Performed by the Bruckner Orchester Linz, conducted by Dennis Russell Davies

Written for large symphony orchestra with expanded brass and percussion, Glass’ three – movement Symphony No.9 received its world premiere in Linz Austria on New Year’s Day 2012. The US premiere took place at Carnegie Hall on 31 January 2012, which was also Philip Glass’ 75th birthday.

Composed on commission from the Bruckner Orchestra of Linz, as well as from Carnegie Hall, and the Los Angeles Philharmonic, Philip Glass’ Ninth Symphony receives its world premiere here on this recording from Orange Mountain Music.

The recording is conducted by Glass’ long-time collaborator Dennis Russell Davies, conductor and music director of the Bruckner Orchester Linz, Landestheater, and the Sinfonieorchester Basel, who has premiered all but one Glass symphony.

The Bruckner Orchester Linz, continues its long association with the music of Philip Glass having performed and recorded his Symphonies Nos. 6, 7 and 8, as well as staging of his operas The Voyage, Kepler, and Orphée.

Here is Dennis Russell Davies in rehearsal of Philip Glass’ Symphony No. 9

And now here is the Symphony No. 9: Movement I by Philip Glass

Tags: Philip glass, Symphony #9, Linz Orchestra, Dennis Russel Davies

Chopin:

• Polonaise No. 2 in E flat minor, Op. 26 No. 2

• Waltz No. 14 in E minor, Op. post., KKIVa:15, B 56

• Waltz No. 3 in A minor ‘Grande Valse Brillante’, Op. 34 No. 2

• Waltz No. 8 in A flat major, Op. 64 No. 3

• Ballade No. 2 in F major, Op. 38

• Prelude Op. 28 No. 10 in C sharp minor

• Prelude Op. 28 No. 11 in B major

• Prelude Op. 28 No. 13 in F sharp major

• Fantasia in F minor, Op. 49

• Nocturne No. 16 in E flat major, Op. 55 No. 2

• Mazurka No. 5 in B flat major, Op. 7 No. 1

• Mazurka No. 50 in A minor ‘Notre Temps’

• Mazurka No. 32 in C sharp minor, Op. 50 No. 3

• Scherzo No. 2 in B flat minor, Op. 31

Performed by Janina Fialkowska (piano)

Janina Fialkowska’s first Chopin recital received terrific reviews and here is her  second collection of the piano works of Chopin.

The Sunday Times wrote:

“This is some of Chopin’s greatest music and the playing is sheer bliss.” “Her technical brilliance is matched by the vivid originality of her interpretations.”

I just love the emotional content of so many of Chopin’s compositions. This recording gives us a great variety of Chopin’s works.

Here is Janina Fialkowska playing Chopin’s Polonaise in C sharp minor, Op.26 No.1

Tags: Janina Fialkowska, Chopin

For those of you who are in New York City this week, here’s a delightful concert that will take place at Carnegie Hall:

• Thursday, May 17, 2012 at 8:00 PM

• Carnegie Hall; Stern Auditorium / Perelman Stage

In 2010, Grammy-winning pianist Emanuel Ax delighted Carnegie Hall audiences with a series of concerts that celebrated the 200th birthdays of Chopin and Schumann. This year, he returns with a program that features another Schumann jewel, the Symphonic Etudes, and works by Copland, Haydn, and Beethoven.

Performer:

• Emanuel Ax, Piano

Program:

COPLAND

• Piano Variations

HAYDN

• Variations in F Minor, Hob. XVII:6

BEETHOVEN

• Fifteen Variations and a Fugue on an Original Theme in E-flat Major, “Eroica Variations,” Op. 35

SCHUMANN

• Études en forme de variations, Op. 13 (with posthumous etudes)

Born in Lvov, Poland, Emanuel Ax moved to Canada with his family when he was a young boy. He studied at The Juilliard School and Columbia University. Mr. Ax captured the public’s attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975, he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize.

Here is an extract from a masterclass given by Emanuel Ax on Beethoven Piano Sonatas and Variations. The student is Nicolas Van Poucke.

Tags: Emanuel Ax, Concert, New York, May 17, 2012, Carnegie Hall

• With Netrebko and Villazon

This recording of El Gato Montés is really terrific! It is a mixture of Puccini and Spanish music! Soaring vocal lines, humorous characters, mysterious prophecies… every moment is filled with drama. The Spanish-gypsy flavor penetrates everything. It is beautifully sung by Mr. Domingo, Ms. Villarroel and Mr. Pons, who capture the dramatic intent, as well as the inherent lyricism of each phrase.

It is such a shame that such a beautiful work should remain relatively unknown. Well worth buying for opera lovers everywhere.

Track Listings

Disc: 1

1. El Gato Montes: Act I: Lo mesmito q’ er quere
2. El Gato Montes: Act I: !!Maresita!! !Solea!
3. El Gato Montes: Act I: !Salu p’a la gente guena!
4. El Gato Montes: Act I: Solea, toma esa cana de mansaniya
5. El Gato Montes: Act I: !Probe chiquiya!
6. El Gato Montes: Act I: Junto dende chavaliyo
7. El Gato Montes: Act I: Hasta cuando?
8. El Gato Montes: Act I: A una gitaniya quiero

Disc: 2

1. El Gato Montes: Act II: Preludio
2. El Gato Montes: Act II: Scene 1: No quiera nunca a un torero
3. El Gato Montes: Act II: Scene 1: ?Se pue pasa?
4. El Gato Montes: Act II: Intermedio
5. El Gato Montes: Act II: Scene 2: !Hormigon! Ha visto ya la plaza?
6. El Gato Montes: Act II: Scene 2: Seno q’e no me farte er valo
7. El Gato Montes: Act II: Scene 2: Seno maestro, la hora e ya
8. El Gato Montes: Act II: Pasodoble
9. El Gato Montes: Act III: Scene 1: Mucho tarda ya Hormigon
10. El Gato Montes: Act III: Scene 1: Ahi la tenei

Here are Plácido Domingo, Anna Netrebko, and Rolando Villazón in ‘Sommer Nachtmusik’ (Vienna 2008)

And now… here is a real treat: Anna Netrebko and Rolando Villazon in El Gato Montes ‘Si torero quiero si’ (M. Penella)

Tags: El Gato Montes, Villazon, Netrebko, Spanish, Puccini

In my view, violinist Anne-Sophie Mutter is one if the all-time great violinists. I have always found her playing to be wonderfully sensitive, and her technical command f the violin to be sublime. In particular, her ability to produce amazing pianissimo sounds is a hallmark of her expertise.

In this set of three CD’s we get a huge collection concerti, and shorter pieces by a variety of composers that range from Bach, Vivaldi and to Mozart and Lalo.

Here are the selections:

Bach, J S:

• Violin Concerto No. 1 in A minor, BWV1041

English Chamber Orchestra, Salvatore Accardo

• Violin Concerto No. 2 in E major, BWV1042

English Chamber Orchestra, Salvatore Accardo

• Concerto for Two Violins in D minor, BWV1043

Salvatore Accardo (direction & 2nd violin)
English Chamber Orchestra

Lalo:

• Symphonie espagnole, Op. 21

Orchestre National de France, Seiji Ozawa
Massenet:

• Meditation (from Thaïs)

Orchestre Philharmonique de Berlin, Herbert von Karajan

Mozart:

• Sinfonia Concertante for Violin, Viola & Orchestra in E flat major, K364

Bruno Giuranna (viola)
Academy of St Martin in the Field, Sir Neville Marriner

• Adagio for Violin and Orchestra in E, K261

Academy of St Martin in the Field, Sir Neville Marriner

• Violin Concerto No. 4 in D major, K218

Philharmonia Orchestra, Riccardo Muti

• Violin Concerto No. 2 in D major, K211

Philharmonia Orchestra, Riccardo Muti

Sarasate:

• Zigeunerweisen, Op. 20

Orchestre National de France, Seiji Ozawa

Vivaldi:

• The Four Seasons

Orchestre Philharmonique de Vienne, Herbert von Karajan

Performed by Anne-Sophie Mutter (violin)

Here is Anne Sophie Mutter in Vivaldi’s Winter 1st Movement

Here is Anne-Sophie Mutter playing Mozart Violin Concertos

Tags: Anne – Sophie Mutter, Mozart, Bach, Vivaldi

Sir Simon Rattle conducts the Berlin Philharmonic Orchestra
in this exciting new recording featuring the 2011 revision
of this work.

Recently Sir Simon Rattle and the Berlin Philharmonic gave the
American premiere of this new score at Carnegie Hall on February
24, 2012.

The New York Times praised the premiere as follows:

“It was fascinating to hear this monumental symphony performed with [its new] final movement. After a quizzical opening and a strong statement of the main theme there are stretches of fitful counterpoint, brass chorales and ruminative passages that take you by surprise. Overall the music pulses with a hard-wrought insistence that crests with a hallelujah coda.”

Tracks on this recording are:

• 1. Bruckner: Symphony No.9: I. Feierlich: Misterioso

• 2. Bruckner: Symphony No.9: II. Scherzo: Bewegt, lebhaft

• 3. Bruckner: Symphony No.9: III. Adagio: Langsam

• 4. Bruckner: Symphony No.9: IV. Finale: Misterioso, nicht schnell

Sir Simon Rattle was born in Liverpool and studied at the Royal Academy of Music in London. Between 1980 and 1998, Rattle was Principal Conductor and Artistic Adviser of the City of Birmingham Symphony Orchestra, then Music Director. He is now the conductor of the Berlin Philharmonic, and-in my view- he has established the BPO as the premier music organization in the world.

Here is Bruckner’s Symphony No. 9: An Introduction and discussion:

And here is the Bruckner Symphony No. 9 with Simon Rattle conducting the Berliner Philharmoniker

Tags: Anton Bruckner, Simon Rattle, Symphony #9, Berlin Philharmonic Orchestra

If you have been a reader of my Blog for a while, then you know that Johannes Brahms is one of my heroes. I love Brahms’ music, because of the depth of emotion that he expresses, and the wonderful depiction of Nature that he always includes.

Brahms wrote chamber music for clarinet in the form of sonatas, quintets and more. Incidentally the Brahms sonatas can also be performed by viola.

Here are the selections on this CD:

Brahms:

• Clarinet Sonata No. 1 in F minor, Op. 120 No. 1

• Clarinet Sonata No. 2 in E flat major, Op. 120 No. 2

Mendelssohn:

• Clarinet Sonata in E flat major

Schumann:

• Fantasiestücke, Op. 73

Performed by Emma Johnson (clarinet) and John Lenehan (piano)

Ms. Johnson does a beautiful job with this music. She gives us the warm, expressive sound that this music requires.

Here is the Mozart Ave Verum arranged for clarinet & string quartet, with Emma Johnson, Clarinet, and the ConTempo String Quartet

Tags: Brahms, Clarinet Sonatas, Mendelssohn, Schumann

Ravel:

• Daphnis et Chloé

• Boléro

Performed by City of Birmingham Symphony Orchestra, conducted by Simon Rattle with City of Birmingham Symphony Chorus

Simon Rattle, now head of the Berlin Philharmonic, gave us some wonderful recordings with the City of Birmingham Symphony Orchestra while he was their leader for many years.

Ravel’s “Boléro” and “Daphnis et Chloé” show Mr. Rattle to be a terrific conductor who creates amazing music out of these colorful scores.

Track Listings:
1. Introduction et Danse religieuse…. – Daphnis et Chloe, Part I
2. Les jeunes filles attirent…Danse …. – Daphnis et Chloe, Part I
3. Danse grotesque de Dorcon…. – Daphnis et Chloe, Part I
4. Danse et gracieuse de Daphnis…. – Daphnis et Chloe, Part I
5. Tous invitent Daphnis…Danse de Lyceion…. – Daphnis et Chloe, Part I
6. L’on perçoit…. – Daphnis et Chloé, Part I
7. Une lumière…Danse lente et mystérieuse des Nymphes…. – Daphnis et Chloe, Part I
8. Interlude. – Daphnis et Chloe, Part I
9. Bryaxis ordonne…Danse suppliante de Chloe. – Daphnis et Chloe, Part II
10. Bryaxis veut entraîner…. – Daphnis et Chloé, Part II
11. Lever du jour. РDaphnis et Chlo̩, Part III
12. Le vieux berger Lammon explique…Daphnis et Chloe miment…. – Daphnis et Chloe, Part III
13. Devant l’autel des Nymphes…Danse  – Daphnis et Chloe, Part III
14. Bolero

Here is an interesting video of “ORCHESTRAL MUSIC IN THE 20TH CENTURY – Volume 3 – Color”: A Conducted Tour by Sir Simon Rattle and The City of Birmingham Symphony Orchestra.

Tags: Ravel, Daphnis et Chloé, Boléro

Schumann:

• Adagio and Allegro in A flat major, Op. 70

• Fantasiestücke, Op. 73

• Romances (3), Op. 94

• Märchenbilder (4), Op. 113

• Stücke im Volkston (5), Op. 102

Performed by France Springuel (cello) and Jan Vermeulen (fortepiano)

Schumann had a very flexible approach to the instrumentation of his chamber works. As demonstrated here, the Adagio and Allegro for horn and fortepiano Op.70 can also performed on the cello or violin. ‘Drei Fantasiestücke Op.73′ (also included) can be performed on clarinet, violin or cello. France Springuel and Jan Vermeulen have also taken this flexible approach to ”Drei Romanzen’ and ‘Märchenbilder’

In 1840, Schumann dedicated himself into the song repertoire; in 1841 he concentrated on the symphony, and 1842 became the year of chamber music. In the following years Schumann was troubled by an unstable physical and mental condition.

However, in 1849 he had enough energy for a genuine compositional outburst. Except for the Märchenbilder Op. 113 (from 1851), all works on this CD were composed during this, the composer’s self-described most fertile year.

Here is the Schumann ‘Adagio und Allegro’ performed beautifully by Ms. France Springuel, cello

Notice the amazing pianissimos that are part of this wonderful music!

And now another gem:

The ‘Arpeggione sonata’ by Schubert, with France Springuel playing on a 5 stringed Cello Picollo with gut strings, and Jan Vermeulen on a Nanette Streicher Pianoforte (1826)

Tags: France Springuel, cello, Jan Vermeulen, fortepiano, Schumann

• Orchestral Songs by Dvorák, Mahler, and Ravel

Dvorak:

• Biblical Songs (10), Op. 99

orchestrated by Vilém Zemánek
Mahler:

• Rückert-Lieder (5 songs, complete)

Ravel:

• Shéhérazade

Magdalena Kožená, Sir Simon Rattle, and the Berliner Philharmoniker entertain us in Ravel’s Shéhérazade, stir us in Dvorák’s austere ‘Biblische Lieder’, and show us the bittersweet content  of Mahler’s intricately orchestrated ‘Rückert Lieder’.

Recorded live at the Berlin Philharmonie, these performances are really excellent with the intense musical understanding shared by this husband and wife musical team.

This is the first in a new series of recording projects on DG and the Berliner Philharmoniker.

Kozená opens this recital with Dvo’ák’s `Biblische Lieder’, orchestrated by Vilém Zemánek, a cycle rarely heard until now: surely after audiences hear these very fascinating works the demand for performances will increase.

These Ten Biblical Songs (Czech: Biblické Písn’), opus 99, (1894) form a song cycle based on various Psalms taken from the Czech-language Bible of Kralice, arranged and slightly modified by the composer. Kozená and Rattle make them burst alive and there are many treasureable moments here.

Kozená’s voice is perfectly suited to the glorious Shéhérazade of Maurice Ravel. She gives us the ascending and descending lines with such security that the only important aspect is the beauty of Ravel’s setting of the poems of Tristan Klingsor (pseudonym of Léon Leclère, 1874-1966). Rattle and the Berlin players provide the  support of Kozená’s spinning of the web of intrigue which this cycle represents.

The final cycle here is Gustav Mahler’s orchestrated version of Rückert Lieder. Here the songs are delivered with all of the angst of Mahler’s invention. Though all of the songs are beautifully sculpted `Ich atmet’ einen linden Duft’ is particularly memorable.

Watch the trailer of Magdalena Kozená in her new album on Deutsche Grammophon: ‘Love & Longing’.

Tags: Magdalena Kozena, Love and Longing, Orchestral Songs, Dvorák, Mahler, Ravel

Bartók:

• Concerto for Orchestra, BB 123, Sz.116

• Music for Strings, Percussion & Celesta, BB 114, Sz. 106

Performed by the Baltimore Symphony Orchestra, conducted by Marin Alsop

Béla Bartók’s Concerto for Orchestra, one of his greatest works, was written in the United States after the composer was forced to escape from Hungary during World War II. It is not only a brilliant display piece for each instrumental section but a work of considerable structural ingenuity that unites classical forms  with  folk rhythms and harmonies.

Music for Strings, Percussion and Celesta explores darker moods through a score of amazing  symmetry.

This has long been a popular coupling of works by Béla Bartók, but Marin Alsop and the Baltimore Symphony Orchestra have a synergy which has made their Dvořák symphonic recordings sound ‘as fresh as when Dvořák put pen to paper’ (BBC Music Magazine.

Of Dvořák’s New World Symphony  BBC Music Magazine also wrote, ‘it is rare to be able to say that a performance forces one to listen to a work anew, but this is exactly what Alsop’s reading achieves.’

Here is the Bartók: Concerto for Orchestra with David Zinman conducting the Berliner Philharmoniker

Tags: Bartok, Concerto for Orchestra, Music for Strings, Percussion and Celesta

I continue to explore the music of Anton Bruckner. In the past, I have found his music to be often too drawn out, and also at some level too ‘academic’. Many years have passed, and I am trying again to find the finer aspects of this Austrian composer’s music.

This interpretation of Bruckner’s Fifth Symphony reflects the composer’s developing musical powers and compositional artistry.
Performed by the Lucerne Festival Orchestra, conducted by Claudio Abbado

Recorded at the LUCERNE FESTIVAL during the Summer of 2011

The Neue Zürcher Zeitung wrote:

“Abbado’s approach to the music of Bruckner is soft and songlike, at times tense and urgent, but constantly filled with warmth of feeling”

Here is a one-hour video of this music:

Anton Bruckner (1824-1896)

Symphony No. 5 in B-flat major
• Introduktion: Adagio — Allegro
• Adagio. Sehr langsam
• Scherzo: Molto vivace (schnell) — Trio: Im gleichen Tempo
• Finale. Adagio — Allegro moderato

Tags: Anton Bruckner, Symphony #5, Abbado, Lucerne Festival

I attended a concert by the San Francisco symphony earlier this month, and the conductor was Stéphane Denève. I liked his energy, his conducting style, and his strong knowledge of the music that he conducted.

On this CD, we get the following:

Debussy:

• L’Enfant prodigue: Cortege et Air de danse

• L’Enfant prodigue: Prélude

• Printemps, suite for piano 4 hands or orchestra, L. 61

• Prélude à l’après-midi d’un faune

• Marche Écossaise

• Trois Nocturnes

• La Mer

• Images for orchestra

• Jeux – Poème dansé

• Berceuse héroïque

All performed by the Royal Scottish National Orchestra, conducted by Stéphane Denève

Stéphane Denève took up the post of Music Director of the Royal Scottish National Orchestra in 2005, and has since attracted attention from audiences and critics alike. This month the conductor leaves Scotland and the RSNO with a series of ‘Au Revoir’ concerts, and this disc is of orchestral works by Debussy.

Debussy’s La Mer is today widely considered to have been crucial in its influence on twentieth-century music. After completing this work, Debussy spent no fewer than seven years wrestling with what were to become his ‘Images for orchestra’.

With a wonderful flute solo, Debussy’s ‘Prélude à l’après-midi d’un faune’ opened an amazing new world for western music. Debussy based this composition on a poem by Mallarmé, who wrote to the composer: ‘I have come from the concert, deeply moved: A miracle! that your illustration of L’Après-midi d’un faune should present no dissonance with my text, other than to venture further, truly, into nostalgia and light…’

The ‘Three Nocturnes’ feature some of Debussy’s most imaginative orchestral writing. In the words of the composer, ‘the title Nocturnes is… not meant to designate the usual form of a nocturne, but rather all the various impressions and the special effects of light that the word would suggest’. Debussy provided descriptions of the three movements. ‘Nuages’, for example, depicts ‘the slow, melancholy procession of the clouds, ending in a grey agony tinged with white’, and also the experience of standing ‘on the Pont de Solférino very late at night in total silence.

Here is the Beethoven Piano Concerto No 5 E flat major (Emperor), with Paul Lewis, piano, and the Royal Scottish National Orchestra conducted by Stephane Deneve. You can see the conducting style that I mentioned above

Tags: Debussy, Stephane Deneve, orchestral works, Royal Scottish National Orchestra

On this CD, the Schubert Ensemble performs the Piano Quintet No. 2, which is one of Dvořák’s greatest and most popular chamber pieces. The composer took great pride in his country, in his people, their character and cultural heritage, all of which is evident in this work.

Dvorak:

• Piano Quintet in A major, Op. 81

• Piano Quartet No. 2 in E flat, Op. 87

• Songs My Mother Taught Me, Op. 55 No. 4

Performed by the Schubert Ensemble

Dvořák wrote his Piano Quartet No. 2 at the request of his publisher Simrock in Berlin, who had long recognized the sales potential of the composer’s music. He was not wrong; the work went on to become yet another of Dvořák’s most frequently played chamber works. Here,

Dvořák shows us both tranquil and stormy moods; the feeling of great joy present in the third movement pre-echoes the sunny disposition of his Symphony No. 8, which was to follow immediately after the Quartet.

The seven songs which make up the ‘Gypsy Songs’ were written in 1880 to texts by the Czech poet Adolf Heyduk. The fourth, ‘Songs My Mother Taught Me’, is the best known internationally of all Dvořák’s songs. The version heard here, for piano quartet, was arranged by the four core members of the Schubert Ensemble, and is a highly popular encore piece performed at many of its concerts.

This is really astounding and wonderfully enjoyable music!

Here is the Dvorak quintet performed by a different group:

And here is a video of the Dvorak piano quartet no.2 in E flat Op.87

Tags: Dvorak, piano Quintet, piano quartet

This album, called “Time Transcending” is a musical journey through the world of violin playing. It ranges from the structured order of Bach’s Chaconne, through the agitating drama of the ‘Ballade’ by Ysaye and the motifs of Berio’s “Sequenza” repeating themselves under high tension, to the ascending movement of Paganini’s famous Caprice No. 24.

A listing of all the selections follows:

Bach, J S:

• Partita for solo violin No. 2 in D minor, BWV1004: Chaconne

Berio:

• Sequenza VIII for violin

Bräm:

• Clockwork

Ernst, H W:

• The last Rose of Summer (Etude No. 6)

Messiaen:

• Louange a L’Immortalité de Jésus (from Quatuor pour la fin du temps)

Paganini:

• Caprice for solo violin, Op. 1 No. 24 in A minor

Rochberg:

• Caprice Variations

Ysaye:

• Sonata for solo violin in D minor, Op. 27 No. 3 ‘Ballade’

Performed by Daniel Dodds (violin) and Tomasz Trzebiatowski (piano)

http://www.danieldodds.net/en-biografie.html

I liked Mr. Dodd’s performances. His playing of the Bach Chaconne seemed assured, confident, and technically strong.

While I could not locate the Bach Chaconne as performed by Mr. Dodds, here is violinist Nathan Milstein:

Tags: Daniel Dodds, violinist

Life goes on, and I wonder if people have forgotten the huge human tragedy of the Japan earthquake. This CD is intended to make sure we remember….

This compilation has been produced by Bach Collegium Japan and their leader, Masaaki Suzuki, as part of their ongoing work to support the victims of the earthquake and tsunami off the Pacific coast of Japan in March 2011

The individual tracks are as follows:

1. Sinfonia from Ich steh mit einem Fuß im Grabe, BWV156
2. Ich steh mit einem Fuß im Grabe, BWV156/2: aria & chorale
3. Sonatina from Gottes Zeit ist die allerbeste Zeit, BWV106
4. Die Seele ruht in Jesu Händen, BWV127/3: aria
5. Herzlich tut mich verlangen, BWV727: organ chorale
6. In deine Hände befehl ich meinen Geist, BWV106/3a: aria / Heute wirst du mit mir im Paradies sein, BWV106/3b: arioso & chorale
7. Air from Orchestral Suite No.3 in D major, BWV1068
8. Bete aber auch dabei, BWV115/4: aria
9. Wenn wir in höchsten Nöten sein, BWV641: organ chorale
10. Vergnügte Ruh, beliebte Seelenlust, BWV170/1: aria
11. Süßer Trost, mein Jesus kömmt, BWV151/1: aria
12. Ich ruf zu Dir, Herr Jesu Christ, BWV639: organ chorale
13. Wie zittern und wanken, BWV105/3: aria
14. Es ist vollbracht, BWV159/4: aria
15. Komm, Jesu, komm, BWV229: motet

Soloists are: Carolyn Sampson, Susanne Rydén, Hana Blažíková & Miah Persson (soprano), Yoshikazu Mera & Robin Blaze (countertenor), Gerd Türk (tenor) & Peter Kooij (bass)

Performed by the Bach Collegium Japan, chorus & orchestra, conducted by Masaaki Suzuki

In support of TOHOKU HELP, aiding the victims of the 2011 Tohoku earthquake and tsunami.

This selection comprises arias from Bach Collgium Japan’s ongoing cycle of the complete church cantatas, as well as instrumental movements, the motet Komm, Jesu, komm, and three organ chorales recorded by Masaaki Suzuki especially for this release.

To hear is the group performing Bach Motets, click HERE

Tags: Bach Collegium Japan, Masaaki Suzuki, Japan, Earthquake

For those of you who are going to be in NYC tomorrow, here’s a wonderful concert suggestion: A concert by pianist Andras Schiff

Carnegie Hall: May 2, 2012

The Program:

• JOHANN SEBASTIAN BACH Inventions, BWV 772-786

• BÉLA BARTÓK Ten Pieces from Gyermekeknek (For Children), Book II; Three Burlesques, Op. 8c; Six Dances in Bulgarian Rhythm from Mikrokosmos, Book VI; Out of Doors Suite

• JÖRG WIDMANN Zirkustänze (Circus Dances)

• LUDWIG VAN BEETHOVEN Six Bagatelles, Op. 126

• GYÖRGY KURTÁG Adieu, Haydée I and Adieu, Haydée II from Hommage à Bartók; Rituale, in Memoriam Kálmán Strém; In Memory of a Pure Soul: Klara Schiff in Memoriam

For further details, click HERE

To hear Mr. Schiff play Bach, please click HERE

And… Enjoy!

For more than 50 years, Menahem Pressler was the driving force of the legendary Beaux Arts Trio, giving 6,000 performances until the trio stopped performing in 2009.I attended one of their final concerts in San Francisco. As frequently happened, the program included a magical interpretation of one of Schubert’s piano trios.

Pressler is now close to 90 years old, and he is returning to a solo career. He is the last representative of a pianistic tradition directly connected with the great German and French piano schools: he studied with several pupils of the illustrious Ferruccio Busoni.

The Washington Post wrote:

“Pressler’s ability to give all the voices prominence while simultaneously isolating the melody was amazing. His fingers still retain a youthful facility.”

The program includes the music of:

• Beethoven

• Debussy

• Chopin

• Schubert

I particularly enjoyed the performance of the Beethoven Sonata #31, Op. 110. What amazing music this is, and Mr. Pressler shows us his outstanding ability to recreate the sound magic from the vast number of back notes in front of him.

Later in this concert filmed in Paris, we hear more magical sounds of Chopin and Debussy.

At the conclusion of the program we are back to what likely is Mr. Pressler’s favorite composer, Franz Schubert. We hear the Piano Sonata D. 960.

Here is Mr. Pressler in a Chopin Mazurka

Please click HERE to listen

And here’s more music from this wonderful recital
Please click HERE

Tags: Menachem Pressler, Recital, Beethoven Chopin, Schubert

Tchaikovsky:

• Violin Concerto in D major, Op. 35

Joshua Bell (violin)

The Cleveland Orchestra, Vladimir Ashkenazy

• Valse-scherzo in C major for violin & orchestra (or violin & piano), Op. 34

Midori (violin)

London Symphony Orchestra, Leonard Slatkin

• Sérénade Mélancolique for Violin & Orchestra in B minor, Op. 26

Midori (violin)

London Symphony Orchestra, Leonard Slatkin

If you enjoy violin music, this is a fine CD for you!

Here is the Tchaikovsky Violin Concerto, with Joshua Bell, and Sakari Oramo conducting the Royal Stockholm Philharmonic Orchestra

Tags: Tchaikovsky concerto for violin, Joshua Bell

On this CD, Valery Gergiev conducts a thrilling performance of Rachmaninov’s Symphonic Dances’, coupled with Stravinsky’s Symphony in Three Movements.

Rachmaninov:

• Symphonic Dances, Op. 45

Stravinsky:

• Symphony in 3 movements

Performed by the London Symphony Orchestra, conducted by Valery Gergiev

The ‘Symphonic Dances’ were the last works that Rachmaninov completed, and they proved to be some of his most popular music. They draw on folk idioms and the composer’s reminiscences of Russia, from where he emigrated in 1917.

Stravinsky’s ‘Symphony in Three Movements’ was written between 1942 and 1945 and was the first work Stravinsky completed after his arrival in the USA.

Valery Gergiev emphasizes the rhythms of Rachmaninoff’s orchestral writing. The swirling waltzes of the second movement are perfectly played, while Gergiev really drives the finale home in a strong manner.

The “Symphony in Three Movements” by Stravinsky also exhibits the same type of rhythmic quality as the Rachmaninoff. This disc is a complete winner for me.

Tracks are as follows:

1. Symphonic Dances: i. Non allegro

2. Symphonic Dances: ii. Andante con moto (Tempo di valse)

3. Symphonic Dances: iii. Lento assai – Allegro vivace – Lento assai. Come prima – Allegro vivace

4. Symphony in Three Movements: i. Crotchet = 160

5. Symphony in Three Movements: ii. Andante – Più mosso – Tempo I

6. Symphony in Three Movements: iii. Con moto – Più presto – Meno mosso (Con moto)

Here is a short film examining 3 student conductors participation in a conducting masterclass with the LSO and Maestro Valery Gergiev

And here is the Stravinsky “Firebird Suite” Bassoon and Oboe solos; Vienna Philarmonic, conductor Valeriy Gergiev

Tags: Rachmaninov, Stravinsky, Gergiev

Both Johannes Brahms, and also Antonin Dvorak wrote some great music that is basically music of joy and dance. What great fun it is to listen to this; it is lighter music, without the heavier aspects of the likes of Mahler or Bruckner whom I enjoy for other occasions.

The selections are:

Brahms:

• Hungarian Dance No. 1 in G minor

Orchestrated by Brahms

• Hungarian Dance No. 2 in D minor

Orchestrated by Iván Fischer

• Hungarian Dance No. 3 in F major

Orchestrated by Brahms

• Hungarian Dance No. 5

Orchestrated by Iván Fischer

• Hungarian Dance No. 6 in D flat major

Orchestrated by Albert Parlow

• Hungarian Dance No. 7

Orchestrated by Iván Fischer

• Hungarian Dance No. 8 in A minor

Orchestrated by R. Schollum

• Hungarian Dance No. 10 in F major

Orchestrated by Brahms

• Hungarian Dance No. 17 in F sharp minor

Orchestrated by Frigyes Hidas

• Hungarian Dance No. 18 in D major

Orchestrated by Frigyes Hidas

• Hungarian Dance No. 19 in B minor

Orchestrated by Antonín Dvorák

• Hungarian Dance No. 20 in E minor

Orchestrated by Antonín Dvorák

• Hungarian Dance No. 21 in E minor

Orchestrated by Antonín Dvorák

Dvorak:

• Slavonic Dance No. 1 in C Major, Op. 46 No. 1

• Slavonic Dance No. 2 in E minor, Op. 46 No. 2

• Slavonic Dance No. 3 in A flat major, Op. 46 No. 3

• Slavonic Dance No. 7 in C minor, Op. 46 No. 7

• Slavonic Dance No. 8 in G minor, Op. 46 No. 8

• Slavonic Dance No. 9 in B major, Op. 72 No. 1

• Slavonic Dance No. 10 in E minor, Op. 72 No. 2

• Slavonic Dance No. 15 in C major, Op. 72 No. 7

Performed by the Budapest Festival Orchestra, conducted by Iván Fischer

Here is Tomomi Nishimoto, performing the Brahms Hungarian Dance No. 5

And now here is the Brahms Hungarian Dance No. 15 with Ivan Fischer and the Berliner Philharmoniker

Finally, here’s Ivan Fischer and the Budapest Festival Orchestra on tour in Hong Kong

Tags: Brahms, Dvorak, Ivan Fischer, Budapest Festival Orchestra

This is a very personal album by pianist Vardo Rumessen.
It is dedicated to the memory of the Polish President Lech Kaczynski who, along with a number of colleagues and family members, lost his life in the air disaster in Smolensk on April 10th 2010

The selections are as follows:

Chopin:

• Etude No. 25 in F Minor Op. Posth

• Nocturne No. 15 in F minor, Op. 55 No. 1

• Waltz No. 3 in A minor ‘Grande Valse Brillante’, Op. 34 No. 2

• Mazurka No. 13 in A minor, Op. 17 No. 4

• Mazurka No. 47 in A minor, Op. 68 No. 2

• Mazurka No. 14 in G minor, Op. 24 No. 1

• Nocturne No. 11 in G minor, Op. 37 No. 1

• Mazurka No. 18 in C minor, Op. 30 No. 1

• Mazurka No. 40 in F minor, Op. 63 No. 2

• Mazurka No. 49 in F minor, Op. 68 No. 4

• Étude Op. 10 No. 6 in E flat minor ‘Lacrimosa’

• Waltz No. 9 in A flat major, Op. 69 No. 1 ‘Farewell Waltz’

• Waltz No. 12 in F minor, Op. 70 No. 2

Mazurka No. 22 in G sharp minor, Op. 33 No. 1

• Prelude Op. 28 No. 4 in E minor

• Mazurka No. 25 in B minor, Op. 33 No. 4

• Waltz No. 10 in B minor, Op. 69 No. 2

• Prelude Op. 28 No. 6 in B minor

• Mazurka No. 27 in E minor, Op. 41 No. 2

• Mazurka No. 41 in C sharp minor, Op. 63 No. 3

Performed by Vardo Rumessen, piano

This is a very extensive selection, and what I like about it is the variety of compositions, which range from Nocturnes to Mazurkas, to Waltzes.

Here, by another composer, is the Prelude No. 23 in B- Allegretto, by Mart Saar, composed in 1918-1927 (in memoriam of C. Debussy). Performed by Vardo Rumessen

Tags: Vardo Rumessen, pianist, Chopin, memorial

Performed by Trio Wanderer

When Ludwig van Beethoven came to Vienna in the late 1790’s to complete his musical studies, the piano trio, as music for piano, violin, and Cello was already established by Haydn and Mozart. Beethoven continued to contribute compositions to this form, and in this CD we have Beethoven’s complete collection of trios. And they are really lovely!

Here are some press comments:

The Telegraph, 30th March 2012:

“This survey of all the Beethoven piano trios testifies to the ensemble’s communicative panache and to its confident handling of the different demands of a considerable span of music…The Wanderer brings terrific character and understanding to all this music, constantly alerting the ear to Beethoven’s fertile creative imagination.”

Sunday Times, 8th April 2012:

“The eerie textures and bizarre harmonies of the Ghost trio’s famous largo assai make the music sound avant-garde, while the Archduke is a magnificent performance of spirituality and high drama. Unmissable.”

The CD tracks are:

Beethoven: Piano Trio in E Flat, Op. 1/1
I. Allegro
II. Adagio Cantabile
III. Scherzo: Allegro Assai
IV. Finale: Presto

Beethoven: Piano Trio in G, Op. 1/2
I. Adagio, Allegro Vivace
II. Largo Con Espressione
III. Scherzo: Allegro, Trio
IV. Finale: Presto

Beethoven: Piano Trio Op. 1/3
I. Allegro con brio
II. Andante cantabile con Variazioni
III. Menuetto. Quasi Allegro – Trio
IV. Finale. Prestissimo

Beethoven: Piano Trio op.11 no.1
I. Allegro con brio
II. Adagio con espressione
III. Thema (con variazioni). Allegretto

Beethoven: Piano Trio op.44. “14 Variationen”

Piano Trio op.44. “14 Variationen”

Beethoven: Piano Trio op.70 no.1
I. Allegro vivace e con brio
II. Largo assai ed espressivo
III. Presto

Beethoven: Piano Trio op.70 no.2
I. Poco sostenuto – Allegro ma non troppo
II. Allegretto
III. Allegretto ma non troppo
IV. Finale. Allegro

Beethoven: Piano Trio op.97 no.1
I. Allegro moderato
II. Scherzo . Allegro
III. Andante cantabile, ma però con moto
IV. Allegro moderato – Presto

Beethoven: Piano Trio op.121a
10 Variations

Beethoven: Piano Trio WoO 38
I. Allegro moderato
II. Scherzo
III. Rondo

Beethoven: Piano Trio WoO 39

Piano Trio WoO 39

Here is the Beethoven trio WoO39, performed by the Wanderer Trio

And now, listen please to the great sadness of Franz Schubert, from his Trio Op. 100

Tags: Wanderer Trio, Beethoven trios

The Bassoon is one of my favorite wind instruments. And so is chamber music for a group of winds, in which the Bassoon is so important because it provides the Bass part and the unique sound of the instrument. Beethoven used the Bassoon so wonderfully in the Pastoral Symphony, to let us hear how country folks celebrate their joy…

And for Bassoon player Rodion Tolmachev, this is his debut CD. At the age of twenty two he became the principal bassoonist at the famous Marinsky Theatre in St. Petersburg. His playing is distinguished by expressive tonal color, and breathtaking virtuosity.

He has chosen a varied program for this debut recording, including works by Bozza, Boutry, Dubois, Francaix, Bernaud and Saint-Saëns.
Selections include:

Bernaud:

• Hallucinations for bassoon and piano

Bitsch:

• Concertino (1948)

Boutry:

• Interferénces I for bassoon & piano

Bozza:

• Nocturne – Danse (1967)

• Récit, sicilienne et rondo

Dubois, P:

• Sonatine-Tango

Françaix:

• Pieces (2) for bassoon and piano

Saint-Saëns:

• Bassoon Sonata in G major, Op. 168

Tansman:

• Sonatina for bassoon and piano

Performed by Rodion Tolmachev (bassoon) and Midori Kitagawa (piano)

Here is Aleksandr Popov performing Saint-Saens Sonata for Bassoon and Piano

As I wrote above, I just love music for winds; so here’s an encore:

Mozart quintet for piano and winds, KV452

Tags: Rodion Tolmachev, Bassoon, Piano

Do you recall when Evgeny Kissin emerged into the music scene and set the world on fire? He was a young man from Russia, and the music world was astounded by his pianistic performance capabilities.

Well… he turned 40 in October, 2011! Yep… I am getting older…

What is so special is that this man *feels* the music, and we can witness as he recreates this feeling into sounds. So we can marvel at the technical aspects of his playing, but the subtle color changes, and the melodic flow, and the phrasing is absolutely unique.

Here is Mr. Kissin, playing to an adoring overflow audience at the Vienna Musikverein on March 27, 2012

And here we have Evgeny Kissin performing the Grieg Piano Concerto, with the Berlin Philharmonic, conducted by Sir Simon Rattle

And here is a 90-minute program of Kissin playing Schubert, Liszt, and Bach some years ago

I just love listening to Evgeny Kissin!

Tags: Evgeny Kissin, pianist

Janine Jansen is one of my favorite violinists. The reason is simple: She’s very capable from a technical standpoint. And musically she’s free to express lots of emotion that represents her view of the composer’s intent. One fine artist, and a great fiddler!

For those of you who are fortunate to be in Munich, Germany next week, you owe it to yourself to consider the following concerts:

26th April 2012

• Philharmonie Gasteig, Munich, Germany

• Brahms: Violin concerto
• Janacek: Sinfonietta (1926)
• Dvorak: The Hero’s Song (Heldenlied) op.111

Performed by the Symphonieorchester des Bayerischen Rundfunks ; Andris Nelsons, Conductor

27th April 2012

• Philharmonie Gasteig, Munich, Germany

• Brahms: Violin concerto
• Janacek: Sinfonietta (1926)
• Dvorak: The Hero’s Song (Heldenlied) op.111

performed by the Symphonieorchester des Bayerischen Rundfunks ; Andris Nelsons, Conductor

Here is a video of Ms. Jansen rehearsing the Beethoven and the Britten violin concertos:

And here is Janine Jansen in ”Rondo Capriccioso” by Camille Saint – Saens

Tags: Janine Jansen, Munich concert, Brahms

Performed by the Scottish Chamber Orchestra, conducted by Robin Ticciati

The Symphonie Fantastique by Hector Berlioz continues to be one of the most popular early Romantic compositions with today’s music audiences.

The Scottish Chamber Orchestra marks its debut recording under the direction of Principal Conductor Robin Ticciati with the majestic Symphonie Fantastique by Berlioz.

Named one of the top ten young ‘conductors on the verge of greatness’ by Gramophone Magazine, Mr. Ticciati brings out the deep colors and emotions of this composition.

Robin Ticciati was named to the position of Principal Conductor with the SCO beginning with the 2009/10 season, and he opened the 2011/12 season with a blistering Berlioz program hailed by the critics as ‘compelling’.

Here are some press comments:

Sunday Times, 1st April 2012:

“This Fantastique is remarkable for its fresh insights…The opening Rêveries — Passions is especially dreamlike, impressionistic almost…while the nightmarish sounds of the Witches’ Sabbath emerge in the most vivid colours thanks to the clarity of the string sound and the squealing high woodwinds…Fantastique!”

The Guardian, 5th April 2012:

“Few previous recordings of the Symphonie Fantastique will have used such a modest string section, but the transparency and lightness of touch Ticciati achieves is a real bonus…The overture to the opera Beatrice and Benedict, full of wonderful string interplay and characterful woodwind, makes a charming fill-up.”

Here are the titles of the individual movements:

1. Symphonie Fantastique I Reveries – Passions

2. Symphonie Fantastique II Un Bal

3. Symphonie Fantastique III Scene aux Champs

4. Symphonie Fantastique IV Marche au Supplice

5. Symphonie Fantastique V Songe d’une Nuit du Sabbat

6. Overture Beatrice et Benedict

Here is the conductor, Robin Ticciati, talking about the Symphonie Fantastique

And here is something from the past: Leonard Bernstein conducting the “Orchestre National de France” in Berlioz’s Symphonie Fantastique,1st movement: part 1: Largo Paris, 1976

Tags: Berlioz, Symphonie Fantastique, Scottish Chamber Orchestra, Robin Ticciati