure with her singing to a huge set of listeners world – wide. I always perceived her as a down to earth, hard-working musician, with a fantastic voice, eager and open to work with a great variety of other musicians, conductors and accompanists.

Here is one of my favorite songs by Strauss, “Beim Schlafengehen” (Going to sleep) as done by Ms. Te Kanawa with Georg Solti:

And for those of you who are interested, take a close look at a rehearsal, (likely at Solti’s home?) in which the four last songs are being prepared for performance:

This is an album of 3 CD’s with wonderful performances by Joshua Bell!

Disk 1 is devoted to Violin Concerti; Disk 2 contains sonatas and chamber music, and CD-3 is devoted to shorter encore pieces.

As such, here are the specifics:

Disk 1 features the Mozart Violin concerto #5, and the Brahms Violin Concerto in D, Op. 77;

Disk 2 contains the following:

• Faure’ Sonata For Violin And Piano No.1 In A, Op.13

• Prokofiev Sonata For Violin And Piano No.2 In D, Op.94b

• Shostakovich Piano Trio No.2, Op.67

Disk 3 has a collection of well-known encores by Kreisler, Massenet, Paganini, Saint-Seans, Wieniawski, and others.

Mr. Bell has become a huge success in his performances of a large repertoire of music. His phrasing, warm tone, and exquisite technique make his music a delight to hear.

Here is Joshua Bell performing the Bach Chaconne from the Partita #2:

And here’s more, including Mr. Bell talking about the violins that he loves:

There are 15 tracks of beautifully-played Flute and Harpsichord sonatas on this recording:

• Sonatas in A-Minor; A-Major; E-Flat; G-Minor, and B-Minor. These are performed by:

• Joshua Smith, flute; and
• Jory Vinikour, Harpsichord

The interpretation is excellent, and the musical balance between these two sensitive instrumentalists is outstanding! This is Bach at his finest, particularly if you want to listen to intimate chamber music, opposed to orchestral sound. Hear the variety, color, and wonderful Bach phrasing of these two musicians! For me this is music for contemplation, for thought, for thinking about the past and the future…

Click below to hear Joshua Smith talk and play selections from this album:

Mr. Smith is principal Flute at the Cleveland Orchestra, here being interviewed about an upcoming concert at Carnegie Hall:

It took me a while to develop an understanding of Gustav Mahler’s Symphony number 6. A few years ago, however, I spent some time in Aspen Colorado, and I had the opportunity to attend a conducting student seminar given by James Conlon, who was just rehearsing this masterpiece with the Aspen Symphony Orchestra. It was that experience that finally achieved a breakthrough for me, and now this is one of the symphonies that I like very much to hear. (One of these days, I hope to achieve a similar breakthrough with the 7th!!)

Claudio Abbado and the Berlin Philharmonic perform the Symphony #6 beautifully on this CD. Apart from the first and fourth, the sixth probably stands out as Mahler’s most accessible symphony for newcomers to his music. Not that the Mahler 6th doesn’t have complexities, but it sticks closer to the classical form, where the traditional four movements are used. Its themes and recapitulations are really apparent, and it has a sudden and surprising ending.

The Symphony #6 contains some of Mahler’s best music: The typical Mahler marches at the beginning of the Allegro and the Scherzo; The Allegro’s justly famous theme inspired by Mahler’s wife; “The Alma Theme”; the fiery ending complete with giant hammer blows; the amazingly beautiful Andante respite. In many ways, this symphony “makes sense” even to a new listener, like me.

In this recording, Mr. Abbado places the slow Andante before the Scherzo and removes the third and final hammer blow from the Finale. Gustav Mahler apparently had trouble making up his mind on the order of the movements, but the original publication put the Scherzo second and included all three hammer blows. The “correct” version remains controversial, since Mahler continued to adjust the symphony throughout his lifetime.

Abbado and the Berlin Philharmonic provide an outstanding performance. I actually also own a performance by Pierre Boulez, and I’ll need to decide someday which one I like better; this may actually be another tough challenge to overcome…

Here’s a video with Abbado conducting the Lucerne Festival Orchestra in the first movement of Mahler’s 6th symphony:

I love the piano music of Brahms! That includes the music for piano with orchestra (he composed two piano concerti), and also so much wonderful music that he composed for solo piano.

Johannes Brahms was an outstanding pianist in his time. He concertized extensively, performing music for piano solo, and also for violin and piano all over Europe with the world renowned violinist Joseph Joachim.

As such, I am always interested when new piano performers emerge whom I am hearing for the first time. In this recording, we get both piano solo works of Brahms, as well as his concerto #2 in B-flat major for piano and orchestra. The solo works are the Klavierstücke Op.76 All eight of these Klavierstucke are among Brahms’ most wonderful and romantic solo works. The piano sound is outstanding, and Nicholas Angelich delivers a performance that is lyrical and full of feeling.

Even though a lot of older pianists like Horowitz have died, and others like Alfred Brendel have retired, I still hear some of the established experts such as Argerich, Kissin, and Pletnev, and I admire their marvelous performances. Yet the new group of pianists (including many reviewed at this Blog) have shown me great promise. Angelich plays very musically, and he handles the difficult finale very well, sounding light and rhythmic without tripping over Brahms’ extensive thematic ideas. Conductor Jarvi is particularly capable in the Finale, assuring that this movement sounds convincing, passionate, and exciting.

Here is a video of Nicholas Angelich playing the Brahms concerto #2:

First is a master class conducted by Ana Chumachenco, who instructs a young violin student on how to perform one of Mozart’s violin concerti. The biographical material seems quite positive:

“Ana Chumachenco is recognized as one of the foremost violin teachers in the world and is a professor at the renowned Musikhochschule in Munich. She started to play the violin at the age of four, initially taught by her father, himself a disciple of the great Leopold Auer. At the age of 18 she was awarded the gold medal at the Carl Flesch competition in London and Yehudi Menuhin, Joseph Sigeti and Sándor Vegh were among her mentors at that time…”

My sense is that there’s very little creativity on the part of the instructor. We only see the teacher’s way of playing. At no time did I see an attempt by the teacher to engage the student in an exploration of finding a “better way” by the student herself. If the student were allowed to discover solutions and improvements in playing the instrument, would that not be a lot more powerful? Feel free to comment on what you see below:

And now a conducting class with Kurt Mazur…
On this DVD, Kurt Masur works with two young conductors on the first two movements of Mendelssohn’s “Italian” Symphony, the symphony #4. Yes… there are a few times when Mazur demonstrates baton technique. On another occasion, however, he decides to talk about “prayer”, and I am actually lost as to how that topic is supposed to teach the young conductor how to obtain the kind of music that he is seeking from the orchestra. Judge for yourself by listening to the extract below:

When young people make it big as performers, I am always inspired. And Ms. Weilerstein is no exception. Read more about her here:

For more on this young artist, click here:

I find Alisa Weilerstein’s music is always confident, secure, bold, expressive, and sensitive. So… let’s have the music just speak for her, in terms of her ability as an artist: 

Bach: Prelude to the Cello Suite number 3:

Dvorak’s Cello concerto:

Kodaly’s Sonata for Solo Cello Op. 8

Elgar: Cello Concerto played with the Berlin Philharmonic Orchestra on 1 May, 2010. Conductor was Daniel Barenboim