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Volume 25 Issue 4 - December 2019 / January 2020

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Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!

ief but dazzlingly

ief but dazzlingly virtuosic final Prelude, described in the excellent booklet notes as a “breathtaking frenzy of double-note glissandi spiccato.” Engrossing performances make for an exceptional set. Another exceptional 2-CD set of complete works is Miecysław Weinberg Complete Sonatas for Solo Viola in quite superb performances by Viacheslav Dinerchtein (Solo Musica SM 310 The four numbered sonatas were composed between 1971 and 1983, and are issued here in a centenary edition in celebration of the 100th anniversary of the composer’s birth. Weinberg’s music continues to be reassessed and promoted, and outstanding releases like this one will clearly help to cement his standing in 20th-century music. The American violinist Tessa Lark makes a stunning solo CD debut with Fantasy, a selection of fantasies and rhapsodies from four centuries (First hand Records FHR86 Three of Telemann’s 12 Fantasias for Solo Violin – No.1 in B-flat, No.4 in D and No.5 in A – are spread throughout the disc, with Lark’s own Appalachian Fantasy providing a breathtaking display of virtuosic fiddling in her native Kentucky tradition, reworking the Schubert song that opens his Fantasie in C Major and melding it with tunes from Appalachia. Pianist Amy Yang joins Lark for an outstanding performance of the Schubert Fantasie, as well as for Fritz Kreisler’s Viennese Rhapsodic Fantasietta – Lark producing ravishing tone and perfect style – and a simply dazzling and passionate performance of Ravel’s Tzigane – Rhapsodie de concert. It’s a recital of the highest calibre. Cellist Yorick-Alexander Abel is outstanding in Hommage à Pablo Casals, a program honouring the legendary Catalan cellist (Naxos 8.551418 Two of Abel’s own improvisations – Prélude “Lampes de Sagesse” (Lamps of Wisdom) from 2000 and Prélude “Sagesse Amérindienne” (Native American Wisdom) from 2010 – frame a fine performance of Bach’s Suite in G Major BWV1007. The Suite Per Violoncel Sol “A Pau Casals” is a striking work in remembrance of his older brother written by Casals’ violinist/ composer younger brother in 1973, the year of Pablo’s death. Arthur Honegger’s brief Paduana from 1945 and Pablo Casals’ own Cant dels Ocells (Song of the Birds), based on a Catalan Christmas song, round out a memorable CD. There are two excellent string quartet CDs from Alpha Classics this month, both featuring Mozart’s String Quartet No.15 in D Minor K421 and with little to choose between them. Quatuor Voce is the ensemble on Mozart Schubert Quartets Nos.15, the Mozart paired with Schubert’s String Quartet No.15 in G Major D887 in recordings made with a mix of live concert and studio sessions – not that you can tell (ALPHA 559 outhere-music. com/en). There’s a warm, measured opening to the Mozart, a work often played with a stress on the inner turmoil of this significant key for Mozart – the key of Don Giovanni, the Piano Concerto No.20 K466 and the Requiem. There’s passion here though, albeit implied rather than explicit, with the hint of despair always restrained. The same sensitivity and depth is equally evident in the monumental Schubert quartet. On the Quatuor Van Kuijk’s MOZART the K421 quartet is paired with the String Quartet No.14 in G Major K387 and the Divertimento in F Major K138, the latter in its original form for four solo strings (ALPHA 551 The D-minor quartet leans more towards the dramatic here than in the Quatuor Voce performance, with less vibrato, more articulation and dynamic contrast and more overt anguish – in the final chords, for instance. There’s never a shortage of warmth, however, and the same qualities are evident in a vibrant performance of the K387 G-major work. Violinist Ilya Gringolts and cellist Dmitry Kouzov are the performers on Eisler Ravel Widman Duos, a CD that features two 20th-century works and one from the 21st (Delos DE 3556 Hans Eisler studied with Arnold Schoenberg, and the latter’s influence can be heard in the brief two-movement Duo for Violin and Cello Op.7 from 1924, albeit with the 12-tone approach given a softer and more audience-friendly treatment. The central work on the disc is the two-volume 24 Duos for Violin and Cello from 2008 by the German composer Jörg Widmann. Nine of the pieces are under one minute in length and the longest only just over three minutes, but the double stopping and special effects present technical difficulties that bring brilliant playing from Gringolts and Kouzov in music that is challenging but always interesting. With Widmann himself saying “Sensational!!! You understand every fibre of my music” about the performances, these world-premiere recordings can be considered definitive. A fine reading of Ravel’s Sonata for Violin and Cello from 1922 completes a fine CD. The Los Angeles Chamber Orchestra and their concertmaster Margaret Batjer perform concertante works for violin from across three centuries on Jalbert & Bach Violin Concertos, with Jeffrey Kahane conducting (BIS-2309 The 2017 two-movement Violin Concerto by the American composer Pierre Jalbert was co-commissioned by the LACO and is heard here in a world-premiere recording. The violin’s lyrical qualities are fully exploited from the quiet and ethereal opening through the rhythmic contrasts of the energy-filled second movement. Bach’s Violin Concerto In A Minor BWV1041 follows in a solid performance, and the disc closes with two 20th-century works by Baltic composers: Arvo Pärt’s Fratres, written in 1977 and heard here in the composer’s own 1992 arrangement for violin, string orchestra and percussion; and Pēteris Vasks’ quite beautiful Lonely Angel, a 2006 re-working of the final movement from his 1999 Fourth String Quartet. Batjer shows gorgeous tone and control in a solo line written mostly in the highest register. The excellent cellist Martin Rummel is back with Volume 2 of Ferdinand Ries Complete Works for Cello with pianist Stefan Stroissnig (Naxos 8.573851 Volume 1 is available on Naxos 8.57726. Ries left a sizeable œuvre of over 200 compositions on his death in 1838, few of which are remembered. Included here are: the Cello Sonata in C Minor WoO2 from 1799, one of the earliest of its genre and written when Ries was only 15; the Trois Aires Russes Variés Op.72 from 1812; the Introduction and a Russian Dance Op.113 No.1 and the Cello Sonata in F Major 82 | December 2019January 2020

Op.34, both from 1823. Eric Lamb is the flutist in the 1815 Trio for Flute, Cello and Piano in E-flat Major Op.63. Violinist Emmanuele Baldini and pianist Karin Fernandes perform sonatas by two leading figures in Brazilian classical music at the turn of the last century on Miguez and Velásquez Sonatas in the Naxos Music of Brazil series (8.574118 The Sonata No.1 for Violin and Piano, “Delirio” from 1909 and the Sonata No.2 for Violin and Piano from 1911 by Glauco Velásquez, who was only 30 when he died in 1914, are really attractive works with a warm Latin feel. The Sonata for Violin and Piano Op.14 by Leopoldo Miguez (1850- 1902) is from 1885, and while it feels structurally stronger than the Velásquez works and more in the standard 19th-century sonata mode, it also has less of a Latin feel. Baldini’s playing is radiant and idiomatic, with Fernandes particularly brilliant in the demanding piano writing in the Miguez sonata. Keyed In Scarlatti – 52 Sonatas Lucas Debargue Sony Classical 19075944462 ( !! When the jury at the 2015 International Tchaikovsky Competition placed French pianist Lucas Debargue fourth (which was actually sixth, since the second and third prizes were each shared by two contestants), the outrage was predictable. For it was Debargue who had won over the audience – and the critics – with his dazzling mix of brilliant technique and poetic sensibility. In any case, Debargue’s career has flourished. In January he’ll make his third appearance at Koerner Hall in Toronto. And Sony has just released his fifth recording, a four-disc set of sonatas by Domenico Scarlatti, the innovative Italian Baroque composer who was born in 1685 – the very same year as Bach and Handel – and spent his later, most productive, years at the royal courts in Portugal and Spain. These short works are fundamental to the repertoire of harpsichordists. Though heard less often in piano recitals, they have been championed by pianists from Vladimir Horowitz and Alicia de Laroccha to András Schiff, Glenn Gould and Angela Hewitt. Many last just three or four minutes, even with Scarlatti’s repeats. But they have the impact of much grander works. Debargue’s selection of 52 sonatas represents less than a tenth of the 555 that Scarlatti wrote. But that’s four hours of some of the most glorious keyboard music ever written. What we're listening to this month: Scarlatti, a virtuoso harpsichordist, wrote these sonatas to play on his own instrument. So Debargue, ever mindful of the perils of playing them on a piano, makes minimal use of one of the piano’s most valued assets, the sustaining pedal. As a result, he is able to weave textures of delectable lightness and harpsichord-like clarity. But right from the first – and longest – work here, K206, Debargue makes full use of other resources offered by the piano to create an orchestrascale range of colours and a variety of textures not possible on the earlier instrument. In K115 he highlights Scarlatti’s alluring harmonic shifts by shaping the broken chords and chromatic scales with dramatic crescendos and diminuendos. He does rush the tempo at times, though there are definite payoffs. K25, which is marked allegro, becomes more dramatic at his presto tempo, with the exquisite melodic lines emerging magically. I especially enjoy his bold use of rubato throughout. His ornaments are gorgeous, especially in episodic works like K268, though they can disrupt the pulse and prevent the Iberian rhythms from dancing. The way Debargue combines the clarity of the harpsichord with the expressive power of the piano is fresh, imaginative and invariably enjoyable – a thoroughly modern approach to these exquisite works. Pamela Margles Concert Note: Show One presents Lucas Debargue at Koerner Hall on January 16 in a recital which will include sonatas by Scarlatti. Bach – The Well-Tempered Clavier I & II Heidrun Holtmann Musicaphon M56922 ( !! The Well-Tempered Clavier compositions have always represented a sanctuary of sorts for me; a sonic space for contemplation and stillness, unaffected by the fast pace of modern living, and a doorway to a singular notion of the reciprocity between the laws of music and the cosmos. A collection of two sets of preludes and fugues in 24 major and minor keys for solo keyboard, it is also a wonderfully Mosaic Kira Braun, Kirk Starkey, Linda Ippolito André Previn's Four Songs & Vocalise are intimately brought to life by soprano Kira Braun, along with Kirk Starkey, cello, and Linda Ippolito, piano. Mirrored Spaces Daniel Lippel Guitarist Daniel Lippel releases Mirrored Spaces, an eclectic double album of premieres for solo classical and electric guitar, some with electronics. Her Voice Neave Trio Neave Trio’s Her Voice honors three distinguished women composers and features a wide range of voices - Louise Farrenc, Amy Beach, Rebecca Clarke. Mozart: Sonatas K 283, K 282, K 280, K 517 David Fung David Fung makes his Steinway label debut with four Mozart sonatas: three early and one late, demonstrating sensitive and lyrical interpretations of Mozart's music. December 2019January 2020 | 83

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