Publisher: Deutsche Grammophon
Year: 2010
Artist: Alice Sara Ott

There are probably several hundred recordings of Chopin’s body of work, ranging from the truly atrocious to the sublime. Associated as he is with the Romantic era, many artists of the modern attempt to infuse their interpretations with pathos and melodrama by taking vast liberties with phrasing, pedalling, and tempo. Other performers take a more impressionistic view to the score: if Chopin spent weeks labouring over each and every bar, maybe he made a mistake, leaving in some of those horrible notes in the long runs or massive chords. Volume and speed are equated with passion, not a fussy insistence upon hitting the right notes in the right way: wasn’t that what Romantic era music about?

Ms. Ott does not so much play these waltzes as allow them to unfold. Each overlapping voice is enunciated clearly; the pedal is restrained and is never allowed to become muddy and indistinct. She has a peculiar ability to make each chord sound perfectly natural and easy; there is no hint of any finger-busting struggle to cover distance on the keyboard. Every phrase is rounded and given its moment to sing. She allows both the harmonies and dissonances to work their own particular magic, without having to resort to cheap dynamic tricks. Even the most delicate notes are played with poise and attention. Occasionally she offers a different voicing (such as in the supporting left-hand line towards the end of Op 64 No 2) to keep the music lively and fresh; Chopin’s endless repetitions do not seem quite so laboured. Most of her tempi reflect the heritage of these Waltzes, and move at a reasonable clip. The inclusion of the posthumous Nocturne (No. 20, in C-sharp minor) is a welcome surprise, a lovely dessert for this feast of music.

In short, there is much to recommend this mature, balanced recording that will bear repeated scrutiny, and it shines in comparison to other contemporary recordings. I think even Chopin would have approved of it.

Publisher: Deutsche Grammophon
Year: 2010
Artists: Hilary Hahn, Matthias Goerne, Christine Schäfer, Münchener Kammerorchester & Alexander Liebreich

First, the good news: Hilary Hahn is featured in this collection of Bach cantatas and choral works. For the most part, her playing is as composed, clear and thoughtful as always; her violin sings, laughs and sparkles.

Now, the bad news. Although one might expect otherwise from a record whose title implies balance between instrument and voice, these recordings are weighed down by the two vocalists. The nature of baroque music is contrapuntal and bright; Mr. Goerne’s fruity vibrato overpowers all distinctions, and lack of expression lends a leaden quality to his pieces. What may be lovely in the concert hall translates into loud mush. Ms. Schäfer, on the other hand, prefers to skip half of her notes and manages to miss the rest, rather like a hurdler who decides that it is quicker to barrel down the course than to attempt those athletic jumps. Furthermore, both vocalists lack the pleasing subtlety and cooperation that Bach demands of his performers. Perhaps it is not entirely their fault; these two vocalists seem to have preferred Romantic leider to Lutheran liturgy in their past work, and these have different vocal techniques and requirements.

Other little indignities are present in this package. The cover art is atrocious. Who picked that font? Why is it purple? Why is a disembodied bust of old Bach hovering, god-like, in the corner? Why do the artists look photoshopped onto the generic white of an indeterminate church hall? Why do they look like they are guilty of a great secret? Why is the violinist separated from the vocalists? Why is everyone in black? Why are there no artist biographies? And if they are so famous, why are there no promotional covers for the other two artists?

One of your esteemed reviewers believes that this CD is palatable in the right historical context. The other reviewer finds this a difficult recording to digest.

Publisher: EMI Records (1999)

Artists: Daniel Barenboim, Jacquelin du Pre and Pinchas Zukerman

Even in the digital age, the classical audiophile has a hard life. The acknowledged, tried-and-true virtuosos have retired, or died, and their lasting legacy consists of intangible memories of concert-goers and a scratchy records which can never be perfectly remastered. Of the many who aspire to greatness today, it is difficult to judge from a low-quality YouTube clip, or a thirty-second sound bite, the true quality of their recordings. In the long run, many who have promoted themselves successfully, and seemed to hold much promise, lose their sparkle and charm. So one makes assumptions based on past recordings and reputation as a guide.

We recently purchased a recording of the Beethoven Violin Sonatas and Tchaikovsky Piano Trio, featuring the above three artists. The sound quality is reasonable, although sometimes not as crisp and clear as we might desire. If one listens closely, it sounds as though the violin is placed closer to the left, and the piano is opposite, on the right. The Violin Sonatas have been amply recorded in the past, but each has its own character and flavour. This recording has more of the feel of chamber music, with violin and piano supporting and assisting each other, rather than violin dominating over the piano accompaniment. There is good reason for this, given the long shared history of these musicians, and Barenboim’s piano is clean and articulate, and a pleasure to listen to. While decent, Zukerman’s violin is sometimes faint and less stellar, lacking the engaging energy exhibited in other interpretations (compare with the Perlman/Ashkenazy recordings, 1974). As a result, this is a merely pleasant and somewhat surprising recording, but by no means a definitive interpretation.

The Tchaikosky piano trio is also somewhat disappointing. The audio quality is again quite reasonable. Both the violin and cello suit each other superbly, but in this instance, there is an indistinct quality to the piano, and quite possibly wrong notes. The fault does not lie solely on the performers, however; the composition’s quality and purpose fades markedly in the middle portion of the second movement, to the point where, more than once, your humble reviewers have simply turned off the track and listened to something better developed.

Finally comes the calculation of value. This collection was offered at 256kbps from iTunes, at a price of $25 (or somewhere in that vicinity). While pleasant, we do not listen to these recordings on a daily basis, and it is perhaps best streamed occasionally rather than purchased for closer study and inclusion into a permanent collection.

Released 2009 by EMI music

The trumpet has largely played a supporting role in most classical music, blaring the occasional brassy fanfare. More often it is associated with jazz and brass bands. So when this recording by Alison Balsom appeared, my curiosity was piqued. How could a brass instrument with only three ‘buttons’ produce such round tender notes spanning a three-octave range?

And yet it does. Miss Balsom’s playing is dexterous and nuanced, and easily steals the show. Trills and octave jumps are surefooted, rhythms precisely delineated and dynamics entirely within context. The occasional intake of breath is audible, but does not detract from the record. The orchestra (the Deutsche Kammerphilharmoniker) is well balanced, enough to support but never so loud as to overwhelm, and is spare enough to reflect the early classical/baroque origins of these works. The technical aspects of the recording have resulted in a rich full sound, in which even the harpsichord can be heard in its rightful place.

The compositions are very typical of their time of composition, brightly glossed and easy to digest. Overall a highly satisfactory purchase.

Here’s a nice site that discusses how the trumpet makes all those notes with only three valves.

I picked up 2007 release from Deutsche Grammophon with great excitement earlier this year. As the first Polish native in 30 years to win the 2005 International Frederick Chopin Piano Competition, Mr. Blechacz caused great excitement, both in his native country and around the world. He followed this up with several well-reviewed recitals and signed a recording contract with Deutsche Grammophon.

My initial impression was highly favourable. Mr. Blechacz shines in the more rapid passages and technically he sounds competent. However, somewhat to my own astonishment, towards the end of the disc, my attention wandered away from the music.

Repeat screenings have diminished my pleasure in this recording, and I have not made it through the entire disc at a single sitting. Largely this stems from a difference in my interpretation of Chopin’s works. To me, Chopin should be fluid and lyrical, at times passionate, vital or pensive. Percussive is not a word I associate with Chopin, and yet many of these Preludes have a grating, forced quality to them (Prelude 4, 9, 20, 22, 24).

The slower Preludes have a lugubrious character, the result of a muddiness from the lower registers (Prelude 2), and missing notes in some of the higher chords (Prelude 6). I found it difficult to distinguish the details of the chord progressions and lower voices, and in other areas, the music loses its forward impetus, bogging down in a haze of sound. I cannot tell if the piano and recording setup was to Mr. Blechacz’s satisfaction, but the sound and voicing is audibly uneven. I disagree with some of the tempi chosen, particularly 4, 6 and 15.

That said, many Preludes continue to enthrall (1, 3, 5, 8, 10, 11, 12, 16), and there is much to appreciate in this new musician. Hopefully his interpretive skills will grow alongside the technical promise that this recording shows.

On a more practical note: I would download this CD from any vendor of your choosing (Deutsche Grammophon, iTunes, what have you), but the flaws in at least a third of the tracks prevent me from recommending a purchase of this in CD format. While it is worth the time to listen to these tracks, and is a fine debut effort, I do not consider this a definitive recording of the Preludes.

As of late I have become increasingly frustrated by the dwindling classical selection at music selling establishments. I live in Ottawa, Canada a city with a metropolitan area of over one million people and there is only a single music store that has an acceptable classical section where one can find most recent recordings and many popular recordings. Unfortunately even at this the best store in area it is unlikely one will find anything even on the fringes of obscure. For example a few months ago I was looking for “Mendelssohn: The Complete String Quartets” to no avail, previous to that I was after “Glass: Etudes for Piano, Vol. 1, Nos. 1-10″ again no luck. These are not “obscure” recordings by my estimation, but in a city of one million, not available. Probably one in four visits I find what I am looking for.

If the above was the standard shop or the middle of the road store I wouldn’t be complaining but in Ottawa, at any other shop, the classical section ranges from a full shelf, to a single row on a shelf, to nothing at all. But then there is my personal music store pet peeve - The Naxos Shelf. Nothing against Naxos because they do have some good recordings and I applaud them for their dedication to Classical, thank god for companies like them, but in my opinion the shelf does not sufficiently constitute a classical music section. Ten years ago CDs stores often had a completely soundproof area separate from the rest of the store for Classical / New age crowd. I don’t know when it started happening but it seems classical sections are being removed or scaled down, and as a result I buy less music. Logic indicates that this wouldn’t be happening if people were buying but perhaps this is a localized manifestation of Say’s Law (which states that there can be no demand without supply). More study required.

In any event I end up ordering CDs from the Internet that end up costing me $5 - $10 more when shipping is added, not to mention the wasted fuel and time going to the brick and mortar establishments to be disappointed. I wonder if this is the case in other cities or what the situation is like in Europe… If you have some insight feel free to comment.

I can’t say that I follow the Grammy Awards very closely but it is worth mentioning that The Emerson String Quartet has been nominated (again) for Best Classical Album and Best Chamber Music Performance. This time they are on the list for their epic recording “Mendelssohn: The Complete String Quartets” (Sämtliche Streichquartette) on Deutsche Grammophon.

This is a brilliant recording that shouldn’t be missed, and would be an exciting buy for the listener not yet familiar with Mendelssohn’s lesser known string quartets. Incidentally ESQ also includes a recording of the Octet in E flat, Op.20 recorded in two seperate sessions

If they win, it will be the seventh Grammy for the group.

PAUL HORSLEY over at the Kansas City Star has put together some decent advise for starting a classical CD collection as well as a listening guide as a starting point. His advise is quite helpful especially his point of selecting the right recording being crucial to enjoyment. I suppose a listening guide for the purposes of building a CD collection can be quite subjective so I won’t comment on Paul’s list but have I have to take exception with his statement - “Beethoven: Piano Sonatas (“Appassionata,�? “Moonlight,�? “Pathetique�?) Favorites of beginning pianists…” - Ok maybe the first movement of the Moonlight sonata but these sonatas are difficult works making up the concert repertoire of accomplished pianists, and part of the required playing for the top levels of many music curricula such as the royal conservatory of music.

[from: Got the classical bug?- Kansas City Star]

There’s a fellow over in Kalamazoo Michigan who has put out a CD consisting of a number of variations of the “Mary Had a Little Lamb”" melody (The Probably Untrue Story - $13 at Sonus Novus). Apparently when played for children, the kids go “giddy” for this CD while gaining an appreciation for Classical Music.

“If kids really like and find that education is entertaining, they will be absorbed by it and they won’t want to put it down.”

The CD is the brainchild of Micah Levy, former director of the Orange County (CA) Chamber Orchestra. He also has a master’s degree in orchestral conducting, and plays the French Horn professionally. He started the project in an attempt to improve his composing skills.

The disc is built around the story of Mary and her little lamb Petunia who is not allowed to accompany Mary to school… Mary gets lost on the way home as Levy explores the familiar melody while dramatizing her long journey home. Anything to get young people into classical.

[From: The Kalamazoo Gazette]