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Volume 10 Issue 7 - April 2005

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moving duet. The last

moving duet. The last nine tracks are settings of English poems by Kenneth Patchen. Years and others, ranging in mood from somber to playful. Burton and Ac.:ker give impecc.:able. sensitive performances throu!!hout, and Ac.:ker's accompanime1t is panirnlarly graceful and wmplememary to the vocal line at all times. Serious atkionados might be disappoimed by rhe absence of ori!!inal or transliterated versions of he Yiddish and Hebrew texts ( Enulish translations are provided). Bea'Utifully engineered, a polished artistic achievement. Karen Ages INSTRUMENTAL (CLASICAL AND BEYOND) Handel - Complete Violin Sonatas Andrew Manze; Richard Egarr Harmonia Mundi HMU 2907259 Egarr provides accompaniments with loads of personality and occasional cheek. At times the ensemble comes apart for brief moments, but it doesn't matter. It simply demonstrates the spontaneity of the playing and that they surprise even each other every so often. Larry Beckwith Schubert - Piano Sonata in B flat; Lieder Leif Ove Andsnes; Ian Bostridge EMI 5 579012 melodically related to the sonata and confirms the rightness of Andsnes' stylistic handling of that work. Finally the tiny gem, Abschied vo11 der Erde \vhich i not sung but spoken, is a poignant farewell to life set by Schubrt to accompany the dying words of a knight in the play Der Falke [The Falcon]. With faultless engineering, there is no downside to this splendid CD. Bruce Surtees Concert note: For fans of Schubert lieder, Matthias Goerne will perform Die Winterreise at Roy Thomson Hall on April 3. Brahms - Symphony No. I; Tragic overture; Academic Festival Overture London Philharmonic Orchestra; Marin Alsop Naxos 8.5574 violin solo in the 2nd movement and the majestic alpenhorn in the last. Alsop's congenial and easy going personality is well suited to the Academic Festival Overture and the disc concludes on an optimistic note. Although it will not eclipse Klemperer 's magisterial reading or Karajan's glowing intensity, I enjoyed this perfo.rmance very much. Excellent digital sound. Ja11os Gardo11yi Raum and Brahms Elizabeth Raum· - Pantheon; Brahms - Trio, Op.40 Erika Raum, violin; David Hoyt, horn; Janet Scott Hoyt, piano Arktos 200481 In his program nores to this excellem recording, violinist Andrew Manze thoroughly tracks the history of Handel's works for violin and harpsichord and justifies the claim that rhe works performed on this disc represem Handel's total output for this pairing. There are the six sonatas that exist in most collections. as well as two '·Roger" sonatas, originally published by John Walsh in 1730 under the fictitious name . Jeanne Roger of Amsterdam''. In addition, the recording ends with two brilliant one-movement fragments, evidence alas rhat some of the sonatas have been lost. The dynamic duo of Manze and Egarr continue to rip through the substamial music of the Baroque era for violin and harpsichord, building on the success of their earlier recordings of Uccelini, Pandolfi, Biber (Rosary sonatas) and Corelli (Opus 5 complete). Both performers bring a playful sense of abandon to Handt:l 's music. Tempos are well-chosen, allowing for ample ornamentation and expression. Fugues are handled clearly and brilliantly, chromatic writing given appropriate "aching" accents and the stunning melodic writing in the slower movements is celebrated by Manze with emotional playing full of line aQd colour. 7li In Schubert' lifetime, friends would get together with the composer to participate in a "Schubertiad," a potpourri of his salon works ... songs, sonatas, duets, etc. Several recreations of such evenings are to be found in the Schubert Edition from Hyperion, and this is the fourth of EMI's series with Andsne and Bostridge that programmes a sonata followed by several lieder. Both Brahms First Symphony is probably performers are at the top of their one of the most performed and recorded works in the repertoire with respective fields and together they form a most interesting and successful collaboration. Their earlier ni, Karajan, Furtwangler, Walter such giants as Klemperer, Toscani­ Schubert discs, including an individual Winterreise, have won univer­ make a new statement in this hal­ and a host of others. It is difficult to sal acclaim. lowed territory but here is a very Andsnes' performance of Schubert's la t completed sonata reveals Marin Alsop has had a most spec­ good attempt made by a newcomer. the pianist's deep involvemelll with tacular rise in fame in the shortest and understanding of the composer's inability to write anything that nings with the Colorado Sy:npho­ possible time. From humble begin­ did not sing. The first movement. ny, this formidably talented student which can seem endless in less informed hands, becomes a wordless jumped on to the podium of one of of Leonard Bernstein has suddenly song with almost imperceptible Britain's finest orchestras, the touches of colour, so simply realized by Andsnes, to illuminate its ing Sir Simon Ranle and making Bournemouth Symphony, succeed­ progression. The second movement herself a big name in the music unfolds quietly, seeming to hang in world. mid-air, while the Scherzo flows Her Brahms is a highly expansive, effortlessly without being prodded. somewhat lyrical reading, a bit slow The familiar last movement is beautifully judged and cleanly articulat­ architecturally. She reveals details, in places but still held together well ed. After a performance as satisfying as this, the listener does not im­ "espressivo" and handles the strings puts a great deal of emotion in her mediately even think about making beautifully as befits an expert violin comparisons with other recorded player and chamber musician. versions they may own. The big guns come out at the end After the sonata, the three lieder in the great accelerando and the final pages are spectacular. The in­ fall comfortably upon the ears. In Viola, there is some surface joy not strumentalists of the London Philharmonic are superb, but special quite hiding the sadness beneath. The second song, Der Wi11terabend, is praise should go to the wonderful first WWW . THEWHOLENOTE.COM What would be the result if three of Canada's finest musicians had the run of all the facilities at the Banff Centre for the Arts? You'd better believe that it would result in a wonderful CD. This trio exceeds all expectations with these two works, each of them ambitious undertakings. Brahms' Opus 40 Trio, a favourite of chamber music presenters and audiences alike, has many new things to offer us here. Hoyt's horn is a model of control, especially in the Adagio mesto movement. The Finale, often perceived as bombast in other recordings, becomes a statement in clarity. Paired with the Brahms is Elizabeth Raum's Pantheon, a work from 1999. Raum remains one of Canada's underexposed treasures, with over 200 works in her still-growing catalogue. Her title refers to seven of the ancient Greek deities, giving the composer scope co create movements of differing character. The Artemis movement, in particular, is one of those lyrical gems you'll want to hear repeatedly. Horn lovers will be interested to -note that Pantheon was written for the legendary Philip Myers. Production is seamless and without flaws. The Banff Steinway D is well mannered and even technician Denis Brassard is credited in the notes. The photo purports to show the musicians in the heat of recording, but they wear their best outfits and there's nary a microphone to be seen. Jolz11 S. Gray APRIL 1 - MAY 7 2005

.J Concert note: Erika Raum performs a concert of music by Lutoslawski, Szymanowski and Pend­ ·erecki with Lydia Wong at Walter Hall on April 7. lmpressionisme Para Arpa Centaur Consulting Impressionisme, the debut recording from the Canadian harp duo of Caroline LfonardeUi and Caroline Lizotte, offers a distinctively Parisian view of the repertoire for harp duet. The cown jewels of this collection are transcriptions of works by Debussy and Ravel. Both compositions were originally conceived for piano four hands and later cast in orchestral versions. Claude Debussy's Petite Suite is one of his most engagingly melodic compositions and lends itself well to the harp in this tine arrangement which makes effective use of antiphonal exchanges between the two instruments. With the exception of the chorale-like finale, the arrangement of Maurice Ravel's enchanting Ma Mere l'Oye (Mother Goose Suite) is also surprisingly effective. The startling inclusion of percussive effects (strokes from a gong and antique cymbals) in this work is a clever touch that might seem more convincing to me recorded at a greater distance, re fleeting their actual placement at the edge of the orchestral stage. Generally however the recording quality is excellent throughout. Also on offer is an elegant set of Four Preludes crafted in the luxurious Paris Conservatoire style by the eminent harpist Marcel Tournier. Another distinguished alumns of the Conservatoire, Bernard Andres, is represented by the delightful Parvis, an engaging carnival of dance rhythms performed with considerable panache. Pierick Houdy's Pour Deux Harpes is uncommonly chromatic, an effect not normally associated with the harp due to its inherently diatonic nature but achieved here through an ingenious manipulation of harmonics. Enrique Granados' well-known Spanish Dance Number 5 dates from a time the composer was living in Paris and is heard in an evocative arrangement by the innovative Carlos Salzedo. These are performances of sensitivity and grace, exhibiting a wide range of subtle colours and an excellent sense of ensemble. Daniel Foley Barber - tapricorn Concerto and other works Royal Scottish National Orchestra; Marin Alsop Naxos g,559135 SAMIJF.I. llAlO!Ell C:aptitocn Conrr.rlO ,, R¥1Ml •tfil:t1 MJJEJt;!M>fN11Wt \· ·

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