Volume 29 Issue 5 | April & May 2024

Nos.1 & 2, given

Nos.1 & 2, given outstanding performances here, as well as the 1943 New York version with piano of Martinů’s Suite concertante, which has two versions. The second, heard here, was started in 1938 in Paris before Martinů left Europe, and completed in New York and orchestrated in 1945. While still in Paris Martinů apparently wrote three movements for another version of the suite, one of which – Méditation – completes a terrific CD. Eugène Ysaÿe: Rêves features worldpremiere recordings of two newly discovered concertos by the Belgian virtuoso and composer in performances by Philippe Graffin and the Royal Liverpool Philharmonic Orchestra under Jean- Jacques Kantorow (Avie Records AV2650 avie-records.com). Following the recent discovery of a first movement of an early Violin Concerto in E Minor a fully orchestrated second movement and a third movement in violin and piano score both came to light, the latter being orchestrated by Ysaÿe expert Xavier Falques to complete the concerto. Composed in 1884-85 it was apparently intended to establish a new approach to instrumental technique, which Ysaÿe felt had stagnated since the works of Vieuxtemps. It’s not clear why he abandoned the concerto, but in 1893 Ysaÿe wrote his Poème concertant, a single-movement work imbued with love for his student Irma Sèthe. Recently discovered in manuscript form, it was orchestrated by Erika Vega with advice from Falques. Pianist Marisa Gupta joins Graffin for the 2 Mazurkas de salon Op.10 and the Rêve d’enfant Op.14 that close a fascinating CD. There’s a glorious CD of Vaughan Williams music that would normally be well outside the limits of this column, but Vaughan Williams: Retrospect with the London Choral Sinfonia under Michael Waldron contains not only some simply beautiful works for voices and string orchestra but also a lovely performance of the Violin Concerto in D Minor – Concerto Accademico with the always reliable Jack Liebeck as soloist (Orchid Classics ORC100289 orchidclassics.com). It’s not a substantial work – only about 16 minutes long – but the glorious middle movement, which takes up almost half of the work, is Vaughan Williams at his pastoral best and Liebeck is in his element. As an added bonus, cellist Thomas Carroll is the lovely soloist in the world-premiere recording of the composer’s arrangement of Bach’s Schmücke dich,o liebe Seele. On ALAS cellist Patrick Langot and violinist Alexis Cardenas and the Orchestra de Lutetia under Alejandro Sandler pay tribute to the Argentinian music so dear to their hearts by presenting world-premiere recordings of works by three contemporary Argentinian composers (Évidence Classics EVCD108 orchestredelutetia.com/alas). The title track, the 2021 Alas – fantaisie for violin, cello and string orchestra by Gerardo di Giusto (b.1961) is a strong, strident work with malambo and baguala rhythms, while the atmospheric 2020 Descaminos for solo cello, string orchestra and percussion by Gabriel Sivak (b.1979) was inspired by the vast Pampas region. Both works were commissioned by the orchestra. The fascinating 1986 Llorando silencios, six Quechua songs for solo cello by Alejandro Iglesias Rossi (b.1960) evokes ancestral sonorities, the cello sounding in turn like the traditional instruments the quena, charango and erke. The remainder of the CD is given over to the 1953 Variaciones concertantes Op.23 by Alberto Ginastera, the cello and harp being joined by various orchestral soloists to develop the thematic material, with an explosive malambo finale. In a 1953 essay the Domenico Scarlatti biographer Ralph Kirkpatrick (who implemented the K. numbering system) noted the clear influence of the Spanish guitar on Scarlatti’s music, and the extent to which it permeated his keyboard works is beautifully illustrated on the digital-only release Scarlatti 12 Sonatas by the two guitarists Matteo Mela and Lorenzo Micheli (Evidence EVCD107 soloduo.it). As Micheli’s booklet notes point out, Scarlatti’s language often echoes guitar playing, the Hispanic character stemming from timbres, techniques and stylistic traits derived from the guitar, and the light, volatile style of writing in the sonatas, most often for two voices is perfectly suited to the nature of the guitar. The 12 sonatas here are those numbered K.8, K.24, K.32, K.87, K.99, K.162, K.202, K.386, K.455, K.466, K.519 and K.531. Superb transcriptions (uncredited, but by the performers, presumably) and simply outstanding playing, beautifully recorded, result in a truly captivating release. VOCAL Claudio Monteverdi – Il ritorno d’Ulisse in patria Soloists; I Gemelli; Emiliano Gonzalez Toro; Mathilde Etienne Gemelli Factory audiobook (gemelli-factory.com/nos_releases/ il-ritorno-dulisse-in-patria) ! There are as many ways to perform Claudio Monteverdi’s Il Ritorno d’Ulisse in Patria as there are performances. The earliest known score contains just the vocal parts, the text and the bass line. Even the instrumental passages indicate nothing about what instruments are to play. So vital decisions about basic elements like orchestration and harmonization must be made. Terrific recordings have appeared in recent years – those under Gardiner, Cavina and Fuget come happily to mind (not to overlook Harnoncourt’s landmark recording from 1972). But none for me has matched René Jacobs’ 1992 recording for momentum and spirit – that is, until this production from I Gemelli, led by musical director Emiliano Gonzalez Toro and artistic director Mathilde Etienne (with both performing as singers). A fine-tuned sense of early Baroque style and an adventurous sense of theatre have shaped this recording. The cast here is large – it includes nine tenors! That means remarkably few doublings, so characters are easily distinguishable. And every performer, whether singer or instrumentalist, projects the kind of commitment that gives their time in the spotlight, no matter how brief or extensive, dramatic impact. It’s unlikely Monteverdi’s instrumental ensemble for the first performance in 1640 would have been as large, or as varied. Historically authentic instruments like the gorgeous triple harp of Marie-Domitille Murez and the delightful trio of mellifluous cornetts add colour. But they never swamp the singers, since they are featured in smaller groups. Instead, they provide vivid counterparts to the resonant phrases of Giacomo Badoaro’s libretto, a skillful adaption of the final verses of Homer’s Odyssey. Monteverdi gives the gods the most florid passages. Emőke Breath as Minerva ravishes with her lucid elegance. Philippe Jarroussky is an eloquent Fragilitá Umana (Human Fragility), Juan Sancho an impassioned Mercurio. Jérôme Varnier’s petulant, vindictive Nettuno captivates with his rich, agile basso profundo. 62 | April & May 2024 thewholenote.com

Among the mortals, Gonzalez Toro’s Ulisse is deftly theatrical as he disguises himself as an old beggar, and affectingly tender as he pleads with Penelope to recognize him. Rihaieb Chaib brings highly charged urgency and a complex range of emotional states to the role of the faithful Penelope. The exciting Canadian mezzo-soprano has not been known for Baroque opera. But that is bound to change with her powerful performance here. Right from the opening phrases of her heart-rending lament, she commands our empathy. When she does recognize Ulisse – and they finally sing together – it’s all the more expressive for the contrast in their voices. The word “yes” has never sounded more sensual than in their magnificent duet, “Yes, my life, yes, my heart, yes!” I love how Alix Le Saux as Ulisse’s old nurse Ericleia colours the word “languise” (languishes). Fulvio Bettini’s virtuosic Iro delights as he moves from comedy to tragedy. Zachary Wilder creates a poignant Telemaco, while Etienne brings playful charm to Melanto. Her extensive background essays are bound with the libretto – more than 200 pages in all – with three CDs in an attractive hardbound case. It’s certainly indicative of the loving care that has gone into this superb recording. Pam Margles Penitence & Lamentation (Gombert; Byrd; Tallis; Crecquillon; Ramsey; Muhly; Carver) Byrd Ensemble; Markdavin Obenza Scribe Records SRCD12 (byrdensemble. com/recordings) ! Ten Renaissance pieces set to religious texts expressing, say the booklet notes, “guilt and grief” are movingly performed by the Seattle-based Byrd Ensemble under artistic director Markdavin Obenza. Four selections are by the a cappella group’s inspiration, William Byrd. Particularly affecting are Emendemus in Melius and Byrd’s elegy for his late friend, Thomas Tallis, Ye sacred muses. Tallis himself is represented by two pieces – Absterge Domine and In jejunio et fletu, the latter darkly solemn, sung by only one alto, two tenors and two basses. Nicolas Gombert’s intense Lugebat David Absalon dramatically sets David’s howling lament over his rebellious son, while Robert Ramsey’s How are the mighty fallen effectively expresses David’s anguish over his beloved Jonathan. Thomas Crecquillon’s earnest Pater peccavi presents the Prodigal Son’s rueful plea to his father. Although only five to ten singers perform the forementioned works, the reverberant acoustic creates the illusion of much larger forces. American composer Nico Muhly’s Fallings, especially commissioned for this CD, involves 12 singers. Set to verses from Isaiah describing the destruction of Solomon’s temple, the music is often tumultuous and discordant, yet not out of place among the Renaissance works. Ending the CD, 19 singers – 14 of them tenors and basses – join in the longest selection, Robert Carver’s grandiloquent, 12-minute O bone Jesu. The maleheavy sonorities add depth and richness to this cry for mercy – “O good Jesus, let not my sin destroy me.” Texts and translations are included. Michael Schulman Wagner – Dei Meistersinger von Nurnberg Soloists; Orchestra and Chorus of the Deutsche Oper Berlin; John Flore Naxos DVD 2.110766-67 (naxos.com/Catalo gueDetail/?id=2.110766-67) ! Deutsche Oper has always been famous for thought-provoking, even iconoclastic, productions so this latest incarnation of Wagner’s lengthy masterpiece comes to us certainly as very different from anything I’ve ever seen before. The scene is a Conservatory with the Masters as professors, the Apprentices as students, all in a modern setting. The school is owned by the wealthy Veit Pogner (Albert Posendorfer, bass) who intends to turn it over to the public by organizing a singing contest but stipulating that the winner must be a Master and should marry his only daughter Eva (Heidi Stober, soprano). The contest is held on Midsummer Day and there are numerous complications, but we all know the story. In this provocative staging the music and the text remain unchanged; there is constant action, and the show is entertaining throughout. But the question remains for someone who has never seen/heard this opera before should I recommend this production rather than an opulent, glorious traditional one such as I grew up with? The directorial team has decided to “remove the deadweight of previous productions to get closer to the opera itself” which is all about music, the composition and delivery of music. This translates itself into composing a master song and it all comes together beautifully in the wonderful third act. The master song is composed by Walther von Stolzing, the tenor lead (beautifully sung by the latest German heldentenor sensation, Klaus Florian Vogt, who aspires to be a Master and is in love with Eva. The elderly Hans Sachs (Johan Reuter, baritone), a Master and the real hero of the opera, is also in love with Eva but having to give her up, realizes Walther’s song is, although different, truly beautiful. He magnanimously offers advice to improve the song according to the established rules. The master song is then baptized (on St. John’s day) by the glorious quintet Selig wie die What we're listening to this month: thewholenote.com/listening Schubert: The Complete Impromptus Gerardo Teissonnière The acclaimed pianist's second album for the Steinway & Sons label brings new and authoritative interpretations to these beloved complete impromptus. Album Leaf: Piano Works by Felix Mendelssohn Sophia Agranovich Ranging from poetic intimacy and serenity to tragedy and overwhelming drama, sublime emotions awakened by masterpieces on this album stir the depths of soul Rachmaninoff Ian Gindes Pianist Ian Gindes presents a captivating elucidation of Sergei Rachmaninoff’s solo piano works on RACHMANINOFF, a new album of discerning artistry! American Spiritual Michael Lee Intersect European Art Music and American spirituals, featuring works by Florence Price, Margaret Bonds, and Robert Nathaniel Dett, sharing powerful stories of Black Americans. thewholenote.com April & May 2024 | 63