Category Archives: On record

On Record – Estonian National Symphony Orchestra / Neeme Järvi – Lalo: Orchestral Works (Chandos)

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Lalo
Overture to Le Roi d’Ys (1875-88)
Namouna: Valse de la cigarette from Namouna; Suite no.1; Suite no.2 (1868-71)
Symphony in G minor (1886)

Estonian National Symphony Orchestra / Neeme Järvi

Chandos CHAN 20183 77’22”
Producer and Engineer Kaspar Karner
Recorded 6-8 June 2022, Estonia Concert Hall, Tallinn, Estonia

Reviewed by Ben Hogwood

What’s the story?

After a successful album of French Music for the Stage, the Estonian National Symphony Orchestra and Neeme Järvi team up for more 19th century explorations, alighting on a composer the octogenarian pioneer has somehow not previously recorded.

Their chosen program brings together several companion pieces by Édouard Lalo, returning to the stage for suites from his ballet Namouna and the overture to his opera Le Roi d’Ys, before adding the Symphony in G minor as a substantial complement.

What’s the music like?

Lalo was a tuneful composer throughout his career, and these works are full to bursting with attractive melodies and colourful orchestration. The structure of the album is ideal, starting with the overture to his only opera, Le Roi d’Ys. This occupied him for 12 years, by which time the overture had changed complexion, becoming a dramatic standalone piece that could work well as a concert opener, especially with its brassy ending.

The Namouna Suites are full of charm and elegance, but are also shot through with fantasy and more than a little glamour. Initially Lalo was not given a storyline to work with, and when he was given an outline of a story from Casanova’s Memoirs he suddenly had little time to complete the work. Ill health ensued, but thanks to fellow-composer Charles Gounod helping with the orchestration he was able to get the characterful work across the line. It is full of good ideas,

Finally the Symphony in G minor, completed in the same time period as more famous cousins by Franck (in D minor) and Saint-Saëns (the Organ symphony). Its relative neglect is unfortunate, for it is a fine piece if looking a little further back for its inspiration, incorporating influences from Mendelssohn, Schubert and possibly Bizet. It is carefully structured and develops its material quite studiously, but there is an attractive lightness of touch to some its themes, some welcome weight in the Scherzo and finale, and a touching tenderness to the slow movement where the strings come to the fore. The convincing finale generates a good deal of positive energy, Lalo’s musical arguments adding up to a satisfying finish.

Does it all work?

It does – thanks to excellent performances. Järvi, of course, is a seasoned professional, but the orchestra follow his sleights of hand to the letter. The Valse de Cigarette from Namouna is a particular delight, playing around with the rhythm to induce a smile, while the brass at bring extra power and panache whenever they are employed, emphasising the Wagnerian links. The colourful shading of Namouna is aided by the Chandos engineers, who give the orchestra the ideal depth, while the performance of the Symphony in G minor has clarity and poise.

Is it recommended?

It is, enthusiastically. Lalo’s orchestral music is still underrepresented in the concert hall, but there is a growing body of highly proficient recordings of the extremely likeable works hovering round the edges of his output. This attractive album goes straight into the top bracket of modern recordings of his music.

Listen

https://open.spotify.com/album/5rJOvAkJIX2CtwRFEnvCQg?si=lind1vzUTTafMDGVbeUOpw

Buy

You can explore purchase options for this album at the Presto website

Published post no.2,077 – Sunday 4 February 2024

On Record – Rone: D’Argent et De Sang (Original Series Soundtrack (InFiné)

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by Ben Hogwood

What’s the story?

The InFiné press release for this soundtrack does a fine job of setting the brief for the most recent soundtrack release from Rone. The French musician and composer has been tasked with writing a score for D’Argent & De Sang (originally titled Tikkoun), produced by Curiosa Films and directed by multi-César winning showrunner Xavier Giannoli.

Rone mixes orchestral textures with electronic elements to ‘symbolize the heterogeneity of the worlds that intersect on the story’. The story is that of the Carbon Tax scam, and Rone talks about how ‘we needed repetition and redundancy to highlight the theme of obsession, which is central to Xavier’s work – and to support the developments in the investigation and its characters’.

What’s the music like?

There is no doubt that Rone is a composer to watch, as his skill in blending orchestral and electronic music is becoming ever more accomplished and imaginative.

With D’Argent & De Sang he succeeds comfortably in following the brief, and the theme of obsession is hammered home. It helps for the listener to know the plot beforehand, as it explains Rone’s continued return to the main theme – but he is clever enough to set it in different context and give it different musical meaning.

The twinkling, shimmering opening pages of Tikkoun present the recurring theme, imaginatively scored. We here the sequence in various guises, from forthright string quintet to steely piano, expressively played by Vanessa Wagner. Rone’s pair of Electronic Variations are serene, in contrast to the grainy strings that darken the mood on Stress, with the use of creeping quarter tones. dRONE03 is ominous, while Jackpot is a powerful climax, combining the strings and electronics to good effect.

Does it all work?

It does – though there is the familiar issue with listeners to soundtracks that some ideas do not get developed as much as you would like, simply because Rone is following the brief. That said, his work is consistently rewarding, from the orchestra that bloom on headphones or widescreen, or the intimacy of the single piano.

Is it recommended?

It is – this is impressive stuff from the Frenchman, who is really carving a name for himself as a composer of some repute.

For fans of… Max Richter, Daft Punk (the TRON soundtrack), Jean-Michel Jarre and Vanessa Wagner

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Published post no.2,061 – Friday 19 January 2024

On Record – Soloists, Transylvania State Philharmonic Choir & Orchestra / Lawrence Foster – Kodály: Te Deum & Psalmus Hungaricus; Bartók: Cantata Profana & Transylvanian Dances (Pentatone)

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Kodály
Budavári Te Deum (1936)
Psalmus Hungaricus Op.13 (1923)
Bartók
Transylvanian Dances (Erdély táncok) Sz. 96 (1931)
Cantata Profana Sz. 94 (1930)

Luiza Fatyol (soprano, Te Deum), Roxana Constantinescu (mezzo-soprano, Te Deum), Marius Vlad (tenor, Te Deum and Psalmus Hungaricus), Ioan Hotea (tenor, Cantata Profana), Bogdan Baciu (baritone, Te Deum and Cantata Profana), Junior VIP, Children’s Choir (Psalmus Hungaricus), Transylvanian State Philharmonic Choir & Orchestra / Lawrence Foster

Pentatone PTC 5187071 [64’14”] Texts and English translations included

Executive & Recording Producer Job Maarse Balance Engineer & Editing Erdo Groot Engineer Lauran Jurrius
Recorded May 2022, Radio Studio of Radio Cluj, Romania

Written by Ben Hogwood

What’s the story?

Here is a chance to gain an insight into the choral music of two 20th century Hungarian composers known predominantly for their orchestral works. Bartók and Kodály were born just a year apart, and while their music is fiercely proud of their heritage their musical trajectories extend well beyond Hungary. Kodály stayed largely within Europe but brought back influences from Paris, while Bartók reluctantly emigrated to the US in late 1940.

Psalmus Hungaricus was Kodály’s first major post-war composition, in 1923. It is a landmark in his output, using for its text a Hungarian paraphrase of Psalm 55. Kodály uses a tenor soloist for the central dramatic role, the choir taking up their position as commentators. The Budavári Te Deum, completed 13 years later, marks the 250th anniversary of the liberation of Buda Castle from the Turks. While referencing Gregorian chant, Kodály incorporates references to Hungarian melodies and ornamentations in a dramatic setting.

In 1930 Bartók completed his first major work for chorus and orchestra. Cantata profana has Transylvanian roots, and Oana Andreica’s booklet note gives the context of its libretto, starting from two Romanian ‘colinde’ – ballads sung during the Christmas season but with a wide range of subjects well beyond the birth of Christ. Such is the case here, Bartók dramatising a myth of nine sons turned into stags. The cantata charts their fate and their father’s conflicting emotions, expressed by a baritone soloists. The Transylvanian Dances are a complementary addition, a short trio of works for small orchestra containing five traditional songs.

What’s the music like?

The Budavári Te Deum is a thrilling start to the album. This is red-blooded choral writing, Kodály diving in headlong to a high octane first section. He challenges choir’s higher sections, who respond admirably to the loud dynamic, retaining impressive clarity in the part writing. The work’s climactic points are notable for their power and passion.

This performance of the Psalmus Hungaricus has the authentic inflections to the melody, its bracing start turning to contemplation. Tenor soloist Marius Vlad inhabits the full tone and strong line demanded by Kodály, and sung so memorably by Ernst Haefliger in the legendary recording with Ferenc Fricsay. This makes for a fine digital alternative, with the choral response both full-bodied and unified. The meaningful counterpoint between Vlad and the Transylvanian woodwind in the middle section (Te azért lelkem) is especially memorable.

Bartók’s Cantata profana starts ominously, with an underlying menace that grows steadily as the hunt in the story progresses. Again the choral passages are well drilled, especially when in league with the percussion. The passionate tenor solo (Ioan Hotea) and fulsome bass (Bogdan Baciu) prove to be ideal foils, alighting on some spicy chords. There is little consolation at the end, in spite of the relative calm this performance leaves.

The Transylvanian Dances are over in a flash but leave a charming impression, with rustic themes. The recording is much closer, taking the action indoors to the tavern rather than outside in the wilds.

Does it all work?

Very much so. There is an adjustment to be made for the Transylvanian Dances, with the smaller ensemble and closer recording, but the performances justify the means. The choral works are a resounding success, brilliantly performed and with electric singing from the Transylvania State Philharmonic Choir, especially in the high passages. The orchestra match them under Lawrence Foster, who secures incisive rhythms and impressive clarity from such large forces.

Is it recommended?

It certainly is. This is an enterprising and very accessible coupling of three thrilling choral works, revealing fresh insights into the Hungarian composers.

Listen

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For more information on this release and for purchase options, visit the Pentatone website

On Record: Bruce Brubaker – Eno Piano (InFiné)

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by Ben Hogwood

What’s the story?

To read the full story behind Eno Piano, you can read Arcana’s recently published interview with Bruce Brubaker. In it he sets out his quest to recreate Brian Eno’s ambient masterpiece Music For Airports, made through tape loops and studio techniques, for a living and breathing musician to play on the piano.

To get the necessary sustain Brubaker has employed a number of intriguing techniques, not least the use of electro-magnetic bows over the piano, enabled by Florent Colautti.

While Music For Airports is the main act, Brubaker places it in the context of shorter works by Eno that have a more descriptive edge – The Chill Air, a collaboration with the late Harold Budd, By This River, co-written with Dieter Moebius and Hans-Joachim Rodelius, and Emerald and Stone, where his collaborators are Jon Hopkins and Leo Abrahams, with whom he still works a great deal.

What’s the music like?

Incredibly restful – which of course is a description you could level at the original Music For Airports. Job done, you would think, but the reproduction of this music in human hands does reveal a slight and unexpected intensity, the performer having to maintain a very high degree of concentration and control to get close to honouring Eno’s original music.

Brubaker certainly does that, and the electro-magnetic bows help the sustain very subtly at the start of Music For Airports 2/1. The whole thing is so carefully thought through that each note feels researched but also instinctive, especially in 2/2 where the angular lines create an extraordinary sense of space.

While Music For Airports is indoors, the other three pieces are very much outside, and have a refreshing clarity. The Chill Air and By This River are bracing, wintry piano music.

Does it all work?

It does. When Bang On A Can released their chamber ensemble version of Music For Airports in 1998 it gave a new dimension to Brian Eno’s thinking. This piano work will have a similar effect, and is even more intimate in its confines.

Is it recommended?

Yes. Any Eno fan will want to hear this, and Bruce Brubaker shows just how imaginatively and thoughtfully he can attend to the music of others. This is a quiet revelation.

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Published post no.2,046 – Thursday 21 December 2023

On Record: A Child’s Christmas – Orchestral Music For Christmas (Heritage)

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Hely-Hutchinson Overture to a Pantomime (1946)
Hewitt Jones Christmas Party (2016)a; Overture: The Age of Optimism (2023)
Kelly Sing a Song of Sixpence (2020)
Lanchbery Tales of Beatrix Potter – excerpts (1971)
Lane/Nicholls Suite: The Adventures of Captain Pugwash (1999)b
Moore Santa’s Sleigh Ride (2019)
Saunders A Magical Kingdom (2003)a; Journey to Lapland (2020)
Thornett A Child’s Christmas (2016)a

Royal Ballet Sinfonia / Barry Wordsworth, aGavin Sutherland; bCity of Prague Philharmonic Orchestra / Julian Bigg

Heritage HTGCD139 [66’03’’]

written by Richard Whitehouse

What’s the story?

Heritage adds to the festive cheer with this latest anthology of music for, about or appropriate to Christmas as heard from a child’s perspective, expertly realized by this brace of orchestras and three conductors, in what should prove the ideal addition to anyone’s Yuletide listening.

What’s the music like?

The effervescence of Victor Hely-Hutchinson’s Overture to a Pantomime sets the ball rolling ideally, replete with Sullivan-like melodiousness whatever its lack of seasonal tunes, then into the title-track by Gordon Thornett – an appealing concocted medley with more than a hint of Tijuana to the brass (anyone recall the Torero Band’s 1968 masterpiece Tijuana Christmas?) and winsome writing for the woodwind. Adam Saunders displays his light-music credentials in the catchiness of A Magical Kingdom, then a deftly evocative touch in Journey to Lapland.

The youngest composer here, Thomas Hewitt Jones contributes two of the most substantial pieces in the cinematic Christmas Party, unashamedly old-style (not just musically) and with brother Simon the animated violinist, while The Age of Optimism makes for a stirring curtain -raiser. Roy Moore duly adds to what has become a notable Christmas sub-genre with Santa’s Sleigh Ride, while Bryan Kelly proves to be the present-day Roger Quilter with Six a Song of Sixpence – an extensive and resourceful fantasia on children’s songs both witty and amusing.

Prolific conductor and arranger for ballet, John Lanchbery (whose centenary fell this May) is well remembered for Tales of Beatrix Potter, drawing judiciously on a range of 19th-century light music – hence the graceful ‘Introduction’ and whimsical ‘Tale of Jemima Puddleduck’, before those lively goings-on of ‘The Picnic’ head straight into the jauntiness of the ‘Finale’. Launched with its indelible signature-tune, The Adventures of Captain Pugwash finds Philip Lane and Ian Nicholls in absolute accord for this saunter through the world of the sea-shanty.

Does it all work?

Yes, given that this is a miscellany only loosely unified by its Christmas theme – most of the pieces being ideal for listening at any other time of the year. The playing of the Royal Ballet Sinfonia is finely attuned under the direction of such ballet stalwarts as Barry Wordsworth or Gavin Sutherland, and the City of Prague Philharmonic Orchestra evidently enjoyed making acquaintance with Captain Pugwash (was the cartoon shown in the former Czechoslovakia?). Nor do these recording sessions suggest anything like a 24-year timespan in terms of sound.

Is it recommended?

Indeed, given this is a worthwhile addition to the Christmas music discography and features a succinctly informative note from Philip Lane. Those who get the seasonal bug should look no further then Heritage’s volume The Spirit of Christmas [HTGCD299] for a follow-up release.

Listen & Buy

You can explore purchase options at the Heritage Records website

Published post no.1,983 – Thursday 19 October 2023