This is the most fascinating Honegger CD I know—brought to us with foundation-shaking percussion, virtuoso string and brass playing—and astonishing podium originality. Mario Venzago is a Swiss conductor who has recorded the Bruckner symphonies, some of them with this same Bern Symphony—sounding world class here. He’s the sort who takes chances with tempo, the way Bruckner conductors are either admired or forgiven for doing.
Mild und leise. Plenty of otherwise gentle people lose their grip on civility when Wagner’s name is mentioned. I was standing in line at the post office explaining to a friend why I thought Wagner was greater than Bach….
Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).
Medea in Corinto (Medea in Corinth, 1813 and much revised over the course of the next ten years) was Mayr’s best-known opera and remained a repertory staple for a time even after his death. It has been revived frequently in our own day, especially in Italy, where audiences can of course follow the plot and shifting emotions without recourse to supertitles.
A Crop of Recordings XVII: Dvořák, Ravel, Lalo, and Manén…with Some Classical Favourites for Hallowe’en!
Every time I hear the Czech Philharmonic properly recorded I’m reminded what a glorious orchestra they are—overdue for appreciation. The ensemble recently signed a major contract with Decca and released Dvořák symphonies and concertos on CD, led by Jiří Bělohlávek. There’s also a complete Tchaikovsky project in the works from Semyon Bychkov. And now we have this beautiful take on the Slavonic Dances, captured without compromise.
A Crop of Recordings XVI: Elgar, The Dream of Gerontius and the First and Second Symphonies played by the Berliner Staatskapelle under Daniel Barenboim
If Gerontius died today, it would probably be at a hospital with no Cardinal Newman to record his passing and no Sir Edward Elgar to create his beautiful dream of a masterpiece. And, one supposes too, there’d be no Daniel Barenboim to bring the work to Germany so powerfully as he does here, details and quibbles to follow. We don’t immortalize last words and thoughts the way we used to.
As well-written program notes remind us here, Georges Bizet was an unlucky man. Chain-smoking killed him at 36. He died thinking Carmen a failure. And his Symphony in C went unknown and unheard until Felix Weingartner unearthed it eighty years later at a 1935 concert in Basel. None of this gets in the way of the fact that the piece is memorable from beginning to end, even if similarities to Gounod’s symphony are a bit on the suspicious side. Bizet’s own symphonic effort was catalysed by the experience of transcribing Gounod’s work for two pianos. At times one can hardly tell the two pieces apart.
Here is a really lovely performance of Ein Heldenleben, perfectly recorded in Frankfurt’s Alte Oper. From the very first note—that rich ocean-liner steam whistle signifying a voyage through life—it’s satisfying—if, that it is—you like things a bit understated. You are sitting about row “K,” and the orchestra is laid out before you at a slight distance. Listeners familiar with the many videos of this orchestra on YouTube will not be disappointed at the fine balances and purring nature of the sound. This is a satiny, swift reading, gently beautiful, supple and romantic in an undemonstrative way. It reminds me of Reiner’s and Kempe’s versions, both of which bring the piece home similarly at around 45 minutes.