Beethoven Piano Sonatas Op. 54 & 78 • Rachmaninoff Piano Sonata No. 2 Op. 36

Top Classical February 16, 2021

Beethoven Piano Sonatas Op. 54 & 78 • Rachmaninoff Piano Sonata No. 2 Op. 36

February 2021
After a few years of intermittent and erratic career, sadly marked by the death of his  mentor and wife, the also pianist Alicia Kerezade, we can finally celebrate his imposing and powerful return from Sony Classical, thanks to magnificent performances of prominent Beethoven piano Sonatas and the phenomenal Rachmaninov ‘s Sonata op 36 . Pogorelich aimed to unite for his return to the music world by recording works from two of the biggest composers’ virtuosos and piano performers ever. He does so by playing reference works, although some critics believe that perhaps a binomial Sonatas Waldstein or Appassionata by Beethoven confronted Rachmaninov could have been still more attractive.

In any case, Pogorelich offers us a very intimate approach of these works, with a very beautiful phrasing, a rather slow tempi, and a certain harshness in the pulsation which he compensates with a deep emotional charge and an even deeper introspection. 

The result is very fascinating and captivating. Particularly in the beautiful Beethoven Sonata No. 24, exquisitely played, and outstanding and formidable in Rachmaninov, performed in its proper measure, without sentimentality, with a remarkable sensitivity and great virtuosity. 

Beethoven’s Op. 54 leaves us moving moments, such as the fortes of the initial Menuetto, or the passage in the Adagio indication which leads to Tempo primo with greatly performed coda. Another detail is the absolute clarity in the articulation, as it happens in all the Allegretto. In Op. 78, the indications of leggieramente and the subtle crescendi are masterfully performed, immersing the listener an irresistible flow.

The first phrase of Rachmaninov’s Sonata has a unique pianistic color and a perfectly gradual progression towards a continuous sound clarity, which provides an exciting experience to the listener.

This return to the recording studios is very promising and would be highly celebrated by many music lovers. Big presence recording. Highly recommended.

– Clara Horner

Beethoven & Rachmaninoff
Ivo Pogorelich
Ludwig van Beethoven 
Piano Sonata No. 22 in F Major Op. 54
1. Piano Sonata No. 22 in F Major Op. 54: I  In tempo d’un Menuetto
2. Piano Sonata No. 22 in F Major Op. 54: II  Allegretto
3. Piano Sonata No. 24 in F-sharp Major Op. 78: I  Adagio cantabile – Allegro ma non troppo
4. Piano Sonata No. 24 in F-sharp Major Op. 78: II Allegro vivace
Sergei Rachmaninoff
5. Piano Sonata No. 2 in B-Flat Minor Op. 36: I  Allegro agitato
6. Piano Sonata No. 2 in B-Flat minor Op. 36: II Non allegro – Lento – attacca
7.  Piano Sonata No. 2 in B-flat minor Op. 36: III L’istesso tempo – Allegro molto

Silver Age

Top Classical January 31, 2021

Silver Age

“Silver Age” by Daniil Trifonov – An Enthralling Exploration of Russian Masterpieces

January 2021
Daniil Trifonov’s “Silver Age” album offers a remarkable exploration of Russian 20th-century piano masterpieces, elegantly curated with a blend of imagination and artistry. Accompanied by the Mariinsky Orchestra under Valery Gergiev’s baton, Trifonov embarks on a musical journey that unveils the diverse and evocative landscapes of these works.

The program opens with Stravinsky’s gleaming Serenade, a neo-classical gem from 1925 that melds tradition with innovation. Trifonov’s interpretation gracefully navigates the composer’s stylistic complexities, delivering both refinement and vivacity.

Prokofiev’s Eighth Piano Sonata follows, a powerful masterpiece spanning the tumultuous era of the Second World War. Trifonov’s performance exhibits striking intensity, particularly in the whirlwind passages that showcase his virtuosic brilliance. In contrast, the central minuet (Andante sognando) reveals Trifonov’s ability to create a dreamlike ambiance, captivating listeners with his emotive playing.

The quirky Gavotte from Prokofiev’s ballet “Cinderella,” transcribed for piano, adds a delightful twist to the album. Trifonov’s interpretation masterfully explores the piece’s whimsical and evocative qualities, providing a fresh perspective on this lesser-known gem.

Scriabin’s Piano Concerto, though dating back to the end of the 19th century, exudes a silvery and shimmering quality that aligns with the album’s theme. Trifonov’s nuanced performance beautifully brings out the concerto’s lyricism and romantic charm, presenting a compelling contrast to the more modern works.

Trifonov’s collaboration with Gergiev and the Mariinsky Orchestra yields exceptional results. Their partnership shines brightly in Prokofiev’s Second Piano Concerto, offering a gripping and unforgettable account of the work’s dramatic power. Similarly, Scriabin’s early concerto finds a delicate and captivating voice under Trifonov’s fingers, highlighting the piece’s pristine candor in the Theme and Variations.

Throughout the album, Trifonov’s interpretive choices demonstrate his keen musical intelligence and sensitivity. His ability to shape the music’s emotional arc is spellbinding, adding new dimensions to familiar pieces and breathing new life into each note.

“Silver Age” by Daniil Trifonov is an exceptional album that will leave a lasting impression on any classical music enthusiast. Trifonov’s artistry and the collaborative brilliance with Gergiev and the Mariinsky Orchestra elevate this recording to a realm of captivating musical exploration. Whether you are well-acquainted with these works or experiencing them for the first time, “Silver Age” promises an enthralling and enlightening journey through the heart of Russian classical music.

Joyce DiDonato

Top Classical January 23, 2021

Joyce DiDonato

Top Classical, January 2021
Joyce DiDonato (maiden name Flaherty) has claimed her place as one of the most compelling and committed performing artists of her generation. Critics have described her technique as “fearless”. Mezzo-soprano DiDonato began her career with a string of critically acclaimed debuts, including at La Scala and Covent Garden, as well as triumphs on concert and recital stages. She rose from virtual anonymity in 1999 to international stardom by 2002, becoming one of the most sought-after coloratura mezzo-sopranos of the early 21st century.  

In fact, her own story would itself make for a very compelling opera. She grew up in a Midwestern Irish Catholic family. Her late father, Donald Flaherty, was an architect whose own father had disparaged his singing ambitions. But though he encouraged his daughter to make a go of her dreams, she was told by seasoned instructors in Houston, Philadelphia, and Santa Fe that she had little talent and would never make it. Nevertheless, she persisted and eventually proved them all wrong. 

Some of her greatest successes have come in Baroque repertoire, particularly the operas of Handel, such as Alcina, (Hercules), Elmira (Floridante), and Sesto (Giulio Cesare), and in Italian bel canto operas. She is capable of projecting great power, as in Handel’s Alcina, but is also excels in roles of lightness and humor, such as the heroines in Rossini’s comedies. She has also sung many Mozart roles, including Cherubino (The Marriage of Figaro) and Donna Elvira (Don Giovanni), and her repertory includes Berlioz, Bellini, and contemporary composers like Michael Daugherty.

Joyce’s acclaimed discography also includes Grammy-Award-winning Diva Divo, Drama Queens, ReJoyce, and Stella di Napoli (Erato/Warner Classics). Other honours include the Gramophone Artist of the Year and Recital of the Year Awards, three previous German ECHO Klassik Awards for Female Singer of the Year, an induction into the Gramophone Hall of Fame, and Best Female Singer of the Year at the 2016 Spanish Opera Awards Premios Líricos Teatro Campoamor. 

DiDonato is unparalleled as a singing actor. And though much of her great prowess on stage is founded on years of study and practice, she says there’s no teacher quite like life experience. 

“It’s all temporary. It’s fantastic, and it’s a wonderful moment to live, and I give myself full permission to breathe it in and say, “Great.” And then, the next morning, you have to wake up, and life goes on. There’s going to be another Joyce DiDonato coming, and another recording, and another Rosina. Okay, great, fantastic.” 

In many ways DiDonato represents a new wave of American opera singer — and not just because of her toughness. The stereotype of opera divas has long been women who are serious, stout and secretive — who like to be adored only from afar. DiDonato could not be more different. She’s svelte, as cheery in person as she is as Rosina, and has no interest living her life behind a veil of PR, spin and celebrity hauteur.

Berliner Philharmoniker

Top Classical January 22, 2021

Berliner Philharmoniker

Inovative design, great acoustics

Top Classical, January 2021
The Philharmonie lies on the south edge of the city’s Tiergarten and just west of the former Berlin Wall. It was built to replace the old Philharmonie, destroyed by British bombers on 30 January 1944, the eleventh anniversary of Hitler becoming Chancellor.

The hall was designed by Hans Scharoun was completed in 1963. The iconic building is asymmetrical in shape appearing like a golden, draped tent. The concert hall is still highly regarded for its original design and acoustic qualities. It opened on 15 October 1963 with Herbert von Karajan conducting Beethoven’s 9th Symphony. Shortly before the new concert hall opened in 1963, experts used pistol shots to test the acoustics, and that’s how the world-renowned Philharmonie came to have its perfect sound. 

The Philharmonie is comprised of two venues with a connecting lobby, the Grand Hall with 2,440 seats for orchestral concerts and the Chamber Music Hall with 1,180. 

The Berliner Philharmonie was one of the first concert buildings to be designed with a central stage, surrounded by audience seating on all four sides. When looking at a section of the building, the main auditorium is shaped to project sound in all directions. The angular ceiling is draped over the auditorium space which heightens the rhythmic sounds. The Philharmonic’s tent-like appearance has made it a favorite venue for musicians and listeners alike.  

On 20 May 2008 a fire broke out in the hall. One-quarter of the roof had considerable damage, as firefighters were required to cut openings in order to reach the flames beneath the roof. The hall interior sustained water damage but was otherwise “generally unharmed”. 

Every Tuesday at 1 pm, the popular free lunchtime concert series presents a superb program of chamber music lasting around 45 minutes. Here, the top-flight musicians play for free, only asking visitors for a donation to the UNICEF Children’s Fund.  

The Berliner Philharmoniker orchestra traditionally mark the end of their season by leaving their hallowed hall and heading for the open-air venue of the Waldbühne. The concert there has a very special atmosphere, and, by popular demand, always ends with the old Berlin operetta tune Das ist die Berliner Luft (That’s the Berlin air), accompanied by the audience clapping enthusiastically! 

In 2020 The Berlin Philharmonic offers live recitals from the Philharmonie on Saturday evenings. Each week a small group of leading musicians from the Berlin Philharmonic will come together for an hour of live chamber music, followed by part of a recorded concert from the orchestra’s archive.  These online concerts are largely followed around the world and have great acceptance from the audiences. If you’d like to join the hall’s on-line community please visit: www.berliner-philharmoniker.de  

Mozart Piano Quartets

Top Classical January 18, 2021

Mozart Piano Quartets

January 2021
Mozart is the chosen composer for this album by Christian Zacharias, born in 1950, a pianist praised for his charm, wiseness, accuracy and wit which makes him excel in the Classical style. 

The New York Times has described his playing as “Apollonian… notable for it’s probing insights and carefully wrought details”. The CD compillation comprises the piano concertos Nos 5-27, the complete piano sonatas and a selection of chamber music. This complete release proes Zacharias as both magistral soloist of and a conscious partner to such rellevant instrumentalists as Sabine Meyer, Frank Peter Zimmermann or Tabea Zimmermann.

The performances are lovely. Christian Zacharias, plays these beautifully. Delicacy and subtlety are his trademarks.

The perfect symmetry he brings to the piano parts is admirable and some crítics compare it to the Walter Gieseking’s flawles Mozart playing. Great syncronisation between the pianist and his colleagues reveals a high level of sensitivity and mutual understanding. We can see it in the in the second-subject and development sections of the E-flat Quartet’s Allegro, when the interpreters pass the melodic line back and forth in a smooth and delicate way.

This release easily ranks within the best for Mozart’s Piano Quartets,  stylish, tasteful playing and excellent sound.

– David Gutman

Mozart Piano Quartets
Christian Zacharias
Wolfgang Amadeus Mozart
1. Piano Quartet No. 1 in G Minor K. 478: I. Allegro
2. Piano Quartet No. 1 in G Minor K. 478: II. Andante
3. Piano Quartet No. 1 in G Minor K. 478: III. Rondo
4. Piano Quartet No. 2 in E-Flat Major, K. 493: I. Allegro
5. Piano Quartet No. 2 in E-Flat Major, K. 493: II. Larghetto
6. Piano Quartet No. 2 in E-Flat Major, K. 493: III. Allegretto

Beijing Central Conservatory of Music

Top Classical January 6, 2021

Beijing Central Conservatory of Music

Home of the best music talents

Top Classical, January 2021
The Beijing Central Conservatory of Music was founded in 1950 and has since then merged with several other art schools to become one of the largest music schools in China. CCOM covers an area of more than 70,000 square meters and its library, with more than 55,000 volumes, is the largest in China.  

Programs and classes range from elementary to advanced. The major focus of the school is on classical and orchestral theory and performing, also with courses dedicated to traditional Chinese music. Over 500 pianos are owed by the conservatory, among many other instruments for the students to practice.  

Over the years, the school has become famous for the impressive level of their students. Indeed, CCOM students have received more than 1,800 awards in national music competitions and almost 500 in international ones. This outstanding level of expertise requires years of training and a lot of practice. In an effort to engage children early on in the appreciation and study of music, the university also has an affiliated program with a local middle school that allows young conservatory teachers a chance to get hands-on experience teaching while the middle school students can develop their talents. 
 
In the last years, the Conservatory has developed strong relationships with foreign institutions and individuals. Foreign musicians and academics are frequently invited to teach or offer classes at the Conservatory, which, in turn, also sends its own faculty members and students to other countries to continue their studies, lectures, or give presentations. 

In 2017 the Conservatory founded the Chinese Music Composition Center to foster new works by Chinese composers. In 2019 a Carnegie Hall concert presented pieces by eight Chinese composers, six of them world premieres. Yu Feng conducted the CCOM Symphony Orchestra in works that incorporate Chinese and Western musical elements, including traditional Chinese instruments.

A number of students of the school have carved a niche for themselves in various genres of musicology: Chen Yi, Ju Jin, Lang Lang, Liang Wang, Sa Ding Ding, Tan Dun, , Ye Xiaogang or Yuja Wang, just to name a few.

Always opened to new disciplines, on April 2018 On the occasion of the visit to China of maestro Walter Ríos, an outstanding Argentine composer and bandoneonist, the first chair of Argentine tango bandoneon and composition was established at the Central Conservatory of Music in Beijing.

It’s no surprise that this gigantic music conservatory is the first choice for many aspiring talented young musicians. Definitely a place to consider for those pursuing a brilliant music career.

Goldberg Variations

Top Classical January 4, 2021

Goldberg Variations

January 2021
Bach’s monumental Goldberg Variations occupy a unique place in piano literature as a work of unparalleled artistic value and brilliance. Lang Lang initially began studying this masterpiece more than twenty years ago and presents this album as the result of a long personal and emotional journey. They represent the beginning of a new stage in Lang Lang’s artistic evolution and it is the project of a lifetime.

This is where the unusual Lang Lang’s encounter with this work will surprise many. Where usually most pianists go through these variations in 70 minutes, Lang Lang takes us on a long journey of nearly… 90 minutes. Half an hour longer than the historical version of Glenn Gould.

Spread out over two discs, Lang Lang’s vision, aims to be deeply mystical and interior, which is surprising coming from an artist who has indeed accustomed us to a more fiery style.

The interpretations are perfectly measured, and the playing is stylistically correct, in many occasions his performances feel like he’s trying to grip all the energy out of the music, with sorely slow tempos and somehow artificial phrasing that sometimes reminds us more to Rachmaninov than to Bach. 

Tempi a the Thomaskirche are generally a bit faster and the performance seems more free and less constrained. But there are still moments when Lang’s ornaments and rubato appear repeatedly and far from being spontaneous, they seem to be added out of courtesy.

From the conception of Lang Lang, let us retain the combined fantasy and rigor. And, perhaps, this is what cannot completely satisfy the listener, at least one who seeks beyond the brilliance of the game, a spiritual boost.

These Goldberg Variations, unlike any other, will not be unanimous but they are deeply interesting.  Some will undoubtedly hate this sometimes excessive vision in weightlessness, others will appreciate the clarity of the reading and the overall moderation of this vision. 

Lang Lang takes us on an almost religious journey, of absolute concentration, where each melodic line is perfectly and measuredly interpreted.

– David Gutman

Goldberg Variations
Lang Lang
CD 1
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Aria
2. Goldberg – Variationen, BWV 988: Variatio 1 a 1 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 2 a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 3 Canone all’Unisono. a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 4 a 1 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 5 a 1 ovvero 2 Clav.
7. Goldberg – Variationen, BWV 988: Variatio 6 Canone alla Seconda. a 1 Clav.
8. Goldberg – Variationen, BWV 988: Variatio 7 a 1 ovvero 2 Clav. Al tempo di Giga
9. Goldberg – Variationen, BWV 988: Variatio 8 a 2 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 9 Canone alla Terza. a 1 Clav.
11. Goldberg – Variationen, BWV 988: Variatio 10 Fughetta. a 1 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 11 a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 12 Canone alla Quarta. (a 1 Clav.)
14. Goldberg – Variationen, BWV 988: Variatio 13 a 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 14 a 2 Clav.
16. Goldberg – Variationen, BWV 988: Variatio 15 Canone alla Quinta. a 1 Clav. Andante
CD 2
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Variatio 16 Ouverture. a 1 Clav.
2. Goldberg – Variationen, BWV 988: Variatio 17 a 2 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 18 Canone alla Sesta. a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 19 a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 20 a 2 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 21 Canone alla Settima. (a 1 Clav.)
7. Goldberg – Variationen, BWV 988: Variatio 22 a 1 Clav. Alla breve
8. Goldberg – Variationen, BWV 988: Variatio 23 a 2 Clav.
9. Goldberg – Variationen, BWV 988: Variatio 24 Canone all’Ottava. a 1 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 25 a 2 Clav. Adagio
11. Goldberg – Variationen, BWV 988: Variatio 26 a 2 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 27 Canone alla Nona. a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 28 a 2 Clav.
14. Goldberg – Variationen, BWV 988: Variatio 29 a 1 ovvero 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 30 Quodlibet. a 1 Clav.
16. Goldberg – Variationen, BWV 988: Aria da Capo
CD 3
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Aria
2. Goldberg – Variationen, BWV 988: Variatio 1 a 1 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 2 a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 3 Canone all’Unisono. a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 4 a 1 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 5 a 1 ovvero 2 Clav.
7. Goldberg – Variationen, BWV 988: Variatio 6 Canone alla Seconda. a 1 Clav.
8. Goldberg – Variationen, BWV 988: Variatio 7 a 1 ovvero 2 Clav. Al tempo di Giga
9. Goldberg – Variationen, BWV 988: Variatio 8 a 2 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 9 Canone alla Terza. a 1 Clav.
11. Goldberg – Variationen, BWV 988: Variatio 10 Fughetta. a 1 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 11 a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 12 Canone alla Quarta. (a 1 Clav.)
14. Goldberg – Variationen, BWV 988: Variatio 13 a 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 14 a 2 Clav.
16. Goldberg – Variationen, BWV 988: Variatio 15 Canone alla Quinta. a 1 Clav. Andante
CD 4
Johann Sebastian Bach
1. Goldberg – Variationen, BWV 988: Variatio 16 Ouverture. a 1 Clav.
2. Goldberg – Variationen, BWV 988: Variatio 17 a 2 Clav.
3. Goldberg – Variationen, BWV 988: Variatio 18 Canone alla Sesta. a 1 Clav.
4. Goldberg – Variationen, BWV 988: Variatio 19 a 1 Clav.
5. Goldberg – Variationen, BWV 988: Variatio 20 a 2 Clav.
6. Goldberg – Variationen, BWV 988: Variatio 21 Canone alla Settima. (a 1 Clav.)
7. Goldberg – Variationen, BWV 988: Variatio 22 a 1 Clav. Alla breve
8. Goldberg – Variationen, BWV 988: Variatio 23 a 2 Clav.
9. Goldberg – Variationen, BWV 988: Variatio 24 Canone all’Ottava. a 1 Clav.
10. Goldberg – Variationen, BWV 988: Variatio 25 a 2 Clav. Adagio
11. Goldberg – Variationen, BWV 988: Variatio 26 a 2 Clav.
12. Goldberg – Variationen, BWV 988: Variatio 27 Canone alla Nona. a 2 Clav.
13. Goldberg – Variationen, BWV 988: Variatio 28 a 2 Clav.
14. Goldberg – Variationen, BWV 988: Variatio 29 a 1 ovvero 2 Clav.
15. Goldberg – Variationen, BWV 988: Variatio 30 Quodlibet. a 1 Clav.
16. Goldberg – Variationen, BWV 988: Aria da Capo

Janine Jansen

Top Classical December 28, 2020

Janine Jansen

A truly exciting and versatile artist

Top Classical, December 2020
Born January 7, 1978 in the Netherlands, Janine Jansen is one of the world’s great violin players. She began to study the violin at age 6 under the influence of her family: her father is an organist and harpsichord player (as is one of her brothers), her mother is a singer, and another brother plays the cello in a Dutch radio orchestra. Her uncle is the renowned bass Peter Kooy.

Ever since her Concertgebouw debut in 1997, Janine Jansen has been a huge star in her native Holland. Today she is internationally recognized as one of the great violinists. Her London debut in November 2002, accompanied by the Philharmonia Orchestra conducted by Vladimir Ashkenazy, was quickly followed by invitations from some of the world’s most prestigious orchestras, including the Berliner Philharmoniker and the New York Philharmonic, the Royal Concertgebouw Orchestra, and the great orchestras of London, Paris and Munich. She has worked with such eminent conductors as Lorin Maazel, Valery Gergiev or Paavo Järvi among many others. 

 In 1993 she founded the International Chamber Music Festival in Utrecht, which continues to take place every year. 

Janine Jansen has an exclusive recording contract with Decca (Universal Music).  In 2009 Jansen released her recording of the L.v. Beethoven and Benjamin Britten Violin Concertos with Deutsche Kammerphilharmonie Bremen, the London Symphony Orchestra. Both orchestras were conducted by Paavo Järvi. Jansen said that recording these concertos together was a long-standing desire of hers, as she sees these two works as among the greatest concertos in the current repertoire. Nowadays, she sees a recording session as being “like the biggest lesson I have every year, just by listening back to yourself in such a critical, detailed way.” “You learn a lot from it.” 

Jansen is the recipient of numerous prizes, including four Edison and three ECHO Klassik awards. She was awarded the 2003 Nederlandse Muziekprijs (Dutch Music Prize) and the Concertgebouw Prize in January 2013. She is also the recipient of the Royal Philharmonic Society’s Instrumentalist Award. 

Since 2000, Janine Jansen has played the 1727 Barrère Stradivari. “I know it so well, I love it. It has so many possibilities. It’s not a typical dark instrument or a typical strong instrument, but I feel that I can do what I need to get there. It’s very colourful.”said the artist during an interview for Strings Magazine. 

Janine next tour date is at Het Concertgebouw in Amsterdam, after that she will be at Philharmonie de Paris in Paris.

The Musikverein

Top Classical December 21, 2020

The Musikverein

The secret behind perfect acoustics

Top Classical, December 2020
The Musikverein is the most famous center of Classicism. It is placed in an ideal city: Vienna the city of music in all its splendor. It remains the home of Vienna’s concert life, and it still has a prime spot in the pantheon of classical music auditoria.  

The auditorium is praised to be one of the most traditional and the favorite for many first-rate artists. The building on Karlsplatz, a short distance from the splendid boulevard that is the Ringstraße, is reminiscent of a temple, built in 1870 by Theophil Hansen in a historical style, with columns, pediments and reliefs. 

The Musikverein was founded in 1812 as “Society of Music Friends in Vienna”. Since 1831, the society organized concerts in a small hall with only 700 seats.  But with the growing of the social importance of music performances, the Society soon realized that it was in urgent need of a bigger venue. 

Theophil Hansen, one of the most popular Ringstraße architects, was chosen for the construction of the “Musikverein”. He created a massive building in neo-Classical style, which was officially opened in 1870. The “Goldene Saal”, was immediately famous for its excellent acoustics. Even today, it is considered to be among the best concert halls of its size in the World. 

The Great Hall of the Musikverein, also known as the Golden Hall, is famous for its sumptuous contents. Apollo and the muses are the object of all eyes, and the columns have been shaped like women in antiquity. Its design is incomparable, in addition to the acoustics of the hall.  

Acousticians have proved that this opulent ornamentation are the key Musikverein’s brilliant sound. Because the sound bounces off so many different planes and angles, it becomes warmer and richer, converting hall itself in an instrument that works as a resonating chamber. The sensation that sound transmits is unique in the whole world.  

Every year in the Great Hall of the Musikverein the New Year’s Concert of the Vienna Philharmonic Orchestra takes place, which is broadcasted to an audience of millions internationally. 

Since 2004, there are four new rooms in the Musikverein: the Crystal Hall, the Metal Hall, the Stone Hall and the Wood Hall. Here is where the new artists traditionally make their debuts. In this way, for example, the internationally famous soprano Anna Prohaska made her debut at the Crystal Hall. 

This January first 2021 though, because of the Coronavirus crisis, millions of people around the world enjoyed only on television or online the traditional concert:  the Golden Hall remained closed to the public and the applauses came from the speakers.

Christmas Oratorio

Top Classical December 17, 2020

Christmas Oratorio

December 2020
John Eliot Gardiner, founder and director of the “Monteverdi Choir” and of the “English Baroque Soloists”, ensembles of world-famous in the interpretation of baroque music, is one of the greatest connoisseurs and interpreters of Bach. Since 1999 he has developed a project that presents the Sacred Cantatas according to the order of the liturgical calendar. 

Gardiner is one of the best interpreters of Bach’s vocal music and thanks to this the choir also seems like a soloist, with a rich and exuberant texture. Now, in full and splendid maturity, he conducts directly from his heart knowing that his choir and orchestra, his human instruments, his lifetime project, will intuït his intentions, almost before he expresses them. The result is an unforgettable performance.  

The choir performance is flawless, showing exceptional technical competence throughout the whole demanding repertoire. Especially in the exciting the sublime choral “Ziom härt die Wachter singen”. Gardiner’s deep knowledge of ancient song is visible and has been the reason for his triumph also in several operas. Some very well-prepared soloists with great vocal qualities stand out from the choir, alternating his performances under the maestro’s guidance.   

The performance of the English Baroque Solists was once again enormous. The ensemble is a malleable, pleasing, precise instrument with fine sensitivity, always ready to respond admirable to the baton’s demands. Bernarda Fink is once again perfect in both emotion and technique, alongside an Olympian Dietrich Henschel, even in the virtuoso passages (aria with obligatory trumpet from Cantata I). Soprano Claron McFadden, showed her seductive tone and great control, only just a bit imprecise in the articulation, especially in the ornaments.  

The Monteverdi Choir is formed by an authentic elite, is just the perfect conjunction of individual reliability and solvency without losing the group spirit and common sensitivity.  

The experience and the long collaboration between singers, soloists and cleverly conducted choir, provides a magnificent musical recording which will surely delight Bach’s music lovers.

– David Smith

Christmas Oratorio
John Eliot Gardiner
Johann Sebastian Bach, Christian Friedrich Henrici
1. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.1 Chorus: “Jauchzet, frohlocket”
2. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.2 Evangelist: “Es begab sich aber zu der Zeit”
3.Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.3 Rezitativ (Alt): “Nun wird mein liebster Bräutigam”
4. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.4 Aria (Alto): ” Bereite dich, Zion”
5. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.5 Choral: “Wie soll ich dich empfangen”
6. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.6 Evangelist: “Und sie gebar ihren ersten Sohn”
7. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.7 Chorale: “Er ist auf Erden kommen arm”, Recitativ (Bass): Wer will die Liebe recht erhöhn”
8. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.8 Aria (Baß): “Großer Herr, o starker König”
9. Weihnachtsoratorium BWV 248, ESTER TEIL – Am ersten Weihnachtsfeiertage: No.9 Choral: “Ach mein herzliebes Jesulein”
10. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.10 Sinfonia
11. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.11 Evangelist: “Und es waren Hirten in derselben Gegend”
12. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.12 Chorale: “Brich an, o schönes Morgenlicht”
13. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.13 Evangelist, Engel: “Und der Engel sprach zu Ihnen”
14. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.14 Rezitativ (Baß): “Was Gott dem Abraham Verheißen”
15. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.15 Aria (Tenor): “Frohe Hirten, eilt, ach eilet”
16. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.16 Evangelist: “Und das habt zum Zeichen”
17. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.17 Chorale: “Schaut hin, dort liegt im finstern Stall”
18. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.18 Rezitativ (Baß): “So geht denn hin, ihr Hirten, geht”
19. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.19 Aria (Alto): “Schlafe, mein Liebster, geniesse der Ruh”
20. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.20 Evangelist: “Und alsbald war da bei dem Engel”
21. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.21 Chor: “Ehre sei Gott in der Höhe”
22. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.22 Rezitativ (Baß): “So recht, ihr Engel, jauchzt und singet”
23. Weihnachtsoratorium BWV 248, ZWEITER TEIL – Am zweiten Weihnachtsfeiertage: No.23 Chorale: “Wir singen dir in deinem Heer”
24. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.24 Chor: “Herrscher des Himmels, erhöre das Lallen”
25. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.25 Evangelist: “Und da die Engel von ihnen gen Himmel fuhren”
26. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.26 Chor: “Lasset uns nun gehen gen Bethlehem”
27. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.27 Rezitativ (Baß): “Er hat sein Volk getröst”
28. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.28 Choral: “Dies hat er alles uns getan”
29. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.29 Duett (Sopran, Baß): “Herr, dein Mitleid, dein Erbarmen”
30. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.30 Evangelist: “Und sie kamen eilend”
31. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.31 Aria (Alt): “Schließe, mein Herze, dies selige Wunder”
32. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No.32 Recitativ (Alt): “Ja, ja, mein Herz soll es bewahren”
33. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 33 Choral: “Ich will dich mit Fleiß bewahren”
34. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 34 Evangelist: “Und die Hirten kehrten wieder um”
35. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 35 Choral: “Seid froh dieweil”
36. Weihnachtsoratorium BWV 248, DRITTER TEIL – Am dritten Weihnachtsfeiertage: No. 24 Chor: Herrscher des Himmels, erhöre das Lallen”