Recording Review #46: Desultory Dvořák

Dvořák: Symphonies Nos. 7-9; Nature, Life and Love. Semyon Bychkov, conductor; Czech Philharmonic. Pentatone PTC5187216. 

I put off listening to this for a while because I just couldn't bear the thought of MORE late Dvořák symphony performances that are blah. The available reviews/impressions I was sampling weren't reassuring. But while I can't see that this recording adds anything world-altering to the catalogue, I don't think it's as bad as some would have us believe. That doesn't mean it's particularly good. While I'd only call only two of the symphony movements' performances "poor" (I'm referring to the opening movement of 7 and the scherzo of 8, which are especially leaden), there is a general lack of sonic brightness. The strings in particular come off pasty. This isn't helped by a sound quality that makes it seem like there was a thin window erected between the recording equipment and the playing musicians. 

I think the basic problem here is that Bychkov doesn't have a strong vision for these works. He's just conducting and recording them with his Czech Philharmonic Orchestra because that's what he's expected to do. In a way this is better than someone like Fabio Luisi taking the reins of the Danish National Symphony Orchestra and conducting the Nielsen symphonies as if they're by Mahler or Bruckner. Nothing comparably irritating happens here. But with so many excellent options available I just can't imagine that most people would need these Nos. 7-9. They're serviceable overall but nothing more. I wish Bychkov and Co. had recorded Symphonies Nos. 1-6 instead. At least there the competition isn't so fierce, and we'd have another option for works that deserve more exposure. 

Speaking of which, the best reason to buy this recording are the three Nature, Life and Love overtures included. These sparkle in a way the symphonies don't. But that's just under 40 minutes of music next to nearly two hours of second-rate symphonic performances. Is all of this worth the time and money? I guess it depends on how much of a Dvořák collector you are. 

Verdict: Indifferent

Recording Review #45: Awesome Awadis

Études Mélodiques. Marie Awadis, pianist and composer. Deutsche Grammophon 486-599-2. 

If I had sat down to write this review after just one hearing of these 12 études, it would look different than the one you're now reading. I would have said something modest about how very nice and well conceived they are, without going much farther. Lucky for you, and still luckier for me, I allowed myself the benefit of a few more hearings. By the end of those this music, and one piece especially, had more fully seeped into my consciousness. I was firmly won over. And so I'm delighted that my title here is "Awesome Awadis" instead of the "Amiable Awadis" header I would've supplied otherwise. 

Of course this all caused me to reflect anew: not only should we actively try out to new repertoire, but we should also give it repeat listens whenever possible. Yeah, it's easy to say that one hearing is enough if the product immediately repulses us. But stuff we think we're lukewarm to at first can sometimes grip us on the second or even third pass. So it proved for me here. 

These twelve Études Mélodiques separately range from about 3 to 6 minutes long. With one possible exception (No. 3, dubbed "Ballade"), each has a short title describing something extra-musical. Examples include "Breathless" (No. 2), "Empty Rooms" (No. 4), "Unspoken Words" (No. 9), and the piece that bowled me over, "La Forêt Oubliée" (No. 6). Stylistically they are obviously influenced by famous examples in the genre going back to Chopin. But Awadis adds her own personal touch. Most of the études are built from chords and progressions that are imaginative without being terribly dissonant. These generate much of the melodic material referenced in the set's title. The structures are free and quasi-minimalistic without being tediously so. None of the pieces wears out its welcome. 

I enjoyed every selection, but "La Forêt Oubliée" is special. I have no idea if it takes its name from some poem, painting, film (I note there's an identically titled Japanese motion picture from 2005), or other specific object. But simply letting the music paint a "Forgotten Forest" in my mind is sufficiently breathtaking. The vivid harmonies and turns of phrase struck emotional resonances I didn't know I had. It is a magical, immersive experience. I'm calling this particular étude one of my prized musical discoveries of 2024, joining Akiro Yashiro's 18th prelude, Daugherty's Harp of Ages, and Mozetich's At the Temple as parts of that group (see my Recording Reviews #18, #34, and #43).  

If up-and-coming composers want a model for how to write music that is at once fulfilling and interesting, they should consider this set. I know I will be singing its praises to anyone who will listen, and advocating for its well-deserved place in the concert hall. 

Verdict: Highly Recommended

Recording Review #44: Elfman Elsewhere

Danny Elfman: Wunderkammer; Percussion Concerto; Are You Lost? Colin Currie, percussionist; Joann Falletta, conductor; Royal Liverpool Philharmonic Orchestra. Sony Classical 19658889842. 

To get it out of the way, Danny Elfman is one of my favorite film/TV scorers. He's great at composing one-off opening tunes and contributing to rich cinematic atmospheres. When I am particularly struck by the music supporting what I'm watching onscreen, chances are fairly good it's an Elfman score. And of course, the distinctiveness of The Simpsons title theme alone would be sufficient to forever enshrine his name in American culture of the most recent fin de siècle. 

But (and you knew there was a "but"), I'm not convinced he's significantly more than this. After listening to the present release and similar fare, I think you have to add his name to a growing list of individuals who never really won matching respect in classical genres outside of their popular theater niches: Arthur Seymour Sullivan, Meredith Willson, Miklós Rózsa, Leonard Bernstein, John Williams, etc. Which is perfectly fine, but let's be honest. 

This is not to say I didn't enjoy Elfman's Wunderkammer, Percussion Concerto, or Are You Lost? On the contrary, each is pleasant enough. But when I view them as musical works in their own right, I'm forced to recognize that there's a reason Elfman became famous on another basis. The first problem is that there is no signature tune in any of this music. If you come to it expecting something like that Simpsons main theme you're going to be disappointed. This echoes a curious trend connected with most of the other people I just mentioned: the flavor of their famous stuff doesn't always transfer well to their "serious" classical compositions. 

It is true that Elfman's rich colors and atmosphere building are present in all three compositions here. But the second problem is that this kind of material is far less riveting in an extended classical structure than it is accompanying Edward Scissorhands trimming hedges or Batman sneaking up on some crook in Gotham City. Elfman is forced to introduce ideas in a kind of minimalist fashion, and stick with them for a time before moving on to other ideas and doing the same. None of them invites sustained attention, and the wholes make nice-ish but underwhelming impressions. One could retort that Philip Glass (whom I've praised here) isn't much different. True, but Glass's distinguished melodic gift transfers over from his film to his concert music comparatively smoothly; he can catch and hold one's ear with the smallest bit of magic. Elfman's magic, such as it is, fizzles outside of its natural home. It all just becomes ordinary. 

I'm not a snob about media music. I've defended its legitimacy in concert settings and as a bona fide classical genre. But I can think this and still recognize that handling a memorable theme in an extended composition is another thing entirely. I respect both skills, but in the end they're separate skills. The number of people great at both constitutes a rarefied group. Elfman isn't in it. 

Verdict: Mildly Recommended

Recording Review #43: Prelude Palooza

72 Preludes (by Chopin, Scriabin, and Yashiro). Mao Fujita, pianist. Sony Classical 19802825762. 

With this intriguingly titled release, Japanese pianist Mao Fujita offers performances of three 24-prelude cycles – two well-known Western collections plus an Eastern one that is unfamiliar in the West. Echoing Sony's promotional blurb, they unite the Japan where Fujita grew up with the Europe where he now lives. It's an attractive idea and well executed. Fujita is clearly excited to introduce us to the music of Akio Yashiro, who died at the young age of 46 and left behind a relatively small body of compositions. But there's also much to recommend his Chopin and especially Scriabin, despite my intermittent reservations on points of interpretation. The overarching result is a polished product that positively reflects the artistry of all represented, if unevenly so. 

We'll consider each group in chronological order. Fujita's best assets as a pianist are his subtle gradations and silky tone colors, especially in calmer passages. His weaknesses are a lack of intensity when the going gets stormy, and an occasional tendency to over-pedal. Given the wide gamut of character states in Chopin's much-loved Op. 28 preludes, everything here averages out to a qualified success. Some numbers are simply stunning, with the A Minor (No. 2) and F-Sharp Minor (No. 8) standing out. In the former, the gentle dissonances in the left hand have just the right amount of velvety bite. In the latter different shades of sound entirely offset some missing passion. I have rarely heard a more beautiful middle section in the F-Sharp Major (No. 13). On the other hand, I found the B-Flat Minor (No. 16) lacking in fire, with the E-Flat Major and D Minor (Nos. 19 and 24) exhibiting similar shortcomings. The F Minor (No. 18) is too halting and recitative-like. The G Minor (No. 22), however, bucks the trend and comes off as suitably fearsome. 

Fujita dispatches Scriabin's Op. 11 set with better interpretive aim and consistency. If he still occasionally underplays climaxes (as in No. 1 in C), there is nice passion in some of the others (hear Nos. 14, 18, and 24, for example). But it's in Scriabin's trademark languid moods where Fujita's sound is absolutely sumptuous; you're not going to hear much better Nos. 12-13. Another highlight is No. 21 in B-Flat, which bursts with major-key loveliness. 

I wish I could say the 24 preludes by Akio Yashiro match the creative level of the Chopin and Scriabin sets. But, perhaps unsurprisingly, they do not as a whole. Frankly I find most of them to be a bit on the quotidian side. However there are some important exceptions, the most notable of which is No. 18. This has a faint flavor of Sakura Sakura about it, but also a strong identity of its own. The slow tempo and soto-like figures in the right hand contribute to a vivid atmosphere that entirely pulls the listener in. I can't imagine very many pianists adopting the whole Yashiro cycle into their performing repertoire, but I can absolutely see this one piece attaining widespread prominence as an encore or other standalone offering. That it is by a 15-year-old composer just adds to one's astonishment. While none of Yashiro's other preludes quite reach this level for me, some with slower tempi come close (hear Nos. 14 and 16). 

So, please do listen to this for some good-to-great Chopin, some great Scriabin, and a few Yashiro gems that are worth the entire listening experience all by themselves. 

Verdict: Eagerly Recommended 

Farewell to Classical Candor

Early in 2023 I was asked by Karl Nehring to be a contributor to his classical music review blog, Classical Candor. Having gratefully accepted, I went on to author 15 recording reviews there in the space of about 16 months. I had intended to stay on longer, but I got very busy with my careers as a music history professor and orchestra manager. Unfortunately it was no longer possible to keep providing reviews for three outlets: Classical Candor, my site here, AND the occasional scholarly journal. I had to downsize, and I've made the decision to restrict my reviewing to The Ross Review for the foreseeable future. Academic research remains my top priority; criticism is just something I do for fun on the side. I only have so much time...

But I am a little sad to be leaving Classical Candor. It afforded me a great deal of reviewing practice, and I received wonderful support from Mr. Nehring and his staff. Working there taught me just how much I love engaging in criticism as a constructive outlet, and the many things about classical music I still have to learn. So as I sign off, I would like to thank Karl and the other gentlemen who made room for me on their site: Bill Heck, John Puccio, and Bryan Geyer. Whatever success comes of my reviewing, I owe a great deal to these individuals. I also encourage my readers to visit Classical Candor and browse their terrific content. The place is a treasure trove of insight. 

If you are interested in accessing my work there, here it is: 

1. Arnold: Commonwealth Christmas Overture Op. 64; Concerto No. 1 for Clarinet and Strings Op. 20; Divertimento No. 2 for Orchestra Op. 24/Op. 75; Larch Trees, Tone Poem for Orchestra Op. 3; Philharmonic Concerto for Orchestra Op. 120; The Padstow Lifeboat Op. 94A (March for Brass Band Arranged 2001 for Orchestra by Philip Lane). Michael Collins, clarinet; BBC Philharmonic; Yuri Torchinsky and Zoë Beyers, leaders; Rumon Gamba, conductor. Chandos CHAN 20152. 15 April 2023. 

2. Weinberg: String Quartet No. 4 in E-Flat Major, Op. 20; String Quartet No. 16 in A-Flat Minor, Op. 130. Arcadia Quartet. Chandos CHAN 20180. 3 May 2023. 

3. Nielsen: The Symphonies. Danish National Symphony Orchestra; Fabio Luisi, conductor. Deutsche Grammophon 486 3471 (3 CDs). 31 May 2023. 

4. Rautavaara: Piano Concerto No. 3 ‘Gift of Dreams’; Martinů: Piano Concerto No. 3. Olli Mustonen, piano; Lahti Symphony Orchestra; Dalia Stasevska, conductor. BIS-2532. 13 August 2023. 

5. Sibelius: Karelia Overture, Op. 10; Klami: Nummisuutarit; Melartin: Overture to ‘Prinsessa Ruusunen’, Op. 22; Madetoja: Comedy Overture, Op. 53; Järnefelt: Ouverture lyrique; Mielck: Dramatische Ouvertüre, Op. 6; Palmgren: Overture from ‘Tuhkimo-Sarja’, Op. 21; Kajanus: Overtura sinfonica; Kaski: Prélude, Op. 7 No. 1; Järnefelt: Praeludium. Oulu Sinfonia; Rumon Gamba, conductor. Chandos CHSA 5336. 8 October 2023. 

6. Rachmaninoff: The Piano Concertos and Paganini Rhapsody. Yuja Wang, piano; Los Angeles Philharmonic; Gustavo Dudamel, conductor. Deutsche Grammophon 486 4759 (2 CDs). 25 October 2023. 

7. Robert Müller-Hartmann: String Quartet No. 2; Three Intermezzi and Scherzo; Two Pieces for Cello and Piano; Violin Sonata. ARC Ensemble. Chandos CHAN 20294. 20 December 2023. 

8. Helvi Leiviska: Sinfonia brevis, Op. 30; Orchestral Suite No. 2, Op. 11; Symphony No. 2, Op. 27. Dalia Stasevska, conductor; Lahti Symphony Orchestra (Sinfonia Lahti). BIS-2701. 7 February 2024. 

9. Sibelius: Karelia Suite, Op. 11; Rakastava, Op. 14; Lemminkäinen, Op. 22. Susanna Mälkki, conductor; Helsinki Philharmonic Orchestra. BIS-2638. 28 February 2024. 

10. Rachmaninoff: Rhapsody on a Theme of Paganini; Respighi: Toccata for Piano and Orchestra; Casella: Partita for Piano and Orchestra. Joshua Pierce, piano; Anton Nanüt, conductor; RTV Slovenia Symphony Orchestra. MSR 1839. 3 April 2024. 

11. Britten: Sinfonia da Requiem, Op. 20; Spring Symphony, Op. 44; The Young Person’s Guide to the Orchestra, Op. 34. Elizabeth Watts, soprano; Alice Coote, mezzo-soprano; Allan Clayton, tenor; Tiffin Boys’ Choir, Tiffin Children’s Chorus; The Tiffin Girls’ School Choir; London Symphony Orchestra; Sir Simon Rattle, conductor. LSO Live LSO0830. 5 May 2024. 

12. Elgar: Symphony No. 1 in A-Flat; Symphony No. 2 in E-Flat. Sir Mark Elder, conductor; Hallé. Hallé CD HLD 7564. 19 May 2024. 

13. Sibelius: Symphony No. 2 in D, Op. 43; Symphony No. 5 in E-Flat, Op. 82. Yannick Nézet-Séguin, conductor; Orchestre Métropolitain de Montréal. ATMA Classique ACD 22453. 23 June 2024. 

14. Mendelssohn: Complete Symphonies; A Midsummer Night’s Dream, Op. 61 (excerpts). Paavo Järvi, conductor; Tonhalle-Orchester Zürich. Alpha Classics 1004. 4 discs. 17 July 2024. 

15. Weinberg: String Quartet No. 6 in E Minor, Op. 35; String Quartet No. 13, Op. 118; String Quartet No. 15, Op. 124. Arcadia Quartet. Chandos CHAN 20281. 11 August 2024.

Recording Review #42: Two Trios 2

Mendelssohn: Piano Trios, Opp. 49 and 66. Joshua Bell, violinist; Steven Isserlis, cellist; Jeremy Denk, pianist. Sony Classical 19802832482.

What we have here are three celebrated musicians who have built quite separate performing identities. Even if you somehow don't already know who they are, a telling clue for their chamber effort here is the lack of an ensemble name. Such collaborations can sometimes come off relatively seamlessly, as Isaac Stern, Yo-Yo Ma, and Emanuel Ax (among others) have demonstrated. At other times folks like these betray the occasional nature of their partnership; chamber music (or at least chamber music with each other) isn't their main gig. 

If I place this recording firmly in the second category, I'm not saying it's "bad." It's just very much that kind of product, with advantages that may be disadvantages, or vice versa, depending upon one's perspective. It's a case of three big musical personalities who doubtless approach their task with ample goodwill, but who can't help being three big musical personalities. The result is interpretations that are full of interest and contain many breathtakingly played passages, but which are marked by a feeling of heterogeneity overall. This is easiest to notice in the outer movements of these two trios, where dynamic changes and accents are often steep, and where questions of attack, articulation, and line accentuation can feel mercurially realized over many measures. 

With any Romantic chamber repertoire involving piano, it matters disproportionately who your pianist is and what he/she brings to the table. Let's face it, this person is the glue of the ensemble and will determine the performance's visage like no one else. Jeremy Denk is certainly no slouch when it comes to technique. Moreover, I can't deny that he brings ample spontaneity to his playing, which some listeners will understandably find fresh and attractive. But what I'm missing from him is a sense of polished consistency, not to mention aristocratic refinement and Romantic sweep. For me these qualities mark the best pianism in Mendelssohn's two great trios. And while I don't let Bell and Isserlis entirely off the hook for the group's lapsed homogeneity, they're more on the same page with each other than Denk is with them. 

But it would be unfair not to point out some glorious moments. One is the climactic finish to the Andante of Op. 49. The whole movement is wonderful but this particular passage just sings, buttressed by some uncommonly rich string playing. (I'll admit, there are times in these chamber works when having world-beating soloists can be an advantage.) To my ears, the scherzo of Op. 66 is another highlight. My preference is still for more smoothness, but I can't deny that there is punch and spice to this group's rendition. It's one of the more interesting (in a good way) Op. 66 scherzo performances I've heard. 

I suppose one of the vicissitudes of our endless stream of canon repertoire recordings is the pressure performers feel to be original on well-trodden ground. Sometimes this leads to worthy things; often it just results in strainy messes. The present option isn't my preferred take on Mendelssohn's Piano Trios overall, but its truly special aspects add value to the catalog. As with the trios I reviewed in my previous post, I'd caution newcomers to sample other options before listening to this one. Since those are vast, I'll just list three recordings that remain exemplary among the many I've heard: Trio Wanderer (Harmonia Mundi HMC 901961), Florestan Trio (Hyperion CDA67485), and the Gould Piano Trio (Naxos 8.555063). All of these extol the aforementioned qualities I find lacking here despite other merits. 

Verdict: Recommended

Recording Review #41: Two Trios

 

Smetana: Piano Trio in G Minor, Op. 15; Schubert: Piano Trio No. 2 in E-Flat, D. 929. Trio Bohémo. Supraphon SU43442. 

I have a question: what did Smetana's only piano trio ever do to the Trio Bohémo? I assume it must have been something bad indeed to make them want to beat the stuffing out of it. I'm kidding...partially. Seriously, though, I have never heard this work played so loudly and forcefully as it is here. Is this some creative form of advocacy? Smetana is not quite a one-work composer, but he's close. Maybe the Trio Bohémo thought that to play this barely-memorable chamber work aggressively is to better drive it into the listener's recall, where it might share some space with The Moldau. Hard to say. But whether you remember it or not, it is in the end a mannered performance and scarcely recommendable as such. 

Schubert isn't anywhere near being a one-work composer. He would not be close to being so even if his astounding last year of masterworks had never happened. But even among those the E-Flat Piano Trio is a distinguished composition. The Trio Bohémo subjects it to nothing like the brutalization inflicted upon the Smetana. Funnily enough, though, their take on this masterpiece has an opposite problem: the quiet parts are noticeably underplayed. One particularly encounters this in the second movement (with that beautiful tune which recurs in the finale) and in the inner cello theme of the scherzo. The playing in these places and occasionally elsewhere lacks spark and expression, which are simply must-haves throughout what is one of Schubert's most poignant creations. I wouldn't call the performance bad through and through, but the listener has many better choices available. (The obvious place to start is with the Beaux Arts Trio on Philips 438 700-2.) 

And of course, other critics love this release. It was Presto Music's 'Recording of the Week' very recently. Go figure. It's certainly a different take on these two works, but again: different isn't always preferable. If you're new to them, I implore you to look elsewhere for a better first impression. This is an odd recording. Come back to it only after you've been properly introduced to its repertoire. 

Verdict: Collectors Only