Greg Keane

Greg Keane

Greg Keane has been a Limelight contributor since 2008. He is a copywriter and has also lectured in music appreciation in the adult education sector. He has a prodigious collection of LPs and was previously a producer (aka the Dark Lord of Vinyl) of ABC Classic FM.


Articles by Greg Keane

12 January, 2011
CD and Other Review

Review: SCHUMANN Davidsbündlertänze; Kinderszenen; Sonata in G minor (piano: Angela Hewitt)

Angela Hewitt has made a seamless and very successful transition from Bach to Schumann with her usual poise, precision, imagination and humanity. The Davidsbündlertänze are, even by Schumann’s standards, a poetic masterpiece. Hewitt is across every nuance, capturing the strangely off-centre melody of the first dance, the even stranger syncopation of the tarantella No 6 and the jolly polka of No 12 to perfection. In the penultimate number, Wie aus der Ferne (“As from afar”) the melody starts without a break from the previous section and then develops into a melancholy ländler. In Kinderszenen (“Scenes from Childhood”), sample the final section Der Dichter spricht (“The poet speaks”), savour the uniquely German quality of Innigkeit or “inner depths” Hewitt brings to this enchanting music. Time really does stand still here. The Second Sonata is more problematic. Although generally regarded as his best keyboard sonata, the form didn’t suit Schumann’s essentially dreamy nature and instinctively discursive expression. What some may see as excessive dramatic urgency I felt sounded more like relentless headlong impetuosity, although this is no reflection on Hewitt’s playing. The lovely song-like slow movement radiates a rapt tenderness. A lovely CD, beautifully recorded.

12 January, 2011
CD and Other Review

Review: HALVORSEN Orchestral Works Volume 2 (violin: Marianne Thorsen, Bergen Phil/Järvi)

Johan Halvorsen was always an essential mention on any “one hit wonders” list of classical composers, known exclusively for his Entry of the Boyars. I missed Volume 1 of this series but I’m just as enthusiastic about Volume 2 as everyone seemed to be about its predecessor. Grieg himself loved these scores. Much of the music (Three Norwegian Dances, Air Norvégian and Chant de Veslemöy) features violin solos, delightfully played here by Marianne Thorsen. The second longest piece is the Suite ancienne, formed from entr’acts for the incidental music for Holberg’s (as in Grieg’s Holberg suite) play The Lying-in Room. It’s a skilful pastiche of 18th-century dance forms. My assessment of Halvorsen as a Nordic Eric Coates or Leroy Anderson was completely confounded when I heard the Second Symphony: it reinforced my amazement at how many seriously first-rate symphonies were composed by seriously obscure composers. This one is a little gem, with a recurring “fate” motive in all four movements (à la Tchaikovsky), a delicious oboe melody in the slow movement, reminiscent of the one in the slow movement of Bizet’s Symphony and a lovely intermezzo. All in under 28 minutes. An absolute winner!

11 January, 2011
CD and Other Review

Review: BEETHOVEN Violin Sonatas Nos 2, 5,10 (violin: Alina Ibragimova, piano: Cédric Tiberghien)

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…

11 January, 2011
CD and Other Review

Review: LOCATELLI • YSAYE • CHAUSSON • SHOSTAKOVICH • RACHMANINOV Tribute to David Oistrakh (violin: Lydia Mordkovich)

This Bach-meets-Paganini tour de force begins with a prelude marked Obsession, presumably about the shadow Bach had cast over this music, but the finale Les Furies falls back on the famous Dies irae theme. In the Chausson Poème, Mordkovich is smoulderingly passionate. The jewel in the crown is the Shostakovich Sonata, Op 134 for Violin and Piano. The composer had written his Second Violin Concerto as a 60th birthday present for Oistrakh but got the years wrong and this sonata was composed for his real 60th birthday. It distills the ambience of the twilight world where ambiguity flourishes amid a thicket of coded messages, no doubt understood by Oistrakh but missed by the musical commissars. The first movement flirts, ironically, with the twelve-tone technique (strictly forbidden by the regime) in the first movement. The central allegretto consciously eschews contemplation for a manic moto perpetuo but the third movement presents a complex passacaglia (theme and variations) of increasing intensity and complexity. Again, a reference to Bach’s solo violin style emerges, this time fused with a sort of Rachmaninov-like effusiveness, only to subside ultimately into a withdrawn coda. Powerful stuff! David Oistrakh would have been proud.

11 January, 2011
CD and Other Review

Review: Goetz, Wieniawski: Piano Concertos (Hamish Milne)

Hermann Goetz spent most of his life under the shadow of TB, which claimed him just before he turned 36. Judging by his letters, Goetz was as polite and charming as this concerto. Thankfully, the orchestration, so often thick and unoriginal, is refreshingly transparent and the melodies fall gratefully on the ear. If I had to guess the composer, I’d say Max Bruch, although there are inevitable echoes of Schumann and Chopin. The first movement ambles along genially and the second is delightful in a sentimental way. Things liven up slightly in the finale but, come on guys, at 41 minutes this work is only seven minutes shorter than your average Brahms Second Piano Concerto, and look at how much he managed to pack into that! The other work, by Józef Wieniawski, brother of the more famous violin virtuoso and composer Henryk, was actually composed almost a decade earlier than Goetz’s, but seems more modern. I can’t agree with the sleeve note writer that the character of this work represents Sturm und Drang, implying a fusion of tension and drama, and a relentless barrage of bravura playing. I found it only slightly more energetic than its companion. Both works are…

3 January, 2011
CD and Other Review

Review: JOSEF SUK Ripening, Symphony No 1 (BBC Symphony / Belohlavek)

Zráni (Ripening) is one of a number of deeply felt compositions – inspired by the rapid deaths of Suk’s wife and of Dvorák (Suk’s father-in-law) – that could loosely be described as being in the “triumph of the human spirit over tragedy” genre. This kaleidoscopic score demands virtuoso playing and it certainly receives it here. The BBC Symphony seems to have assimilated a genuinely Czech sound into their playing, even though some of the more histrionic sections of this score are heavily reminiscent of Richard Strauss. Its quiet opening is beautiful. Having said that, I think Zráni, at 38 minutes, is just too long, especially with such a rambling structure and virtually no program. With such an eventful score, the inclusion of a brief chorus towards the end seems strangely superfluous! The early E major symphony is another matter altogether. It radiates the same fresh alfresco sonorities as Dvorák’s best symphonic works. The lyrical first movement and the exuberant yet slightly demonic scherzo both contain some lovely themes, and the slow movement has a noble quality. The finale is a slight problem, however. Initially, it trips along with a wonderfully catchy “traveling” tune which would have done Suk’s father- in-law…

3 January, 2011
CD and Other Review

Review: MAHLER Des Knaben Wunderhorn (mezzo: Magdalena Kožená, baritone: Christian Gerhaher; The Cleveland Orchestra/Boulez)

First, I should point out that the set does not include Urlicht (Primeval Light) and there are no duets, but, apart from that, I needn’t have worried: these are finely performed, idiomatic accounts. Certainly, Boulez doesn’t see quite as much humour in the piece as, say, Tennstedt (EMI) and is, predictably, more at home in the darker numbers. But his soloists are both excellent. I’ve never been a fan of Kožená but here she’s charming, without being arch, and displays amazing breath control in the seemingly interminable “yodeling” effects in Wer hat dies Liedlein erdacht?, which Boulez takes at a dangerously slow tempo. Gerhaher is superb throughout, his lighter baritone exuding plenty of swagger and braggadocio in the martial numbers without the hectoring quality which occasionally obtruded into Fischer-Dieskau’s versions. The final song segues perfectly into the Adagio of the unfinished Tenth Symphony (an interview in the booklet reveals Boulez has no truck with the various “realisations” of the work) and here both conductor and orchestra are at their finest. This version represents both an apocalyptic vision and the anguished beauty, not only of Mahler’s oeuvre, but of all Romantic music in its exquisite death throes. The sound is so…

3 January, 2011
CD and Other Review

Review: BEETHOVEN Violin Sonatas Vol. 1 (Alina Ibragimova [v], Cédric Tiberghien [p])

Volume 1 is a complete cycle of the Beethoven sonatas, which do not traverse the same range of styles or psychological landscapes as the piano sonatas, string quartets, or symphonies. Still, Ibragimova and Tiberghien create their own universe here, such is their joint command of technique, insight and the sheer stylish charm of their playing. They deliver so many felicitous moments it’s hard to know where to start. I could begin with the wonderful way they capture the contrast in the third variation of the central movement of the Op 12. The first two variations are very much in Mozartian vein but suddenly, there is an abrupt, minor key departure, foreshadowing, even at the outset of his career, Beethoven’s capacity to shock. Similarly, in the adagio of the Op 30, No 2, Tiberghien interrupts the ecstatic musing with sudden, vehement flourishes and does it to perfection. I love the entire ambience of the Op 30, No 3, arguably the most captivating of the lot and its rag-tag allegro vivace finale (which, for unaccountable reasons always reminds me of Aaron Copland’s Hoe down). I’ll be surprised if I’m as taken with any other performances for a long time.

3 January, 2011
CD and Other Review

Review: MAHLER Symphony No 8 (Sydney Symphony / Ashkenazy)

The opening movement is an assault on the senses, especially at its climax, and makes me wonder whether it’s almost impossible to “interpret” it in the normal sense of the word. That said, Ashkenazy and his forces handle the climaxes and double fugue of the first section with a judicious blend of heaven storming, rhetorical grandeur and clarity of orchestral and choral textures (no mean feat!). Music of this heft really needs majestic phrasing and it certainly receives it here. The quiet, almost sinister, opening to the second part (Mahler’s rather, for once, understated depiction of Hell) is well paced and phrased, and the music achieves a transcendental ecstatic quality, reminiscent of the incandescence of the final act of Wagner’s Parsifal; it’s also beautifully played, as is the entire work, by the Sydney forces. The massed choirs and soloists are all fine, especially Marina Shaguch in her stratospheric tessitura as Gretchen the Penitent at the end. My favourite readings of the Eighth are by the late and genuinely lamented Klaus Tennstedt (EMI) and the equally lamented Giuseppe Sinopoli (DG), but this is a fine effort.

3 January, 2011
CD and Other Review

Review: KORNGOLD The String Quartets (Doric String Quartet)

If ever you needed a musical snapshot of Vienna between the wars, this is it. (Even though the Third Quartet was composed after WWII). The benign shadow of the elderly Brahms occasionally hovers; likewise, the less benign shade of Schoenberg ­ but – don’t worry, the music occasionally strains at tonality but never becomes atonal; and, most of all, there’s the hallmark warm, luscious, late Romantic lyricism of Korngold, Mahler’s true heir. The way he creates a sudden dissonance, a chromatic shadow and ensuing chill is very Viennese, as if reminding us not to just admire the flowers but to remember the dark sinister roots beneath. It’s the equivalent of the moment in Korngold’s film scores when Bette Davis accidentally discovers the love letters in a secret drawer – a sort of musical Freudian slip. The First Quartet is the most complex, yet beguiling, and the lyrical second subjects and main ideas radiate an almost operatic sensuality and at other times a hymn-like beauty. The Doric Quartet dispatch with insouciance what must be nightmarishly difficult filigree work in the perky intermezzo, while the finale uses Korngold’s musical motto Motiv des fröhlichen Herzens (Motif of the cheerful heart) which he liked…

3 January, 2011
CD and Other Review

Review: Sibelius: Symphonies (New Zealand SO/Inkinen)

I was amazed to read one review of this performance of Sibelius’s First Symphony which confidently asserted that Pietari Inkinen was to be congratulated on his achievement in effacing virtually all traces of Tchaikovsky from the music, as if that were a major criterion in assessing it! Inkinen is no young man in a hurry in Sibelius: his account of the First Symphony, at 40 mins, is one of the longest in the catalogue. His certainly doesn’t stint on the Romantic rhetoric either, pace my fellow reviewer. His reading is leisurely and well upholstered – poles apart from, say, Osmo Vänska’s trim, taut and terrific approach. These recordings are quite closely miked, meaning, inter alia, we hear plenty of harp throughout, especially in my favourite passage, the delicate section of the slow movement where sonic magic is made by the harp, woodwinds and triangle. Alas, the string sound is occasionally thin but, in general, the playing is distinguished and the timpani is well captured in the scherzo. In the unjustly neglected Third – just as elusive in its own way as the Sixth – Inkinen inclines toward steady tempos and I particularly like the way he manages the often awkward…