Mignone: Piano Music played by Clélia Iruzun |
Lorelt LNT124 (F)
Francisco Mignone's music runs like a thread through Clélia Iruzun's recordings, and has remained at the heart of her extensive repertoire over the years. Yet we are the ones who are slow to catch up with this undoubtedly great Brazilian composer. For too long he has been overshadowed by his illustrious forebear, Heitor Villa-Lobos, but it seems only now, as we celebrate the 110th Anniversary of his birth, that he is beginning to receive the recognition he deserves. Mignone was an accomplished conductor and pianist but it was as a composer he was to make his mark, recognised at the time by emminent international musicians, including Richard Strauss and Arturo Toscanini.
A series of recordings issued in the USA, Brazil and closer to home from BIS, encompassing piano, guitar, bassoon and orchestral music, offer an indication of Mignone's extraordinary versatility and skill as a musician and composer. But for me it is this Lorelt disc (bravely following on from their "Brazilian Mosaic") that really sets the seal on this renaissance. In his heydey Mignone did make some recordings, the most representative were of his piano music (usually made with his wife). These bring you close to the heart of his music, and the realization that he was an incredibly natural writer for the piano, which makes it all the more surprising that pianists have been slow in taking up his cause. But no matter, with this disc we get absolute authenticity from a pianist who's heart beats in Brazil and who played for and had music written for by the composer . Clélia Iruzun has a deep understanding of Mignone's unique and sophisticated Afro-Brazilian style and these interpretations sit perfectly next to the composer's own (except that here you get the wonderful fidelity and clarity of Lorelt's recording).
The disc also gives us for the first time on CD a broad conspectus of the composer's music, in particular the forms and styles that interested him throughout his life. Any ideas that he was a lightweight composer are blown away by the extraordinary Preludes and the fabulous waltzes.
Though the piano music is predominantly written on a smaller scale the shear inventiveness of the scores are an absolute joy, and should not blind us to the composer's skills and qualities. There is also a strong melodic thread that runs through this music; it holds our attention as the composer weaves his magic, into which this wonderful pianist is so perfectly in tune.
Ray Picot
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José Serebrier: Orchestral works |
Partita for large orchestra (Symphony No.2), Fantasia for strings, Sonata for violin solo, Winterreise. Gonzalo Acosta, violin. London Philharmonic Orchestra conducted by the composer. Naxos 8.559303 (B)
This CD is a fine companion to the composer's previous one for Naxos 8.559183, on their American Classics series, which featured the elegiac 3rd Symphony. Serebrier afficianodos may already have this recording in its first incarnation for in 1999 for Reference Recordings, but in this reissue, Naxos will give the magnificent Partita a wider circulation, and in excellent transfers. The only point to note is the duplication of the Fantasia for strings, but this version with the sonorous LPO strings, is very stirring.
In many ways this CD is the perfect introduction to José Serebrier's rich harmonic palette, though I strongly recommend seeking out the rewarding Winter Concerto (ASV CDDCA 855) for violin and orchestra which has strong connections with some of the music on this recording, and showcases his outstanding ability to write in the concertante form. The Partita contains some stunningly recorded percussion and brass, though I feel the Funeral March, which is only remotely redolent of Mahler, in temperament reflects more closely its subtitle, 'poema elegiaco'. Serebrier's orchestral writing is very rich and varied and in this work, though it is scored for large forces, he only uses them selectively. The tantalising and subtle latin elements, which appear in the outer movements remind us this fine musician was born in Uruguay. Overall, this is a thoroughly fresh, original and intense American symphony written by a self-assured 20 year old composer, and it comes as no surprise to read that amongst its supporters were Copland and Stokowski.
The Fantasia comes as a welcome relief, and is features some excellently varied string writing, which makes me wonder why more string ensembles don't take it up. It gives way to the beautiful Sonata for solo violin, which works well a companion piece. It is given a suitably intense and focussed reading by Gonzalo Acosta and interestingly this work later became a springboard to the Winter Concerto, which is also connected thematically to the final piece, Winterreise. This is no palid winter reverie, but to quote the composer, "is like a train ride, when one rides backwards and all images fly by slightly distorted, never to return....."; this viscerally exciting piece rounds off a glorious progamme.
Ray Picot |
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Espla and de Larrocha |
Oscar Espla: Sonata del Sur for piano and orchestra; Sonata Espanola. Rodrigo: Danzas de Espana
Alicia de Larrocha, piano. Rafael Fruhbeck de Burgos, conductor. Orquesta Nacional de Espana. Columna Musica 1CM0128 (F)
The wonderful and atmosheric Sonata del Sur, a concerto in all but name, has been remastered in this superb recording and should be heard by anyone interested in the 'romantic piano concerto'. This enterprising CD brings to the catalogue the classic 1965 radio recording by a great pianist who had a strong friendship with the composer, and really understood the subtle Levantine elements of his music. |
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Roberto Sierra: New Music with a Caribbean Accent |
Continuum directed by Cheryl Seltzer and Joel Sachs. Naxos 8.559263 (B)
Continuum's ground-breaking recordings from the 1990's, which explored chamber contemporary music, continue to be reissued by Naxos, with music written between 1984 and 1990 by this remarkable Puerto Rican composer. |
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Homs: Orchestral works. Vol.2 |
Edwards, conductor. Barcellona Symphony Orchestra. Columna Musica 1CM0168 (F)
Serial music with a the Spanish touch!
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20th Century Spanish vocal works |
Aurelio Viribay. Columna Musica 1CM0138 (F)
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Gardel: Tangos |
Michel Plasson, conductor. Toulouse Capitole Orchestra. EMI 388670-2 (B)
A classic reissue of some beloved tangos
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Arriaga: Symphony and Overtures |
Dombrecht, conductor. Il Fondamento. Fuga Libera FUG522 (F)
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Rodrigo: Piano music. Vol.2 |
Artur Pizarro, piano. Naxos 8557923 (B)
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Barrios: Guitar music. Vol.3 |
Jeffrey McFadden, guitar. Naxos 8.557807 (B)
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Turina: Complete Violin Sonatas |
Alegre/Donate. Verso VRS2039 (F)
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Vihuela works |
Espi, vihuela. Verso VRS2043 (F)
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Piazzolla: Orchestral works. Vol.2 |
Gabriel Castagna, conductor. Wurttemberg Philharmonic Orchestra. Chandos CHAN10419 (F)
The long-awaited successor to the critically acclaimed first volume on CHAN100419 |
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Aracil:Vocal works |
| Perales. Columna Musica 1CM0132 (F) |
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Martín Soler: Ifigenia in Aulide (opera) |
| Juan Bautista Otero, director. Various soloists. Real Chamber Opera Company. K617 2CD K617192/2 (F) |
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Jordi Savall's latest extravaganza! |
| Christophorus Columbus - Paraísos Perdidos. Jordi Savall. Montserrat Figueras. Solistas de la Capella Reial de Catalunya. Hesperion XXI. Alia Vox 2CD AVSA9850 (F) |
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Literes:Elementos |
| Capella de Ministrers, directed by Magraner. Licanus CDM0617 (F) (www.ciberia.es/licanus) |
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Ortiz: Ad Vesperas |
| Cantar Lontano, dircted by Mencoboni. Alpha ALPHA108 (www.alpha-prod.com) |
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Classic Reiner in Spain |
Fritz Reiner conducts the Chicago Symphony Orchestra with Leontyne Price. RCA 88697 04607-2 (F)
A classic "Living Stereo" reissue on SACD featuring music by Albéniz, Falla and Granados. |
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Tomás Marco: Orchestral music |
| Concierto del Aqua (guitar concerto), Oculto Carmen, Laberinto Marino, Sinfonietta No.1. Gabriel Estarellas, guitar. Dimitar Furnadjiev, cello. Gregorio Gutiérrez. Orquesta Sinfonica de Oviedo. Verso VRS2032 (F) |
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Vento Trio: Brazilian Dances and Inventions |
| Music for wind ensemble by Neto, Guerra Peixe, Pixinguinha, Lorenzo Fernandez, Bandolim, Nascimento, Siqueira, Braga, Gonzaga. Janet Grice, Sarah Koval, Kevin Willois JG2806 (F) available from www.cdbaby.com |
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Florilegium: Bolivian Baroque Vol. 2 |
| Music from the missions and La Plata. Channel Classics CCSSA24806 (F) |
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Ernesto Halffter: Orchestral and choral music |
Sinfonietta. Elegía, Psalmi XXII, Psalmi CXVI
Victor Pablo Pérez, soloists, Orquesta Sinfonica de Tenerife. Harmonia Mundi HMI987067 (F) |
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Villa Lobos: Piano music Vol. 5 |
| Guia Prático Nos 1 - 9. Music based on Brazilian traditional songs. Sonia Rubinsky, piano Naxos 8.570008 (B) |
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Don Quixote in Spanish music |
| Orcestral and choral music from 1861 - 2005 by Rodrigo, Román, Barbierri, Guerra and Gombau. Jose Ramon Encinar, conductor, Jordi Casas Bayer, chorus master, soloists, Orquesta y Coro de la Comunidad de Madrid Naqxos 8.570260 (B) |
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Ginastera: Complete piano and organ music |
Fernando Viani, piano. Naxos 8.557911-12 (B)
Capitalising on their enterprising issues of the two numbered Piano Concertos (8.555283) and the ballets Panambi and Estancia (8.557582), Naxos venture into the heart of Ginastera's output, with his piano music. Fernando Viani has for many years been associated with Fundacion Ostinato, and in this capacity very capably contributed to excellent surveys of music by Gianneo, J J Castro, and Ginastera. He has to compete with two several well established sets, notably from Alberto Portugheis (ASV) and Barbara Nissman (Newport Classics), who both knew the composer. However, this is great music that deserves to be heard by the widest audience, and this is where Naxos score. Viani tends to err towards the faster tempi of Nissman and technically is excellent. He feels that like the composer, he is Argentinian with Italian origins, and this strengthens the empathy he feels with the music. This may be true, and there is no doubt that he offers a broad emotional range that is needed to cover the earlier transcriptions and the deeper canvasses of the sonatas. He supplements this with the premiere recording of the incomplete Argentinian dances for children, written for his son Alex and daughter Georgina. To trump the set he adds the two works for solo organ, Toccata, Villancico y Fuga, Op.18 and the Variazioni e Toccata sopra Aurora lucis rutilat", Op.52. Offering 35 minutes of music, these two works alone are worth the price of the 2 CD set. In the catalogue there is a single recording on Priory of the former, but the latter is another first. They are both complex pieces, idiomatically written for the organ and given authoritative performances by the versatile Fernando Viani, completing a valuable contribution to the recordings of this eminent composer.
Ray Picot |
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Mompou:Suburbis etc (Orchestral and choral works) |
Orquestra de Cambra Teatre Lliure, Josep Pons, director. Cor de Valencia. Soloists. Harmonia Mundi HMA1951482 (B)
This is an excellent bargain reissue of some distinct rarities. Mompou is associated with some justification with his piano music, but it translates surprisingly well to an orchestral medium. Opening with the early Suburbis, which is given very subtle treatment by Manuel Rosenthal (of Offenbach fame) followed by some delightful colouring by Alexandre Tansman, of the Scenes d'enfants. Both arrangers give the music a piquant French accent. The picture is completed by hearing the composer orchestrating in his own colours, matched by some wonderful vocal writing, in the oratorio Los Improperios and Combat del Somni. Repeated listening reveals in the oratorio a work of extraordinary beauty, that carries its message sublimely, and not disadvantaged by its brevity.
Ray Picot
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Roberto Gerhard: Piano Concerto (1951) |
Peter Donohoe and the Northern Sinfonia, Naxos 8.557290.
Roberto Gerhard is perhaps one of the greatest mid twentieth century composers from Spain, in fact possibly one of the great composers of the twentieth century with his own distinctive voice sounding through out his impressive output, from the impressionist first pieces through a more nationalistic style to a modernism that embraced many new compositional techniques. From a personal use of Schoenbergian serialism (one of his teachers) to the use of electronics and advanced playing techniques for what are usually in the later works huge percussion sections.
Gerhard seems to be a composer who is often over looked, perhaps being a Spaniard in middle England (he lived and taught at Cambridge from the late 1940's to the end of his life) didn't appeal to the music establishment and indeed he joined a huge list of talented composers from all over Europe who fled here after the war - though most of them to escape from Jewish persecution - who were neglected. Gerhard however did get a lot of commissions, several from the Cheltenham Festival and others from major orchestras like the New York Phil (Symphony No.4 "New York"), he even had an English publisher in later years, Oxford University Press, but his music has taken time to enter the repertoire of orchestras and soloists, however there have now been a spate of excellent recordings which has encompassed most of his major works.
The Piano Concerto dates from 1951 (not 1961 as the Naxos CD label states it on the back) has been recorded several times before but it is the Naxos release from last year that shines as a powerful and persuasive performance of this work. The CD features three other British Piano Concertos (though I wouldn't call the Gerhard a typical British work for obvious reasons), including the wonderful Ferguson Concerto plus two much slighter, highly enjoyable and perhaps instantly forgettable pieces by less well known composers).
Gerhard's Piano Concerto follows on from the Violin Concerto a few years earlier with its exploration of Spanish dance and rhythm with an added layer of post serial bite. The work is scored for piano and strings, so dispenses with the percussion that is so often associated with major Gerhard orchestral works. Indeed the piece is similar in length and orchestration, save one percussionist of the slightly later and more 'spiky' and 'brittle' Harpsichord Concerto.
The Piano Concerto is a relatively short work at just over 20 minutes, however what a wonderful 20 minutes they are from the driving dissonance of the fist movement to the eloquence of the slow second movement with its series of arpeggios that build to a wonderful climax before the fast six-eight finale kicks in with what is almost a high speed rondo.
The piano part is as virtuosic and one would hope and expect from a major Concerto and Peter Donohoe's playing is more than up for the challenge. He seems to find the right balance of hard hitting playing in the first and last movements with a wonderful feel for the musical line in the slow central movement. For me it is this central movement (the longest in the piece) that is the real find and the one that has the most to say. The arpeggios at the start of it with their repeated notes sound more like a distant reminder of some of the Spanish harpsichord works from a few centurys earlier yet the language is completely modern. Perhaps with the main repeated notes there is the image of the guitar tremolo found in so many Spanish guitar masters works of the late 19th Century. I don't think this illusion is just by chance for Gerhard was very much aware and proud of his Catalan heritage.
The solo playing is excellent and Donohoe seems to real enjoy playing the piece however the Northern Sinfonia at times (especially in the faster and the more rhythmically intricate moments) waiver. However I am deeply impressed that Peter Donohoe conducts them from the piano though perhaps this why some of the more extreme moments seem a little less focused. However Donohoe's tempos and understanding of the score seem spot on. Again they seem best in the slow movement where their intonation is excellent and the backdrop they create is convincing. There also seems to be a lack of real dynamic contrast in the faster string passages where many of the crescendos don't seem to have the force that Gerhard seems to want and write into the score. However in their defence the string parts at times are fiendish and they play with really energy that carries the piano along and the entire work is performed with a real passion that it so deserves.
There recording quality is excellent with the piano being very clear and well balanced against the strings, there is also a lot of depth to the sound and many of the more subtle string passages are captured with a real resonance.
If you don't know this piece already then you should, do not be put off if modern music is not your thing, this concerto is engaging and a real classic of the mid twentieth century. With a performance of this class (especially from the soloist) then no serious Piano Concerto and especially Gerhard fan will want to be without this recording even if they have other recordings and for just under £6 then its a true winner and a bargain even if you buy it just for the Gerhard.
Damian Rees
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