Briefly Notedest: Some of the Year's Best Recordings

I wish I could listen to and review more new recordings, but there are just too many crossing my desk. Below are the six new releases that really stuck with me this year.

[Review]

Claudio Monteverdi, Vespro della beata vergine. Pygmalion, Raphaël Pichon (Harmonia Mundi HMM902710.11)
Claudio Monteverdi is a favorite composer, and there is no piece of his greater in my estimation than the Vespro della beata vergine. The Vespers of 1610, as the piece is sometimes known, has been reviewed in these pages many times, both in recordings and live. In other words, it would take a lot for me to be surprised by a new recording of this piece, but that is precisely what conductor Raphaël Pichon and his ensemble, Pygmalion, have done in their newly released recording.

[Review]

Franz Schubert, Piano Trios Nos. 1 and 2. Christian Tetzlaff, Tanja Tetzlaff, Lars Vogt (Ondine ODE1394-2D)
Lars Vogt delayed checking into a hospital in 2021 for further analysis of the cancer that would eventually take his life last September. Instead, he traveled to Bremen to make the first part of this double-album of Schubert's chamber music with Christian Tetzlaff and his sister Tanja Tetzlaff. In addition to the two numbered trios is the Notturno, a single slow movement possibly composed for and then removed from the first piano trio. Vogt wrote that it "feels a little bit like everything, at least in my life, has developed toward this Trio in E flat major.”

[Review]

Marin Marais, Pièces de Viole. Jean-Guihen Queyras, Alexandre Tharaud (Harmonia Mundi HMM902315)
Alexandre Tharaud has not visited Washington since 2015, and cellist Jean-Guihen Queyras was last here in 2017. The two esteemed French musicians have continued their long and fruitful collaboration in a striking new Baroque album, with delightful transcriptions of Marin Marais’s pièces de viole, originally for viola da gamba and continuo, for cello and piano. The performances, in the spirit of Baroque elaboration but taking full advantage of modern dynamic range and harmonic content, are delightful.

[Review]

Josquin Desprez, Missa Malheur me bat. Gli Angeli Genève, Stephan MacLeod (Aparté AP338)
One cannot have too many recordings of Josquin's cyclic Masses, at least not yet. The complete set by the Tallis Scholars remains hard to beat, but then along comes Gli Angeli Genève with this new release of a program centered on the elusive Renaissance composer's Missa Malheur me bat. The sound, recorded at the Eglise Saint-Germain in Geneva, is less aggressive than the Tallis Scholars, who recorded this Mass only about a decade ago: slightly smaller in number of voices, but also more intimate, more rarefied and refined.

[Review]

Pietro Locatelli, Violin Concertos / Concerti Grossi. Isabelle Faust, Il Giardino Armonico, Giovanni Antonini (Harmonia Mundi HMM902398)
If you've heard of Locatelli, it is likely as part of a list of other 18th-century violinist-composers in the mold of Corelli and Vivaldi: one of those Italian -i names. At most, early music groups will include a Locatelli piece along with more famous composers in a program from time to time. So be prepared to be wowed when you take in the latest disc from Il Giardino Armonico and the mesmerizing violinist Isabelle Faust, which is devoted entirely to the works of this under-played composer.

[Review]

Gabriel Fauré, Nocturnes and Barcarolles / Dolly Suite. Marc-André Hamelin, Cathy Fuller (Hyperion CDA68331/2)
Marc-André Hamelin has made a name for himself by playing extremely difficult music with ease and musicality. The latest in the Canadian-born pianist's excellent series of deeply probing recitals of unusual music, all on the Hyperion label, is devoted to Gabriel Fauré, specifically to all thirteen of the French composer's Nocturnes and all thirteen of his Barcarolles. Solidifying the qualifications of this double-CD set as the best to own is the addition of a lovely rendition of Fauré's Dolly Suite, with Hamelin's wife, Cathy Fuller, on the primo part.


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Best Recordings of 2022 (Briefly Noted)

The weekly CD review known as "Briefly Noted" made a comeback in 2022, with the added benefit that I listened to a lot more recordings more closely this year. As had been the case during the coronavirus lockdown era, beautiful music on my headphones continued to be a comforting presence. Here were the best new discs to hit my ears in the last twelve months.

1. Vivaldi, The Great Venetian Mass, Sophie Karthäuser, Lucile Richardot, Les Arts Florissants, Paul Agnew (Harmonia Mundi). Les Arts Florissants set the too-famous Gloria as the centerpiece of a hypothetical reconstruction of a Great Venetian Mass by Vivaldi. The Redhead Priest, although he was required to produce several settings of the Latin Ordinary during his career at the Ospedale della Pietà, left no complete Mass that has survived. Paul Agnew, a long-time tenor with the ensemble and now serving as its musical codirector with founder William Christie, conducts a convincing interpretation that can only make the listener lament what such complete masses have been lost.

2. Grieg, Haugtussa / Songs, Lise Davidsen, Leif Ove Andsnes (Decca). This is a beguiling recital of songs by Norway's most beloved composer. To seal the deal, Norwegian soprano Lise Davidsen partnered with Norwegian pianist Leif Ove Andsnes. The two musicians, working together for the first time, recorded the album in the town of Bodø in the Arctic Circle. It is anchored on Grieg's only song cycle, the mysterious Haugtussa (The Fairy Maid), with poetry by Arne Garborg in Nynorsk, the New Norwegian that had been reinstated after Norway had finally regained its independence from Denmark. Davidsen sings with both shimmering transparency and, where needed, overwhelming power, incarnating the voice of Veslemøy, the young Norwegian girl with psychic powers.

3. Le Manuscrit de Madame Théobon, Christophe Rousset (Aparte). Christophe Rouuset made these two discs of music from a newly rediscovered manuscript, which he acquired from a bookseller over Ebay. The instrument he plays on the recording is a harpischord made by Nicolas Dumont in 1704, around the same time that the music was likely copied. Restored by David Ley from 2006 to 2016, it is one of only three Dumont harpsichords known to have survived. Rousset has identified the manuscript's first owner as Lydie de Théobon. King Louis XIV began a two-year affair with her at the Château de Chambord in 1670, shortly before Molière and Lully premiered Le Bourgeois Gentilhomme there.

4. György Kurtág, Kafka-Fragmente, Anna Prohaska, Isabelle Faust (Harmonia Mundi). György Kurtág composed the Kafka-Fragmente from 1985 to 1987, a song cycle on bits of text gleaned from Franz Kafka's diaries, letters, and unpublished stories. Like much of Kurtág's music, each of the forty movements is a dense, carefully thought out nugget of music. Isabelle Faust and Anna Prohaska made this recording in May 2020 in a Berlin studio, which must have been surreal given the circumstances. Its text captures some sense of the lockdown year: "Slept, woke, slept, woke, miserable life." After living through the coronavirus lockdown, the sentiments of this complicated piece now strike me in new ways.

5. Jean Mouton, Missa Faulte d'argent / Motets, Brabant Ensemble, Stephen Rice (Hyperion). Jean Mouton was prolific enough that all but one of the pieces on this disc are receiving their first recordings. Mouton's style is intricately contrapuntal, drawing comparison to the music of Josquin Desprez, with whom he was roughly contemporary. Confitemini domino combines four voices in points of imitation on the outer text. These unfold over a clever puzzle canon, notated with the inscription "Preibis parare viam meam." Like St. John the Baptist, who was to prepare the way for Christ, the comes voice is supposed to enter first, followed by the dux, an unexpected inversion of the normal canon process.

6. Polish Songs, Jakub Józef Orliński, Michał Biel (Erato). Not surprisingly, countertenor Jakub Józef Orliński has mostly recorded Baroque music, often in partnership with the historically informed performance ensemble Il Pomo d'Oro. For this new album, the Polish singer has partnered with Polish pianist Michał Biel, his longtime friend from their student days in Warsaw and at the Juilliard School. The program is the fruit of their collaboration in song recital repertory by more recent Polish composers, all from the last 150 years. Some of these composers may be familiar, although Karol Szymanowski's Songs from Kurpie may not be.

7. Bach, St. Matthew Passion, Julian Prégardien, Pygmalion, Raphaël Pichon (Harmonia Mundi). Raphaël Pichon calls this St. Matthew Passion "a consciously choral performance," with the solo singers also serving as section leaders in what is an exquisite choral sound. As the finishing touch, fifteen young singers from the Maîtrise de Radio France take the chorale tunes woven into the complex textures of the opening and closing movements of Part I, a part marked by Bach as "soprani in ripieno." The solo parts range from very good to excellent, with soloists from each choir taking the arias as Bach indicated and some of the characters named in dialogues given to other chorus members.

8. Mackey, Beautiful Passing / Mnemosyne's Pool, A. Marwood, Sydney Symphony Orchestra, D. Robertson (Canary Classics). This disc brings together two major works by Steven Mackey on the theme of human perseverance in the face of death. Washingtonians heard the American composer's violin concerto, Beautiful Passing, from the National Symphony Orchestra a decade ago, a riveting tribute to Mackey's mother. That rarest of rare birds, a new full-length symphonic work, appeared this year in his Mnemosyne's Pool, a meditation on memory and death partly inspired by the loss of Mackey's father-in-law. David Robertson conducted the piece with the NSO earlier this month, in a program including Barber's Knoxville: Summer of 1915 with the gorgeous soprano Masabane Cecilia Rangwanasha.

9. Schubert, "Great" and "Unfinished" Symphonies, B'Rock Orchestra, R. Jacobs (PentaTone). René Jacobs continues to surprise in his complete traversal of the symphonies of Franz Schubert with the B'Rock Orchestra, a period instrument ensemble based in Ghent. Jacobs based his interpretation of the "Unfinished" Symphony on a theory put forward by Arnold Schering in an essay published in 1938, relating the music to the allegorical narrative Mein Traum (My dream), which Schubert drafted in pencil in 1822. As Jacobs puts it in an extensive booklet essay, including a section-by-section analysis of both works, in Mein Traum "Schubert tries to put into words what he seems far more able to say without words in his music."

10. William Bolcom, The Complete Rags, Marc-André Hamelin (Hyperion). In a liner note to this dazzling recording, composer William Bolcom describes the origins of his obsession with the rag. It began in 1967, when he first heard of Joplin and his opera Treemonisha, and continued for much of his career, as he and some fellow travelers shared new ragtime discoveries and wrote their own compositions in the style. Most of the original rags in this collection date from the ragtime revival period of the late 1960s and early 1970s. Marc-André Hamelin, himself a musical mimic not unlike Bolcom, gives these pieces a studied nonchalance.

Honorable Mentions
11. Carlos Simon, Requiem for the Enslaved, Marco Pavé, MK Zulu, Hub New Music (Decca)

12. Georg Philipp Telemann, Fantasias for solo violin, Alina Ibragimova (Hyperion)

13. Michel Richard de Lalande, Grands motets, Ensemble Correspondances, Sébastien Daucé (Harmonia Mundi)

14. Pâques à Notre-Dame, Maîtrise Notre-Dame de Paris, Yves Castagnet, Henri Chalet (Warner)

15. Mendelssohn, Violin Sonatas, Alina Ibragimova, Cédric Tiberghien (Hyperion)

16. Vivaldi, Nisi Dominus, Eva Zaïcik, Le Poème Harmonique, Vincent Dumestre (Alpha)

17. Beethoven, Complete String Quartets, Vol. 3, Dover Quartet (Cedille)

18. Handel, Opera Arias and Concerti Grossi, Sandrine Piau, Les Paladins, Jérôme Correas (Alpha)

19. Carols after a Plague, The Crossing, Donald Nally (New Focus Recordings)

20. Berlioz, Les Nuits d'été / Harold en Italie, Michael Spyres, Timothy Ridout, Orchestre philharmonique de Strasbourg, John Nelson (Erato)

Best Recordings of 2020

After a hiatus last year, it is time for a list of classical CDs that were outstanding this year. This is the ionarts list of the Best Classical Recordings of the Year:

Preamble

I’ve been doing some form of “Best of the Year” list since 2004. 2019 was the first time I slipped. Here’s my attempt at redemption. Granted, my overview of new releases is no longer quite what it was in the days I worked at Tower Records. But the idea of a “Best of the Year” list, if one clings too literally to the idea of “Best” is daft even under the most ideal of situations. It’s of course just short for: “These are a few of the things that I liked” and used, as I’ve been fond of writing in past iterations of this list, because “10 CDs that, all caveats duly noted, I consider to have been outstanding this year” just doesn’t roll off the tongue as easily. Because I skipped 2019, I will include some releases from that year on this list. If you are looking for past lists, here they are:

2004 | 2005 | 2006 | 2007 | 2008 | 2008—"Almost" | 2009 | 2009—"Almost" | 2010 | 2010—"Almost" | 2011 | 2011—"Almost" | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018

Pick # 10

L.v.Beethoven, Symphonies 1-9, Adam Fischer, Danish Chamber Orchestra, Naxos 8.505251

L.v.Beethoven, The Symphonies Adam Fischer, Danish Chamber Orchestra, Naxos

I wanted these to be on the aborted 2019 list and they definitively belong on it. Yes, we have way too much Beethoven – and 2020 was one of the worst offenders, with it being the 'Beethoven Year' and every artist with ten fingers or access to a baton bringing out a cycle of the sonatas or the symphonies. In the concert halls, at least, Corona saved us from a Beethoven overkill that would have ruined our appreciation of the composers for decades. But just before all that happened, Adam Fischer and his now privately funded Danish Chamber Orchestra come out with something that stands out from the 178+ other cycles we can choose from. These are unpretentious, lively, quick-witted yet totally sober readings that manage to be free of any exaggeration and superbly exciting at the same time. Fischer situates his Beethoven in the near-ideal middle between the stale routine of playing these damn things over and over again on one side and the interventionist re-inventors of the wheel on the other. This is roughly the space Jukka-Pekke Saraste and his West German Radio Symphony Orchestra occupy (review: Precious Vanilla), or the fairly recent and excellent second Blomstedt cycle with the Leipzig Gewandhaus Orchestra. Except that Fischer’s band is smaller, more nimble, and a touch more alert which – as might be expected – shifts the focus of strengths towards the earlier symphonies. Like Blomstedt and most other conductors these days, Fischer chooses swift tempi. More to the point: Fischer opts for mediating tempi: quicker slow movements and moderately paced fast movements. The result is Beethoven unassuming and disheveled, and very lovable. A more detailed review will follow on ClassicsToday eventually. But it’s definitely the Beethoven Cycle of the Beethoven year!

Pick # 9

R.Schumann, Rare Choral Works, Aapo Hakkinen, Helsinki Baroque Orchestra, Carolyn Sampson et al., Ondine 1312

R.Schumann, Rare Choral Works, Aapo Hakkinen, Helsinki Baroque Orchestra, Carolyn Sampson et al., Ondine

Here’s an all ‘round terrific disc of off-the-beaten-path Schumann from Ondine, coupling his Ballade op.140 for soloists and chorus with the Adventlied and – an intriguing filler in the middle – Schumann’s reworking of the Bach Cantata BWV 105. The Adventlied is, inexplicably, a world premiere recording. Where has it been hiding? It is Schumann at his most Mendelssohnesque. Meanwhile it’s good to know that even Schumann agreed that Bach’s stupendous Cantata BWV 105 is a masterpiece among masterpieces. Creating this performing version he certainly suggested as much. And he didn’t super-juice it: he held back and limited himself to modernizing the instrumentation to suit his players. It’s not adding to Bach but as the imaginative buffer between the two marvelously Schumann pieces is very welcome. With Carolyn Sampson participating, deftly accompanied by the Helsinki Baroque Orchestra and the Estonian Philharmonic Chamber Choir under Aapo Hakkinen, this disc is a winner that I’ve been wanting to write about for over a year. Consider this the teaser.

Pick # 8

J.S.Bach, Christmas Oratorio , Rudolf Lutz, soloists, Bach Stiftung Orchestra & Chorus, Bach Stiftung B664

J.S.Bach, Christmas Oratorio, Rudolf Lutz, soloists, Bach Stiftung Orchestra & Chorus, Bach Stiftung

Befitting the season, a Christmas Oratorio makes this list. The new release from the St. Gallen Bach Stiftung is perfect in just about every way. Perfection – in a technical sense – isn’t everything, of course, especially when it’s closer to anodyne than riveting. But in this case, the live recording (you’d never know!) has all the spirit of most of this outfit’s releases and absolutely terrific singers starting with alto Elvira Bill (who has appeared on the last three Christmas Oratorios I have reviewed) and tenor Daniel Johannsen who has established himself to the point where neither “young” nor “up and coming” still apply. (I’ve just checked: He’s older now than Werner Güra was when he recorded “Schöne Wiege meiner Leiden”.) A review will follow on ClassicsToday soon and be linked then. By the way: if you haven’t sampled their Cantata-cycle het, but want to, you would do well to start here, with volume 30!

Pick # 7

Hans Zender, Winterreise Re-Composed, Ensemble Modern, Blochwitz, Ensemble Modern 043/44

H.Zender, Winterreise Re-Composed, Ensemble Modern, Blochwitz Ensemble Modern

This year I am not splitting the list up into new and re-releases. But as a nod to the tradition, I must include this re-release of a classic recording which I am so glad to have back in the catalogue: The premiere (and still best) recording of Hans Zender’s Winterreise with Ensemble Modern. My review for ClassicsToday here: Best Remembrance Of Hans Zender

Pick # 6

Richard Strauss, Enoch Arden, Bruno Ganz, Kirill Gerstein, Myrios MYR025

Richard Strauss, Enoch Arden, Bruno Ganz, Kirill Gerstein Myros

When Swiss actor Bruno Ganz and Kirill Gerstein performed Enoch Arden at Vienna’s Konzerthaus in late 2014, it was a quiet high-point of the season. The disc is about as good. Granted, the text of Strauss’ monodrama is quite important, so English-speakers not inclined to read along in the booklet will probably want to look to Glenn Gould and Claude Rains version for Sony. But for the rest: they’ve got a new reference version. The declamation of Ganz is worth hearing even just for how its musical and dramatic qualities, senza parole so to say. A fitting musical memorial for Ganz, who passed away in early 2019. My ClassicsToday review here: Granitic Enoch Arden From Bruno Ganz And Kirill Gerstein.

Pick # 5

Ossesso, Ratas del Viejo Mundo, Floris De Rycker, Ramée RAM1808

Ossesso, Ratas del Viejo Mundo, Floris De Rycker, Ramée

Here’s another album that scores on memorability over perfection. It’s over the top, in some ways, and fabulous for it. Ancient music keeps it grounded; the wild acoustic makes it ring in your head like you’re in a grand gothic cathedral. Or a well. Depending on your mindset. What the Old-World Rats (what a name!) deliver here, singing a variety of Italian Madrigals belaboring the subjects of Love and Affliction, is glorious and just the right touch of weird. “The inflection of notes, the tuning, the character of old instruments like psaltery and kanklės… it all contributes to a sense of gentle alienation. Is this Orlando di Lasso, Vincenczo Galilei, Friulian traditional music (sung in the old language) or are we already on to Arab or even African shores? You could let yourself be distracted by any numbers of unorthodoxies on the album “Ossesso” but it’s much easier and more gratifying to sit back and indulge.” To quote my review at ClassicsToday: Obsessed Rats—Wondrous Voices from Olden Times.

Pick # 4

J.S.Bach, Keyboard Works and Transcriptions, Víkingur Ólafsson, DG 4835022

J.S.Bach, A Recital, Víkingur Ólafsson, DG

Like the Beethoven Symphonies , this is a release that would have been on last year’s list, also… and it’s too good and memorable to miss out on. It’s really just a supremely tasteful Bach recital by a wonderfully talented pianist who is just as satisfying in recital as he is on disc. But that’s enough. As I’ve said in my ClassicsToday review (Icelandic Bach With Heart and Panache): “It’s taken 13 years for a Bach-on-piano recital disc to have come along to match Alexandre Tharaud’s.” That is the hightest praise I can give. As a bonus, not that this need matter for your purely musical enjoyment: Víkingur Ólafsson won’t annoy you on Twitter, if you follow him, which you should at @VikingurMusic.

Pick # 3

L.v.Beethoven et al., Works for Mandolin, Julien Martinean, Vanessa Benelli Mosell et al., Naïve 7083

L.v.Beethoven et al., Works for Mandolin, Julien Martinean, Vanessa Benelli Mosell et al., Naïve

This is a recording I don’t think I’ll ever forget – and if it’s for the mandolin variant of that 1970s Hot 100 smash hit of Walter Murphey’s: A Fifth of Beethoven (also known for its notable appearance in Saturday Night Fever). But no, actually, this is good and memorable all around, elevating some of Beethoven’s B-Music to A-levels. And a recording that memorable deserves a high entry on this list, even if it isn’t perfect. My review at ClassicsToday here: Beethoven for the Mandolin.

Pick # 2

H.G.Stölzel, Ein Lämmlein geht und trägt die Schuld (Passion oratorio 1731), Purcell Choir, Orfeo Orchestra, Glossa 924006

H.G.Stölzel, Passion oratorio, Purcell Choir, Orfeo Orchestra, Glossa

This is such terrific music and so sympathetically performed and well recorded that it is bound to be the first of many Heinrich Gottfried Stölzel works you will want to hear. If, in fact, this is your first one. There is no (baroque) composer other than Bach that wrote no weak pieces. But at their best the Telemanns and Hasses and Zelenkas can be as good and, for being different, offer some extra enjoyment. And the same goes for Stölzel and this Passion oratorio in particular. Listen to “Ein Lämmlein geht und trägt die Schuld”. Treat yourself! My review at ClassicsToday here: Good Enough for Bach, Good Enough for Us.

Pick # 1

Antonio Vivaldi, Il Tamerlano, Accademia Bizantina, Ottavio Dantone, naïve 7080

Antonio Vivaldi, Il Tamerlano, Accademia Bizantina, Ottavio Dantone, naïve

Vivaldi operas have lagged behind those of Handel’s in appreciation and Il Tamerlano a.k.a. Bajazet (RV 703) perhaps even more, because its pasticcio composition style did not fit in with the Urtext and unity-of-the-artwork type of musicological purity that reigned in the last few decades. This perception might have begun to change, slowly, after Fabio Biondi’s fabulous 2005 recording came out. It turns out that it’s a masterpiece and the custom of stitching an opera together from previous hits of his own, newly written music, and arias from other composers – mainly Hasse and Giacomelli – doesn’t hold it back, it aids this work! Vivaldi giving his music, in the Venetian style, to the good guys but his colleagues’ more flashy Neapolitan-style music to the baddies adds welcome variety. Vivaldi’s intended point about the superiority of the former is, alas, undermined by the Red Priest having been too fair and using the finest that his rivals’ had on offer: two of the absolute show-stealing arias aren’t his. But we don’t care, the music is great and this new recording of the Accademia Bizantina under Ottavio Dantone is just what the opera deserves; rivalling (or complementing) Biondi’s, easily. A must-listen for 2021, if you haven’t yet. Review forthcoming.


OK, let’s cheat. Or make up for the lost year of 2019. I simply have to mention a few more recordings, now that I’ve started. Here they are:

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Best Recordings of 2018 (Re-Releases)

Time for a review of classical CDs that were outstanding in 2018 again! This lists the re-releases, the list with all choices, including the new releases, can be found here.

Preamble

For the usual preamble, go to the complete list. Here, meanwhile, are the links to the past iterations on ionarts and Forbes.com:

2004 | 2005 | 2006 | 2007 | 2008 | 2008—"Almost" | 2009 | 2009—"Almost" | 2010 | 2010—"Almost" | 2011 | 2011—"Almost" | 2012 | 2013 | 2014 | 2015 | 2016 | 2017

# 10 - Re-Release

Joseph Marx, Orchestral Works v.1, Steven Sloane, Bochum Symphony, Naxos 8.573831

Joseph Marx, Orchestral Works v.1 (Nature Trilogy, Symphonic Night Music, Idyll, Spring Music) S.Sloane / Bochum Symphony Naxos

“To each instrument according to his ability, from each according to its timbre”, you might recall, was – famously – Joseph Marx’ mantra, when sitting in his Vienna office of the university, composing the colorful panoplies that are his orchestral works. There are those who say that his music, untimely then, outdated soon thereafter, lacking modernity or forward-drive, landed on the ash heap of history. But not so, thanks to a band of steady Joseph-Marxists, such as the American-in-Bochum Steven Sloane, who continued the fight and made valuable recordings of this lush whipped double-cream romanticism. These were made for ASV with his Bochum Orchestra – which brought the little band in the coal-mining West a bit of fame. But ASV is no more and the 1994 recordings out of print and scattered to the winds. But here cometh Naxos to the rescue, re-issuing these still very fine (albeit not perfect; just imagine the Vienna Philharmonic in engagement-mode or the Dresden Staatskapelle play these) recordings. For all these reasons, this first of three is most welcome, indeed!

# 9 - Re-Release

Antonio Rosetti, Symphonies & Concertos, Johannes Moesus, Hamburg Symphony, MDG 601 2056-2

Antonio Rosetti, Symphonies & Concertos J.Moesus / Hamburg SO mDG

MDG, that quintessentially Mittelstand-CD label from Germany, has been slapping single disc releases together as Twofers as re-releases for a while – all roughly twenty years after that practice was common with Philips DUOs and EMI double-fortes et al. That’s not to say that good things don’t come of that, especially as the original liner notes are fused and retained which is especially welcome when it comes to the lesser known composers MDG is known to highlight. In this case it was Antonio Rosetti who got that treatment, with MDG joining their symphony and concerto recordings of the Mozart contemporary. Such supremely charming music – to which this set is as fine (or better) an introduction as any. “It isn’t, strictly speaking, absolutely necessary to compare Antonio Rosetti (1750-1792) to Haydn or Mozart. But as soon as you hear a few bars of his D major symphony those two superstars of the classical-classical era will pop to mind. Not that the comparison is new; it was common enough even in the composer’s lifetime.” Full ClassicsToday review here.

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Favorite Recordings from 2018

The number of excellent new recordings only seems to multiply at a dizzying rate. I cannot say I listened to everything that came out in 2018, but here are the ones I most enjoyed. Click on the image to order through Amazon.

1. Prokofiev, Music for Two Pianos. M. Argerich, S. Babayan (Deutsche Grammophon) Martha Argerich is an electrifying musician under any circumstances, but this collaboration with pianist Sergei Babayan blew my mind. The astounding arrangements for two pianos are also by Babayan, and there is much to discover, especially in the excerpts from the ballet Romeo and Juliet.

2. Bach, Lute Suite (inter alia). Thomas Dunford (Alpha) Thomas Dunford's work on the theorbo with Opera Lafayette was one of Washington's ten best concerts in 2017. His album of music by Bach proved a highlight of 2018. On this disc he plays Bach's gorgeous Lute Suite, but his arrangements of other Bach works are even more alluring, especially the grand D Minor Chaconne.

3. Josquin des Prez, Miserere mei deus and other sacred motets. Cappella Amsterdam, D. Reuss (Harmonia Mundi) Josquin is the Beethoven of his era, although he may in fact eclipse all other composers of all eras. This disc is among the best work heard from Daniel Reuss and his chamber choir Cappella Amsterdam, with an especially low-pitched, fast-paced rendition of Absalon fili mi that is sunk in darkness. Sadly, the group lost its grant from the Performing Arts Fund in 2016.

4. Alexander Kastalsky, Memory Eternal to the Fallen Heroes (inter alia). The Clarion Choir, Steven Fox (Naxos) Conductor Steven Fox took over the leadership of Washington's Cathedral Choral Society last fall. He took part in the performance of Kastalsky's World War I oratorio here, one of the year's top ten performances. These pieces for choir alone are perhaps even more satisfying, in beautifully sculpted performances from Fox's other group, the Clarion Choir.

5. Olivier Messiaen, Catalogue d'Oiseaux. Pierre-Laurent Aimard (Pentatone) Few pianists understand the piano music of Messiaen as profoundly as French pianist Pierre-Laurent Aimard. In his top-notch Shriver Hall recital this year, one movement of the Catalogue d'oiseaux, “Le Courlis cendré,” was a highlight. The whole set, also released in 2018, is mesmerizing, like a walk through desolate landscapes with the bird-loving composer.

6. Music by J.S. Bach. Víkingur Ólafsson (Deutsche Grammophon) I was not much taken by this Icelandic pianist when he made his local debut the first time I heard him in 2013, but the artistry on this disc has proved me utterly wrong. The eclectic selection of music combines mostly miniatures and unexpected arrangements, marking Ólafsson as one of the growing field of accomplished Bach interpreters on the modern piano.

7. Martinů, Madrigals. Martinů Voices, Lukáš Vasilek (Supraphon) Martinů is a composer who keeps giving and giving. The symphonies, the chamber music, the piano works, and now the choral pieces: composed over a period of twenty years and completed only just before his death, this set encapsulates much of his fascination with folk music and poetry. The group Martinů Voices, founded in 2010, has made an exceptionally beautiful rendition of them.

8. A Rose Magnificat. Gabrieli Consort, Paul McCreesh (Signum) Can there be possibly be a Christmas CD that hasn't been done before? After years of making excellent recordings of choral music with orchestra, Paul McCreesh and the Gabrieli Consort have turned out this top-notch recital of unexpected sacred music, mostly from the Christmas season. The repertory is half early Renaissance (Tallis, White, Shepherd, et al.) and half contemporary (Leighton, Warlock, MacMillan), with not a chestnut or a dud in the mix.

9. Mahler, Symphony No. 6. MusicAeterna, Teodor Currentzis (Sony) I had been wondering when Teodor Currentzis might turn to Mahler. With his orchestra MusicAeterna, based at the opera theater in Perm, Russia, since 2011, Currentzis has, perhaps not surprisingly, started with the Sixth Symphony. It is a piece of blood and guts, froth and spittle, and Currentzis delivers. Currentzis has recorded the middle movements in the Scherzo-Andante order Mahler first chose, which meets with the approval of our Mahler expert, but with only two hammer-blows instead of three.

10. Beethoven, Diabelli Variations. Martin Helmchen (Alpha) Count me a fan of German pianist Martin Helmchen, winner of the Clara Haskil Competition in 2001. Already a favorite interpreter of Schubert, it was no surprise that he has made a delightful recording of Beethoven's Diabelli Variations. For such a monumental piece, the work is, as scholar Jean-Paul Montagnier once described it, something akin to a series of bagatelles. Helmchen mines the piece for a bewildering range of moods, understatement piled on understatement.

HONORABLE MENTIONS:

	Nocturnal. Jakob Lindberg (BIS) More lute music, if that is your thing. A beautifully constructed recital for the instrument, pairing famous pieces by Dowland with obscurities by Renaissance composers and Benjamin Britten.
	Tchaikovsky, Swan Lake. State Academic Symphony Orchestra of Russia "Evgeny Svetlanov," Vladimir Jurowski (Pentatone) When this legendary ballet score premiered, it was a failure, and the work most of us know now has been heavily revised and altered. Incredibly, this year saw the world premiere recording of Tchaikovsky's original 1877 version.
	Arvo Pärt, Music for Violin. Viktoria Mullova, Estonian National Symphony Orchestra, Paavo Järvi (Onyx) Viktoria Mullova has impressed me in such a wide range of music, from HIP-inspired Baroque to contemporary. She even does beautiful things with the music of Estonian composer Arvo Pärt.
	Johann Strauss, Aschenbrödel, ORF Radio-Symphonieorchester Wien, Ernst Theis (CPO) Johann Strauss wrote a full-length ballet at the end of his life, but he did not finish it. While known in some versions before this recording, this disc is the first ever to present a reconstruction of the original form of the score, made by Michael Rot.