2016 Gramophone Magazine - 12 December

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by  Gramophone

THE WORLD’S BEST CLASSICAL MUSIC REVIEWS Est 1923 . DECEMBER 2016
gramophone.co.uk
I N C G
Sound the t mpet Alison
Our critics pick their top 2016 recordings
A celebration of choral music
Our guide
to music
competitions
around the
world
UNITED KINGDOM £5.75

A special eight-page section focusing on recent recordings from the US and Canada
Chopin
talks to...
Ballades–No1,Op23;No3,Op47.Barcarolle,
Op60.Berceuse,Op57.Mazurkas–No30,
Stephanie Sant’Ambrogio
Op50No1;No31,Op50No2;No32,Op50No3.
(cid:47)(cid:80)(cid:68)(cid:85)(cid:86)(cid:83)(cid:79)(cid:70)(cid:84)(cid:110)(cid:47)(cid:80)(cid:22)(cid:13)(cid:48)(cid:81)(cid:18)(cid:22)(cid:47)(cid:80)(cid:19)(cid:28)(cid:47)(cid:80)(cid:25)(cid:13)(cid:48)(cid:81)(cid:19)(cid:24)(cid:47)(cid:80)(cid:19)(cid:28)
The violinist and viola player
No13,Op48No1;No16,Op55No2.Scherzo
No4,Op54 talks about her latest recording,
DavidKorevaarpf
‘Soaring Solo’
MSRClassicsF(cid:46)(cid:52)(cid:18)(cid:23)(cid:19)(cid:23)(cid:9)(cid:24)(cid:24)(cid:8)(cid:115)(cid:37)(cid:37)(cid:37)(cid:10)
What inspired such a varied programme?
I am particularly drawn to the intimacy and
GivenDavid purity of solo string repertoire. I also love
Korevaar’spenchant championing music by living composers and
forputtingtogether female composers, as well as ‘forgotten’ or
interestingand lesser-known works; I wanted to include as
cohesiveconcertprogrammes,it’snot many of these gems as I could, so I chose Playing without accompaniment must
surprisingthathisall-Chopindiscembraces mostly short pieces that are close to my heart. bring its own difficulties.
manymoodsandstyles.Indeed,Korevaar’s Composers create the effect of an
firstselection,theCminorNocturne, What are the advantages, and the accompaniment in two main ways: the use of
Op48No1,runstheemotionalgamut challenges, of playing both instruments? multiple stops, and by combining bowing with
betweenitsstarkmezzavoceopeningand I picked up the viola for the first time when simultaneous left-hand pizzicato. These two
themiddlesection’stumultuousoctave I started teaching at the University of techniques are somewhat challenging to
outbursts,helpedbythepianist’sfull-bodied Nevada, Reno, in 2007. Since there was no execute, but create the harmony and the
sonorityandhugedynamicrange.The viola instructor on the faculty, I accepted the fuller sound vital to solo performance.
contrapuntaltexturesoftheEflatNocturne, challenge. The darker timbre of the
Op55No2,don’tfloatintheFriedman/ instrument resonates with me, perhaps What’s next?
Moravec/Rubinsteinmannerbutarerather because I grew up in a family of cellists. And As Artistic Director of Cactus Pear Music
closertoArrau’scombativeprobity. practising the viola benefits my violin-playing, Festival in San Antonio, Texas, I’ve organised a
TheAflat(Third)Ballade’sfiligreenever and vice versa. The viola is far more difficult recording of Pulitzer Prize-winning composer
sprintsfasterthanitcouldbecomfortably to play in tune, which might be the reason Kevin Puts, coupled with works by Ned Rorem
sung,andconsistentlyholdsattention,while violinists have so many viola jokes! and James Scott Balentine.
theDflatNocturne,Op27No2,isspacious
andcannilyproportioned.SinceChopin’s
Mazurkaslendthemselvestoawide
interpretativeberth,thethreeOp50 betweensectionsareassiduouslygauged. affecting oratorio. The subject is war, and
selectionseasilyabsorbKorevaar’ssubjective Thisrevelatoryinterpretationaloneisworth the presence of impending death pervades
breadthandharmonicpointing.Bycontrast, thedisc’sprice.JedDistler the 56-minute work. Yet Zabur – Arabic for
themeticulouslydetailedBarcarolleand ‘psalms’ – also is a cry for peace, especially in
Fairouz
Berceusefallsomewhatshortoftheliltand the heartbreaking utterances of the children
poetictendernessdistinguishingMurray Zabur who are crammed into the Middle Eastern
Perahia’sclassicrecordings.TheFourth DannCoakwelltenMichaelKellybarIndianapolis bomb shelter where the piece takes place.
Scherzo’soutersectionsaresuppleand Children’sChoir,SymphonicChoirandSymphony Fairouz’s score, set to a libretto by Najla
poised,yetdon’tquitetakerhythmicwing. Orchestra/EricStark Said, was commissioned by the Indianapolis
Korevaarshedsfreshandoften NaxosAmericanClassicsM8559803 Symphonic Choir, which gave the world
AMS unconventionallightontheGminor(First) (cid:9)(cid:22)(cid:23)(cid:8)(cid:115)(cid:37)(cid:37)(cid:37)(cid:115)(cid:53)(cid:16)(cid:85)(cid:10) premiere in April 2015 and the New York
WILLI Ballade.Theopeningtheme’smyriad premiere at Carnegie Hall in October
RZA repetitionsmarkedlydiffer,yetareinevitably 2016. In its 16 movements, Zabur traces
A
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OT
PH handaccompaniments,andtransitions Fairouz’spowerfuland of hope.
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PIANO CONCERTOS NOs. 1 & 2
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SOUNDS OF AMERICA
Theramin-playing Carolina Eyck, with the American Contemporary Music Ensemble
MostofthemusicFairouzhaspoured would be the star. After a bracing Reskin’s Sonata is ideal for comparing new
intoZaburislyricalandwarm,with opening revelling in striking new sound hardware. Laurence Vittes
occasionalblocksofdissonance–asinthe possibilities, Plog proceeds with a Lento
‘Fantasias for Theremin
openingchoraloutburst–tounderline of phantasmagoric events as the two
and String Quartet’
thetragiccircumstances.TheNewYork- instruments intertwine and exult in quiet,
basedcomposerbringssoaringemotional lyrical tones. An insanely delirious Molto Eyck(cid:1)(cid:48)(cid:66)(cid:76)(cid:86)(cid:79)(cid:66)(cid:83)(cid:1)(cid:45)(cid:90)(cid:79)(cid:79)(cid:85)(cid:86)(cid:75)(cid:66)(cid:1)(cid:9)(cid:52)(cid:85)(cid:83)(cid:66)(cid:79)(cid:72)(cid:70)(cid:1)(cid:35)(cid:74)(cid:83)(cid:69)(cid:84)(cid:10)(cid:15)(cid:1)(cid:45)(cid:70)(cid:90)(cid:80)(cid:73)(cid:78)(cid:74)(cid:1)
involvementtothesoloandchorallines, vivace sets up an audacious finale of (cid:9)(cid:45)(cid:86)(cid:78)(cid:74)(cid:79)(cid:70)(cid:84)(cid:68)(cid:70)(cid:79)(cid:68)(cid:70)(cid:10)(cid:15)(cid:1)(cid:47)(cid:86)(cid:76)(cid:76)(cid:86)(cid:87)(cid:66)(cid:1)(cid:45)(cid:86)(cid:80)(cid:73)(cid:77)(cid:66)(cid:1)(cid:9)(cid:52)(cid:77)(cid:70)(cid:70)(cid:81)(cid:90)(cid:1)
suggestinghewouldbeanaturalinthe spectacular events under the innocent (cid:37)(cid:83)(cid:66)(cid:72)(cid:80)(cid:79)(cid:10)(cid:15)(cid:1)(cid:46)(cid:70)(cid:85)(cid:84)(cid:66)(cid:1)(cid:41)(cid:66)(cid:81)(cid:81)(cid:66)(cid:1)(cid:9)(cid:43)(cid:86)(cid:78)(cid:81)(cid:74)(cid:79)(cid:72)(cid:1)(cid:51)(cid:74)(cid:87)(cid:70)(cid:83)(cid:10)(cid:15)(cid:1)(cid:37)(cid:66)(cid:81)(cid:81)(cid:66)(cid:1)
operaticsphere.Theorchestralwritingis title Moderato: a short introduction, martial (cid:52)(cid:80)(cid:77)(cid:66)(cid:83)(cid:75)(cid:80)(cid:84)(cid:1)(cid:9)(cid:37)(cid:66)(cid:81)(cid:81)(cid:77)(cid:70)(cid:69)(cid:1)(cid:52)(cid:86)(cid:79)(cid:77)(cid:74)(cid:72)(cid:73)(cid:85)(cid:10)(cid:15)(cid:1)(cid:47)(cid:80)(cid:86)(cid:84)(cid:85)(cid:66)(cid:16)(cid:47)(cid:70)(cid:70)(cid:69)(cid:66)(cid:69)(cid:1)
colourful,assuredandvivid. noises leading to ecstasy, and a short, quick (cid:9)(cid:34)(cid:84)(cid:68)(cid:70)(cid:79)(cid:85)(cid:16)(cid:37)(cid:70)(cid:84)(cid:68)(cid:70)(cid:79)(cid:85)(cid:10)(cid:1)
The2015worldpremiereispreserved lick at the end. Fifteen minutes long, Carolina Eyck theremin
onthisrecording,whichshowsthe commissioned by the University of Texas American Contemporary Music Ensemble
Indianapolischoiranditscolleagues, at Austin School of Music for Ray Sasaki, Butterscotch Records F (CD or 6) BSR015
theIndianapolisChildren’sChoirand Plog’s Sonata is a masterwork. (cid:9)(cid:20)(cid:18)(cid:8)(cid:1)(cid:115)(cid:1)(cid:37)(cid:37)(cid:37)(cid:10)(cid:1)
IndianapolisSymphonyOrchestra,in Martin Rokeach’s Running at the Top of
superb,responsiveformunderEricStark. the World is something different: dramatic,
BaritoneMichaelKellysingswitheloquent unpredictable, rich and multi-layered,
intensityastheblogger,andtenorDann moving from wild, solitary fantasy through The theremin is best
Coakwellisequallyfineashiscompanion. bleak desolation to a miraculous, mellifluous known as the sound of
DonaldRosenberg dash towards eternity. Charles Reskin’s horror, science fiction
. . smooth but less striking Sonata is an and anxiety in movies.
Plog Reskin Rokeach
affectionate homage to mid-20th-century But the electronic instrument has also
PlogTrumpetSonataReskinTrumpetSonata American classical and jazz styles, with taken a place in the concert field, thanks
RokeachRunningattheTopoftheWorld familiar, haunting overtones. to musicians such as Carolina Eyck. The
PaulFutertptSusanNowickipf Adding to Futer’s commanding, virtuoso German composer and theremin virtuoso
MSRClassicsF(cid:46)(cid:52)(cid:18)(cid:23)(cid:18)(cid:17)(cid:9)(cid:22)(cid:18)(cid:8)(cid:115)(cid:37)(cid:37)(cid:37)(cid:10) playing, pianist Susan Nowicki rises to appears in both guises on the new
challenges which are scarcely less formidable, recording. It’s a short programme –
RRY and together they make a persuasive case for only 31 minutes of music – yet Eyck’s
HELBY PE If‘Americantrumpeter rcaormelpyl ihceita risd tmheu ssoicu onfd r, arreec oqrudaelidty a.t E thqeu ally cthreea tthioenres mgoin f acra nin b ree wvehaelinn gp lhacoewd sitnr iking
RK S PaulFuterplaysthree legendary Troy Savings Bank Music Hall haunting and expressive contexts.
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Y: baby-boomersonatas in Albany, New York. Both the gleam and The instrument, the brainwave of the
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OT
PH brilliantSonataintherevised2010version the flugelhorn in the second movement of the performer never touches it. By
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SOUNDS OF AMERICA
The New York-based Meridian Arts Ensemble champion cool 21st-century repertoire
manipulatinghandsneartwoantennas, Crispin Glover, John Hurt, and, in his final
the player produces an array of sounds and film role, Robert Mitchum.
effects. As the six miniatures offered here The CD starts with Meridian’s horn
suggest, Eyck has mastered the art of Since their founding player Daniel Grabois’s Migration, with its
evoking all sorts of phenomena. in 1987, the five brass intriguingly obscure use of a sad Schubert
Aviary chirps and swoops, for example, players and one song about love and dying, then migrates to
fill Oakunar Lynntuja (‘Strange Birds’) – the percussionist of the David Sanford’s six-movement title-track, a
title of each piece is evidently derived from New York-based Meridian Arts Ensemble series of striking sound-images and wailing
Scandinavian languages – as produced by have championed cool 21st-century lyric riffs. Dave Ballou’s expansive for brass
the theremin. The instrument achieves repertoire. They have already released eight quintet and percussion plays with your head
an entirely different, shimmering aura solo CDs, often with programmatic titles with its unpredictable sonic thrills, and
in Leyohmi (‘Luminescence’) and even and intent, drawing on Zappa, Bach, King Edward Jacobs’s Passed Time contains the
approaches something Fafner-like in Crimson, Captain Beefheart, Hendrix, most purely beautiful moments on the disc.
Nukkuva Luohla (‘Sleepy Dragon’). Babbitt and Carter, as well as Renaissance Laurence Vittes
Eyck’s compositional style might and Baroque music, Afro-Cuban dance
‘Soaring Solo’
be described as minimalism-meets- styles and South American folk music.
Impressionism, with smidges of mystical You hear these influences throughout their Águila Cortando limones Bacewicz Polish
elements blended in. The theremin is ninth CD, featuring ‘music by old friends, all Caprice Biber Passacaglia Bunch Sarabande
teamed here with the American long overdue for release’, and all composed Hindemith Solo Violin Sonata, Op 31 No 2
Contemporary Music Ensemble, one within the last 20 years. Recorded with cool, Hovhaness Chahagira Mamlok From My Garden
of whose violinists is the Pulitzer Prize- clinical accuracy at the State University of Rolla Capriccio No 1a Say Cleopatra Schnittke
winning composer Caroline Shaw. New York at Stony Brook, the music all has Fuga Telemann Fantasie No 10 Toch Three
Considering the brevity of this disc, it might a similar style, as if six top jazz musicians had Impromptus, Op 90a
have been a good idea to have asked her to wandered into a classical music recording Stephanie Sant’Ambrogio vn/ava
contribute a work featuring this most curious studio and decided to jam. MSR Classics F(cid:1)(cid:46)(cid:52)(cid:18)(cid:23)(cid:19)(cid:24)(cid:1)(cid:9)(cid:24)(cid:21)(cid:8)(cid:1)(cid:115)(cid:1)(cid:37)(cid:37)(cid:37)(cid:10)(cid:1)
of instruments. Donald Rosenberg The centrepiece is Robert Maggio’s
Revolver, which began as a response to Jim
‘Seven Kings’
Jarmusch’s 1995 deep-noir western flick;
Ballou for brass quintet and percussion in five movements Maggio uses haunting On her new CD of
Grabois Migration E Jacobs Passed Time expressive means – Mahlerian slinking here, encores and other
Maggio Revolver Sanford Seven Kings a jazz funeral march there – to capture the pieces that, with the
Meridian Arts Ensemble movie’s pop culture icons including Johnny exception of Heinrich
Innova F(cid:1)(cid:42)(cid:47)(cid:47)(cid:48)(cid:55)(cid:34)(cid:26)(cid:21)(cid:20)(cid:1)(cid:9)(cid:24)(cid:23)(cid:8)(cid:1)(cid:115)(cid:1)(cid:37)(cid:37)(cid:37)(cid:10)(cid:1) Depp, Billy Bob Thornton, Iggy Pop, Biber’s Passacaglia in G minor, rarely stray
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beyond conservatory practice rooms and
faculty recitals, Stephanie Sant’Ambrogio
shines brilliantly on both her violin, made
in 1757 by JB Guadagnini of Milan, and
viola, made in 2008 by Jacek Zadlo of
Chicago. Her diverse programme yields
all kinds of technical challenges, which she
effortlessly surmounts, but it is her obvious
affection for the music that makes each
an absorbing musical experience.
While many of the 19 tracks are
short, none is a trifling lollipop in the
conventional sense; instead, each is a
substantial glimpse into a violinist’s universe,
from Graz˙yna Bacewicz’s wonderfully
graceful Polish Caprice and the first recording
of the viola version of Ernst Toch’s richly
discursive Three Impromptus to the thornier
pleasures of Hindemith and Schnittke.
Further discoveries include Ursula
Mamlok’s hypnotic From My Garden; Fazıl
Say’s charming, kaleidoscopic Cleopatra,
written for the 2010 Henri Marteau
International Violin Competition; Kenji
Bunch’s moving Sarabande, a piece of simple
American poetry with its E string tuned
down to D for that Appalachian fiddle effect;
and Uruguayan Miguel del Águila’s hair-
raising Cortando limones, commissioned by
Sant’Ambrogio to celebrate a kitchen
accident and featuring a cricket-like effect
called chicharra.
Sant’Ambrogio’s Baroque set offers its
own rewards: a galant viola Caprice by
Alessandro Rolla, a sizzling Telemann
Fantasy which shows a surprisingly powerful
side of the composer’s upside, and the
carelessly seductive, laid-back Biber
Passacaglia. Laurence Vittes
‘Transformations’
D Lang Are You Experienced?a
Schuller Contrabass Tuba Concerto No 2b Stephanie Sant’Ambrogio: ‘sizzling and seductive’ in a programme of well-known and lesser-known works
Stockhausen Harmonien D Wilson Concerto
for Tuba and Wind Ensemblec lips, the instrument is an ideal forum to Wind Ensemble (2013) leans towards the
Aaron Tindall tuba aSteven Stucky narr demonstrate how many characters the tuba solo instrument’s poetic side, while leading
aIthaca College Chamber Orchestra; can portray. to swinging figures in the third movement
bIthaca College Symphony Orchestra; It is a mercurial figure in Gunther that give the tuba the chance to brandish its
cIthaca College Wind Ensemble / Schuller’s Concerto No 2 for Contrabass extroverted side.
abJeffery Meyer, cStephen Peterson Tuba and Symphony Orchestra The disc’s surreal blockbuster is David
Bridge F(cid:1)(cid:35)(cid:51)(cid:42)(cid:37)(cid:40)(cid:38)(cid:26)(cid:21)(cid:24)(cid:18)(cid:1)(cid:9)(cid:24)(cid:19)(cid:8)(cid:1)(cid:115)(cid:1)(cid:37)(cid:37)(cid:37)(cid:10)(cid:1) (2008), whose four varied movements Lang’s Are You Experienced? (1987/89)
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APHY, IN cmoentfiicrumlo tuhse c lraatfet sAmmanersihciapn a cnodm spenossietriv’si ty. foorrc heelesctrtrai.c T tuhbe at,i tnlea rirsa ato nro adn tdo c ahna meabrelyr
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HOT Aaron Tindall is with consummate artistry in vibrant that the piece sounds drug-induced,
VITA P an exceptional tuba collaboration with the Ithaca College whimsical, and even sentimental. Lang
A BELLA polnaey.e Hr, iasn nde wa c urious SyKmaprhlhoeniyn zO Srtcohcekshtraau usennd’es rH Jaerffmeroyn iMene yer. kTnionwdasl lh hooww t oto p sueti zoen tah eg odoradm shatoiwc manodm ent
Y: L recording, ‘Transformations’, reflects his (2007), the fifth in a six-work cycle, is a alongside the narrator (the late composer
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OTO sonorous and dexterous partner in range and style. In a far more tonal world, Chamber Orchestra led by Meyer.
PH musical crime. In Tindall’s hands and Dana Wilson’s Concerto for Tuba and Donald Rosenberg
gramophone.co.uk GRAMOPHONE DECEMBER2016 VII
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totheirdooreverymonth

New digital editions available for
instantdownload

Unlimited digital archive access
1,150
toover editions

A personalised gift message with
their first issue
2
5
%

O
F
diFgiRtalE acEcess using code F
included! XMAS25
Gramophone
has remained the world’s most authoritative classical music magazine since
1923
. Every issue is packed full of the latest artist interviews, composer features and over
100reviewswrittenbyanunrivalled,internationalandobjectivepanelofexperts.
Visit www.magsubscriptions.com/xmas
or call 0800 137 201 (UK) | Overseas + 44 (0)1722 716997
RRP six months (6 issues) £32, one year (13 issues) £64. Promotional code XMAS25 must be used to receive the discounted
price offered. Price includes P&P for orders within the UK. International orders will be charged shipping costs.