• Horn Concertos.

Mozart was a genius in all areas of musical composition, and his horn concertos – despite making up a very modest part of his total output – still demonstrate the finest achievements in the horn literature.

The composer became acquainted with the mellow sounds of the instrument from an early age, via his friend Joseph Leutgeb, who had been employed by the Hofkapelle (Court Orchestra) in Salzburg. It was not until the remaining ten years of his life, however, that Mozart finally set to work on his six concertos for horn.

On this CD we get to hear the following:

Mozart:

• Horn Concerto No. 1 in D major, K412 (K386b)

• Horn Concerto No. 2 in E flat major, K417

• Horn Concerto No. 3 in E flat major, K447

• Fragment in E, K494a

• Fragment in E flat major, K370b

• Horn Concerto No. 1 in D major, K412 (K386b) – Allegro, with Mozart’s original text

Performed by Herman Jeurissen (horn), with the Netherlands Chamber Orchestra, conducted by Roy Goodman.

When I listen carefully to these works, I sense that Mozart did not take this instrument all that seriously, but the works still delightful to hear because of their gaiety, lightness of touch, and warmth of orchestration.

Herman Jeurissen is the soloist on this recording and principal horn player of the Residentie Orchestra in The Hague. His passion for these works is evident from his highly accomplished playing.

The tracks on this CD are:

Mozart:

1. Horn Concerto No. 2 in E-Flat Major, KV 417: I. Allegro

2. Horn Concerto No. 2 in E-Flat Major, KV 417: II. Andante

3. Horn Concerto No. 2 in E-Flat Major, KV 417: III. Rondo: Allegro

4. Horn Concerto No. 3 in E-Flat, KV 447: I. Allegro

5. Horn Concerto No. 3 in E-Flat, KV 447: II. Romance. Larghetto

6. Horn Concerto No. 3 in E-Flat, KV 447: III. Allegro

7. Concerto movement in E Major, KV 494a: I. Allegro

8. Horn Concerto No. 1 in D Major, KV 412: I. Allegro

9. Horn Concerto No. 1 in D Major, KV 412: II. Rondo. Allegro

10. Horn Concerto in E-Flat Major, KV 370b/371: I. Allegro

11. Horn Concerto in E-Flat Major, KV 370b/371: II. Rondeau. Allegro

12. Horn Concerto No. 4 in E-Flat Major, KV 495: I. Allegro

13. Horn Concerto No. 4 in E-Flat Major, KV 495: II. Romance. Andante

14. Horn Concerto No. 4 in E-Flat Major, KV 495: III. Rondo. Allegro

15. Horn Concerto No. 1 in D Major, KV 412: I. Allegro

Here is W. A. Mozart’s Horn Concerto Nr.3 KV.447 III. Rondo; with soloist Radek Baborák:

And next, here is Radek Baborák, Seiji Ozawa and the Mito Chamber Orchestra in a brilliant performance of W. A. Mozart’s first Horn Concerto in D major, KV 412:

Tags: Mozart, Horn Concertos, Herman Jeurissen, Netherlands Chamber Orchestra, Roy Goodman

• Emerson String Quartet

In this new CD by the Emerson String Quartet, we hear performances of two string sextets that were composed in the 1890′s: “Souvenir de Florence” by Peter Tchaikovsky, and “Verklärte Nacht” (Transfigured Night) by Arnold Schoenberg.

This is the quartet’s first recording of any work by Tchaikovsky since the 1980′s, and its first ever recording of a piece by Arnold Schoenberg. They are joined on both of these sextets by two frequent collaborators, American violist, Paul Neubauer, and British cellist, Colin Carr.

“Our new album embodies the idea of “journeys” on several levels,” says the quartet’s Eugene Drucker. “The wide spectrum of colors, moods and compositional techniques in Tchaikovsky’s passionate Souvenir de Florence could be a journey from Russia to Italy and back again”.

Arnold Schoenberg’s “Nacht” depicts more of an emotional internal journey from personal anguish and psychological torment to apology, acceptance, forgiveness, and love.

Track Listings:

Tchaikovsky: “Souvenir de Florence”:

1. Allegro con spirito
2. Adagio cantabile e con moto
3. Allegretto moderato
4. Allegro vivace

Arnold Schoenberg:

5. Verklarte Nacht, op 4; a String Sextett for 2 Violins, 2 Violas and 2 Celli

The Emerson String Quartet was founded in 1976. It stands alone in the history of string quartets with an amazing list of achievements and recognitions over three decades.

Here is the Emerson quartet in Schoenberg’s Complete “Verklarte Nacht”:

And next, here they are in Tchaikovsky’s Souvenir de Florence:

Tags: Emerson Quartet, Journeys, Tchaikovsky, Arnold Schoenberg

• J. S. Bach: Violin Concertos

On this CD, violinist Viktoria Mullova renews her partnership with long-term collaborator Ottavio Dantone in a program of concertos for violin, offering not only the two famous concertos in E-major and A minor, but two concertos arranged for violin from the 2nd harpsichord concerto, and a concerto for violin and harpsichord.

The tracks on this CD are:

Bach, J S:

• Violin Concerto No. 1 in A minor, BWV1041

• Violin Concerto No. 2 in E major, BWV1042

• Violin Concerto in D, BWV1053 arr. harpsichord No. 2 in E

• Concerto for Violin & Harpsichord in C minor, BWV1060 arr. from Concerto for Violin & Oboe/Concerto for two harpsichords, with Ottavio Dantone (harpsichord)

Performed by Viktoria Mullova (violin), with the Accademia Bizantina

Bach himself was a great re-user of musical material, and many concerto movements (including some from lost concertos) appeared in his cantatas.

Mullova and Dantone have worked together for many years, both recording and in concerts. They wanted to find a piece they could both play with an orchestra, and the BWV1060 in this brilliant arrangement is the result – the overall composition is enriched by a range of new nuances.

Viktoria Mullova’s Bach recordings have been widely acclaimed worldwide, and the London Sunday Times wrote of her recording of the ‘Partitas and Sonatas’ for solo violin:

‘They exemplify the best of old and new stylistic approaches to Bach’s masterpieces’

Here is Viktoria Mullova in the Sibelius Violin Concerto D minor:

And next, here is the Bach “Chaconne” for solo violin, BWV 1004, as performed by Viktoria Mullova.

If you listen carefully, you’ll hear the aspects in which Ms. Mullova’s interpretation is quite different than, say, Nathan Milstein’s. In my own view it is a very satisfying performance:

Tags: Viktoria Mullova, J. S. Bach, concertos, Accademia Bizantina

• Piano Works

This CD features the impressive interpretive capabilities of the Russian pianist Alexei Volodin. It features a wide ranging selection of pieces by  Sergei Rachmaninov, including the “Variations on a theme of Corelli”, 5 of his Preludes, the 2nd Sonata (second version), and four of his Etudes-Tableaux.

The selections are as follows:

Rachmaninov:

• Variations on a theme of Corelli, Op. 42

• Prelude Op. 23 No. 4 in D major
• Prelude Op. 23 No. 5 in G minor
• Prelude Op. 32 No. 12 in G sharp minor
• Prelude Op. 32 No. 10 in B minor
• Prelude Op. 3 No. 2 in C sharp minor

• Piano Sonata No. 2 in B flat minor, Op. 36, 2nd version

• Étude-Tableau, Op. 33 No. 3 in C minor
• Étude-Tableau, Op. 39 No. 1 in C minor
• Étude-Tableau, Op. 39 No. 3 in F sharp minor
• Étude-Tableau, Op. 39 No. 5 in E flat minor

Performed by Alexei Volodin (piano)

Alexei Volodin was born in St. Petersburg in 1977, and began taking piano lessons there at the age of nine. A year later he moved to Moscow, and in 1994 he enrolled at the Moscow Conservatoire. During 2001 and 2002 he studied at the Theo Lieven International Piano Foundation in Como. He has won several prizes at different international competitions, including First Prize at the Concours Géza Anda in Zurich in 2003.

Here is Alexei Volodin performing the 24 Preludes OP. 28 by Chopin:

And next, we hear him play the wonderful Rachmaninov Prelude, Op. 32, number 12:

Tags: Alexei Volodin, Rachmaninov, solo piano works

• Performances by Mischa Maisky, Cello.

Cellist Mischa Maisky has been a part of the classical music scene for many years. I like his playing a lot, because it reflects his great passion for music.

Mischa Maisky started studying the cello at the age of eight. An immensely talented student, he entered the Riga Conservatory in Russia. He not only won the Soviet Union’s national cello competition, but also had an acclaimed debut with the Leningrad Philharmonic.

In 1966, Maisky won a prize at the International Tchaikovsky Competition in Moscow. One of the jurors, the great cellist Mstislav Rostropovich, invited Maisky to study with him at the Moscow Conservatory.

From my Spotify file called “Hank’s Maisky”, here are several shorter selections my Mr. Maisky:

On this CD, we get to hear a large collection of Cello encores; these display the great breadth of Mr. Maisky’s musical experience.

The selections are:

Anon.: Catalan Folksong
arr. Pablo Casals

Bach, J S:
Cello Suite No. 1 in G Major, BWV1007: Prelude
Orchestral Suite No. 3 in D major, BWV1068: Air (‘Air on a G String’)
arranged by Mischa Maisky for violoncello and piano with Daria Hovora (piano)

Boccherini:
String Quintet Op. 13 No. 5 in A major, G281: Menuet
Orpheus Chamber Orchestra

Brahms:
Wiegenlied, Op. 49 No. 4 (Lullaby)
arr. Mischa Maisky with Pavel Gililov (piano)

Bruch:
Kol Nidrei, Op. 47
Orchestre de Paris, Semyon Bychkov

Debussy:
Clair de Lune (from Suite Bergamasque)
Transcr.: A. Roelens – Arr.: Mischa Maisky; with Daria Hovora (piano)

Fauré:
Après un rêve, Op. 7 No. 1
arr. for Cello and Piano by Mischa Maisky, with Pavel Gililov (piano)

Gounod:
Ave Maria
arr. Mischa Maisky; with Pavel Gililov (piano)

Mendelssohn:
Auf Flügeln des Gesanges, Op. 34 No. 2
Transcription for Cello and Piano by Mischa Maisky; with Sergio Tiempo (piano)

Poulenc:
Les chemins de l’amour; with Daria Hovora (piano)

Rachmaninov:
Vocalise, Op. 34 No. 14
Version for Cello and Piano; with Pavel Gililov (piano)

Ravel:
Vocalise-étude en forme de habanera; with Daria Hovora (piano)

Saint-Saëns:
Le carnaval des animaux: Le Cygne
Orchestre de Paris, Semyon Bychkov

Schubert:
Ave Maria, D839; with Pavel Gililov (piano)

Tchaikovsky:
Nocturne for cello & small orchestra (or cello & piano), Op. 19 No. 4

All performed by Mischa Maisky (cello)

Here is Mischa Maisky playing the Bach Cello Suite No.1 in G:

And next, here is Mr. Maisky with Martha Argerich, performing Schumann’s “Adagio and Allegro:

Finally, here is Mischa Maisky playing Schumann cello concerto, with Leonard Bernstein
conducting the Wiener Philarmoniker:

Tags: Mischa Maisky, Encores for Cello

Yesterday, Sunday, May 19, 2013, I had another nice opportunity to listen to a live concert by the Berlin Philharmonic Orchestra, (BPO). This concert was under the direction of their former conductor, Claudio Abbado, who returns to lead a concert each year.

I only heard the great Mendelssohn masterpiece, “A Midsummer Night’s Dream”. And what a wonderful performance that was. Not only did I not have to travel to Berlin, I could just sit in my office and watch the live concert at my computer. All that via the BPO’s system called the Digital Concert Hall.

The BPO wind players begin this music very softly, and then the strings come in, equally softly. (See photo on the left)

Mendelssohn was a musical genius, and he composed this work at age 17.

The second movement titled “Scherzo” is light and playful, and it features an enjoyable interplay between winds and strings. Emanuel Pahud, first Flute, had several opportunities to show us what a marvelous player he is.

The best compliment I can give this orchestra, is that I actually fell asleep while watching the orchestra, while sitting in front of my computer. I got a great rest, yet my mind surely heard all the music.

Here is the Mendelssohn “Scherzo” from A Midsummer Night’s Dream Op.21 conducted by Gergiev:

And next, here is the Overture to “A Midsummer Night’s Dream” by Felix Mendelssohn, Op. 21, with the London Symphony Orchestra – Claudio Abbado conducting:

Tags: A Midsummer Night’s Dream, Mendelssohn, Claudio Abbado, Berlin Philharmonic

Performers have to find a way to be unique. The challenge is to present music that the public will enjoy, and that reflects the performer’s passion, capabilities, and interpretive excellence.

On this CD, the pianist has chosen works by Mozart that are either in C-Major or in C-Minor. We get to hear the following:

Mozart:

• Fantasia in C minor, K475

• Piano Sonata No. 14 in C minor, K457

• Piano Sonata No. 16 in C major, K545 ‘Facile’

• Variations (12) on ‘Ah, vous dirai-je, Maman’ in C major, K265

Performed by Seiko Tsukamoto (piano)

Ms. Tsukamoto studied at the Conservatoire National Supérieur de Musique de Paris with Jacques Rouvier and at the Academy of Music and Drama in Hannover with Arie Vardi.

In 1996 she was awarded the 1st prize at the Hamamatsu International Piano Academy Competition; in 1999 she won 2nd prize at the International Vladimir Horowitz Competition in Kiev in 2001, and the 3rd prize at the International Music Competition in Geneva. She was also a prize winner at the International Dublin competition and a finalist at the International Queen Elisabeth Competition.

I could not locate any videos by Ms. Tsukamoto; as such, here are the following performances:

First, here is Valentina Lisitsa playing the Mozart Fantasy K475 C Minor:

And next, here is Mozart Piano Sonata No 14 C minor K 457, as played by Alfred Brendel; what wonderful, luminous sounds are created by this amazing performer!

Oh, yes, let’s finally get away from the key of C: Here is Mozart’s Piano Sonata Nunber 8, in A minor K 310, as performed by Sviatoslav Richter:

Tags: Seiko Tsukamoto, pianist, Mozart, Fantasia, Sonata

Gustav Mahler died on the 18th of May, 1911. He had lived and worked in Vienna, Austria for many years. He struggled against persecution based on his birth to a Jewish family. And he struggled to have his compositions accepted by the public and by the day’s orchestra players, as well.

Conservative musicians and music critics of the time made fun of Gustav Mahler’s music, because it was larger than life, highly emotional, and depicted much that was uncomfortable in Life. Mahler had seen several of his siblings die at a young age. He witnessed stress and discord among his parents. Yet he also witnessed much of the great, impressive beauty of the Austrian countryside.

He spent a few summers at one of the loveliest places close to Salzburg, where in later years a film was made called “The Sound of Music”. Indeed, Gustav Mahler captured the images of the countryside at a region of many lakes, where lived for a few summers on the Attersee. At that place he composed during the summers, and then returned to Vienna in the Fall, to lead both Opera and Concert performances for the public’s enjoyment.

On this day, 102 years ago, Mahler died from a serious heart ailment. He was buried outside of Vienna at the little village of Grinzing, at the cemetery there. To this day, people travel to Grinzing to sample some of Austria’s wonderful white wines. Today, however, a few people will come by at the large block of stone at the Grinzing cemetery, which just bears the composer’s name. Those who come will know who the man was; and what impact he made on the development of music in the years following his life.

Click HERE for a list of performances of Mahler’s symphonies, as compiled by Alex Ross.

Here is music to memorialize this great man: Gustav Mahler’s Symphony No. 5, fourth movement, titled “Adagietto; Sehr langsam” (very slowly), performed by the Vienna Philharmonic, Leonard Bernstein conducting:

Here is another performance of the same music by the World Orchestra for Peace, conducted by Valery Gergiev, at the Royal Albert Hall in London:

Tags: Gustav Mahler, Death anniversary, Adagietto, Symphony #5

• Sings Verdi

Giuseppe Verdi was born in 1813. So in October of 2013 we will celebrate the 200th anniversary of his birth. You can expect a flood of recordings to appear in the marketplace.

To commemorate the Verdi year, what could be more delightful than this anthology of Verdi Arias sung by Angela Gheorghiu who chose to focus her career and repertoire on the operas of this great composer and who made the part of Violetta her very own?

Whether in operas (La Traviata, Il Trovatore, Aida or Rigoletto), Sacred Music (the Requiem) or in Verdi’s rare melodies, Angela Gheorghiu’s voice and fiery temperament truly sets this memorable album ablaze. And her voice is totally suited to celebrate the birth of one great composer.

Here is Angela Gheorghiu – Verdi – La forza del destino – Pace, pace, mio Dio!

And next, we will hear her sing the Verdi “Brindisi”, from a recital at Liceu Barcelona, Spain; Jeff Cohen – piano

Finally, here are Angela Gheorghiu (Soprano) and Roberto Alagna (Tenor) perform La Traviata – Brindisi by Verdi, during the Prom at the Palace event held to celebrate the Queen’s Golden Jubilee, 2002:

Tags: Angela Gheorghiu, Soprano, Verdi

• Cello Suites Nos. 1-6, BWV1007-1012

Since the days of famous cellist Pablo Casals, every cellist aims to reach a huge career accomplishment by learning, studying, and mastering the Solo Cello suites by Johann Sebastian Bach. Cellists such as the late Janos Starker and the Russian – born Cellist Mstislav Rostropovich achieved fame that way. And the struggle for achievement continues to this day.

For the first time in his career Jan Vogler has performed these Suites for Solo Cello over two evenings during the Summer in 2012. After his brilliant performances he decided to record all 6 Cello Suites. This CD brings these masterpieces to us, as an audience, for our review and hopeful enjoyment.

The music is performed by Jan Vogler (cello)

Jan Vogler is also the General Director of the Dresden Musikfestspiele and founder and Artistic Director of the Moritzburg Chamber Music Festival. His career has featured him with renowned conductors like Lorin Maazel, Fabio Luisi and internationally acclaimed orchestras such as the New York Philharmonic, the Chicago, Symphony Orchestra, the Mariinsky Theatre Orchestra and the Vienna Symphony.

Here is Jan Vogler – Cello Suite No 1. I actually do not care for this mostly mechanical, and seemingly stop/start interpretation; but judge for yourself, and add your message in the space below:

Wow— it turns out that I do not like the following interpretation either. It seems chopped up, and there is no real continuation of the musical line. That’s my honest opinion, and I have to remain true to it.

Tags: Jan Vogler, Cellist, J. S. Bach

• Das klagende Lied

• Blumine

• Adagio of the 10th Symphony

When Mahler’s composition “Das klagende Lied” finally met with his own approval, he said, “My first work in which I have found myself as ‘Mahler’!” On this CD it is heard in contrast to the Adagio from his last symphony and the so-called  “Blumine” Andante movement originally intended for the first symphony, but later removed.

Gustav Mahler and the painter Gustav Klimt were contemporary artists. So it is appropriate that Klimt’s famous painting is on the cover of this CD, as shown on the photo on the left.

This CD gives us the following music:

Mahler:

• Das klagende Lied

Performed by Manuela Uhl (soprano), Lioba Braun (alto), and Werner Gura (tenor), with the Czech Philhamonic Chorus Brno

• Symphony No. 10 in F sharp major – Adagio
• The “Blunine” movement

Performed by the Beethoven Orchestra Bonn, conducted by Stefan Blunier

The Beethoven Orchestra of Bonn under its resourceful conductor Stefan Blunier is in top form on this fascinatingly detailed look at Mahler’s compositional techniques.

Here is Mahler’s Adagio from the Symphony No. 10, with Claudio Abbado conducting the Berliner Philharmoniker:

And next, here is Mahler’s “Das Klagende Lied”, with Pierre Boulez conducting, from a Salzburg concert in 2011:

Tags: Gustav Mahler, Das Klagende Lied, Symphony #10

• Symphony No. 7 in C major, Op. 60 ‘Leningrad’

Performed by the Royal Liverpool Philharmonic Orchestra, conducted by Vasily Petrenko
Shostakovich’s seventh symphony was completed in December, 1941. The composer wrote:

‘I dedicate my Seventh Symphony to our struggle against fascism, to our coming victory over the enemy, to my native city, Leningrad.’

Dmitri Shostakovich’s epic Seventh Symphony is a study in defiance and survival, written largely in the ruins of the besieged Leningrad in 1941. In recent years this work has taken its rightful place among Shostakovich’s symphonic contributions. As one of the twentieth century’s most recorded symphonists, the composer has been the subject of many recordings.

The award-winning Royal Liverpool Philharmonic Orchestra is the UK’s oldest continuing professional symphony orchestra, dating from 1840. The dynamic young Russian-born conductor, Vasily Petrenko, was appointed Principal Conductor of the orchestra in September 2006 and in September 2009 became Chief Conductor.

The Sunday Times wrote on the 5th of May 2013:

“The miracle of this performance is the thoughtfulness and sense of inner repose that Petrenko hears in the quieter music…the depth and rawness of unison string sound that Petrenko encourages in the searing adagio expose Shostakovich’s battered nerve ends to devastating effect…Petrenko presides over a golden age of music-making in Liverpool.”

Here is the first movement of the Shostakovich 7th Symphony: (Gergiev conducting)

And next, here are the much later movements of the D. Shostakovich Symphony No. 7 “Leningrad”:

Tags: Dmitri Shostakovich, 7th symphony, Petrenko, Royal Liverpool Philharmonic Orchestra

• Ravel: Piano Concerto #1, in G-Major

Early this morning I heard a wonderful performance of the second movement of the Ravel piano concerto number 1 by Maurice Ravel. In that performance, the pianist and conductor was none other than Leonard Bernstein.

I love the second movement of that piece, and it occurred to me that it would be nice to explore how different pianists perform this music. Parts of this concerto feature a lot of Jazz rhythms, but the second movement is very lyrical, and has an amazing interplay between the piano and the orchestra.

Here is the Ravel Piano concerto in G – II Adagio assai – with L. Bernstein, piano and conductor:

And next, let’s hear how Martha Argerich plays the Ravel Piano Concerto In G Major (the second movement begins at 08:59)

Finally, here is the Ravel – Concerto for piano G major with Helen Grimaud; (the second movement begins at ~09:30)

Please tell me in the space below which of these you like best; or perhaps another pianist’s interpretation <Michelangeli?>. Oh, yes, my own favorite is Martha Argerich.

Tags: Maurice Ravel, Piano Concerto in G-Major, Bernstein, Argerich, Grimaud

• String Quartet and Clarinet Quintet

Brahms was already 40 years old when he produced this Second String Quartet (of three) after twenty years of unsuccessful attempts. And the result is a work with amazingly wonderful beauty of sound.

In the case of the Quintet Op.115, it was Brahms’ meeting with the clarinetist Mühlfeld that inspired Brahms to emerge from his self-imposed retirement to compose this nostalgic musical testament, five years before his death.

On this CD we get to enjoy both of these chamber music masterpieces.

Brahms:

• String Quartet No. 2 in A minor, Op. 51 No. 2

• Clarinet Quintet in B minor, Op. 115, with Sharon Kam (clarinet)

Performed by the Jerusalem Quartet

The quartet members are:

• Alexander Pavlovsky, Sergei Bresler, violins

• Ori Kam, viola

• Kyril Zlotnikov, cello

The Jerusalem Quartet was founded in 1993, and they are now regular guests in the world’s leading concert halls. On this CD we can hear their strong experience and their marvelous sound balance and sensitivity in performance.

After her debut with the Israel Philharmonic under Zubin Mehta at the age of 16, clarinetist Sharon Kam was encouraged and mentored by violinist Isaac Stern. She later graduated from the Juilliard School of Music, where she studied with clarinetist Charles Neidich.

The CD tracks are as follows:

• 1. String Quartet in A Minor, Op. 51: I. Allegro non troppo

• 2. String Quartet in A Minor, Op. 51: II. Andante moderato

• 3. String Quartet in A Minor, Op. 51: III. Quasi minuetto, moderato – Allegretto vivace

• 4. String Quartet in A Minor, Op. 51: IV. Finale. Allegro non assai

• 5. Clarinet Quintet in B Minor, Op. 115: I. Allegro

• 6. Clarinet Quintet in B Minor, Op. 115: II. Adagio

• 7. Clarinet Quintet Op. 115: III. Andantino

• 8. Clarinet Quintet in B Minor, Op. 115: IV. Con moto

Here is the Jerusalem Quartet in the Johannes Brahms, String Quartet Op. 51 NO. 2 – 1st movement, Allegro non troppo:

And here is the wonderful second movement (Andante Moderato) from the same Brahms quartet:

Finally, here is the Clarinet Quintet by Brahms with the Guarneri Quartet and David Shifrin, Clarinet soloist:

Tags: Johannes Brahms, Jerusalem Quartet, Quartet #2, Clarinet Quintet

• Violin Concertos

The amazing composer Johann Sebastian Bach grew up around violin music: his father Johann Ambrosius was an accomplished violinist. This influence is reflected in Johann Sebastian’s compositions, which contains a large number of solo and ensemble works for the instrument – including the concertos on this recording.

The works, written in approximately 1720, are based on Vivaldi’s concerto model from the beginning of the 18th century, and – in the case of the D minor and G minor concertos – are reconstructions of the harpsichord concertos.

Here is an audio preview of violin concertos by Bach, from my Spotify file called “Hank’s violin”

On this CD, we get to enjoy the following:

Bach, J S:

• Violin Concerto No. 2 in E major, BWV1042

• Violin Concerto No. 1 in A minor, BWV1041

• Violin Concerto in D minor, BWV1052

• Violin Concerto in G minor, BWV1056

Performed by Thomas Zehetmair (violin), accompanied by the Amsterdam Bach Soloists

This recording of Bach’s violin concertos has a great deal of freshness and sparkle. Thomas Zehetmair has built an impressive career, performing with the world’s most famous orchestras and conductors. His highly musical approach kindled his interest in historical early music practice, and his interpretations of the baroque repertoire show a deep insight in the style, while never losing his innate musicianship.

Zehetmair is joined by the Amsterdam Bach Soloists, an elite group drawn from principals of the Concertgebouw Orchestra, both sharing his interest in early music and his enthusiasm.

Here is Thomas Zehetmair in a beautiful performance of the second movement of Beethoven’s Violin Concerto:

And next, here is Mr. Zehetmair with the Orchestre des Champs-Élysées:

Finally, here’s a recording of the Beethoven Violin Sonata #9, as performed by Mr. Zehetmair:

Tags: Thomas Zehetmair, Bach concertos, Beethoven

The title of today’s post refers to music that is so well-known that perhaps we have stopped listening to its magic. Other compositions in this category are the Symphony #5 by Beethoven, or the Piano concerto #1 by Tchaikovsky, made famous by the late Van Cliburn, when he won the first prize at the Tchaikovsky competition in Russia many years ago.

“ Music calms the savage Beast”— that’s the way I can describe the impact of Rachmaninov’s piano Concerto #2 on me, this morning. I had been ill for a couple of days, and some calming music was certainly welcome.

This music has become so familiar because it is loved so universally. And it makes sense to hear it again, because it is so magical.

If you like the video that I have for you below, you can get the entire piano concerto on the DVD that you can see on the left side;

Here are the contents of this DVD:

• Beethoven: Coriolan Overture, Op. 62, Egmont Overture, Op. 84

• Debussy: La Mer, Prélude à l’après-midi d’un faune

• Rachmaninov: Piano Concerto No. 2 in C minor/Alexis Weissenberg (piano)

• Ravel: Daphnis et Chloé – Suite No. 2

• Rossini: Guillaume Tell Overture

• Wagner: Tannhäuser – Overture

• Weber: Der Freischütz Overture

Here is pianist Alexis Weissenberg, performing the Rachmaninoff Piano Concerto No.2, second movement; Herbert von Karajan is conducting, and there is an amazing interplay that is totally seamless between the Berlin Philharmonic and the piano soloist:

Let’s hear another amazing pianist play the music of Rachmaninov; here is Evgeny Kissin performing the Rachmaninov Piano Concerto No. 2 in C minor, Op. 18:

Tags: Rachmaninov, Weissenberg, Karajan, Concerto #2

• Symphony No. 10 in E minor, Op. 93

Performed by the Royal Concertgebouw Orchestra, Mariss Jansons, conducting

After Joseph Stalin had died, and after Dmitry Shostakovich’s music had been publicly denounced in his own country for being too abstract in 1948, Shostakovich had finally gathered the courage to write another symphony. With the Tenth Symphony, Shostakovich effectively put his memories of Stalin behind him.

‘My aim was to convey human feelings and passions in this work,’ Shostakovich said of his newly completed Tenth Symphony in 1953.

Ever since Kirill Kondrashin and Bernard Haitink first led performances of Shostakovich’s Symphonies in the late 1970′s, the Royal Concertgebouw Orchestra (RCO) has astonished audiences with their level of refinement and involvement in this repertoire. Now, with the tenure of Mariss Jansons, another degree of authenticity is added to this music.

Here is the Shostakovich Symphony No. 10, with Gustavo Dudamel, conducting the Simon Bolivar Youth Orchestra:

And here is how the Shostakovich Symphony No. 10 sounds with Simon Rattle conducting the Berliner Philharmoniker :

Tags: Dmitry Shostakovich, Symphony #10

• Partitas Nos. 1-6, BWV825-830

Performed by Malcolm Proud (harpsichord)

On this CD, Irish keyboard artist Malcolm Proud, one of the world’s leading performers of the harpsichord, presents a recording of one of J. S. Bach’s major works, the Six Partitas BWV 825-830.

Although modestly titled “Clavier Übung” (Keyboard Practice), the six Partitas, consisting of Preludes, Allemandes, Courantes, Sarabandes, Gigues, Menuets, and other dances, offered by their composer “to music lovers as refreshment of their spirits”, are works of amazing richness and complexity.

This group of pieces, which in 1731 was the first group of works to be published by Bach himself, represents a unique collection in this form.

In his 1802 biography of Bach, Nikolaus Forkel famously wrote that “such splendid compositions for the clavier had not been seen or heard before… so brilliant, harmonious, expressive and constantly novel are they.”

Born in Dublin, Malcolm Proud studied with Gustav Leonhardt in Amsterdam and won first prize at the Edinburgh International Harpsichord Competition in 1982. Since then, he has established an international career as an organist and harpsichordist, performing with such groups as the Orchestra of the Age of Enlightenment, the English Baroque Soloists, the Gabrieli Consort and the Academy of Ancient Music, and touring throughout Europe, North America and Japan.

He is a member of the Irish Baroque Orchestra and a founder member of Camerata Kilkenny.

Here is the JS Bach Viola da gamba Sonata in G major Bwv 1027:

• Andante

• Allegro moderato

Performed by John Dornenburg, viola da gamba, and Malcolm Proud, cembalo:

And next, here is another Harpsichord artist, performing the Johann Sebastian Bach “Goldberg Variations” BWV 988. His name is Gustav Leonhardt:

Tags: J. S. Bach, Partitas, Harpsichord, Malcolm Proud

• Missa Solemnis in D major, Op. 123

Performed by Marlis Petersen (soprano), Elisabeth Kulman (contralto), Werner Güra (tenor) and Gerald Finley (bass), with the Royal Concertgebouw Orchestra and Netherlands Radio Choir, conducted by Nikolaus Harnoncourt

This is a stunning performance of Beethoven’s Missa Solemnis, conducted by Nikolaus Harnoncourt with the Royal Concertgebouw Orchestra.

Ludwig van Beethoven worked on the Missa solemnis between 1819 and 1823. It was first performed on the 7th of April 1824 in St. Petersburg, Russia.

However, despite its recognition as one of Beethoven’s great works from the height of his composing career, Missa solemnis has not achieved the same level of popular success that many of his symphonies, sonatas, and chamber music have achieved. It is possible that this is so because it is a religious work, but why speculate–

Here is Leonard Bernstein and the Concertgebouworkest Amsterdam, in Beethoven’s Missa Solemnis:

And next, here is an interpretation by Conductor Giuseppe Sinopoli:

Tags: Beethoven, Missa Solemnis in D major, Op. 123, Nikolaus Harnoncourt

• Royal Festival Hall, London, February 2, 1985

This concert shows Sir Georg Solti at the height of his powers with his favorite orchestra. Solti was the Music Director of the Chicago Symphony Orchestra from 1969 to 1991, in an alliance that was admired by audiences and critics alike.

He was passionate about music, and dedicated to performance excellence. And that’s why he won my admiration for so many years.

On this DVD we hear the following:

Debussy:

• Trois Nocturnes: Fêtes

Mozart:

• Symphony No. 39 in E flat major, K543

Tchaikovsky:

• Symphony No. 4 in F minor, Op. 36

Performed by the Chicago Symphony Orchestra, conducted by Sir Georg Solti

The Chicago Tribune wrote in January of that year, ‘He (Solti) and the CSO are firmly established as the … team in symphonic music today, and that team has had everyone roaring from Stockholm to Zurich.’

Solti himself wrote: ‘My term as musical director of the Chicago Symphony Orchestra was the happiest time in my professional life.’

The program on this DVD features Mozart’s Symphony No.39, Tchaikovsky’s Symphony No.4, and an encore of Fêtes from Debussy’s Nocturnes – all performed with the flair, passion and artistry for which Solti was famous.

Here is a video of Georg Solti in “Till Eulenspiegel”, Op.28 b Richard Strauss:

And here he is again conducting Mozart’s Symphony No. 35 in D major, K. 385, “Haffner”:

Tags: Georg Solti, Mozart, Debussy, Tchaikovsky

• Quartets by Dvorak and Smetana

The announcement of Kazuhide Isomura and Kikuei Ikeda’s retirement from the Tokyo String Quartet in June, 2013 led to the disbanding of the quartet following the end of the 2013 season. I have enjoyed many performances of this quartet over the years, and I am sorry that they will go their separate ways now.

In this CD, we get to hear:

Dvorak:

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

Smetana:

• String Quartet No. 1 in E minor ‘From My Life’

Performed by the Tokyo String Quartet

In this recording, the world-renowned Tokyo String Quartet presents a pair of well – loved chamber works offering a look into the private world of two Czech composers. Antonín Dvorak and Bedrich Smetana – although they were sometimes regarded as musical opposites in their homeland – together they came to represent the typical sound of 19th-century Czech music.

Regarded as one of the supreme chamber ensembles of the world, the Tokyo String Quartet has captivated audiences and critics alike since it was founded 45 years ago. Performing over 100 concerts worldwide each season, the quartet has a devoted international following that includes the major capitals of the world and extends to all four corners of the globe.

Officially formed in 1969 at the Juilliard School of Music, the Tokyo String Quartet traces its origins to the Toho School of Music in Tokyo.

Here is a video of Tokyo String Quartet performing the Dvorak String Quartet No. 13:

And next, here they are in Haydn’s Quartet No. 66 in G, Op. 77, No. 1:

Tags: Tokyo String Quartet, Dvorak, Smetana, Haydn

I always get excited when I hear young pianists of today, who “carry the torch” of music into the future. Still, there are artists of the past whose magic remains a treasure for all to enjoy. One of these pianists was Arturo Benedetti Michelangeli.

Arturo Benedetti Michelangeli (1920–1995) was born in Brescia, Italy. He began music lessons at the age of three and at ten he entered the Milan Conservatory. In 1939, he won first prize in the Geneva International Piano Competition, where he was acclaimed as ‘a new Liszt’ by pianist Alfred Cortot, a member of the judging panel.

On this CD we get to hear him play the following:

Mozart:

• Piano Concerto No. 20 in D minor, K466

• Piano Concerto No. 15 in B flat major, K450

Performed by Arturo Benedetti Michelangeli (piano), with the Radio-Sinfonieorchester Stuttgart des SWR, conducted by Antoine de Bavier

Mr. Michelangeli’s repertoire was strikingly small for a concert pianist of such stature, concentrating only on specific works. Owing to this obsessive perfectionism, relatively few recordings were officially released during Michelangeli’s lifetime. Debussy and Ravel as well as Chopin, Schumann, Liszt and Beethoven featured in his limited concert schedule. His recordings of Ravel and Debussy were considered essential for any collection.

Michelangeli was a connoisseur of the mechanics of the piano and he insisted that his concert instruments be in perfect condition. Whenever possible he took his own Steinway piano with him on tour. His last concert (all Debussy) took place on 7 May 1993 in Hamburg, Germany.

Any recording featuring Arturo Benedetti Michelangeli is an important event because he recorded very little in the studio, leaving the field open for many unauthorized versions to be released on the market. This authorized live SWR recording from the Ludwigsburg Festival in 1956 shows a Mozart style far removed from that presented today. These are full-blooded interpretations and show Michelangeli with a very strong forward drive, well supported by Antoine de Bavier, a pupil of Furtwängler.

The recording made by SWR is of excellent quality, showcasing Michelangeli’s superb playing. These two concertos (Michelangeli only played around five Mozart concertos) were performed throughout Michelangeli’s career, but the recording here was made when he was thirty-six years old and at the peak of his powers.

 
Here is Michelangeli playing Beethoven’s Piano Sonata No. 3 in C major, second movement:
 

And next, here is Mazurka, Op. 33, number 4 by Chopin:

Finally, here is a section of a documentary about the pianist:

Tags: Arturo Benedetti Michelangeli, pianist, Debussy, Mozart, Beethoven, Chopin

• Mozart: Le nozze di Figaro, K492

• Recorded live at Glyndebourne Festival, June 2012

Mozart’s opera “Le nozze di Figaro” is witty yet also contains pain and sadness. This life in the day of masters and servants as they scheme and outwit one another is the story behind the magical music. The author of the text is Mozart’s frequent collaborator, Lorenzo da Ponte.

Conductor Robin Ticciati leads a youthful cast of principals in a production that continues Glyndebourne’s history of amazing performances of Mozart’s and Da Ponte’s creation.

The performance is by the Glyndebourne Chorus and Orchestra of the Age of Enlightenment, Robin Ticciati (conductor) & Michael Grandage (director)

Some of the lead singers are:

• Countess Almaviva: Sally Matthews

• Figaro: Vito Priante

• Count Almaviva: Audun Iversen

• Susanna: Lydia Teuscher

• Cherubino: Isabel Leonard

• Bartolo: Andrew Shore

• Marcellina: Ann Murray

• Don Basilio: Alan Oke

Here is the overture to The Marriage of Figaro:

And next, Here is the end of Act 2:

Finally, here’s the plot of the opera

Tags: Mozart, Marriage of Figaro

• The Maestro

The year was about 1955, and I was living in Denver, Colorado. I recall that I was sitting on the floor, right next to our family’s “Hi-Fi”, which in those days was composed of a Pilot AM/FM tuner, a Bogen amplifier, and a 33 – RPM record player. The equipment was set to a radio station that was about to broadcast a live concert by the NBC Symphony Orchestra, conducted by Arturo Toscanini.

The maestro frequently performed works of Verdi, Rossini, Wagner, and Beethoven. On that day, however, he was going to perform the Symphony #40 by Mozart. I still recall how marvelous that performance was. And I literally almost jumped up and down and danced in the living room when the last movement began! Great musical memories—

On this DVD we get to view a documentary about the work of Italian conductor Arturo Toscanini whose career spanned across the 19th and 20th century. The program contains footage of Toscanini on television and in film, with home movies, clips from the Salzburg Festival in the 1930’s, and input from those who worked with him.

Arturo Toscanini raised the standards of orchestral and operatic performance over his 69 years on the podium. But as he did so, he acquired a reputation as something of a tyrant, who unleashed an explosive temper at musicians if rehearsals did not meet his expectations. He would scream at musicians “Stupido… ignoranti…” and he would stomp off the stage. But the results that he achieved were legendary.

Here is Arturo Toscanini conducting the Mozart Symphony No 40 G minor, K 550: (Yea… synchronization between video and audio is pretty poor!)

And here is Toscanini conducting Beethoven’s Symphony No.9:

And next, here is Beethoven’s Symphony No. 5, 1st movement, with Arturo Toscanini conducting the NBC Symphony orchestra:

Tags: Arturo Toscanini, NBC Symphony, Maestro

• Études symphoniques and Fantasiestücke

The German composer Robert Schumann had a sad and challenging life. At an early age he had significant emotional issues, and he ultimately died at an insane asylum at the age of 42.

Schumann was a very influential musician in his time. He composed some wonderful music, including four symphonies, chamber music, and solo piano works.

He contributed significantly to the early acceptance and ultimate success of his friend, Johannes Brahms.

Let me start with a few selections from my Spotify file called “Hank’s Kempf”:

On this CD, we hear:

Schumann:

• Études symphoniques, Op. 13

• Blumenstück, Op. 19

• Fantasiestücke, Op. 12

Performed by pianist Freddy Kempf

With a successful concert career Freddy Kempf has become firmly established among the top pianists of today. His very first disc, at the age of 22, was a Schumann recital that made reviewers around the world sit up and take notice.

Kempf now returns again to Robert Schumann, with these three solo piano works. The “Études symphoniques” is one of Schumann’s most imposing piano works and is played here in its 1852 version. This really gives the listener an opportunity to hear this work in all its glory.

Here is Freddy Kempf in the Chopin Etude Op.10 No. 12:

And next, here is Mr. Kempf in Beethoven’s Sonata Pathetique: (Listen carefully, because this is amazingly beautiful, powerful playing!)

Tags: Freddy Kempf, Robert Schumann, Chopin, Beethoven

• Live from The Philharmonie Im Gasteig, Munich, 2011

This is a wonderful recording by two outstanding musicians, supported by a fine German orchestra. I always admire and respect Mariss Jansons for his excellent conducting. And Mitsuko Uchida’s playing has earned her a major position among pianists of our day.

The program we hear is as follows:

Beethoven:

• Piano Concerto No. 3 in C minor, Op. 37

• Soloist is Mitsuko Uchida (piano)

Strauss, R:

• Ein Heldenleben, Op. 40

Performed by the Symphonieorchester Des Bayerischen Rundfunks, conducted by Mariss Jansons

Beethoven wrote his Piano Concerto No. 3 around 1800, at a time in which the composer had created his first important works in Vienna, such as the “Pathétique” Sonata and the “Moonlight” Sonata – works full of power and passion, with which he distanced himself from his mentor and model, Joseph Haydn.

This performance of Beethoven’s Piano Concerto No. 3 with the Symphonieorchester des Bayerischen Rundfunks under the direction of its principal conductor Mariss Jansons features the distinguished pianist Mitsuko Uchida, who is known the world over for her outstanding interpretations of the piano works of Schubert, Mozart and Beethoven, as well as of 20th-century masters such as Arnold Schoenberg, Berg, Webern and Boulez.

Richard Strauss wrote his tone poem for large orchestra “Ein Heldenleben” (A Hero’s Life) in 1898, shortly before he left Munich for the Berlin Court Opera, where he was appointed house conductor. This composition describes an imaginary hero whose eventful life parallels somewhat the considerable hostility that Strauss himself experienced in his early Munich period.
Here is the Beethoven Piano Concerto No.3 with Mitsuko Uchida and M. Jansons, conducting:

And next, here is R. Strauss’ “Ein Heldenleben” conducted by Mariss Jansons:

Tags: Mariss Jansons, Beethoven, Richard Strauss, Mitsuko Uchida

• The Lipinski Stradivarius

In this recording, Frank Almond, leader of the Milwaukee Symphony Orchestra, traces the and history of a famous violin made by Antonio Stradivari, called the “Lipiński” Strad”.

As an illustration of the violin’s capabilities, Mr. Almond performs works by Tartini, Schumann, Julius Röntgen and the instrument’s namesake, who was a Polish virtuoso.

The specific selections are:

Lipinski:

• Caprice Op. 29, No. 3

Röntgen:

• Violin Sonata No. 2 in F sharp, Op. 20

Schumann:

• Violin Sonata No. 2 in D minor, Op. 121

Tartini:

• Violin Sonata in G minor ‘Devil’s Trill’

Performed by Frank Almond (violin) & William Wolfram (piano)

‘A Violin’s Life’ traces the provenance and history of the “Lipiński” Strad, one of the most notable of the coveted string maker’s instruments, which are worth millions of Dollars today. Crafted in 1715, the violin is named for the Polish virtuoso Karol Lipiński, who played this instrument from about 1818 until his death in 1861. Lipiński was given the violin by a student of the legendary Giuseppe Tartini, the instrument’s first known owner.

After Lipiński’s death the instrument eventually came into the Röntgen family, which included the composer Julius Röntgen. In the 20th century the violin changed hands several times, in 1962 arriving in the possession of the Estonian violinist Evi Liivak, who passed away in 1996.

The violin sonata by Robert Schumann, and the sonata by Tartini are the most well-known among the selections on this CD.

Here is Yitzhak Perlman performing the Tartini Devil’s trill sonata. (Mr. Perlman also plays a Stradivarius violin, formerly owned by Yehudi Menuhin)

And next, here is Frank Almond, playing the “The Devil’s Trill” Sonata by Giuseppe Tartini on his Lipinski Strad:

Tags: Frank Almond, “The Devil’s Trill”, Tartini, Lipinski Stradivarius