Records recently heard

A good way into thje choral works of Bach is the Weihnachtsoratorium (Christmas Oratorio). It's hard to find a more joyous bit of Christmas music - and it lasts the whole year round. There are many excellent versions, but my favourites are the Gardiners. I loved the Gardiner CD above all others, but it has been supplanted by Gardiner's completely knockout DVD performance at the Herderkirche, Weimar, which kicked off the cantata pilgrimage. I know other folk are bored by the visuals, but I find them fascinating, to watch it all happen before your eyes. And with Gardiner you get the sense of someone enjoying himself immensely, of pouring himself into the work - no routine music-making here. The soloists are excellent and the singing machine called the Monteverdi Choir on top form. In addition, there are a couple of documentaries on the cantatas and the Christmas Oratorio itself.

I was lucky to get it at half-price at a Christmas sale. If you have the opportunity to get it cheaply, grab it with both hands, both feet and teeth.

 

Never been that wild on Reich, Richard, at least, not about what I've heard so far (but then, the same was true of Glass until last weekend...). I've heard "Different trains" and the pieces for prepared piano, and while they didn't repel me, they didn't exactly fill me with enthusiasm either. However, perhaps it's time for another listen...

I confess to never having heard of Terry Riley :shame:

 

I can wholeheartedly second your words about Roy Goodman's singing in Allegri's Miserere. It is almost too beautiful to be true. But fortunately it is true.

 

Händels eight great harpsichord suites

The harpsichord music of Händel has often been regarded as some sort of aside works from his hand, and in any case inferior to parallel works by Bach. Even the recordings by Anton Heiller, Colin Tilney and Scott Ross have hardly convinced anyone, that this is anything else than routine workman compositions (harmonious blacksmith!!). The problem is, that the score has been interpreted too litterally. But now the German harpsichordist Lutger Remy has made a recording (CPO 999 940-2) using all the knowledge of the HIP movement and a marvellous personal imagination and craftmanship to create a really interesting and valuable version of these suites. He uses much improvisation and filling out harmonies, but always in perfect taste, and he recreates successfully some of the improvisatory character essential for this music. Suddenly you are fully aware, that this is indeed great music.

 

Dear Pe-zulu,

Yes, Handel's harpsichord music has been very underrated; not by me, I enjoy them very much. I have not listened to Ludger Remy's version although I have heard that it is a very individual and personal interpretation. I ordered Anthony Newman's set and when I've listened to it, will post further. He is not one of my preferred harpsichordists, but who knows? He plays a three-manual harpsichord by Keith Hill and the fact that all eight grand suites are on one disc points to robust, fast tempi and perhaps not a strict observance of repeats. After I hear it, I will comment further.

Of the sets, that I've listened to, which include Ottavio Dantone, Sophie Yates, Alan Cuckston and Paul Nicholson, the best IMHO is Blandine Verlet's Eight Grand Suites. Played and recorded magnificently, simply superb. I hope Newman at least gives her a run for her money.

BTW, have you heard of any Buxtehude records by the organist Graham Barber? Following both your and RdS's suggestion, I've been listening to Harald Vogel's Buxtehude, which is brilliant. However, Barber has also recorded a CD by Buxtehude and I'm thinking of getting it. Any comments?

Regards.

 

Händel et.c.

Dear sn66

I just thought of you a few days ago, when listening to Cates French suites, which I received from JPC at last after some waiting. First impression very positive.

As to Händels Eight great suites from the First collection, which always have had my greatest interest, I know many recordings, even if I do not own them all.

Anton Heiller (Amadeo LP 1950es) disappointingly uninventive. He almost kills the music.

Christopher Wood (Saga LP ca 1958). Not the most brilliant harpsichordist I have heard, but he delivers nevertheless one of the most inventive and engaged interpretations on disc, as he completes the score with interesting embellishments and rhytmical modifications all sounding very natural. The instrument probably a preauthentical Goff, and in between he makes some unnecessary changes of registration. But his style almost anticipates the HIP movement.

Isolde Ahlgrimm (Berlin Classics CD recorded 1970es) rather pedantic pre-autentical playing. Played in old, grand style and may impress for that reason.

Kenneth Gilbert (French Harmonia Mundi CD ca 1970). As we could expect, elegant and impeccable, beautifully singing, but more French than Händelian.

Colin Tilney (Archive CD 1970es) scolary, litteral, and very academical and dry.

Scott Ross (Erato CD 1980es) competent, fair, more rhytmically interesting than Tilney, but even too
uninventive.

Alan Cuckston (Naxos CD 1990es) a great mistake. He neither masters the music technically nor musically. To be completely avoided.

Paul Nicholson (Hyperion CD 1990es) very competent, can't be faulted. But like most of the others, he doesn't show us much of the greatness of this music.

Ottavio Dantone (Arts CD 2000es) very brilliant, a feast in sound, even if I doubt, that a late French baroque harpsichord is the right medium for Händel. But he is at least engaging and he explores for good some of the possibilities of the music.

Lutger Remy see above.

My preferred versions:
1. Remy
2. Dantone
3. Wood

Regarding your words I shall acquire the Verlet set. I suppose, you think of her newest Astrée set, and not her old Telefunken set, which I haven't heard, but which got thumbs down from the critics.

I don't know Graham Barbers Buxtehude recordings, but I own two ASV CDs with music by Böhm and Krebs, which he made about twenty years ago. Haven't listened to them for some years. Remember them as scolary, a little introspective, but making the difficult Krebs interesting and listenable. Difficult because he is disposed to sound as bad Bach.

I haven't written in this forum much during the last months, but since we indeed share musical preferences, I will try to write more often.

Kind regards,
pe-zulu

 

Sn66, as to Newman's Händel suites RdS told me, that they are played on a period copy harpsichord with 16F in the manuals, resulting in a very special listening experience. The musicologists think to day, that instruments of that sort indeed were available in the baroque age, and why shouldn't they be used to day? It may take a long time until Gustav Leonhardt and pupils are going to accept this, and I intended to discuss this topic more in detail with RdS, but he hasn't shown up in the forum for the last three months.
What about Yates' recording. She has got a fine reputation in Great Britain, do you think, she has something individual to offer in these suites?

 

Dear pe-zulu,

Firstly, let me say that it is great to hear from you again. Hope you are in good health and good spirits. I wish I could be more helpful in regard to Handel's harpsichord suites but I fear that your knowledge and understanding, as evidenced by your wonderful post, far exceeds mine. However, I will try my best.

Yes, I was referring to Verlet's Astree Auvidis set (I did not know that she had recorded it earlier on Telefunken). The quality of the recording is exceptional (some may say a tad bit close) and she uses, I believe, the wonderful Colmar Ruckers she used in her superb Froberger recital from 1989 (in general, I think she uses this harpsichord for almost all her later recordings). I admire her playing tremendously, and as with her Froberger, she seems to understand the composer fluently and intimately. However, I have not heard Remy and could not say if her interpretation offers more than his. It is also difficult to get Verlet's recording.

I enjoyed Dantone tremendously; his is the more exuberant and virtuoso reading, and he makes some interesting choices with the music. Cuckston, I totally agree with you, is almost unlistenable, which is a bit of a shame as he is recorded with fidelity. As for Yates, she blows hot and cold, at times magnificent (some of her gigues are fantastic), at times pedantic and predictable. Overall, however, her set is worth getting acquainted with. She also receives a very good recording.

Your comments of Barber are greatly appreciated. They seem very positive and I look forward to getting his Buxtehude. Hopefully, he is not too scholarly and more "stylus phantasticus" in spirit.

When I have the time, I will be posting in the French harpsichord music thread since I have also been listening to a lot of Francois Couperin.

I too have not written much in this forum recently although I have been following it with some interest. Following this post, I'm sure there will be quite a few complaints by members about the overdose of baroque keyboard music. My apologies in advance. I too have wondered about RdS's absence (there is a very interesting post by Michael in the WTC thread) and it seems with RdS and Bat missing, there very few members who enjoy baroque harpsichord music like we do. Nevertheless, since this a thread for records recently heard, I believe our participation and discussions to be valid.

I look forward to your posts, pe-zulu; they are always interesting and edifying. I will also try to post more often.

Regards.

 

The divine Ms. M.

No, not that one, this one:

http://www.deutschegrammophon.com/special/?ID=mutter-mozart

I picked up a copy of the violin concertos today (2CDs). I have Anne-Sophie Mutter playing them on vinyl - with Herbie von K., when she was about 13! Those old versions showed an astonishing maturity for someone so young.

I haven't had the time to compare the two recordings, but it suffices to say that Frau Mutter plays a mean fiddle. The works themselves are, well, Mozart, full of grace and elegance, and Mutter brings these qualities out beautifully. She was once asked what she wanted to do next year. "Same as this year," she said, "only better." I think she's getting there. Very enjoyable discs.

 

Yesterday I listened to an SACD I could buy rather cheap: Stravinsky - Petrushka. Director is Paavo Järvi (Neeme Järvi's son, I guess).

 

childrens corner

The first disc I've bought specifically with the little one in mind:



and it's really rather jolly. Having Judi Dench pop up with bits of text works better than I had thought it would and the whole thing bears repeated listening. So - other suggestions? I don't see any need to 'dumb down' (his favourite Prom was Symphonie Fantastique) but, other than Peter and the Wolf what else is decent music with some spoken word as well?

 

Bob James's "space" Bach 2-& 3-keyboard synthorch concerto album with the Pekinel sisters. It is very good but difficult to find.

 

Today's highlights

James MacMillan - Triduium I-III (The Worlds Ransoming, Cello Concerto & Symphony "Vigil" )



Challenging but well rewarding if you stick with it.

Then later on in the evening Chopin - Nocturnes played by Livia Rev. Beautiful, wistfull and oh so romantic. I hated Chopin until I heard this recording, now I'm hooked.

 

Chopin / Livia Rev

Some months ago another poster (Saab or Tom Alves I think) in this forum wrote almost the same about this recording. In contrast to you, I always did like Chopin, but during the last years I think, I have got enough of him. I wonder if this CD might make me change my mind.

 

Bob James

Is it really necessary to modernize Bach in the way I suppose he (Bob James) does??

 

Not really but one of the wonders of ole' JS is that his music is robust enough and flexible enough to do almost anything to it and still have something worth listening to. Notables are of course Loussier, Procul Harem & Stokowski but I did hear an excrutiating pop song worked around "Sheep Shall Safely Graze" which was still listenable to when the "soul" artist stopped screaming.

Good to know I'm in good company

 

Bob James's Bach record is (was, 1989) about exploring new ways of interpretation and alternative sound worlds. It has nothing to do with modernization. Most of the piano parts were played on Steinways.

 

Bach on Steinway, isn't that modernization?

 

Because we don't really know what is authentic, Bach on anything could be modernization - beware!

 

On the subject of Bob James, I'm very partial to this:

James plays the music of Jean-Philippe Rameau on synthesisers. You have, naturally, the whole variety of sounds that synthesisers can make, and there is the occasional gimmickry, but in general it seems to me that James does no violence to the spirit of the music. I always enjoy dragging it out for a listen.