I'm conscious that I post here infrequently. Holding down two jobs, writing for Classical Candor, and maintaining a research agenda doesn't leave much room for the long-form album reviews this blog has featured. So I've decided to supplement those occasional longer pieces with short "quick take" roundups — a way to stay present here and give readers more reason to keep coming back. (I'll always stick to four at a time so that I can fit more tags in.) Here is my first batch.
1. Schubert 4 Hands. Bertrand Chamayou and Leif Ove Andsnes, pianists. Erato 2173296578.
Good recordings of the D. 940 Fantasia are nearly a dime a dozen, and the catalogue is filling up with the D. 947 Allegro and D. 957 Rondo as well. The decision to include the D. 952 Fugue — a less common companion piece — was a smart one. Of course Perahia and Lupu remain my benchmark in the Fantasia, but this is a strong alternative with a pleasingly brisk finale. The closest competition probably comes from the fairly recent Hyperion CDA67665 (Paul Lewis and Steven Osbourne), which overlaps significantly in repertoire. For my money Chamayou and Andsnes edge out the Brits in depth and polish, but you really can't go wrong with either.
Verdict: Firmly Recommended.
2. Gregory Fritze: Overtures and Symphonies. Rafael Sanz-Espert, conductor; London Symphony Orchestra. Naxos 8.559964.
At least two of these works —
A Day in Valencia and
Sinfonia de Valencia — began as wind ensemble pieces, re-scored by Fritze in recent years and receiving their debut recordings here. The result is a mixed bag. Several movements of
A Day in Valencia are wonderfully stirring and atmospheric, especially "Sunrise over the Mediterranean," and the finale of the
Sinfonia — "Pastorale y las montañas" — is equally compelling. None of it will change the world, but these parts hold the attention. Less successful for me are the
Sinfonia's first movement, most of the
London Overture, and
Waterplace Park. For the latter two think overlong Malcolm Arnold without the strong voice. For the former, think your garden-variety, dull 20th-century symphonic writing. Overall? One muted thumb up.
Verdict: Mildly Recommended. 3. Elsa Barraine: Symphonies 1 & 2; Song-Koï; Les tziganes. Cristian Măcelaru, conductor; Orchestre National de France. Warner Classics 2173255519.
Elsa Barraine was an excellent composer with a strong formal craft and sharp ear for instrumental sonority. The two symphonies are as well conceived as most you'll hear, and everything here comes off with admirable assurance. Really all that's missing is a distinguished stamp of personality — which means the music is arguably at its best in peppy, short bursts, as in the finale of the Second Symphony and
Les tziganes. The other recent recording of these symphonies, by Elena Schwarz and the WDR Sinfonieorchester Köln (CPO 555 704-2), is slightly preferable for its punchier approach. Still, this is a solid option, and the world premieres of the supplementary works make it a good buy for fans of quality neoclassical orchestral fare.
Verdict: Recommended.
4. J. S. Bach: Goldberg Variations. Yunchan Lim, pianist. Decca 487 151-7.
There has been some ho-humming about Lim recording this work — "oh, another Goldberg Variations," or "the obligatory career-launching repertoire choice." (See
here and
here.) Which is understandable. But this is a terrific set, especially given that it's performed live. Lim has a beautiful tone and keen artistic judgment. Not every variation hits the same lofty spot, but more than a few are among the most satisfying you're going to hear. He does the fast ones well — in the tradition of Glenn Gould's classic 1955 issue, but with a much richer sound and sensitivity (compare their No. 5s). No. 17 is very fast, but also the bubbliest performance I've heard. He takes repeats, sometimes with fine results, as when he successfully shifts character the second time through No. 20 part 1. But Lim may be most himself in the slow numbers, where his gift for mood and atmosphere takes over. His No. 25 — Landowska's "Black Pearl" — won't be everyone's deepest ever, but it's nocturne-like in the best way. Would I like to see him tackle Kapustin or Bolcom some time? Sure. But there are Goldberg Variations a whole lot more boring and less competent than this set.
Verdict: Highly Recommended.
There has been some ho-humming about Lim recording this work — "oh, another Goldberg Variations," or "the obligatory career-launching repertoire choice." (See here and here.) Which is understandable. But this is a terrific set, especially given that it's performed live. Lim has a beautiful tone and keen artistic judgment. Not every variation hits the same lofty spot, but more than a few are among the most satisfying you're going to hear. He does the fast ones well — in the tradition of Glenn Gould's classic 1955 issue, but with a much richer sound and sensitivity (compare their No. 5s). No. 17 is very fast, but also the bubbliest performance I've heard. He takes repeats, sometimes with fine results, as when he successfully shifts character the second time through No. 20 part 1. But Lim may be most himself in the slow numbers, where his gift for mood and atmosphere takes over. His No. 25 — Landowska's "Black Pearl" — won't be everyone's deepest ever, but it's nocturne-like in the best way. Would I like to see him tackle Kapustin or Bolcom some time? Sure. But there are Goldberg Variations a whole lot more boring and less competent than this set. Verdict: Highly Recommended.
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