Erich Wolfgang Korngold’s legacy as a composer often rests on his operas and film scores, yet his contributions to chamber music are equally noteworthy. The Tippett Quartet’s latest release featuring Korngold’s String Quartets Nos. 1–3 brings these lesser-known gems to the forefront, showcasing the evolution of his compositional style from his early years in Vienna to his Hollywood endeavors.

The passage commences with the First String Quartet, completed in 1923, where Korngold displays a departure from his lush harmonies of youth towards a more robust and acerbic sonic landscape. The Tippett Quartet expertly navigates the quartet’s four movements, from the drifting and Bartók-esque “Allegro” to the wistful “Adagio,” the spiky and playful “Intermezzo,” and the good-natured and relaxed “Allegretto” finale. Their technical precision is matched only by their ability to convey the narrative intricacies of the composition, resulting in a truly persuasive interpretation.

The Second Quartet, composed in 1933 amid tumultuous times, exhibits a charming demeanor and infectious energy. Despite facing limited exposure in the German-speaking world due to the Nazis, this quartet features delightful melodies, a crowd-pleasing “Intermezzo,” and a swoon-inducing “Tempo di Valse” finale. The Tippett Quartet’s performance captures the essence of the individual lines with remarkable clarity, all impeccably captured in the recording’s excellent sound quality.

As the quartet progresses, the listener is transported to Korngold’s Hollywood years, marked by the composition of his Third Quartet. Dedicated to Bruno Walter and premiered in Los Angeles in 1946, this quartet showcases a return to edgier harmonics in the “Allegro moderato” opening, balanced by the lighter-hearted “Scherzo” with its melting trio, incorporating music from the film score for “Between Two Worlds.” The “Sostenuto” slow movement features a haunting ‘folk melody’ borrowed from the love theme in “The Sea Wolf.” It’s in this movement that the Tippett Quartet’s performance shines the brightest, captivating the listener with its depth and emotion.

While competing interpretations by the Aron Quartett and the Doric Quartet offer their merits, the Tippett Quartet’s rendition manages to unearth the beating heart of Korngold’s music. Although the Doric Quartet may have an edge in terms of sound quality, the Tippett Quartet excels in conveying the emotional essence of the music, particularly evident in the atmospheric beauty of the Third Quartet.

In conclusion, the Tippett Quartet’s exploration of Erich Wolfgang Korngold’s String Quartets Nos. 1–3 is a must-listen experience. With their technical prowess and an uncanny ability to unravel the narrative within the music, they breathe life into these compositions, illuminating the remarkable passage from Vienna’s classical tradition to the glitzy allure of Hollywood. This album stands as a testament to the enduring power of chamber music and Korngold’s versatile genius.

“Mythes,” a violin and piano album featuring James Ehnes and Andrew Armstrong, is a compilation of recordings from 2015 and 2016. Despite its slightly unusual release format, the album showcases the virtuosity of James Ehnes and his exceptional prowess on the violin. The album’s repertoire spans a diverse selection of compositions, and while some may consider it a collection of musical odds and ends, Ehnes’ flawless performances make it a captivating listening experience.

The album’s centerpiece is Karol Szymanowski’s “Mythes,” a set of three tone poems inspired by Greek mythology. Ehnes’ rendition of this work is particularly noteworthy, as he navigates the intricate technical challenges with remarkable skill. Szymanowski’s music, though imbued with Impressionist elements, possesses a unique character that distinguishes it from mere imitation. With each movement depicting a different Greek myth, Ehnes captures the emotional depth and vivid imagery of the composer’s intentions.

Ehnes’ violin mastery shines throughout the album, and his interpretation of the various pieces demonstrates his unwavering commitment to musical excellence. The third movement of “Mythes” stands out, featuring quarter tones that demand a high level of precision, which Ehnes executes with his characteristic finesse.

The album takes a somewhat unexpected turn with its extensive list of encores. Ranging from Tchaikovsky to contemporary compositions like James Newton Howard’s piece, these encores showcase Ehnes’ versatility and ability to seamlessly navigate a wide range of musical styles. Notably, Ehnes’ rendition of “Flight of the Bumblebee” exhibits his technical brilliance and precision.

Among the encores is the charming “Sicilienne,” once attributed to Maria Theresia von Paradis, and famously performed at the wedding of Prince Harry and Meghan Markle. This inclusion adds a touch of historical significance and whimsy to the album.

While “Mythes” may not be considered an essential album in terms of groundbreaking repertoire, its value lies in its ability to showcase James Ehnes’ exceptional talent and artistry. Ehnes fans will undoubtedly appreciate his consistently strong performances and the opportunity to hear him tackle a diverse array of musical selections.

“Mythes” offers listeners a glimpse into the virtuosic world of James Ehnes, accompanied by Andrew Armstrong’s skilled piano accompaniment. The album’s mix of Szymanowski’s “Mythes” and a varied assortment of encores creates a musical journey that may feel like a curated assortment, but one that highlights Ehnes’ undeniable brilliance as a violinist.

Martin Haselböck’s deep-rooted affinity for Franz Liszt’s compositions is once again illuminated in his latest album “Liszt: Orchestral Songs.” Alongside his exceptional ensemble, the Orchester Wiener Akademie, Haselböck introduces a period-informed interpretation that both reinvigorates familiar works and unearths hidden gems. This collection not only showcases his prowess as a seasoned Lisztian but also highlights the richness of Liszt’s lesser-known orchestral songs.

The album’s standout feature is undoubtedly the inclusion of three premiere recordings. One such gem is “Die Vätergruft,” orchestrated during Liszt’s final year and unveiled in London shortly before his passing. The orchestration vividly paints a sepulchral atmosphere, with eerie percussion, haunting trombones, and triumphant trumpets interweaving to encapsulate the protagonist’s poignant surrender to death’s embrace. Equally captivating premieres are “Weimars Toten,” a centenary tribute to Goethe, and “Der Titan,” enriched by the addition of a male voice chorus led by the commanding Tomasz Konienczny.

Among the selections from 1860 are Liszt’s arrangements of Schubert’s songs, coupled with three of his own compositions. These interpretations present a mixed palette. While “Die junge Nonne” occasionally plods in its orchestral storm, “Erlkönig” propels the listener into a tempestuous journey with Thomas Hampson delivering a commanding performance that preserves the child’s voice from caricature. The most triumphant of these renditions is “Der Doppelgänger,” cocooned in the melancholic shades of lower strings, a masterful display of orchestral finesse.

The album unfolds with Liszt’s own “Die Lorelei,” entrancingly brought to life by mezzo Stephane Houtzeel’s velvety tones. Haselböck masterfully navigates Liszt’s intricate orchestration, building to a climactic crescendo that mirrors the churning waves of the Lorelei’s lore. Thomas Hampson dominates the majority of the songs, showcasing his compelling storytelling through exemplary diction and an authoritative command of the material. While the vocal execution occasionally exhibits unevenness, Hampson’s profound connection with the material remains undeniable.

In “Liszt: Orchestral Songs,” Martin Haselböck and the Orchester Wiener Akademie have presented a meticulously crafted tribute to Franz Liszt’s diverse musical palette. The album not only unearths forgotten compositions but also reinvigorates well-known works with a period-informed approach. The premiere recordings, in particular, grant listeners a glimpse into Liszt’s multifaceted genius. Despite minor vocal inconsistencies, the album successfully captures the emotional essence and historical context of Liszt’s orchestral songs, solidifying Haselböck’s position as a notable interpreter of this rich repertoire.

In the world of contemporary classical music, György Ligeti’s compositions stand as a tribute to the boundless creativity of the human mind. The 2017 live recording reissue of “Ligeti: Kammerkonzert & Other Works,” featuring Les Siècles under the baton of François-Xavier Roth, emerges as a vivid showcase of Ligeti’s intricate chamber pieces. Like uncovering a finely crafted mosaic, this collection captivates listeners with its nuanced timbres and virtuosic interpretations.

The album initiates with the Wind Quintet version of the “Six Bagatelles,” a transformation of Ligeti’s piano composition, Musica ricercata. From the outset, the ensemble’s remarkable sensitivity to tonal nuances is evident. Les Siècles’ history of period-instrument performance likely contributes to their mastery of color, as every note is meticulously weighed and woven into the ensemble’s fabric. The result is a mesmerizing interplay of tones, painting each piece with captivating shades of emotion.

At the heart of this collection lies the Kammerkonzert, a composition Ligeti described as having “four movements corresponding to different types of motion.” Employing his signature micropolyphony technique, reminiscent of his renowned Atmosphères, Ligeti constructs ethereal soundscapes that challenge the listener’s preconceptions of texture and form. The Kammerkonzert demands attentive listening, and Les Siècles, under Roth’s guidance, deftly navigate its intricate passages. By meticulously delineating each individual line, the ensemble creates a mesmerizing auditory tapestry—a sonic cat’s cradle that delights the ear as it unfurls.

The album’s culmination arrives with the Ten Pieces for Wind Quintet, a showcase of virtuosity that pushes each ensemble member to their limits. The juxtaposition of movements—ranging from the demanding Prestissimo leggiero e virtuoso to the agile Presto staccatissimo e leggiero—creates a relentless surge of musical energy. Les Siècles’ ability to navigate these challenges seamlessly is a testament to their exceptional skill and cohesion.

In summary, “Ligeti: Kammerkonzert & Other Works” is a treasure trove of meticulously crafted performances that breathe new life into Ligeti’s intricate compositions. Les Siècles and François-Xavier Roth have demonstrated a profound understanding of Ligeti’s musical language, offering listeners an auditory experience that goes beyond conventional boundaries. This release stands as a tribute to the ensemble’s artistry and their dedication to presenting contemporary classical music with precision and passion. For aficionados of Ligeti’s avant-garde brilliance, this album is an essential addition to their collection.

In “Divine Music: An English Songbook,” countertenor Iestyn Davies and pianist Joseph Middleton embark on an extraordinary exploration of the intersection between beauty and sacredness. In a world where the divine often encompasses both the ethereal and the exquisite, this album takes listeners on a sonic journey that blurs the lines between the earthly and the spiritual. Through a captivating selection of English songs spanning centuries, Davies and Middleton create a realm of musical transcendence that is both enchanting and thought-provoking.

The juxtaposition of Davies’s countertenor voice with Middleton’s piano arrangements immediately captures the listener’s attention, setting the stage for a captivating experience. The collision of historical periods is masterfully executed, where 17th-century compositions harmonize with 21st-century creations, creating a sonic tapestry that feels both timeless and contemporary. This album stands as a testament to the evolution of the countertenor tradition, exemplifying how the legacy of past luminaries like James Bowman has been carried forward by this new generation.

The album’s centerpiece is Nico Muhly’s “Four Traditional Songs” and the Richard III-inspired ‘Old Bones,’ both of which were specially commissioned for Davies. Muhly’s compositions offer a delicate blend of rhapsody and ingenuity, evoking a sense of elegance that resonates throughout the entire album. In ‘Old Bones,’ Davies’s performance exudes unexpected sentimentality, transforming the story of Richard III’s discovery into a poignant elegy. This sentimentality finds a kindred spirit in Howells’s ‘King David,’ as Davies’s ethereal delivery is complemented by Middleton’s minimalist accompaniment, allowing the music’s inherent beauty to shine through.

The album also features Thomas Adès’s ‘Coffee-Spoon Cavatina’ from the opera “The Exterminating Angel,” a clever and witty piece that provides a whimsical contrast to the ethereal themes explored earlier. With a playful nod, Adès reminds us that the pursuit of transcendence is fleeting, bringing us back to the realm of the everyday.

Among the album’s highlights are the renditions of Butterworth’s “Shropshire Lad” songs, where Davies infuses each line with a sense of fragility and wistfulness. Purcell’s songs, arranged by Adès, receive a fresh treatment that enhances the timeless melodies. In particular, ‘Evening Hymn’ is delicately adorned, creating a mesmerizing interplay between Davies’s vocals and Middleton’s piano accompaniment.

“Divine Music: An English Songbook” ultimately succeeds in its mission to explore the connection between beauty and sacredness in music. Iestyn Davies’s versatile countertenor voice, coupled with Joseph Middleton’s sensitive and nuanced piano arrangements, transports listeners into a realm where centuries coalesce, and emotions transcend the mundane. This album is a masterful testament to the power of music to evoke the divine, leaving listeners contemplating the ephemeral nature of true transcendence.

Esa-Pekka Salonen’s latest foray into the world of Béla Bartók’s piano concertos, featuring the virtuosic Pierre-Laurent Aimard as the soloist, unveils a distinctive take on these iconic works. Aimard and Salonen, both well-versed in the intricacies of 20th-century modernist compositions, offer a new perspective that melds technical brilliance with a refined sensitivity to Bartók’s musical palette.

The album opens with Concerto No. 1, revealing an unexpected lyrical quality that breathes fresh life into Bartók’s usually intense and complex music. The first movement flows with an unusual melodic fluidity while maintaining a firm grasp on the underlying motivic structures. Aimard and Salonen seem committed to tempering the raw power of the concerto, exemplified in the outer movements. The central Andante strikes a balance between rhythmic precision and a subdued yet engaging atmosphere, displaying lean textures and clear counterpoint.

In the Second Concerto, Aimard’s collaboration with the San Francisco Symphony Orchestra’s wind section shines brilliantly. The first movement exudes a delightful playfulness and boisterous energy, reminiscent of Stravinsky’s vibrant compositions. In contrast, the Adagio captivates with its hypnotic and almost cinematic stillness. The final movement, with its vigorous rhythmic intensity, remains coherent and controlled throughout, avoiding any descent into chaos.

However, it is in Concerto No. 3 that the true revelation unfolds. Composed for Bartók’s wife, Ditta, this concerto showcases the composer’s innate talent despite his deteriorating health during its creation. Aimard and Salonen bring out the naturalness and ease in Bartók’s writing, reminiscent of great composers like Beethoven and Ellington. The first movement exudes pure elegance, with shades of Bach’s influence and neoclassical touches that link it to the approach taken in Concerto No. 1’s Allegro moderato. The finale, though slightly more deliberate in tempo, remains crisply defined in its contrapuntal lines. The Adagio religioso is a delicate gem, its pristine fragility evoking deep emotional resonance.

In conclusion, this album presents a unique and compelling perspective on Bartók’s piano concertos. Aimard’s exceptional virtuosity, coupled with Salonen’s adept direction of the San Francisco Symphony Orchestra, breathes new life into these canonical works. The recording showcases a marriage of musicality, technical prowess, and intellectual insight that benefits all parties involved. Most importantly, it unveils the hidden mellifluousness in Bartók’s compositions, even in their most rugged moments. Salonen’s distinctive touch and Aimard’s interpretive brilliance make this album a must-listen for both connoisseurs of Bartók and those discovering his music for the first time.

Described by Andrea Bocelli as his favorite tenor in the world of lyric music, guest at the world’s largest opera houses, the tenor Joseph Calleja is back with his new album »Verdi«, released by Decca Classics. On this album, Calleja delves into the bright and the dark side of Verdi’s heroic tenor roles, bringing to life Verdi’s most popular operas such as Aida, Don Carlo or Il Trovatore. He’s joined by the maestro Ramón Tebar and the dazzling Orquestra de la Comunitat Valenciana. 

Calleja started singing at the age of 16, first in his church choir and then in formal training with the Maltese tenor Paul Asciak. 

Among the arias from Il Trovatore, Don Carlo and Otello which can be found on this recording there is also “Celeste Aida” from the opening scene of Verdi’s Egyptian opera. Calleja’s new album also reflects his flourishing live career. Each of these roles highlights the tenor “Robusto” as the vocal type of an opera hero and shows Calleja’s vigorous but melodic voice.  

The understanding between Calleja and Tebar is extraordinary and that’s even more valuable in a very popular and important repertoire for the tenor, which today is considered one of the five most acclaimed in the world. 

The tenor glows commanding a program of great complexity due to the demanding level of the repertoire. His voice sounds smooth and natural, with vibrant squillo, marked expressiveness, conviction and very deeply moving, with a range of interpretive resources that goes from emotional subtlety to the unnerving emotion. 

Joseph Calleja shows once again in this Verdi recital that he is a remarkable actor, playing on a subtle and very embodied articulated style. 

The tone of Calleja in the Opening of Radames possesses a charming legato, and a finely vibrato meticulously controlled.  We can almost see the Egyptian general who certainly victorious would also want to reach the heart of his secretly beloved Aida… Calleja’s voice is highly distinctive especially for this “old school” timbre, that of the tenors of the early twentieth, the color of feeling, rather than trumpeting or even artificial projection. 

The orchestra under the wise and poetic baton of Ramon Tebar, is always the service of the soloist, accompanying him and masterfully responding to the conductor’s demands. The result is a great combination of wisdom, technique and profound feeling that brings the magic right to the listener’s ears.

In “FIVE SOULS,” Tan Dun takes listeners on an ethereal journey through the realms of ancient philosophy and modern technology, merging the wisdom of Taoist thinkers with the limitless possibilities of sound. This audacious “metaverse symphony” is a testament to Tan Dun’s innovative spirit and his ability to seamlessly blend Eastern and Western musical traditions.

The five movements of the symphony, each named with poetic precision, encapsulate Tan Dun’s ambitious exploration of sound as a conduit for cosmic ideas. “H2O Tempo” flows like water, its fluidity and rhythm mirroring the essential nature of existence. The composer’s connection to Taoist principles is palpable as the music evokes the Tao’s core philosophy of harmony with nature.

In “Horch,” listeners are immersed in a sensory experience that mirrors the universe’s duality. The interplay of black and white, light and shadow, yin and yang, unfolds through the music’s rich textures and intricate melodies. Tan Dun’s orchestration becomes a canvas where colors of sound paint a vivid landscape.

The convergence of Eastern and Western cultures, a hallmark of Tan Dun’s work, finds its zenith in “WE (West and East).” Here, disparate musical traditions unite, creating harmonies that transcend cultural boundaries. The composer’s ability to bridge these worlds, honed through his own diverse education and experiences, shines brilliantly.

“Meta Voyage” propels listeners through dimensions, both seen and unseen. The symphony’s immersive recording techniques, realized in an old factory setting, make every note feel like a brushstroke on the canvas of the cosmos. Tan Dun, the conductor of this auditory journey, guides us through his sonic universe.

The finale, “Dream Rhythm,” is a captivating culmination of the symphony’s exploration. With the mastery of a true visionary, Tan Dun weaves dreams and rhythms into a sonic tapestry that envelops the audience. The synergy between composition and performance achieves a profound resonance, echoing the interconnectedness of all things.

Tan Dun’s ability to embody the role of a visual artist is mirrored in his music. His training in both Eastern and Western classical traditions, coupled with his bold experimentation, has led to the creation of “FIVE SOULS” – an opus that transcends conventional boundaries. Tan Dun’s fusion of philosophies, cultures, and sounds is a reminder that music is a universal language, capable of expressing ideas beyond the confines of words.

“FIVE SOULS” stands as a testament to Tan Dun’s continued commitment to pushing artistic boundaries. With this symphony, he not only bridges the past and the present but also propels us into the uncharted territories of the metaverse. The collaboration between Tan Dun and Decca Classics is a union of visionary artistry and technical innovation, resulting in a musical experience that resonates on multiple levels. This album is not merely a collection of compositions; it’s a transformative journey through the cosmos of sound.

In their latest release, “Music to Hear …,” violists Richard Boothby and Asako Morikawa offer a captivating exploration of Alfonso Ferrabosco’s lesser-known compositions. This collection showcases 23 pieces from Ferrabosco’s 1609 publication “Lessons for 1, 2 & 3e Viols,” shedding light on the musical talents of a historically significant composer and performer. Boothby’s past accomplishments, especially within the realm of English music for the viol, underscore his authority as an interpreter of Ferrabosco’s work.

Alfonso Ferrabosco II, the illegitimate son of Alfonso Ferrabosco the elder, was a prominent musician in England during the early 17th century. His role as a court musician under Queen Elizabeth and later King James VI of Scotland granted him the opportunity to collaborate with renowned artists like Ben Jonson and Inigo Jones on court masques and other musical endeavors. This disc showcases a selection of his compositions for the lyra-viol, an instrument with six strings that allowed for intricate chords and arpeggiated textures, reminiscent of the lute.

Boothby and Morikawa’s performances exhibit a deep understanding of the intricacies of Ferrabosco’s music. The duo’s interpretations beautifully capture the essence of these compositions, revealing the composer’s thought processes and emotional nuances. The preludes on this recording exude a sense of improvisational exploration, akin to Frescobaldi’s keyboard toccatas. Boothby’s playing showcases an uncanny intimacy with the music, bringing out the subtleties that make Ferrabosco’s work so engaging.

The diverse range of dance forms featured on the album, such as the almaines and corantos, highlights Ferrabosco’s compositional skill and inventiveness. Boothby’s meticulous attention to detail distinguishes the different dance types, delivering performances that are both lively and expressive. The corantos, for instance, demonstrate a lighter texture and a more straightforward rhythm compared to the almaines, showcasing Boothby’s aptitude for highlighting the intricacies of each dance.

Ferrabosco’s music also conveys melancholic moments and flashes of joy, both of which Boothby captures with his expressive playing. The deep understanding between the violists and Ferrabosco’s compositions results in performances that transcend mere technical execution, breathing life into each piece. It’s as if Boothby and Morikawa are engaged in a musical conversation with Ferrabosco across the centuries.

The historical significance of Ferrabosco’s contributions to English music, along with Boothby and Morikawa’s masterful interpretations, underscores the value of this recording. “Music to Hear …” invites listeners to explore the subtleties and complexities of Ferrabosco’s work and offers a rewarding listening experience for lovers of both early music and the viol. Boothby’s ability to bring out the emotions embedded in Ferrabosco’s compositions turns this disc into a valuable addition to any collection, making the case for the enduring relevance of this lesser-known composer.

_{Barbara Clark, December 2023}

Mary Bevan, renowned for her exceptional interpretations of art songs, continues to captivate with her latest release, “Visions Illuminées,” an all-French program that showcases her masterful command of vocal expression. Collaborating with Joseph Middleton, the 12 Ensemble, and the Ruisi Quartet, Bevan delivers an enchanting collection of songs that range from late 19th-century classics to modern compositions, creating a mesmerizing tapestry of musical and emotional colors.

At the heart of the album lies Benjamin Britten’s “Les Illuminations,” a work rich in emotional depth and complexity. Bevan’s delicate yet expressive soprano voice, coupled with the nimble and transparent playing of the 12 Ensemble, breathe new life into this celebrated composition. The ensemble’s lightness and sensitivity complement the emotional subtleties of the piece, while Bevan’s ethereal singing, as demonstrated in “Phrase” and “Antique,” offers moments of sheer transcendence. The delicate interplay between the soprano and the ensemble is a testament to the musicians’ synergy and interpretive prowess.

Surrounding “Les Illuminations” are other French gems, both familiar and lesser-known. Mary Bevan’s exploration of Maurice Ravel’s “Un grand sommeil noir,” accompanied by Robin Holloway’s interludes, unveils a modern twist on these late 19th-century songs. Bevan’s surprising depth in the lower register adds a layer of richness to her interpretation. In the “Quatre Mélodies de Verlaine” by Debussy, the Ruisi Quartet’s intimate presence adds a fittingly delicate accompaniment, allowing Bevan’s charm to shine, especially in the whimsical “Mandoline.”

A quartet of isolated songs, presented in rarely heard instrumental arrangements, further highlights Bevan’s versatility. From Fauré’s “Clair de Lune” to Duparc’s poignant “Chanson triste,” Bevan’s emotional range and the finely nuanced interpretations of the accompanying ensembles create a uniquely enchanting experience. Chabrier’s “Tes yeux bleus,” orchestrated by the composer himself and recorded here for the first time, showcases Bevan’s ability to evoke longing and sentiment through her voice. Chausson’s “Chanson perpétuelle” adds a touch of Wagnerian influence, gracefully performed by Bevan.

The album’s delightful culmination is the inclusion of five serenades by Augusta Holmés, arranged for voice and piano quintet. Bevan’s emotive and sincere delivery turns these charming parlour songs into deeply touching pieces. Her golden tones blend harmoniously with the enchanting melodies, providing a sweet conclusion to an already exceptional collection.

Throughout “Visions Illuminées,” Joseph Middleton’s sensitive and sparkling piano accompaniment, the expressive artistry of the 12 Ensemble, and the refined contributions of the Ruisi Quartet create an exquisite backdrop for Mary Bevan’s vocals. The album, not only a showcase of Bevan’s vocal mastery but also a testament to her ability to interpret and connect with a wide array of musical styles, resonates with beauty and emotional resonance.

In a landscape of numerous renditions, Mary Bevan’s “Visions Illuminées” stands out as a treasure trove of captivating performances, both through the renowned and the lesser-known works it features. With its meticulously curated program, exceptional musicianship, and Bevan’s luminous voice, this album is a showcase of the enduring power of art song interpretation.