Bartók String Quartets

I recently acquired the Takács Quartet recording of Béla Bartók’s six string quartets… I’ll likely have a more substantial review later (as it has been some years since I have listened to these works), but thus far, my favorite quartet, number 4, is excellent: raw energy in all the right places.

My Collection

Late last year, I purchased the program “Delicious Library” for my Mac, from Delicious Monster. The application allows you to build a virtual library of your physical books, CDs, DVDs, and other items around the house. You can then use this “library” to check-out items to friends. The innovative part is its use of the iSight video camera (or a Bluetooth scanner) to read barcodes and automatically “know” a lot about the items you scan into the database.

With the most recent update, I was able to use the program to look at my iTunes library without the application crashing (was my collection too large? or was the new directory from iTunes 9 the fix?). So, now, I have exported my collection with nice bookshelves to HTML.

View my music collection online!

I think something worth exploring is whether or not I could review each album and have that display when you click on the CD covers. Hmm…

J.S. Bach: Orchestral Suites for a Young Prince

Ensemble Sonnerie under Monica Huggett records four (of the five) Bach orchestral suites on Avie.

Seemingly now, in 2009-2010, recording engineers have finally found their place, and can record music pristinely. It’s the first thing that hits you in this new rendition of Bach’s works for orchestra by Ensemble Sonnerie. Sonnerie’s smaller forces come across crystal clear in a vibrant recording of BWV 1066-1069.

It’s an interesting take, this record, because Huggett takes a bare, minimalist approach to offset her recorded rivals. Gone are the supposed later-additions Bach used to dress-up these works over time, the aim then, was to offer the original spirit behind these pieces. Not sure the reasoning for BWV 1068’s opening overture, but they take the faster sections at true breakneck speeds. I had a lot of fun with that, and Bach’s writing works just as well with the tempo dial turned up.

The next movement in Bach’s third orchestral suite is his famous Air, here presumably played not only on the so-called G string. What I don’t like is that Huggett doesn’t take the first violin line solo, instead, Sonnerie plays the movement as one big string piece. Thankfully I have other renditions in my personal catalog that do, in fact, use a solo violin there. If they have a historical reason for playing in unison, well, then I approve. It’s best not to let only my personal preferences mar an otherwise fair and balanced review.

So yes, BWV 1068 is a loud, festive work with brass (it’s been argued whether the definitive brass is trumpets, or perhaps earlier, horns) and timpani. Here that is gone, and you sing along those parts if you like, with Sonnerie’s punchy rhythms and foot-tapping fun. What does stand out instead of drums and brass is a really sparkling harpsichord and a sense that these folks are having real fun. It’s the kind of music making that makes you pause and simply smile as you really do tap your foot.

Aside from Huggett not taking the Air solo, my other complaint with this recording is the lack of BWV 1070 in the mix. Okay, perhaps it wouldn’t have fit on one disk. And maybe they didn’t include it because it was likely written by W. F. Bach and not his dad. But no bother, the music on this CD has the same intimate joy that I have gotten listening to Bach’s “5th” orchestral suite from MAK, on a recording made in the early 1980s. And if Sonnerie in 2010 is making me think of Musica Antiqua, Köln from the 1980s, then that should be hearty praise.

Where Sonnerie lacks color without drums and such in BWV 1068 and 1069, they do add color in the form of double reeds in both the second and fourth orchestral suites (BWV 1067, 1069). Rarely, however, do we get the treat of such deft bassoon playing (Bourées, BWV 1069) or technical facility (oboe, Battinerie, BWV 1067). That’s right, no flute here. The Sonnerie oboist has made the case for the second suite being originally written for oboe.

Sonnerie has made a most refreshing recording. The historical authenticity of their efforts may never be truly tested, but their thinking on a smaller scale along with some talented recording engineers has made a real treat. I highly recommend your future purchase of Sonnerie’s Orchestral Suites for a Young Prince.

Matteis: False Consonances of Melancholy

Amandine Beyer and colleagues have recorded various ayres for the violin and continuo on Zig-Zag Territories by composer N. Matteis.

I’ve run across Matteis’ in small doses over the years, one or more of his dance movements appearing in compilations (such as those by Florilegium with Rachel Podger), but this is my first album dedicated to Matteis altogether. Despite his name (which looks French to my eyes), he was an Italian who found success in his career in England.

Ayres are good names for the pieces, all short by just a few minutes in length, organized loosely in mini suites. Having watched a promotional video that was made for this album, I learned violinist Beyer plays “off the shoulder,” to mimic the professed playing style by Matteis, who seemed to be a sort of virtuoso fiddler.

The ensemble assembled here has a richness about their sound, with Beyer standing in the front with a leading, affective virtuosity about her playing. These are therefore performers who like the music they’re playing, exploring the music’s emotional and affective depths.

While the length and severity of Matteis’ music may be unusual, the music nevertheless is engaging and sensitively performed–representing several diverse ranges of mood.

Warmly recommended.

Krieger: 12 trio sonatas

The obscure German composer, Johann Philipp Krieger, has been recorded in a series of 12 published trio sonatas (for 2 violins and b.c.) by Parnassi Musici.

I purchased the CD after reading about the ensemble from the Folding Harpsichord Blog, where Jack reviews their recording of works by Domenico Gallo.

Gallo’s music is not available currently in Mp3 format, but the later recording of works by Krieger are. Despite being a prolific composer (not unlike Bach), so many works by this composer have been lost.

The trio sonatas are written in a harmonic style not that foreign from Italian models, such as some of Corelli’s unpublished works. In terms of style, the works are rather conservative, with much of the writing keeping the two violins together in passages of thirds, save for when one starts a short contrapuntal exchange.

To my ears, the style of this composer isn’t terribly far either from some of the “Baltic” works in MAK’s recording musica baltica. The prevalent German style seems to tap, too, into the string ensemble works by Lübeck composers Buxtehude and Johann Pachelbel. In this comparison, Krieger is definitely following a more Italiante model, but at the same time, his writing is far less daring.

Which leaves us with performance questions for the players: what style should we adopt? Parnassi musici have a nice string sound, but I found two faults with their playing that prevent this disc from being truly a standout.

For one, they often adopt very strict tempi that appear to be super-aligned with a metronome. The Affekt of baroque music, to my ears, needs a more liberal interpretation when emphasizing the resolution of dissonance, when landing a delicious chord, or when you simply want to–to make the music more interesting. This isn’t to say they can’t–they can change tempo, but the only time it isn’t an abrupt change is at the tail-end of a movement where a natural ritard is called for.

The second criticism is related, but deals with their willingness to “lean” into some of the music, or to project more “feeling” into it. This is not to say they are emotionless players, but that Krieger’s plainess in his writing would only be enhanced by some more colorful interpretation.

To their credit, the ensemble takes on faster movements with aplomb and plenty of speed and technical ability.

In conclusion, an interesting release of a very unknown composer’s work, but one that likely hasn’t risen to well-known heights on the merit of his compositional abilities. The ensemble shines more than the music, but they could have helped it along with a more daring big-picture view of these works caught somewhere between an older German and emerging Italian style.

Monterey Jazz on Tour

Last night I attended the concert held at the Carpenter Theatre on behalf of “Modlin Downtown” to hear artists Kenny Barron, Regina Carter, Kurt Elling, and Russell Malone in a concert entitlted Monterey Jazz Festival, On Tour.

The ensemble had only been playing for a month together, admitted one of the artists, but they had a variety of pieces to show off each artists’ talents, including one for trio, and eventually, a solo for guitar.

The two artists not mentioned on the website were the bassist (Kiyoshi Kitagawa) and the drummer (Johnathan Blake) who were also good. Kitagawa’s bass performance was marred by an inability to hear him within the ensemble’s texture (amp too small?). Blake had two prominent solos, the second one was the real winner.

Carter and Barron played a duet that was outstanding, combining several verses of Georgia (on my mind) with How Great Thou Art. It was played in the second set, when the ensemble seemed to really find their place, where Johnathan Blake played an outstanding solo, where Carter seemed to break out of her shell and break a sweat, and where the ensemble locked in together with each person contributing something substantial (including vocalist Kurt Elling who is an outstanding vocalist).

An excellent event which brought me to the new and revitalized Center Stage.

Shiitakes and Criminis

I like mushrooms; here: crimini and shiitake mushrooms.

Locatelli: opus one concerti

Harmonia mundi is offering the Freiburg Baroque Orchestra’s rendition of Locatelli’s opus 1, led by Gottfried von der Goltz.

Included on the recording are 6 concerti grossi for strings. Seemingly this is “half” of the 12 works Locatelli first published. Instead of following a Venetian, Vivaldian-model, they seem to take more after a four- or five-movement Roman model, popularized by Corelli at the turn of the century. While the harmonic language references Corelli, the violin technique is more up-to-date with flourishes that extend what Corelli ever penned. Knowing Corelli was supposedly an avid improvisor, it is tough to say if Locatelli’s ornamentation wasn’t a good imitation.

Contrapuntal movements aren’t lost on Locatelli either, such as the vivace of the Christmas concerto, number 8. While Corelli is certainly referenced here, there are some references to other popular styles of the day. In the second concerto in C minor, Locatelli plays with stereophonic technique between two soloists in the violins. We can go far earlier than Corelli to find this, in the works by Gabrieli. The style is of course far more modern, especially in the areas of harmony.

The three movement concerto “a cinque” in F has the opening “tempesta di mare” feeling of several Vivaldi concertos, only to ultimately fall short in execution.

Locatelli was a forward-thinking, enterprising composer of the late Italian baroque. By his later concertos, he’s extending his compositional ideas further than his peers, and by his opus 3, he’s extending the reach of the violin’s gamut. His style by the end mimics that of Dall’Abaco and sounds almost somewhat classical.

But this well-performed collection by FBO is a glimpse into his start, where he evidently felt the requirement to build upon the shoulders of the giants. On paper, I’m not sure these concerti would have been too attractive to audiences of the time, but with the right soloists, they may have just been show pieces. There are a few places among the set where Locatelli sets off a few fireworks. Yet, it will take his pen a few more years to tap into the riches he’d be capable of with a lyric slow movement.

You Are, Variations

I’ve been listening to the album of two works by Steve Reich: You Are Wherever Your Thoughts Are, and his Cello Counterpoint.

Grant Gershon leads the Los Angeles Master Chorale and musicians. For scoring, Reich has used minimal strings, pianos, marimbas, and of course, voices. The composer says (from the interview, linked above) that he was after some of his earlier works in terms of getting back to the “fun” of composing, citing Desert Music and Tehillim as points of inspiration.

The reviews on Amazon are interesting: some are rather ebullient with five stars, other folks don’t like this release. It seems hot or cold, not unlike people’s reaction to Reich in general. Of all the music I play, my partner can’t really stand “Reich.” “Oh that stuff, I don’t like it… how can you listen to it?”

I find Reich’s music hypnotic and modern, it’s sound in motion. Like Ravel’s Bolero, it grows over time, and the music in some ways is less predicable than Bolero, yet, it’s far more texturally-interesting. The juxtaposition of the percussive sounds is an intoxicating sound, one that I explored myself in a work scored for ten pianos. Like Reich, I turned to digital technologies to make my piece. In the You Are variations, Reich takes away the use of taped loops or sequencers and makes an “acoustic” piece that is only aided by amplification of the individual voices.

I bought the recording for the ultimate work: Cello Counterpoint. I had a hunch, but no real confirmation, that I heard this piece “live.” At one of the NECC conferences I attended (Atlanta, perhaps), they opened one general session with a live cellist playing music. She was playing against a moving backdrop, which was apropos for Reich’s music. It was wonderful, delicious music. To this day, I can’t tell you if this was the piece, but I would wager in favor of it being it. The cellist plays against recorded tracks of him or herself.

Like You Are, Reich’s music presents performance challenges. While the music may sound mechanical or meditative, there’s a skill to playing those patterns. I can’t say that I see the textual references realized in Reich’s work here… but I found the interview telling in some of his thoughts. For me, the music speaks to me well enough without interpreting the text. It’s pure texture to me, in much the same way Tehillim was. Since buying this album as a digital download, I don’t even have the liner notes with the texts available to me as I listen.

Some folks would call foul here, noting the importance of the text towards understanding a piece of music. While I cannot disagree, I also would posit that a lot can be enjoyed from music without the text. I grew up during the 1980s listening to pop music which I more often than not missed the words completely… they were sounds amid one or two recognizable sounds, here or there. You could say I didn’t sing along terribly much. And that’s how I hear Reich’s music.

You Are’s biggest asset perhaps is its palatable length. It doesn’t go overboard in terms of length. There are four main sections before we get, on the album, the 11-minute cello piece.

There’s much to like here if you’re a fan of Steve Reich. This album might also be a great introduction. For the novice to his music, I might proffer letting the sound wash over you first. Upon repeated listenings, you’ll notice the complexity of how the textures and patterns “fit” together (or do not). It’s this interweaving detail that reveals Reich’s music like a tapestry, one that reveals itself to you over time, with patience and our joy and capacity to hear.

Bach Project

Some interesting videos on Zenph Studios’ Bach project.

Pierre Hantaï performs Bach’s Le Clavier bien tempéré

Bach wrote two collections of keyboard pieces around the same construction: prelude and fugue, in each key, major and minor. He seemed to choose this design not only to show off his invention, but also to challenge the tuning system of the time to accommodate his chromatic ascent up the scale(s).

They are respectfully called The Well-Tempered Clavier, and today we refer to the first collection as “book one,” and you guessed it, the second as “book two.” Some of the preludes resemble the light 2-part inventions, not to mention a few of the fugues. However, the music in these collections is a couple steps more complex and (consequently) richer.

The collection has stayed in the “repertoire” or canon since Bach’s time, being celebrated by such famous composer/pianists as Beethoven and Chopin. Like much of Bach’s music, these pieces are rich and compact, frugal perhaps, but also enduring.

It’s been several years now since harpsichordist Pierre Hantaï recorded the WTC 1 on Mirare. Enthusiasts of this music today have many choices, this being a popular piece. I have enjoyed this on both piano and harpsichord, with one favorite being the piano rendition by Frederich Gulda. Hantaï is not nearly as eclectic a performer as the late Mr. Gulda nor Mr. Glenn Gould. Come to think of it, I have never heard such eclectic interpretations on the harpsichord.

What makes Hantaï’s recording a winner is a combination of factors. First, just as the sound of a piano can differ, harpsichords too have different sound qualities. This is a delicious instrument, sounding practically like a strong clavichord at times, with that richness. It’s almost got a quality we could say was “fruity.” Second, the sound recording is first rate, clear as a bell, even if we might occasionally hear Hantaï breath.

His performance is also not mono-stylstic (i.e., it’s not all fast, or all cautiously slow). He takes each piece on its own, giving it a choice of tempo and pulse that always seems spot-on. Sometimes it’s easy to miss the extra notes peppered-in as ornaments, but they’re there. He will pause at times to make a gesture, but more often than not, he can hold a regular beat, just shy of sounding like a machine. Doing so here is a mark of virtuosity.

Hantaï has plenty of experience with ensemble music and meeting the challenges of Bach’s solo keyboard works. This recording shows off his talents with this material. That said, I sometimes preferred my more mannered recordings when I want to dip my toe into some WTC. This is not a criticism however, it’s more commentary on my own preferences. His role here is to authentically produce this work of Bach within the sound world germane to Bach. Over emphasizing something, applying extreme rubato, or adding to the text like some pianists can do would be against Hantaï’s mantra here. He is wise to stay clear of these temptations, the opportunities great in a work of such depth amid a seemingly simple context.

To recap: sensible interpretation with a delicious-sounding harpsichord. Enough tracks show off Hantaï’s finger dexterity and sense of adventure. As a counterpoint, Hanaï is also sensitive to the character of each piece so that each one isn’t just finger fireworks. This may be a recording you choose to listen to in smaller chunks or in small tasty bites. Coupled with other recordings, this will likely add value (and satisfaction) towards your enjoyment of the first installment of Bach’s Well-Tempered Clavier.

To date, I have not see a Volume 2 published.

Jean-Marie Leclair: Sonatas

La Tempesta (Patrick Bismuth) records the fourth book of sonatas by Leclair. As I wrote earlier, I’m a fan of Leclair’s style and the richness, too, of some of his works. While my reception to the CD by John Holloway was fair, I have a far more enthusiastic reaction to that of Mr. Bismuth.

First, this recording was difficult to procure. I had to purchase it in France. It’s a 3-CD set, actually, and is well-recorded. There’s a very distinct separation of the channels, with the violin on the right. Both Bismuth and his ensemble (but especially him) are not just playing the music: they’re living it through an interpretation that both highlights the virtuosity of the music and the emotional depth within. A lot of music doesn’t exactly ooze emotion, you have to find it. You project, pull, and highlight those elements which especially speak to the listener. Much like the gestures we use in voice, the simple combination of soloist against continuo requires the performers to sometimes independently, but also sometimes collectively infuse their “reaction” of the music. It comes, perhaps, with practice… knowing what the lines and harmony are doing, or what’s coming up, and how to project that. Bismuth is doing an excellent job in this recording finding what makes each movement special.

One of his more expressive gestures is the use (or absence) of vibrato. It plays deeply into his “sound,” but can also add a dramatic richness to his timbre. His instrument I feel is thin sounding (on account of the strings) but has a very nice sound. At times, when vibrato is applied, it’s sweet; other times it’s penetrating and rustic. It’s weakest in the lower register, but sings and sparkles with the higher notes.

A variety of continuo is used, usually with a combination of instruments, including cello, bass lute, and organ. As with many collections like this, I like the variety of continuo. All together this is a strong set, full of many ideas penned by Leclair. You probably wouldn’t want to listen to the entire collection from cover to cover, on account to the stylistic similarities and the strength of the dramatic performances. Under La Tempesta, you long to savor each work on its own.

I should add that one sonata is performed on flute. Leclair listed it as an alternate soloists.

This collection, perhaps than others collectively by Leclair, speaks to his strengths as a composer-violinist. The performers here match the call with variety of expressive means that excite the listener and showcase the music’s appeal with a variety of invention and showy virtuosity.

Recommended to all fans of baroque violin repertoire.

Holloway – Jean Marie Leclair

John Holloway performs sonatas for violin by Jean-Marie Leclair with Lars Ulrik Mortensen and Jaap ter Linden.

I’ve become a fan of late of the music of Leclair, a French composer most famous for being murdered. His music took on a rather continental style. He published a number of sonatas for his instrument, the violin, plus a number of violin concertos, some of which, are quite challenging.

This is the sixth installment by Holloway on ECM New Series, one he has steadfastly done with Lars Ulrik Mortensen. He previously had Mr. Mortensen perform on harpsichord simultaneously with his wife on organ. If memory serves correct, this is the second album since she passed; the last one of Veracini was also with the same continuo team.

A reviewer on Amazon described Holloway’s tone as “smoky,” and that term somehow fits. (Describing the tone of a violin requires quite an exercise in creativity, not unlike trying to describe the flavors one encounters in a glass of wine.) I never thought his violin’s sound was his best trait.

There are moments of spirit in this recording, such as track 18, an allegro movement from the B-flat sonata.

As usual, Holloway plays with excellent intonation and then my usual criticisms creep in: at times the tempi are not quite energetic enough–you get the sense that the tempo chosen is good, but not perfect… great for rehearsing, but in a live performance, folks might just push it a little further? Tracks like #19, from the same B-flat sonata, just fall flat, short of boring. Neither performer in the 3-man ensemble takes the liberty to adjust dynamics terribly much, and I simply don’t read a terribly deep emotional deposit in the performance.

A better example of what the trio is capable of is in track #10, an allegro from the sonata in A major. Dynamic shading is “in the house,” and the tempo is lock-on appropriate. It isn’t Leclair’s best writing, but it’s well played.

I have found the readings of Leclair sonatas by François Fernandez and Patrick Bismuth are ultimately more musically satisfying. Where I didn’t care for the overly “wet” acoustic in Holloway’s solo Bach, the recording this time around is far more complimentary to the musicians. I’d simply love the recording more if it had a darkness at appropriate moments, one which Andrew Manze managed to find in his reading of Frenchman Jean-Féry Rebel. If you’ve been a fan of the other Holloway recordings on ECM (or elsewhere before his association with the label), you might just then like this recording.

I’d start first with the others mentioned. Like the Veracini album before it, this one simply comes up a tad short on energy and spirit in all the right places.

John Holloway on the Sonatas and Partitas

It was ambitious of ECM to release both John Holloway and Gideon Kramer recording Bach’s sonatas and partitas for solo violin within months of one another.

Kramer’s recording ended up being a favorite of mine. Sheer power, but in an emotionally appropriate way.

Holloway plays in far more airy acoustic than Kramer, and you have to be careful about how you record solo violin. I always felt Huggett’s recording on Virgin was too close. And Holloway’s? Likely too distant. Kramer’s is about right.

Despite what it does the recording, I imagine Holloway had some fun with the acoustic when playing, It amplifies his violin’s sound, and it makes the space between notes ever so connected, no matter his articulation. Intonation is true.

I don’t particularly like the sound of Holloway’s violin. Not because it’s bad sounding, it just takes some time to enter his sound world. The upper register can be slightly strident, the bottom lean, but he has full control of the instrument. My only gripe with the interpretation, then, is with the famous Chaconne. It starts out far too academic for me. I’d rather have a little more of Holloway in the reading.

Holloway’s reading isn’t likely the one you have to have, if you were on a desert island. I think Gideon Kramer’s rendition on ECM beats this one out for both the sound quality of the violin and also for interpretation and also for recorded sound. But Kramer’s a modern violinist; Holloway follows baroque performance practice.

What it does offer is a very gifted violinist’s read of Bach’s (and the world’s) violin masterpieces. It’s worthy to have. It may most closely take me to the sound world of what it might have sounded like to hear Bach himself playing these works in the space of St. Thomas’s on a late night evening when the building was empty. It may lack the polish of the world’s finest rendition, but it excels in being honest, reverbrent, and in some cases, truer to the text than what we’re used to.

Italian Flute Concertos

This recording by Musica ad Rhenum featuring Jed Wentz features the composers Vivaldi, Ferrandini, Albinoni, Galuppi, Tartini, and Giordani. A rather interesting mix, for sure; all Italian. Using baroque instruments, the ensemble gives us a survey of (likely) their Italian favorites.

All of the concertos follow the Vivaldian 3-movement form. I am betting most folks won’t know these works. Even the Vivaldi work was unfamiliar to me, not belonging to his op. 10 or other collections.

The recording is good, there isn’t terribly much separation between soloist and ensemble, but that isn’t necessarily a bad thing. Each concerto is played with sensitivity using a small number of forces. Fast tempi are fast, Probably my favorite work is the Galuppi, being set in a minor key. The concerto opens on the D minor triad and goes about the standard structure. What makes it interesting is the addition of a second flute, and the natural pauses of affekt that the ensemble takes. It reminds of me of another favorite flute concerto in some ways, that one of by Blavet in its harmonic language.

In all, this CD has great performances of a number of obscure baroque flute works from Italian composers. Fresh air, for sure, and an ever deeper understanding of the musical language active from 1715 on.