7 years ago

Volume 9 Issue 8 - May 2004

  • Text
  • Choir
  • Toronto
  • Choral
  • Singers
  • Theatre
  • Jazz
  • Concerts
  • Musical
  • Chorus
  • Choirs


DISC EDITOR'S CORNER cv111i1111edfrompage 10 by Leonard Bernstein and Aaron Copland. and Diveni-mememto, a self-referential work that was Turner's final composition before setting his pen down for good in 1997. We invite feedback and' submissions. Catalogues. review copies of CDs and comments should be sent to: The WholeNote. 720 Bathurst St., S.uite 503, Toronto ON M5S 2R4. We also welcome your input via our website, •. ·· David Olds i'' Editor, DISCoveries " EARLY MUSIC Cllarpentier: Messe a Quatre Choeurs Ex Cathedra; Jeffrey Skidmore Hyperion CDA67435 VE RIES The intriguing final track is a motet entitled le reniement de St Pierre, portraying Peter's denial of Christ, complete with multiple characters, evangelist and choral "reflections", which Charpentier infuses with a deep sense of drama and pathos. In all, the performances are clean, well sung and played, but somewhat stodgy. The ornamentation gives no sense of the harmonic pulls and the notes inegales are delivered very precisely, as if all involved were a little uncomfortable with the style. That said, the choir is the star here. They are first-rate and brilliant solos come from left, right and center out of its ranks, displaying a large collection of very accomplished, beautiful solo voices. Larry Beckwith Rameau - Castor et Pollux Colin Ainsworth; Joshua Hopkins; Monica Whicher; Meredith Hall; Giles Tomkins; Renee Winick; Brian McMillan Opera in Concert; Aradia Ensemble; Kevin Mallon Naxos 8.660118-19 ~· i WFH ·\ (.' f. A~ S I ('S . .............. ....... . . . ....... H.\:q f .\t < O i•n·~ i!I ~ .h·1• .. 1 7 ~-' ·.. vr~i·,n:• ·\°

McClain; Elizabeth Wright Centaur CRC 2658 At the centre of this recording is the fine playing oftl)e "core duo" of the Olde- Friends Concert Artists: baroque violinist Allison Edberg and cellist Ann Marie Morgan. They are both leading chamber and orchestral musicians in the United States and they are joined here by Canadian bass-baritone Daniel Lichti and baroque oboist Washington McClain in a program of sonatas and arias by J.S. Bach and G .P. Telemann, the two giants of the High German Baroque. Telemann' s gargantuan chamber music oeuvre is repres_ented by a profound trio sonata in G minor which begins the disc, with Edberg and McClain trading phrases exquisitely. Elsewhere, Edberg p'lays two of the solo violin Fantasias in a gloriously free and relaxed manner. These are fascinating pieces, sparingly written and sounding - as their title suggests - as if they were being made up on the spo.t. Li'chti appears in six separate bass arias by Bach culled from cantatas and highlighting Bach's heaven-sent gift for writing instrumental obbligato lines. In "endlich, endlich wird mein Joch" from Cantata 56 for instance, the main melody is introduced in the oboe, the bass enters with the same melody then weaves in and out in a complicated, intimate pattern with the oboe throughout the rest of the aria. The effect is both magical. and metaphorical: we're listening to words one instant and then transported beyond words the next. I can't say enough about the music-making on this disc. It's technically brilliant playing and singing offered with love and humility. Lichti is in great form and McClain's tone in the opening bars of "Es ist Vollbracht" from Cantata 159 brought tears to my eyes. The whole recording is a delicate and graceful gift from a group of thoughtful souls. Larry Beckwith MAY 1 - )UNE 7 2004 Graupner - Partitas Volume 3 Genevieve Soly Analekta FL 2 3181 The latest of Genevieve Soly's engaging recordings of works by Bach's contemporary Christoph Graupner is the third volume of her tour through his pieces for solo harpsichord on the Analekta label. The rediscovery ofGraupner's compositions, particularly his partitas for harpsichord, has given lovers of baroque music new delights, and Soly has been the principal purveyor of these pleasures. She introduced Graupner to Toronto audiences in a solo recital two years ago and has pioneered the performance of his music ever since her personal discovery of his work in November 2000. Graupner himself was a master of the harpsichord, so the burden of founding a modern performance tradition of his oeuvre cannot be light. Fortunately Soly brings remarkable skill, knowledge, taste, enthusiasm and confidence to this task. In this latest CD, Soly performs three partitas that show different . facets of Graupn~r's musical world. The Partita in C Minor (Graupner Werke Verzeichnis 150) presents the composer's serious, virtuosic side. The charming Februarius in G Major (GWV 110) shows a more smiling face. Particular delights are its "Sommeille" movement and Soly's sparkling ornamentation of the repeat of "Menuet I." The lyrical serenity of Partita lll in D Major (GWV 103) is broken by its "Rigaudon en Rondeau" and goosestepping "Menuet"; it expands at the end into a marvelous "Chaconne" that erupts in a fountain of notes. A worthy successor to Soly's previous CDs, this would be an excellent addition to anyone's collection. John Lehr Couperin - Keyboard Music Volume 2 Angela Hewitt Hyperion Cominued 011 page 78 Partifufor: Harpsich0rd, . Vol.3 "Genevieve Soly, i inflamed with !' enthusiasm·for.a i Jorgotter1.J3

Volumes 21-25 (2015-2020)

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)