Meng-Chieh Liu’s CD “Chopin Nocturnes” is undeniable proof of his exceptional talent and deep understanding of Frédéric Chopin’s music. This collection of 21 Nocturnes is a two-hour journey into the heart of Chopin’s compositions, and Liu’s performance is nothing short of mesmerizing. 

From the very beginning of the CD with Chopin’s Op. 9, Liu showcases his technical prowess and emotional depth. The first three pieces set the stage for what’s to come, but it’s in the Nocturne in C-sharp minor Op. 27, No. 1 that Liu truly shines. His interpretation of this masterpiece is breathtaking. Starting with a Larghetto, Liu’s restraint and control are immediately evident. He allows the music to unfold naturally, gradually building to a climax that is both powerful and profoundly moving. As the initial theme returns, Liu’s performance imparts a sense of peace and serenity that lingers long after the music has ended. 

In the C minor Nocturne, Op. 48, No. 1, Liu’s virtuosity is on full display. While this piece is a favorite among pianists and audiences alike, Liu’s rendition is particularly poignant and emotionally charged. He navigates the intricate passages and dynamics with precision, evoking a wide range of emotions throughout the piece. 

Chopin’s Nocturne in E minor, Op. 72 No. 1, composed during a period of mourning, is performed with heartfelt sincerity by Liu. His use of the bel canto style is masterful, conveying deep emotions and a profound understanding of the piece. Liu’s performance is a moving and affectionate tribute to Chopin’s work, leaving a lasting impression on all who listen. 

Meng-Chieh Liu’s “Chopin Nocturnes” is a must-listen for lovers of classical piano music. His technical brilliance, emotional depth, and profound interpretation make this CD a standout in the world of Chopin interpretations. Whether you are a long-time fan of Chopin or new to his music, Liu’s performance is sure to captivate and move you. 

Alice Sara Ott’s rendition of Beethoven’s masterpieces, accompanied by the Netherlands Radio Philharmonic under the direction of Karina Canellakis, is a testament to the seamless union of technical brilliance and emotional depth. The CD radiates with an impeccable recording quality that captures the nuances of every instrument, creating an immersive sonic experience. 

The concerto, in particular, stands out for its remarkable clarity and realism. The orchestral tutti displays a perfect balance of energy and sensitivity, setting the stage for Ott’s entrance. Her initial notes are delivered with an almost improvisatory flair, showcasing her virtuosity and command over the piano. As she takes flight, there’s a delightful blend of delicacy and rhythmic wit that keeps the listener engaged. 

One of the notable achievements in this recording is the depth and breadth of stereo separation, allowing each section of the orchestra, from high winds to timpani and double basses, to shine individually. The development section is a highlight, with a beautifully veiled quality and a more relaxed tempo that doesn’t compromise the sense of direction. The recapitulation brings everything together, demonstrating Ott’s ability to navigate between moments of calm and intensity. 

The ‘Moonlight’ Sonata is treated with a refreshing lightness of touch. The brisk first movement maintains a lively pace, ensuring the accompanying triplets remain nimble and expressive. Ott’s interpretation of the Allegretto and Presto movements is equally impressive, showcasing a dynamic range that captures the essence of Beethoven’s intentions. The Presto, in particular, features quiet dynamics and satisfyingly irruptive chords that enhance the overall impact. 

In the four short pieces that conclude the album, Ott’s unique touch introduces a personal and expressive dimension. While some may find her rubato in the coda of the final piece a bit jarring, it undeniably adds a distinctive personality to the interpretation, making the concluding moments memorable. 

Overall, Beethoven by Alice Sara Ott is a captivating journey through some of Beethoven’s most iconic works. The combination of Ott’s exceptional piano artistry, Canellakis’ skillful orchestral direction, and the outstanding recording quality makes this CD a must-listen for classical music enthusiasts. It’s a masterful blend of technical precision, emotional depth, and artistic expression that brings Beethoven’s timeless compositions to life in a truly enchanting way. 

Théotime Langlois de Swarte’s latest release, “Vivaldi – Concerti per una vita,” presents a captivating exploration of Antonio Vivaldi’s instrumental works, showcasing the violinist’s profound understanding of the composer’s oeuvre and his commitment to expressing the inherent vocal qualities within Vivaldi’s concertos. 

In the accompanying booklet, de Swarte articulates his fascination with the emotive power of slow movements in Vivaldi’s compositions. This thematic focus on “vocality” becomes the guiding force throughout the album, with de Swarte’s interpretations emphasizing the singing quality of the violin. This unique perspective becomes particularly evident in the slow movements, which emerge as standout highlights in an extensive program that seamlessly blends world premieres, established works, and compositions by Vivaldi’s contemporaries. 

Collaborating with musicologist Olivier Fourés, de Swarte and the Le Consort ensemble assert that this recording completes the repertoire of all Vivaldi’s instrumental music discovered to date. The album’s strength lies in its diversity, featuring a range of world premiere recordings alongside well-known pieces like an intriguing early draft of the summer concerto from The Four Seasons (RV 315). 

Clocking in at around 2.5 hours, the album’s length might seem imposing, but it successfully avoids monotony through a rich tapestry of styles and textures. The use of various ensemble sizes, from intimate solos to full orchestral arrangements, contributes to a dynamically engaging listening experience. 

De Swarte’s virtuosity is unquestionable, evident throughout the album. However, it is his sensitive and nuanced approach that truly sets him apart. His violin produces a beautifully singing tone, bringing out the inherent lyricism of Vivaldi’s melodies. De Swarte’s phrasing is natural and inevitable, perfectly capturing the musical style without unnecessary embellishments. In particular, the Largo from RV 37a stands out, showcasing de Swarte’s mastery alongside the superb continuo group. 

The choice of gut strings and period-appropriate bows adds another layer to the interpretation, creating a warm and nuanced sound that complements the music’s essence. The tempos are lively but never rushed, allowing the compositions to unfold naturally. The pacing of the slow movements is thoughtful, avoiding any sense of dragging. 

Harmonia Mundi’s recording deserves praise for its warm and natural sound, effectively capturing the rich timbres of the instruments and the subtle nuances of de Swarte’s performance. “Vivaldi – Concerti per una vita” stands as a masterful journey through time, a testament to the violinist’s profound artistry and commitment to the expressive potential of Vivaldi’s music. 

In the ever-evolving landscape of classical music interpretation, the Kaleidoscope Collective offers a refreshing take on Schoenberg’s “Verklärte Nacht,” steering away from the increasingly common path of languid melancholy. In “Transfigured,” the ensemble ignites the youthful exuberance that fueled Schoenberg’s response to Richard Dehmel’s poem, reviving the work’s original sextet version with vigor and vitality. 

Elena Urioste and her colleagues infuse the performance with sinewy tones and a forthright attack, drawing the listener closer to Dehmel’s poetic narrative. The inclusion of the poem in the booklet provides valuable context, allowing the audience to appreciate the precise correspondence between notes and text, evoking the composer’s intentions vividly. 

“Transfigured” constructs a compelling musical journey, recreating an imaginary evening around 1901 in the company of Vienna’s musical luminaries. Gustav Mahler’s presence looms large, even in his absence, as Alma Mahler’s lieder take center stage. Francesca Chiejina’s dark mezzo-soprano hues add depth and emotion, suggesting her potential as a formidable Wood-Dove in “Gurrelieder.” Her mastery is evident as she delicately covers her voice and steps back from the microphone during the closing bars of Alma’s “Erntelied.” 

The recurring head motif from “Verklärte Nacht” permeates the opening of Zemlinsky’s work, hinting at the deep interconnection between the two composers. Whether Schoenberg knew Zemlinsky’s “Maiblumen blühten überall” in its unfinished state or both drew from a shared harmonic language, the Kaleidoscope Collective expertly highlights the chromatic harmony and aching suspensions of fin de siècle Vienna. This era saw the likes of Debussy and Stravinsky moving away from such romanticism, and Webern, on the cusp of change, demonstrated a more opulent tonality in his Piano Quintet’s first movement. The Kaleidoscope’s performance stands out, with Tom Poster’s impeccable articulation and thoughtful piano part balancing. 

“Transfigured” is a mesmerizing exploration of the musical zeitgeist of early 20th-century Vienna. The Kaleidoscope Collective breathes new life into these compositions, offering an alternative perspective that invigorates these timeless works. If you seek a departure from the slow and melancholic interpretations of “Verklärte Nacht,” this album is a delightful and thought-provoking choice. 

October 2024
Get ready for an extraordinary musical journey with the remarkable violist, Timothy Ridout, as he showcases Elgar’s Viola Concerto and Bloch’s Suite for Viola and Piano on this captivating CD. Ridout’s mastery and skill breathe new life into these lesser-known pieces, leaving listeners amazed and wondering why they haven’t experienced this musical marvel before.

The adventure begins with Elgar’s Viola Concerto, a rare gem rearranged by the renowned violist Lionel Tertis. Ridout flawlessly interprets Tertis’s arrangement, captivating us with his artful performance. Backed by the BBC Symphony Orchestra, conducted by Martyn Brabbins, the concerto shines as a captivating viola showcase, proving it deserves the spotlight.

Tertis’s respectful reimagining of the concerto, keeping the essence of the original while adjusting solo lines for the viola’s range, impressed Elgar himself, who conducted the premiere in 1930. Ridout’s expert rendition brings out the concerto’s brilliance, from nimble scherzos to poignant Adagios.

But the adventure doesn’t stop there! We delve into the unexplored world of Bloch’s Suite for Viola and Piano, a treasure trove of musical ingenuity. Originally composed for viola and later orchestrated, this suite is a delightful enigma, blending faux oriental themes, romantic grandeur, and daring modern twists.

Ridout, wielding his viola like a magic wand, unravels the Suite’s mysteries, revealing its hidden beauty with every stroke. The third movement, an enchanted nocturne, takes us to ethereal dreams with Ridout’s mesmerizing silvery tones, immersing us in the captivating music.

Elgar’s Viola Concerto and Bloch’s Suite are rare finds on disc, making Ridout’s interpretations even more astonishing. Prepare to join the fortunate few on this uncharted voyage through musical marvels, guided by Timothy Ridout’s virtuosity.

As a thrilling bonus, we encounter the resplendent works of César Franck, brought to life by the talented Alain Altinoglu and the Frankfurt Radio Symphony Orchestra. Franck’s Symphony in D Minor soars with resplendent harmonies, and Le Chasseur Maudit’s symphonic poem paints vivid images. The orchestral interlude from Rédemption pulls at heartstrings with its emotive melodies.

This CD isn’t just a collection of musical pieces; it’s an exhilarating quest into the unexplored wonders of the viola. Timothy Ridout’s enchanting artistry will captivate you until the final notes fade away. So, let the adventure begin, and immerse yourself in this thrilling escapade through the evocative world of the viola. Your ears will thank you, and your soul will be entranced forever.

Bernard Herrmann, renowned for his captivating film scores, demonstrates his profound affinity for English literature and language in the exceptional “Wuthering Heights” Cantata. The CD, released by Chandos, features the Singapore Symphony Orchestra under the skillful baton of Mario Venzago, accompanied by soprano Keri Fuge as Cathy and baritone Roderick Williams as Heathcliff. With an intriguing juxtaposition of passionate melodies and gloomy romanticism, this album presents a rich musical experience that traverses the depths of human emotion.

Herrmann’s love for English literature is evident from the outset, as he draws inspiration from Emily Brontë’s novel. The cantata encapsulates the operatic grandeur of “Wuthering Heights,” conveying its four acts and a prologue with a deep emotional resonance. Mario Venzago and the Singapore Symphony Orchestra masterfully capture the lush and dramatic landscape of the work, drawing out its complex emotions with every note. The orchestra’s prowess shines in the vivid instrumentation, delivering a symphonic tapestry that feels both intimate and expansive.

The vocal performances of Keri Fuge and Roderick Williams are nothing short of exceptional. Fuge’s soprano soars with crystalline clarity and emotional depth, perfectly capturing the essence of Cathy’s complex character. Williams’ baritone carries a raw intensity that embodies Heathcliff’s tormented soul. Their duets are poignant and heartfelt, as their voices intertwine to tell the tragic love story that lies at the heart of the cantata.

Hans Sørensen’s sensitive work in crafting the “Wuthering Heights” Cantata is commendable. With a deep understanding of both Herrmann’s style and the source material, Sørensen transforms the opera into a suite that captivates from beginning to end. The suite’s emotional journey is marked by shifts in mood, from fervent passion to brooding darkness. This structure mirrors the emotional rollercoaster of the original story, allowing listeners to experience its power even without the operatic staging.

The album’s companion piece, “Echoes,” further showcases Herrmann’s genius in string orchestration. Arranged for full string orchestra by Hans Sørensen, this work radiates a somber beauty reminiscent of a mist-shrouded cemetery. The haunting melodies weave together in a masterful interplay of light and shadow, evoking a sense of melancholic introspection.

Chandos’ recording quality is remarkable, capturing every nuance of the orchestration and vocal performances. The sound is rich and immersive, enhancing the emotional impact of the music. David Benedict’s notes provide valuable insights into the cantata’s composition and themes, although some listeners might find his descriptions a bit convoluted. Bernard Herrmann’s “Wuthering Heights” Cantata, presented by Chandos, is a stunning testament to the composer’s affection for English literature and his masterful orchestral storytelling. Mario Venzago’s direction, along with the exceptional performances of Keri Fuge and Roderick Williams, bring the story’s passionate emotions to life. Hans Sørensen’s adept arrangement transforms the opera into a captivating suite, while “Echoes” showcases Herrmann’s prowess in string composition. This CD is a must-have for both fans of Herrmann’s work and those seeking an immersive musical experience steeped in dark romanticism.

John Storgårds’ latest interpretation of Shostakovich’s Symphonies 12 and 15, released under the Chandos label, offers a unique perspective on these lesser-explored compositions. The standout feature of this recording lies not only in Storgårds’ insightful interpretations but also in the astonishingly lifelike surround sound production technique employed by Chandos. This release revitalizes two symphonies that have perhaps been overshadowed by the composer’s earlier and more well-known works.

Symphony No. 12, often referred to as “The Year 1917,” delves into the historical context of the Russian Revolution. Storgårds adeptly navigates the intricate emotional landscape of this symphony, capturing the revolutionary fervor while maintaining a firm grasp on the underlying emotional currents. The orchestra’s precision under his baton is evident, allowing each thematic strand to unfold with clarity and conviction.

The true gem of this recording is Symphony No. 15, Shostakovich’s final symphonic statement. Storgårds’ interpretation adeptly captures the interplay between the apparent playfulness of the composition and the deeper undercurrents of sorrow and reflection. The symphony’s enigmatic quotes and references are delivered with finesse, reflecting the composer’s ability to convey complex emotions through seemingly lighthearted gestures. Storgårds’ skillful handling of the symphony’s shifts in mood and texture showcases his deep understanding of the work’s nuances, offering listeners insight into the layers of meaning beneath the surface.

The historical context surrounding Shostakovich’s 15th Symphony cannot be overlooked. The performance evokes the composer’s own experience during its UK premiere, where his visible unease and discomfort seemed to reflect his personal struggles under the oppressive Stalinist regime. Storgårds’ interpretation resonates with this background, offering a performance that speaks to both the symphony’s surface-level eclecticism and the underlying somber tones reflecting the composer’s hardships.

Chandos’ surround sound recording technique complements Storgårds’ conducting expertise, creating an immersive sonic experience that places listeners within the heart of the orchestra. This attention to detail adds another layer of richness to the performances, enhancing the impact of every musical motif and thematic transformation.

In conclusion, John Storgårds’ interpretation of Shostakovich’s Symphonies 12 and 15, in collaboration with Chandos, presents a fascinating perspective on these works. The conductor’s insightful approach and nuanced understanding of the emotional complexities within these pieces infuse them with renewed vitality. The juxtaposition of the seemingly light-hearted and the deeply introspective elements in Symphony No. 15 is masterfully handled, while Symphony No. 12 benefits from Storgårds’ commanding direction. This recording is an essential addition to any collector’s library, shedding light on the lesser-explored corners of Shostakovich’s symphonic output.

Prokofiev’s celebrated violin concertos have long held a spellbinding allure in the classical music repertoire. The latest release featuring Maria Milstein as the soloist alongside the Phion Orchestra, conducted by Otto Tausk, adds another dimension to the ever-expanding array of choices available to listeners who cherish these compositions.

The era of limited options for experiencing these concertos is firmly behind us, as exemplified by this Channel Classics release. While Arabella Steinbacher and Julia Fischer’s interpretations on PentaTone maintain their prominence, Maria Milstein and the Phion Orchestra bring their distinctive voices to the forefront with interpretations that are marked by their distinctiveness and vivacity.

Kicking off the album is the Violin Concerto No. 1 in D major, Op. 19. Milstein’s performance strikes an exquisite balance between the concerto’s lyrical moments and its moments of fervent virtuosity. Her interpretation of the score offers a nuanced perspective, seamlessly intertwining her violin’s voice with the intricate orchestral textures. Through her expressive phrasing and a captivating tonal range, Milstein succeeds in establishing an emotional resonance that draws the audience deeper into the heart of the music.

The journey continues with the Violin Concerto No. 2 in G minor, Op. 63, a work renowned for its intricate structure and shifting emotions. Milstein navigates these complexities with impressive agility, capturing the concerto’s multifaceted nature. Her interaction with the orchestra, under Otto Tausk’s direction, results in a harmonious blend that propels the music forward with unwavering energy.

A notable hallmark of this recording is Milstein’s ability to imbue every note with a distinct personality and hue. Her interpretations are fearless and innovative, while still remaining attuned to the underlying introspection that underscores Prokofiev’s creations. This balance becomes particularly apparent in the concerto’s final movement, where Milstein tackles demanding passages with technical brilliance, all the while revealing the profound emotional undercurrents beneath.

The synergy between Milstein and the Phion Orchestra, guided by Tausk’s masterful leadership, is a fusion of finesse and potency. Tausk’s direction ensures a seamless and dynamic performance, allowing the orchestra to provide a compelling backdrop against which Milstein’s virtuosity can shine. The outcome is a harmonious collaboration that transforms each concerto into a living, breathing entity, commanding attention from beginning to end.

In summary, while Steinbacher and Fischer’s interpretations continue to be touchstones for Prokofiev’s violin concertos, Maria Milstein’s contribution to the discography is distinctive and noteworthy. Her renditions encompass both technical brilliance and emotional profundity, and her synergy with the Phion Orchestra results in performances that are simultaneously incisive and vibrant. With this album, listeners are invited to experience a fresh perspective on Prokofiev’s concertos, contributing yet another layer of depth to the diverse tapestry of classical recordings.

In a landscape brimming with options, Maria Milstein’s take on Prokofiev’s violin concertos emerges as an enticing choice for aficionados who seek interpretations that are as invigorating as they are introspective.

Alpesh Chauhan and the BBC Scottish Symphony Orchestra embark on an insightful voyage into the realm of Tchaikovsky’s compositions in their latest release. Featuring “The Voyevoda,” “The Tempest,” “Francesca da Rimini,” and excerpts from “Cherevichki,” this album unveils Chauhan’s profound understanding of Tchaikovsky’s musical language while showcasing the orchestra’s exquisite responsiveness.

“The Voyevoda,” a work overlooked by the composer himself, comes alive under Chauhan’s skilled direction. The performance opens with a brisk tempo, immediately capturing the listener’s attention. Chauhan deftly navigates the shifts between haunting bass clarinet passages and impassioned love themes, leading to a chilling conclusion punctuated by gunshot-like sounds. The BBC Scottish Symphony Orchestra responds with remarkable sensitivity, vividly illustrating the dramatic narrative.

Chauhan’s interpretation of “The Tempest” continues this exploration of dramatic intensity, immersing the listener in a vivid sonic representation of the Shakespearean tale. The quasi-impressionistic opening establishes a captivating mood, gradually building into a tempestuous storm, with the orchestra portraying both the fury and fleeting moments of calm. The orchestra’s delicate strings create an atmosphere of enchantment, artfully phrasing the emerging love theme amid the turmoil.

The excerpts from “Cherevichki” demonstrate Tchaikovsky’s inventive spirit, convincingly presented by Chauhan and the orchestra. The performance captures the opera’s charm and wit, showcasing Chauhan’s ability to breathe life into lesser-known pieces and infusing them with vibrancy.

The pinnacle of the album arrives with a compelling rendition of “Francesca da Rimini.” Chauhan guides the orchestra through passages of fervent energy, mirroring the blossoming and tragic love affair between Paolo and Francesca. The orchestra’s performance is particularly commendable during the climax of the middle section, where the emotional intensity is palpable. While the opening Wagnerian chords might lack some gravitas, this minor concern does little to diminish the overall impact of the interpretation.

Throughout the album, Alpesh Chauhan’s deep connection with Tchaikovsky’s works shines through, skillfully leading the BBC Scottish Symphony Orchestra through intricate passages and sweeping emotional landscapes. The orchestra’s responsiveness is remarkable, breathing life into each note and capturing the essence of Tchaikovsky’s intricate orchestrations.

In summation, this CD highlights Chauhan’s impressive grasp of Tchaikovsky’s musical language and the orchestra’s impeccable playing. Whether you are a seasoned admirer of Tchaikovsky’s compositions or a newcomer eager to explore the depths of Romanticism, this album is a must-listen. It offers an immersive exploration of Tchaikovsky’s evocative symphonic world, illuminated by Alpesh Chauhan and the BBC Scottish Symphony Orchestra’s artistry.

Eva Saladin’s sophomore solo album is a wonderful exploration into the depths of the 17th-century violin world, shedding light on the enigmatic genius of Giovanni Antonio Pandolfi Mealli. A virtuosic violinist in her own right, Saladin embarks on a journey that unfolds the mysteries of Pandolfi Mealli’s Violin Sonatas Opp 3 & 4, weaving a delicate tapestry of sound that resonates with elegance and emotion.

Within this auditory reverie, Saladin displays impeccable technical finesse. Her bow dances effortlessly across the strings, each note executed with precision and grace. The ensemble’s cohesion is a testament to Saladin’s prowess, as the harmonious interplay between violin and continuo creates a seamless sonic experience. While some may seek bombast, Saladin’s measured approach allows the intricate nuances of Pandolfi Mealli’s compositions to shine through.

A highlight of this album is Saladin’s ability to capture the essence of each sonata. She masterfully navigates the intricate ornamentations and captivating Lombardic passages, immersing the listener in a world of musical intricacies. The subtlety of her interpretation serves as a reminder that sometimes, less is more—a sentiment that allows Pandolfi Mealli’s ingenious craftsmanship to take center stage.

Comparisons to other interpretations become irrelevant when Saladin’s unique vision unfolds. Her rendition of La Vinciolina, Op 4 No 6, while distinct from others, is no less enthralling. The intimacy of her performance draws the listener in, inviting them to explore the labyrinthine corridors of the composer’s mind. Through Saladin’s expert touch, the second section blossoms with a sweetness that lingers long after the final note.

Saladin’s choice to open with La Cesta, Op 3 No 2, displays her insight into the narrative arc of the album. Each note resonates with purpose, as if revealing the layers of a complex story. The interplay between violin and continuo creates a sense of dialogue, a conversation that unfolds with both subtlety and fervor. Johannes Keller’s organ adds a layer of mystique, enhancing the sonic palette with its rich timbre.

In the grand tapestry of Baroque violin, Eva Saladin’s interpretation is a thread of captivating allure. Her journey through Pandolfi Mealli’s works unearths a sense of wonder and discovery, inviting the listener to partake in the unveiling of musical secrets. While some may seek more flamboyant renderings, Saladin’s understated elegance paints a portrait of enchantment that lingers in the mind, beckoning listeners to explore the depths of PANDOLFI MEALLI Violin Sonatas Opp 3 & 4 again and again.