Karine Deshayes, accompanied by Les Paladins and directed by Jérôme Correas, delivers a compelling interpretation of Mozart’s ‘Exsultate, Jubilate!’ in this captivating CD. Drawing comparisons with Carolyn Sampson’s 2006 recording, Deshayes offers a distinct approach, infusing the collection with a slightly different selection of sacred works. 

One notable difference lies in the rendition of the title piece, ‘Exsultate, Jubilate!’. Deshayes opts for the original version, while Sampson chose the later iteration. This decision results in subtle yet significant variations, such as the replacement of oboes with serene flutes in Deshayes’ version. Both artists present a truncated Agnus from K317, omitting its choral ‘Dona nobis,’ but Deshayes takes a further departure by excluding the choral section of the ‘Laudate Dominum,’ a departure from Sampson’s interpretation. 

Les Paladins, with their introduction to an aria from ‘Betulia liberata,’ establish a distinctive musical character. The string tone, marked by a noticeable edge, and the presence of natural horns create a rich and deliciously ripe atmosphere. The CD includes a 1772 symphony and the ‘Laudamus’ from the 1782 C minor Mass, retexted for the ‘psalm’ Davide penitente in 1785. Church sonatas add sweetmeats of unclouded charm, performed with a delightful playfulness. 

Deshayes brings an operatic flair to her vocals, ornamenting freely in the Agnus and showcasing a fine mezzo extension in arias from ‘Betulia liberata’ and ‘Davide penitente.’ However, the choice of the curtailed ‘Laudate Dominum’ as the concluding piece raises questions about its somewhat inconclusive nature. The reviewer wonders why a piece like ‘Tra l’oscure ombre funeste,’ newly composed for Davide, wasn’t favored for a more impactful conclusion. 

Karine Deshayes and Les Paladins deliver a delightful and nuanced rendition of Mozart’s sacred works. The distinctive musical choices and Deshayes’ operatic approach provide a fresh perspective on well-known compositions. Despite the slightly puzzling conclusion, the CD stands out as a noteworthy addition to Mozartian discography, showcasing the talent and creativity of its performers. 

When it comes to interpreting the works of a complex composer like Robert Schumann, various perspectives can illuminate different facets of his music. In this notable release from Deutsche Grammophon, maestro Daniel Barenboim and the Staatskapelle Berlin present Schumann’s Symphonies Nos. 1-4 with a more traditional approach, inviting listeners to immerse themselves in the rich orchestral textures and indulgent pacing that this interpretation offers.

Alfred Brendel’s observation that great music transcends any specific performance finds resonance in this recording. While the lean and quirky interpretation of Schumann’s symphonies, as championed by John Eliot Gardiner’s iconic DG set, has brought new dimensions to the composer’s repertoire, Barenboim’s rendition stands as a counterpoint—a Schumann that is magisterial, embracing unhurried tempos and a sense of unhindered expression.

Barenboim’s ability to craft a compelling long line in his interpretations shines brilliantly throughout this recording. His skillful phrasing creates a sense of continuous, unbroken melody, akin to experiencing a Wagnerian music-drama as one sustained lyrical journey. Moments such as the languid slow movement of the Second Symphony and the grandiose ‘cathedral’ fourth movement of the ‘Rhenish’ Symphony are imbued with a profound emotional depth, stirring both conviction and sentimentality.

The warmth and depth of the orchestral sound presented in this rendition may initially surprise those accustomed to the more modern, revisionist interpretations of Schumann’s symphonies. However, with time, the listener becomes attuned to the indulgence in sonic richness that Barenboim and the Staatskapelle Berlin deliver. The horns and flute ‘awakening’ in the finale of the ‘Spring’ Symphony, for instance, are treated with loving attention, inviting us to appreciate these fleeting moments of beauty.

Yet, in this departure from the edgy, quick-witted Schumann unveiled by Gardiner’s interpretation, certain aspects do recede. The internal struggle within the Second Symphony, which Gardiner masterfully illuminated, takes on a softer hue here, trading intensity for a more lush resonance. Similarly, the Fourth Symphony, historically known for its ability to confound and challenge audiences, emerges from Barenboim’s baton with a sense of grandiosity and confidence that some may find more assertive than introspective. In a world where Schumann’s symphonies can be dissected and presented through a variety of lenses, Barenboim’s recording stands as a tribute to the enduring power of tradition. While some of the intricate and provocative elements of Schumann’s compositions may be smoothed over in this rendition, what remains is an unabashed celebration of orchestral beauty and melodic lyricism. For those seeking a different angle on these masterworks, Barenboim’s take provides a sumptuous and emotive journey that reminds us that even amidst evolving interpretations, the heart of Schumann’s music still beats with timeless vigor.

In 2022, Celebrating the 150th anniversary of the composer’s birth, violinist Hyeyoon Park and pianist Benjamin Grosvenor breathed new life into this cherished composition, presenting it in its original form for solo violin and piano. Released by Decca Classics, this rendition captures the essence of the skylark’s flight and song, showcasing the brilliance of Vaughan Williams’ pastoral, folk-inspired style.

While the orchestral version of “The Lark Ascending” has charmed audiences for years, few are aware that the piece was initially scored for violin and piano accompaniment. This lesser-known rendition brings a sense of intimacy and subtlety, as the piano timbres interweave with the violin’s soaring melodies. In a world enamored with grand orchestrations, this recording stands as a tribute to the raw essence of the composition’s origins.

The performance itself is a testament to the extraordinary synergy between Hyeyoon Park and Benjamin Grosvenor. Their longstanding musical partnership is palpable as they navigate the delicate intricacies of the piece. Park’s violin prowess is on full display, capturing the skylark’s ascent with an exquisite balance of grace and technical precision. Grosvenor’s sensitive piano accompaniment provides a rich tapestry of harmonies, enhancing the narrative of the piece.

Listening to this recording is akin to viewing a vintage photograph that unveils new perspectives and emotions. The piano’s monochrome timbre creates a sense of nostalgia, transporting listeners to a bygone era. As the violin’s notes flutter and soar, one can almost visualize the skylark’s ascent against an open sky, mirroring Hyeyoon Park’s own experience of encountering this majestic bird during a Kentish walk.

Decca Label Group’s decision to record this original arrangement is a commendable one. It sheds light on a hidden facet of Vaughan Williams’ genius and showcases the label’s dedication to preserving musical heritage. The fact that this rendition coincided with the composer’s 150th birthday makes it an even more significant tribute to one of Britain’s greatest composers.

In essence, “The Lark Ascending” performed by Hyeyoon Park and Benjamin Grosvenor is a reverent nod to the past, a revival of Vaughan Williams’ earliest intentions. Their partnership, enriched by their shared musical vision, brings forth a rendition that is both authentic and evocative. As the skylark’s song echoes through the notes, this recording captures the essence of nature’s beauty and the enduring legacy of Vaughan Williams’ artistic spirit.

As we commemorate Ralph Vaughan Williams’ birth, “The Lark Ascending” stands not only as a celebration of the composer but also as a testament to the enduring power of music to transcend time and touch the soul.