Wednesday, December 7, 2016
I am very fond of music for wind instruments. There is some great music composed for the Oboe by many composers such as Mozart. And Albrecht Mayer has been playing principal Oboe for the Berlin Philharmonic for many years, as well. Now we have a new recording that features Mr. Mayer’s artistry. The album is called ‘Vocalise’, and the selections are as listed below: Bach, J S: Magnificat in D major, BWV243: Esurientes implevit bonis, arr. Andreas N. Tarkmann Sinfonia Varsovia Debussy: Clair de Lune (from Suite Bergamasque), with the Academy of St Martin in the Fields Fauré: Pavane, Op. 50, with the Academy of St Martin in the Fields Hahn, R: A Chloris, with the Academy of St Martin in the Fields Handel: Trio Sonata, HWV 393 in G minor, with Jakub Haufa (violin), and Monika Razynska (harpsichord) Lascia ch’io pianga (from Rinaldo), with the Sinfonia Varsovia Sarabande from Suite in D minor, HWV437 Solomon: Will the Sun Forget to Streak? Verdi prati (from Alcina) Humperdinck: Abendsegen ‘Abends will ich schlafen gehn’ (Hänsel und Gretel) Marcello, A: Adagio from Oboe Concerto in D minor, with the New Seasons Ensemble Marcello, B: Se morto mi brami Mozart: Ma che vi fece, o stelle…Sperai vicino il lido, K368, with the Mahler Chamber Orchestra, Claudio Abbado conducting. Ravel: Pavane pour une infante défunte, with the Academy of St Martin in the Fields Schumann: Romance in A major, Op. 94 No. 2, with Markus Becker (piano) Vivaldi: The Four Seasons: Winter, RV297: Largo Weismann, J: Variations for oboe and piano, Op. 39: Var. IV – Lento, molto tranquillo, with Markus Becker (piano) All performed by Albrecht Mayer (oboe) Here is Mr. Mayer in the Oboe concerto by Richard Strauss:
Chopiniana ended its season at the Palacio Paz with the impromptu presentation of the twenty-year-old Gastón Frydman (due to the illness of veteran Spanish pianist Guillermo González) and the Argentine debut of Szymon Nehring, a true revelation in an all-Chopin programme. Although the cancellation of González was a pity for he has a vast trajectory and would have premièred several recently discovered sonatas by Domenico Scarlatti, it was worthwhile to meet Frydman´s art at a tender age, for he should have a good career. At such short notice, the decisive factor was that he had a varied programme ready for any occasion that might appear. He is a product of the serious training provided by the Beethoven Conservatory and the Colón Institute of Art, among others. He has had some European experience and currently has formed a duo with the accomplished violinist Rafael Gíntoli. His programme was eclectic and difficult. The Busoni arrangements of Bach aren´t trendy nowadays, but they are good of its kind, such as the one on the chorale prelude "Ich ruf zu dir, Herr Jesu Christ" ("I call to you, Lord jesus Christ"); Frydman showed continuity and fine timbre in his interpretation. Beethoven followed, with the wonderful Sonata Nº5, Op.10 Nº1, in C minor, the first one that leads to his maturity. Frydman had some memory errors but understood the forward-looking elements of the style. He was completely in charge of Ginastera´s First Sonata, with its strong Bartókian influence; I only question that the "Presto misterioso" wasn´t, well, mysterious enough. He proved comfortable in Liszt´s arduous music: expressive in the Petrarch Sonnet Nº 47 (not the most popular, but very beautiful), and up to the hurdles of the heavy "Vision", Transcendental Etude Nº 6. In the contrasting world of Debussy, he chose the last of each Book of Preludes: the humoristic "Minstrels" and the virtuosic "Fireworks", both well-managed. Finally, Chopin´s Scherzo Nº1, with its violent contrast between the opening lightning-fast music and the meditative central section well realized by the pianist, notwithstanding small smudges. His encores were interesting: a charming Barcarolle by Anton Liadov (hardly ever played, his abundant piano music should be explored), and one of the splendid arrangements by Earl Wild (the great American pianist who fascinated our city decades ago) of Gershwin songs: "Embraceable you", done with much charm by our young pianist. Wild called them "virtuoso etudes", and so they are. Nehring studied in Cracovia and Bydgoszcz, and won a Krystian Zimerman scholarship; also, he has gone through a gamut of competitions, with ever higher prizes. Although he keeps perfecting his studies, I find him not only fully formed, but in his twenties he must be one of the best Chopin interpreters in the world. As time went by, it became quite clear that he has an exquisite sense of style and powerful, practically flawless technical command. I have some complaints but they aren´t about the music or the playing: almost half-an-hour delay, apparently because the Polish Ambassador and other people hadn´t arrived yet; a change of order in a programme that already was felt as short measure.; and the repetition of two scores that were already heard in the subscription series: the Fantasia and the first Ballad. But what was included satisfied even the severest judges. I will comment the pieces in the order that they were really played (it was announced by Martha Noguera, the organizer of Chopiniana). The lovely Four Mazurkas Op.33 (curiously played in different order: 1,3,2,4, with the fourth having an internal cut because it´s long) were done with the particular empathy that only Poles can have with this rhythm. Followed the meditative Nocturne Op.37 Nº2, and the inimitable tracery of the Barcarolle, executed with astonishing observance of the tiniest detail. The Second Part started with the complex Fantasia Op.49, in which the disparate elements were cunningly integrated by the pianist. Then, the Nocturne Op.32 Nº2, one of the less dreamy and more fluent. A scintillating traversal of the Waltz Op.34 Nº 1, specifically named "Brilliant". And the challenge of the First Ballad, one of the most important scores in Chopin´s life, an enormously varied "narration" that taxes even the greatest pianists, heard in an astonishingly mature reading. The encore was a magisterial rendering of Etude op.25 Nº 11, great waves of sound perfectly controlled. For Buenos Aires Herald
In the new issue of Standpoint magazine, I examine the reasons for my Debussy aversion – and my concern that we are about to be flooded with his music over the next two years. Sample: Invitations have begun to land for the centenary year and my wastebin is bulging. Wild fauns will not drag me to Garsington Opera’s new Pelléas production in June, nor to the Vienna State Opera’s revival that same month. If I take the sea air at Eastbourne, I shall give a wide berth to the Grand Hotel, where Debussy wrote most of La Mer. On the Bois du Boulogne, his final home, I shall pay no respects. My dislike of Debussy — more pronounced than of any other important composer — is as much analytical as it is aesthetic. His denial of meaning is the antithesis of Frankl’s search for meaning, a complacency so far removed from my view of the world that I can do nothing but acknowledge it and move on. Pure music, which begins with Debussy, infects the modernist mainstream to the point where it becomes impermissible to express any message in music. You had only to hear Boulez denounce Shostakovich as “reactionary” to understand how effectively Debussy sanitised music of the possibility of meaning. Read the full essay here.
One of the magical things about music is that it can represent a huge variety of purposes for a lot of different people. In this recording titled “In Jest”, the purpose is light-hearted fun and enjoyment dating back to,composers of the past and the present. In Jest – Comic Art Songs from baroque to contemporary: Aboulker: L’Inconstante L’Archet Bernstein: Piccola Serenata Bizet: La Coccinelle Bolcom: Amor George Brahms: Vergebliches Ständchen, Op. 84 No. 4 Bridge: So perverse Debussy: Fantoches Gershwin: Blah Blah Blah Goldins: Lomir singen Hoiby: The Serpent Mozart: Die Alte K517 Der Zauberer, K472 Poulenc: Violon Purcell: What can we poor females do?, Z429 Ravel: Sur l’Herbe Rosenthal, Manuel: La souris d’Angleterre Saint-Saëns: Danse macabre (song) Satie: La statue de bronze Schubert: Die Männer sind méchant, D866 No. 3 Wolf, H: Ich hab in Penna einen Liebsten (No. 46 from Italienisches Liederbuch) Mein Liebster ist so klein (No. 15 from Italienisches Liederbuch) Nein, junger Herr, so treibt man’s nicht, fürwahr (No. 12 from Italienisches Liederbuch) All presented by Julia Kogan (coloratura soprano), with Tyson Deaton (piano) This is an exciting, varied program of fun and colourful songs ranging from baroque composer Henry Purcell to the preset day American composer William Bolcom. Featuring the award-winning soprano Julia Kogan, In Jest is a great example of the art of the coloratura soprano. Kogan shows off her virtuosic flare in a myriad of unforgettable songs. Here are some highlights from this collection:
Carolyn Sampson (soprano), Joseph Middleton (piano) (BIS)Following their success last year with Fleurs, a posy of perfumed flower songs, Carolyn Sampson and Joseph Middleton gather together another colourful bouquet, this time settings of Verlaine by, among others, Debussy, Poldowski, Ravel, Szulc, de Séverac and Fauré. Sampson adores these songs, caressing the text with her beautiful, pure soprano, particularly those that dwell on the correlation between nature and the emotions. Her partnership with Middleton is inspired, his intelligence always evident, particularly in the adventurous modulations of Fauré’s La bonne chanson, Op 61. Continue reading...
He began his solo piano career at age 18 and went on to tour the world and make award-winning recordings, most notably of Bartók and Debussy. Turning to conducting, he co-founded the Budapest Festival Orchestra with Iván Fischer and brought the Hungarian National Philharmonic to an international standard.
Claude Debussy (August 22, 1862 - March 25, 1918) was a French composer. Along with Maurice Ravel, he was one of the most prominent figures working within the field of impressionist music, though he himself intensely disliked the term when applied to his compositions. Debussy is among the most important of all French composers, and a central figure in European music of the turn of the 20th century. He was made Chevalier of the Legion of Honour in 1903. His music is noted for its sensory component and for not often forming around one key or pitch. Often Debussy's work reflected the activities or turbulence in his own life. His music virtually defines the transition from late-Romantic music to 20th century modernist music. In French literary circles, the style of this period was known as symbolism, a movement that directly inspired Debussy both as a composer and as an active cultural participant.
Great composers of classical music