On ClassicsToday: Splendid Contemporary B-flat Major Brahms Concerto

Splendid Contemporary B-flat Major Brahms Concerto From Lars Vogt

Review by: Jens F. Laurson

Artistic Quality: ?

Sound Quality: ?

Together with the Royal Northern Sinfonia, Lars Vogt–in his fifth year heading the orchestra across the shore from Newcastle–got to record the Brahms piano concertos for Ondine. Anyone who reads a chamber orchestra’s and Brahms’ name on the same CD cover and might briefly flinch, fearing undernourished, pseudo-historically informed performances with an economically expedient small band–conducted from the piano at that (another couple thousands in savings!)–need not worry... [continue reading]

On ClassicsToday: Schubert in Love (or gone Wild?)

Schubert Gone Wild

Review by: Jens F. Laurson

Artistic Quality: ?

Sound Quality: ?

Here’s a recording the success of which depends entirely on how you approach it. If you think of it as a classical Lied recital that experiments, you’ll likely regard it as an experiment gone wrong. Come to it as a folk-blues-country-jazz-crooner album (or whatever genre you might associate it with) that happens to pay homage to Schubert–or better still, with no expectation whatsoever–it might just tickle you in all the right places... [continue reading]

On ClassicsToday: Pierre Henry’s Epigonic La Dixième Symphonie

Pierre Henry’s Epigonic La Dixième Symphonie

Review by: Jens F. Laurson

Artistic Quality: ?

Sound Quality: ?

Pierre Henry’s La Dixième Symphonie – Hommage à Beethoven is a work of the genre where a modern composer takes an ancient model and weaves a modern cloth around familiar and loved structures, hoping thereby to benefit from the soothing sense of the familiar and–ideally, maybe–opening the ears to a few new sounds courtesy of their own creation. It has become quite popular, too: It’s easier to sell–and play–such music to and for an audience that would otherwise be more skeptical of sheer avant-garde music. The old masters inspire respect from within; the audience’s tolerance increases notably... [continue reading]

On ClassicsToday: Fine Christmas Oratorio With Boys From Stuttgart

Fine Christmas Oratorio With Boys From Stuttgart

Review by: Jens F. Laurson

Artistic Quality: ?

Sound Quality: ?

The easiest way of telling that Thanksgiving is near is when new releases of the Christmas Oratorio start rolling in. A look from desk to calendar quickly confirms this. Here we have Handel’s Company and the Stuttgart Hymnus Choirboys, along with a cast of lesser-known soloists. What have they to say about these six cantatas that we should listen up? Is this recording with trebles going to be as wet a squib as the just-reviewed Kings’ College Matthew Passion?... [continue reading]

Dip Your Ears: No. 262 (#GoldbergReflections)

J.S.Bach et al., Goldberg Reflections Niklas Liepe / NDR RPO / Jamie Phillips (Sony Germany)

There’s no dearth of Goldberg Variations in all shapes and forms. If you want to stick out of the crowd, and you haven’t Deutsche Grammophone’s marketing department behind you, you better do something pretty special. That’s what Niklas Liepe is trying to do, on this Sony-issued recording. For starters, the 30-year old is a violinist, not a keyboard player. Further, he doesn’t just play Andreas Tarkmann’s arragnement for string trio, orchestra and harpsichord (in essence a beefed-up Sitkovetzky arrangement), he also combines the 13 Variations which he chose for his project (plus the opening and closing aria, of course) with eleven newly composed, semi-precious Relflections-on-Variations. Hence the title of the record: #Goldberg Reflections.

From composers like Dominik Dieterle, Moritz Eggert, Friedrich Heinrich Kern, and Stephan Koncz, all the way to the fine epilogue of Konstantia Gourzi’s, we get an air of Piazzolla, wafts of glass-harmonica, and Schnittke-like molten intermezzi which, in their own, largely introvert ways, dance around the temple that is Bach. The fact that the actual Goldberg Variations morph into neo-baroque suites, brings them a few steps closer to some of these new compositoins. Open-eared Bach-lovers will find the whole project rather enjoyable; a diversion that’s certainly more diverting than hearing just yet another new recording of the real thing. The fact that Liepe performs his sometimes solistic, sometimes chamber-embedded parts impeccably – as do the strings of the NDR Radio Symphony Orchestra Hannover (themselves texture-enriched by the recurring harpsichord) – further helps the venture be a very happy listening-experience.

1/10

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Briefly Noted: The Dover Quartet Starts on Beethoven

Beethoven, Complete String Quartets (Vol. 1), Dover Quartet (released on July 18, 2020) Cedille CDR90000-198 | 154'56"

It begins. The Dover Quartet's programs in Washington have not featured much Beethoven yet, including their last (canceled) appearance at the Kennedy Center in April. The single glimpse of their approach to this most revered string quartet composer was the third movement of Beethoven's final quartet, op. 135, played as an encore at their Washington debut. It was "a light-filled performance like a hymn of peace," according to my review: clearly, the experience whetted my appetite.

Finally adding to their excellent but limited discography, the Dovers have launched a complete traversal of the Beethoven quartets with this 2-disc set of the six quartets of op. 18. It is an exceptional beginning to what promises to be one of my favorite cycles. They would not supplant my two favorite approaches to the Beethoven quartets, the fiery Takács Quartet and the mellow, gut-strung Quatuor Mosaïques (incomplete), but they are in their company.

Overall, the Dover feels not as brash as the Takács, less impetuous because there is not that slight edge of rhythmic uncertainty, exciting but unsettling. The time and care are worth some slightly slower timings, as in the sweetly affecting slow movement of Op. 18, no. 1, but the group also avoids tempos as expansive as those sometimes chosen by Quatuor Mosaïques. The least pleasing to my ear is their no. 4, too anguished in the first movement and frantic Menuetto, but balanced by the sweetly dancing Scherzo in between them.

At the same time, there are few string quartets in which all four cylinders, as it were, fire with such uniformity, as in the relaxed finale of no. 4, capped by an exhilirating Prestissimo coda, striking just the right contrast between the two tempi. Grace and balance are the Dover's greatest strengths, as in the poised and sunny no. 5, with its melting slow movement of extended variations.

For a few years now the Dover Quartet has been one of the ensembles I never want to miss hearing live. Among other cultural devastations, the coronavirus seemed poised to wipe out the entire second half of the group's residency at the Kennedy Center, which began in 2018. Last week, the Kennedy Center announced that 50 listeners will be able to hear the Dover Quartet, joined by the Escher Quartet in an octet program, October 20 on the Opera House stage. Sadly, that concert will not be livestreamed to a broader audience.

For other music to hear this fall, see my pandemic round-up of live and streamed concerts at Washington Classical Review.

Briefly Noted: Christmas in the Pandemic Summer

Christmas Carols, SWR Vokalensemble, M. Creed (released on August 10, 2020) SWR Classic SWR19094CD | 59'10"

How keenly music's absence is felt during the pandemic struck me recently listening to this little disc. It is nothing spectacular in terms of programming: an hour's worth of English Christmas carols. The singing is excellent, done in beautiful sound by the SWR Vokalensemble, about thirty voices in size, under the direction of Marcus Creed.

A German choir stealing the lunch of their British colleagues is fair payback for the perennial "Christmas Around the World" programs heard every year, and the English pronunciation here is impeccable. A tribute, this, to the teaching of their English-born director, an alumnus of both King's College, Cambridge, and Christ Church, Oxford, whose tenure with this distinguished radio choir ended this summer.

The group's women sound better on their own (in Emily Elizabeth Poston's rich Jesus Christ the Apple Tree, for example) than the men, who are featured less. The same applies in solo voices heard, although on this account the more demanding writing, as in The Fayrfax Carol of Thomas Adès, taxes both equally. The echo quartet in Britten's gorgeous A Hymn to the Virgin, happily, is top-notch. The effect of this simple but effective carol service is a sweet reminiscence of the days before coronavirus (the recording was captured in the fall of 2018). Sadly, it is also a bitter reminder that we may spend a bleak Christmas without "the playing of the merry organ" or "sweet singing in the choir," in the nostalgic words of the The Holly and the Ivy.

Dip Your Ears, No. 261 (Satie Vexation)

Erik Satie, Vexations Noriko Ogawa (piano) (BIS)

Erik Satie’s Vexations is an aptly named work that you have to have heard in order to know that you’ll never need to have heard it. Simple, repetitive, and demanding endurance from the performer, not skill. 18 notes, harmonized, inverted. Just one page of brutalist-simplistic music, but rinsed and repeated – by disingenuous fiat of the composer’s pen – 840 times. The Vexations deserve to be recorded for the archive’s sake, because everyone ought to have the chance to reject this misinterpreted gag of a composition on their own; the only other reason to perform them is to achieve a cheap if exhausting publicity stunt.

It delivers all the stupefying effect without any of the ‘transportive’ qualities of a Philip Glass film score and is bound to inflict pain on anyone of musical sensibility. You’d be just as well off drinking a bottle of cheap booze for such a dulling of your senses. It is, in short, an exercise in masochism and no spin of its alleged “Zeb Buddhist” qualities (as the work’s first champion, John Cage, suggested) or of it being a “study in immobility” (so would be staring at paint dry) can salvage the thing. It’s ironic and telling that Satie, derided for his best music as a mere ‘salon composer’, should be celebrated by some for his worst. Sort of goes to show that if you pump up the crazy just enough, someone will be there to declare you a genius. The truth is that we don’t know what Satie’s intent was when he scribbled the page of music and the absurd instructions down; sarcasm is as good as any; a mocking musical jest of sorts. If you listen to the whole thing, though, the joke’s on you.

That said, what about the performance? For starters, Noriko Ogawa plays on a beautiful sounding Érard, beautifully recorded. For some 70 minutes she is merciless in her rigor and – though I dare not say “refreshingly” – brisk. At the tempo she takes for 142 variations, she’d be done with the whole thing in six (SA)CDs. A far cry from the alleged aimed-at goal of 24 hours, that Satie may have had in mind. (For that, you’d have to go to Jeroen van Veen’s download of the whole thing on Brilliant Classics.) In any case, carping about this would be akin to the joke of two ladies in a restaurant complaining: “The food’s terrible here.” “Yes, and the portions are so small!” But no have fears: Happily, the artist and record label have the good sense to consider this nod towards Satie’s Vexations exhaustive and final, which it more than is. Late in the game, Noriko Ogawa adds some more obvious dynamic variation and shifts in voicing and eventually also the tempo, speeding things up as if to come to a quicker end. If you’ve made it through those 75 minutes, the last five might induce chuckles of relief and acquiescent glee. But three quarters of an hour seem a high price for that.

At the heart of taking this seriously at all is the John Cage dictum that “if something is boring after two minutes, try it for four. If still boring, then eight. Then sixteen. Then thirty-two. Eventually one discovers that it is not boring at all.” Well, if something is boring after 80 minutes, you could double down until you lose your mind or have invested so much time that you cannot allow yourself to consider it having been time wasted. Eventually, I suppose, Cage will be right. But will it have been worth it? I suggest sticking to Virgil Thompson’s take on the matter, instead: “Try a thing you haven't done three times. Once, to get over the fear of doing it. Twice, to learn how to do it. And a third time to figure out whether you like it or not.”

1/10

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