Recording Review #66: Sumptuous Scarlatti

Domenico Scarlatti: Selected Keyboard Sonatas. Javier Perianes, pianist. Harmonia Mundi HMM902768. 

Here's another lesson in the value of repeat listens. My immediate impression on jumping right into the first sonata (K. 491, D Major) was "yuck, what is he doing!?" Compared to the steady, drier performance by Vladimir Horowitz that I was used to (see Sony SK 53460), Perianes's somewhat freer take initially came as a jolt. But I pressed on, and every subsequent selection in this well-chosen assortment of sonatas soothed my apprehensions...so much that when I went back to listen to K. 491 again I was significantly more amenable to what Perianes does with it. It took me a little while to embrace his vision for this music. I'm glad I finally did. 

What I eventually realized is that Perianes performs these works in an unapologetically pianistic manner, as opposed to following the commonly-adopted, neat-and-crisp approach that seems to carry the obligatory nod toward the harpsichord. The latter may be what I'm accustomed to, but the truth is that Perianes more closely realizes the implications of something I've long thought: Domenico Scarlatti had a strong proto-Romantic streak. It was Perianes's glowing performances of the slow numbers especially that helped convert me to his K. 491 and other quick ones. I've heard the famous K. 466 F Minor many times, but rarely so "nocturney" as it's played here. Other slow numbers with which I was less (or not) familiar – K. 185 (another F Minor) and K. 128 (one of just TWO Scarlatti sonatas in B-Flat Minor!) – come off similarly. 

Other highlights include the K. 492 D Major, which Perianes imbues with more color and life than in every other performance I remember hearing. Then there's perhaps the most famous Scarlatti sonata of all – K. 380 in E Major. I think I've already mentioned on this blog that the latter work reminds me of Christmas somehow. If I had heard it right after K. 491 during my first listen-through, I might not have had the heart to continue. But by this 13th track Perianes had basically won me over. It's still like Christmas to me, but maybe there are slightly different lights and ornaments on the tree. 

I've heard many Scarlatti albums by now, and a good deal of them contain a less-frequently-performed sonata that becomes a new favorite of mine. In this case the honor goes to the K. 193 E-Flat Major. What an amazing piece of different moods and hues! If I were to hunt down and listen (or re-listen) to other renditions of it, I feel confident by now Perianes's would more than hold its own. I'm grateful to him for showing me that there is plenty more to be experienced in performances of these 555 delights.  

Verdict: Highly Recommended

Recording Review #65: Haunting Hovhaness

 

Hovhaness: Violin Concerto No. 2; Works for Violin and Piano. Zina Schiff, violinist; Valerie Stark, pianist; Avlana Eisenberg, conductor; Salzburg Chamber Soloists. Naxos 8.559957. 

I won't pretend to have heard even half of Alan Hovhaness's 434 opuses. But I have heard enough to harbor a minimally provisional opinion: his music is indeed on the slight side, yet doesn't deserve the hate it gets. His large-scale works usually aren't really large scale works; they're often just a bunch of miniatures strung together. His themes are short and repetitive, which make for brief, monotony-warding movements. Those who demand Germanic development in their concertos and symphonies won't like Hovhaness's at all. But others (like me) who don't necessarily need to have this (despite what that Pedant of all Pedants Robert Simpson may have said), nor fully-breathed Romantic melodies, stand to enjoy some nice, often highly evocative music for what it is. 

That was my experience with this new disc from Naxos. All of the works on it are at least pleasant. I already don't remember the materials from the Second Violin Concerto, Op. 89a. But I remember that I liked it and wouldn't mind hearing it again. To varying degrees I'd say the same for most of the other offerings: Yeraz, the Khirgiz Suite, the Violin Sonata, 3 Visions of Saint Mesrob, Varak, and the arrangement of Hovhaness's Op. 1, Oror. As the recording's back cover states, these show a good cross-section of the composer's eclectic influences from East and West. But they dissipated quickly in my recollections soon after I listened to them. 

However, one work particularly caught my ear: Les baux, Op. 261, which receives its premiere recording. Here is what the liner notes say about it:

"The title stems from a Ligurian term for steep cliffs or rock promontories. Renowned for its historic medieval streets, charming squares, and luscious wine, Les Baux was a favorite destination in Provence for the mountain-loving composer. Hovhaness inches us to the edge of the mountain, where the dizzying, dazzling views command." 

There is something about Hovhaness and mountains that brings out the best in him, and leads to a point which I feel is instructive about the composer. Given the right extra-musical inspiration, he was capable of producing ear-worms that stay with you. Mysterious Mountain (Symphony No. 2) is at first glance just a modest little thing, but its evocations are rich. Les Baux, with its repeated violin melodies and chime-like arpeggio accompaniment in the piano, similarly got into my brain and stuck there after just a single hearing. Subsequent listens confirmed my strong attraction. It is gentle yet haunting music, and superbly captures the scene described above. Onto my Spotify playlist of favorite chamber pieces it goes! 

I love making discoveries like this. Les Baux doesn't impress me in the way that a Beethoven symphony or Verdi opera does. But the way in which it does so is a way I wouldn't want to be without in my musical life, similar to how I am often in the mood for my favorite pop bands over the classical repertoire which I make my living teaching and writing about. There are absolutely such subdivisions in my classical listening alone, and Hovhaness constitutes one of them. 

If you feel the same, give this disc a try. Les Baux might not be the ear-worm for you that it is for me. There may turn out not to be anything on this recording that is. But in that case I challenge you to keep exploring Hovhaness's music and see if you don't eventually alight upon something else that strikes you as special. 

Verdict: Recommended

Recording Review #64: Influences, I Guess

Influences. Mariam Batsashvili, pianist. Warner Classics 2173253517.

One way to repackage various but frequently recorded pieces is to claim some connection between them. In the case of Mariam Batsashvili's third Warner release, the idea is that these sonatas "and extras" are presented chronologically by composer in a way that shows connectiong threads. Or something. Here is Batsashvili's explanation: 

"Even though there are so many other sonatas which are fantastic, I chose these ones because they speak to me. The idea of Influences is that the listener will make links between the sonatas, and whilst hearing the character and signature of each composer, the evolution of sonata form and the development of music is audible." (See here for her entire interview discussing the recording.)

Okay, I guess. I think we can all agree there are many possible connections between Haydn, Mozart, Beethoven, and Liszt. But Batsashvili speaks a bit broadly, if not vaguely, when it comes to identifying some. I kinda think she just chose these specific sonatas (and extras) mainly because she likes them. Which is fine, but it makes the Influences theme come across more as a marketing ploy than anything else. She's performing stuff she wants to; theme-wise, maybe we should just leave it at that and be content.

Of course, what matters more than the packaging is the playing. Here we have somewhat of a mixed bag to go along with the repertoire choices. We start with Haydn's sprightly D-Major Sonata, Hob. XVI:37. This is played well if not remarkably. Anyone merely wanting a solid performance will be entirely pleased. A slightly-too-staccato articulation at times goes against my taste, but this isn't a huge deal. Similar things could be said for Batsashvili's interpretation of Mozart's D-Major Sonata, K. 576, though I liked this performance a bit better because of a suitably rousing finale.

Given her propensity for Liszt (more on this in a bit), it's maybe surprising that Batsashvili's Appassionata Sonata by Beethoven isn't more fiery. I found it fairly well played, but too tame. The finale especially is sluggish and lackluster. Furthermore, if "influences" encompasses how galant-like she makes passages like the one starting at Measure 145 sound, perhaps this is a connection to Haydn (or before) we didn't need! Usually I'm glad when companies don't skimp on their discs' playing times. But at 83 minutes, this recording could have left out its Appassionata and elevated the whole business in so doing. 

But now we come to the best reason to purchase Influences: Batsashvili's Liszt. The winner of both the 10th International Franz Liszt Piano Competition (2014) and the International Franz Liszt Competition for Young Pianists (2011), she amply backs up her credentials as a Lisztian here. We get excellent performances of the first and famous third Liebesträume, as well as a solid La Campanella. However, the real prize is her Dante Sonata. This isn't the easiest work to bring off convincingly, but Batsashvili supplies the vividness, cohesion, and absolute sympathy required to do so. That alone is worth the purchase price. 

Verdict: Highly Recommended for the Liszt; Recommended for the Haydn and Mozart

New Reviews at Classical Candor

Classical Candor recently published two CD reviews of mine. The first (treating the latest Weinberg string quartet series installment from Chandos) is available here: https://classicalcandor.blogspot.com/2025/05/weinberg-string-quartets-volume-5-cd.html

The second review considers the latest Ruth Gipps orchestral music volume, also from Chandos: https://classicalcandor.blogspot.com/2025/05/ruth-gipps-orchestral-works-volume-4-cd.html

I am significantly preoccupied with all sorts of projects at the present, which explains my lack of activity here. I will post as I am able. Thanks for reading!

New Review at Classical Candor

 My review of the new Sony Liszt disc, featuring Leif Ove Andsnes in Via Crucis and some assorted piano works, is now up at Classical Candor: https://classicalcandor.blogspot.com/2025/04/liszt-via-crucis-solo-piano-works-cd.html

New Review at Classical Candor

I couldn't stay away; I started reviewing music for Classical Candor again. First upon my return is the lovely third volume in Chandos's Ruth Gipps orchestral works series. Take a look: https://classicalcandor.blogspot.com/2025/02/ruth-gipps-orchestral-works-volume-3-cd.html

Recording Review #63: Scrumptious Scarlatti

Domenico Scarlatti: Complete Keyboard Sonatas, Vol. 29. Emanuil Ivanov, pianist. Naxos 8.574633. 

I haven't been able to determine how many more recordings Naxos will require to finish their complete Scarlatti keyboard sonatas series. But since we're already at Volume 29, and given the rough number of these works that usually appear on a single disc, it seems safe to assume we're nearing the end. In a sense I'm sad, because I've loved the regular stream of fantastic recordings of Scarlatti sonatas. I'm loathe for it to stop. Yes, these 555 works have all been recorded multiple times...some much more than others. And while there are plenty of very good options for them, for once I take the view of "the more the merrier" when it comes to new releases. Especially as it involves Naxos, the label that first made me a Scarlatti-oholic with that early selections disc featuring Balázs Szokolay (Naxos 8.550252). 

It's also been fun to see which sonatas Naxos chooses to go on their different installments in the series. Whoever is tasked with this seems to shrewdly make sure that a diverse mix of familiar and obscure fleshes out each offering. So it proves here. Of the 16 selections on Volume 29, the K. 303 Sonata in C Minor, occupying the seventh track, is likely to be most known to listeners if for no other reason than because Vladimir Horowitz included it in his own Celebrated Scarlatti Recordings. (See Sony SK 53460.) This is a good place, then, to begin measuring Emanuil Ivanov's new release. While Horowitz's interpretation of this sonata perhaps has more depth and imagination, Ivanov's own is nonetheless equally satisfying from the standpoint of taste and consistency. 

Ivanov's K. 303 is typical of every other selection here. If there is one word that sums up his playing it might be "adroitness." He brings a satisfying pianistic toolkit to the various challenges that present themselves in these works. A handful of examples may suffice. In K. 73 he differentiates declamatory and gentler sections/materials nicely. In K. 137 and K. 255 he deploys well-executed terrace dynamics, which are so crucial to rendering Scarlatti's sonatas on a modern piano. K. 117 and the Bach-like K. 85 especially showcase an admirably sharp articulation. But perhaps both K. 223 (with its quirks and sudden moments of lyricism) and K. 236 (one of the more technically difficult sonatas) demonstrate Ivanov's gifts most of all. This disc is worth its (inexpensive!) price on the strength of these latter two performances alone. 

There is no bad place to start with Scarlatti's sonatas. The lesser-known ones often delight as much as the often-played. Whether you're a noob or a veteran of this repertoire, Naxos's 29th volume is a winner that repays investment. 

Verdict: Highly Recommended