Mozart reminds us that nothing in life should be taken too seriously.
String quartet strikes chords with Romero, Pujol, Grigoryan and co. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Kaufmann, four Strauss operas, 12 unknown operatic gems and Philip Glass’s minimalist answer to the Ring Cycle. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
Eclectic line-up gives 2014 Festival a dazzling opening night.
The Australian Haydn Ensemble’s program of lesser-known, and even slightly odd works are no laughing matter.
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Contemporary music’s equivalent of a Heston Blumenthal tasting plate.
American indie rock band guitarist Bryce Dessner’s debut classical recording comes with excellent credentials. Dessner is a Yale graduate who studied classical guitar, flute and composition and who has worked with some of the best in the business including Reich, Glass and David Lang. While his style leans towards a minimalist aesthetic he’s open to and range of influences, from early music through to rock and pop. Aheym – “homeward” in Yiddish – immediately grabs the ear with its sharp, unanimous rhythms before opening out into hypnotic ostinati and a multitude of dazzling timbres and colours. Little Blue Something is more restrained, intimate, even melancholy. Tenebre takes its inspiration from the Holy Week office of tenebrae, for which Renaissance composers in particular wrote such dazzling music. Dessner achieves extraordinary sonic effects here, with ghostly passages recalling the sound of a glass harmonica. This is aural chiaroscuro at its most compelling, made even more so by a multi-tracked Kronos Quartet (times three) and vocalist Sufjan Stevens (times eight). Dessner himself appears as guitarist on Tour Eiffel, which was commissioned by the Brooklyn Youth Chorus. This is exciting, visceral and at times deeply moving music, with a thorough awareness of the interplay…
Dubbed the “barefoot fiddler”, Patricia Kopatchinskaja is a young violinist from Moldova. This intimate disc captures her raw energy and stylistic hunger, with a mixture of folksongs, 20th century and contemporary classical works for violin with accompanying piano, double bass and cimbalom. It’s hard not to get swept up in her sheer love of music, her sense of freedom and spontaneity. You hear this especially in the folksongs. Likewise, the fully-notated classical works sound freshly invented. And Kopatchinskaja’s liner notes are as fun and as frank as her playing. Dubbed “the music of my life”, the disc is a family affair. Joining Kopatchinskaja at various points is either or both of her parents, Emilia and Viktor, playing violin/viola and cimbalom respectively. The mix of styles can at times seem a little bizarre, even if the pieces share Eastern European roots. The standouts for me are the folksongs, although they’re complemented well by the more classical outings. Ravel’s Tzigane might be an obvious inclusion and Enescu’s folk-inspired pieces are perhaps a little dry, however Ligeti’s unadorned Duo and younger composer Jorge Sanchez-Chiong’s vignette Crin are gems. Overall, a disc full of vivid colour and confident virtuosity.
Again, their readings are marked by a seemingly infinite variety of inflections, astutely calculated nuances and exquisitely judged tempi. Listen to the way they play the deliberately out-of-sync notes in the Spring Sonata’s tiny scherzo (all 81 seconds of it, displaying Beethoven’s rather tentative approach to the idea of the four-movement sonata!), or the delightfully delicate way they negotiate the finale to the Op 12 No 2, when the piano reaches the end one bar later than the violinist. Hilary Finch, in her excellent sleeve notes, writes of the melody in the first movement of the Spring Sonata as “irresistibly vernal, creative sap rising freely…” which makes the drama of the second half of the movement all the more effectively contrasted. For all these delights, my greatest interest lay in the Op 96, Beethoven’s last Violin Sonata. Unlike the symphonies, piano sonatas and string quartets, Beethoven’s violin sonatas did not penetrate his “late” period, so this work is as close as we get. Nonetheless, it’s still enigmatic: its opening trill always seems to come out of silence as the continuation of music which has already begun. The overall mood of the work is lyrical, with a delightfully spiky scherzo, realized…
The great names of French music leap out, and we are also tantalised by the inclusion of the famous name of Boulanger. In this case, Lili, sister of famous teacher and musicologist Nadia. Lili’s contribution is a limpid three-minute Nocturne with a passionate central section. Less well known is the Swiss composer, Richard Dubugnon, who Jansen tells us is heir to the French sound.And it is true; Dubugnon’s pieces are safely at home with his famous colleagues Debussy, Ravel and Fauré – so much so that it is not always easy to tell where some of their music stops and his begins. He has three works on the CD: La Minute Exquise, Hynos and Retour à Montfort-l’Amaury. This last was written for the CD and is the most vigorous of the three. Messiaen’s splendid Thème et Variations is from the same oeuvre as Quatuor pour la fin du temps. The composer ranges widely from intimate delicacy to an energetic, passionate vigour that forms the core of the work. Fauré’s Après un rêve, which follows, sounds as if it could be an extra variation. One of the larger works on the CD is Debussy’s Sonata for Violin and Piano, a fine…