Tag Archives: Jules Massenet

On record – Villa-Lobos: Choral Transcriptions (São Paulo Symphony Choir / Valentina Peleggi) (Naxos)

Posted on by
Reply

villa-lobos

Villa-Lobos transcriptions of:

Bach Prelude and Fugue no.8 in E flat minor / D sharp minor BWV853, Prelude no.14 in F sharp minor BWV883; Fugues – no.1 in C major, BWV846; no.5 in D major, BWV874; no.21 in B flat major, BWV866; no. 22 in B flat minor BWV867
Beethoven Adagio cantabile Op.13/2
Chopin Waltz no.7 in C sharp minor Op.64/2
Massenet Élégie Op.10/5
Mendelssohn Lieder ohne Worte in E major Op.30/3
Rachmaninov Prelude in C sharp minor Op.3/2
Schubert Ständchen D957/3
Schumann Träumerei Op.15/7
Villa-Lobos Bachianas Brasileiras no.9 W449

São Paulo Symphony Choir / Valentina Peleggi

Naxos 8.574286 [58’32”] English and Portuguese translations included

Producer Ulrich Schneider
Engineers Marcio Jesus Torres, Camilla Braga Marciano, Fabio Myiahara

Recorded: 5-10 August 2019 at Sala São Paulo, Brazil

Written by Richard Whitehouse

What’s the story?

Naxos’s coverage of the music of Heitor Villa-Lobos (part of this label’s series The Music of Brazil) continues with a selection of mainly transcriptions from the piano repertoire that the composer undertook during the mid-1930s as part of his extensive educational commitments.

What’s the music like?

Almost all these arrangements emerged in the period 1932-5, when Villa-Lobos took on the challenge of overhauling music education in the public school system of Rio de Janeiro. This involved the creation, virtually from scratch, of a choral pedagogy that he drew from across the spectrum of Baroque, Classical and Romantic music. It is a measure of his prowess that such transformation from mostly piano sources was accomplished with unfailing rigour and an idiomatic quality, so the fame of the originals is almost the only clue to their provenance.

From the soulful strains of among the most mellifluous from Mendelssohn’s Songs without Words, the programme then continues with the Eighth Prelude and Fugue from the first book of Bach’s The Well-Tempered Clavier – the former piece summoning a plangently rhetorical response which finds pertinent contrast with the latter piece’s methodical and intricate build-up to a culmination of sombre eloquence. The arrangement of Dreaming from Schumann’s Scenes from Childhood fully conveys its wistful pathos, as does that of the First Fugue from Bach’s WTC the original’s cool elegance. Similarly, the last of Schubert’s Serenade settings loses little of this song’s plaintiveness, and the Twenty-First Fugue from Bach’s WTC takes on unexpected jauntiness in what proves one of Villa-Lobos’s most inspiriting re-creations.

Chopin’s Waltzes might be considered unsuited to the vocal medium, yet the C sharp minor responds ably to such elaboration, as too the ruminative calm of the Twenty-Second Prelude from Bach’s WTC. Rachmaninov might have thought better of his Prelude in C sharp minor had he encountered this uninhibitedly dramatic realization, with basses providing the baleful anchorage, in contrast to the yearning aura drawn from the Fourteenth Prelude of the second book from Bach’s WTC. Massenet’s Elegy exceeds the original song for bittersweet poise, a foil to the serenity of the Fifth Fugue from Bach’s WTC. The indelible main melody from the Adagio of Beethoven’s Pathétique segues ideally into the Ninth Bachianas Brasileiras, with Villa-Lobos’s choral incarnation rather more atmospheric and evocative than that for strings.

Does it all work?

Almost entirely and due in no small part to the excellence of the São Paulo Symphonic Choir with its Italian conductor Valentina Peleggi. Lasting just under 60 minutes, the selection feels varied yet also cohesive enough to be enjoyed as a continuous programme, while enterprising choirs from both sides of the Atlantic ought to find much here to enrich their existing rosters. Inclusion of Villa-Lobos’s own music at the close is a reminder its technical demands should never be taken for granted, but here too the SPSC rises to the challenge with unstinting verve.

Is it recommended?

It is. The acoustic is just a little reverberant at times yet without detriment to the clarity of the choral writing, with informative annotations from Manoel Corrêa do Lago. Listeners should also investigate a recent Naxos release of Villa-Lobos’s first three violin sonatas (8.574310).

Listen

Buy

You can discover more about this release at the Naxos website, and you can also purchase the recording here. You can read more about conductor Valentina Peleggi here

On record – Sinfonia of London / John Wilson – Escales: French Orchestral Works (Chandos)

Posted on by
1

Escales – French Orchestral Works

Chabrier España (1883)
Duruflé Trois Danses (1932)
Saint-Saëns Le Rouet d’Omphale Op.31 (1871)
Debussy Prélude a l’apres-midi d’un faune (1891-94)
Ibert Escales (1922)
Massenet Meditation from Thaïs (1894)
Ravel Rapsodie espagnole (1907-08)

Adam Walker (Debussy), Andrew Haveron (Massenet), Sinfonia of London / John Wilson

Chandos CHAN 5252 [78’19”]

Producer Brian Pidgeon
Engineer Ralph Couzens

Recorded 6-7 September 2019 (Trois Danses nos.1 & 3), 16-18 January 2019 (other works), Church of St. Augustine, Kilburn, London

Written by Ben Hogwood

What’s the story?

The Sinfonia of London, an orchestra from the 20th century given a new lease of life by conductor John Wilson, makes its second release for Chandos.

In fact we could term it as a series of Sinfonia of London buses, for you wait two decades and then two come along at once! The orchestra’s renaissance began with a stunning account of Korngold’s Symphony in F sharp last year, but now they turn their attention to France, and an imaginatively chosen program celebrating the elusive but immediately recognisable French orchestral sound.

What’s the music like?

A complete pleasure. Although irresistibly French, the music in the collection does remind us of the close bond between France and Spain, thanks to classics of the repertoire from Chabrier and Ravel and a relative rarity from Ibert.

Chabrier‘s España begins the collection and it is an absolute delight, a feel good piece given even more of a lift in this brilliant account. Wilson’s instincts for the stage come to the fore immediately, the bouncy rhythms and cheeky asides proving irresistible when presented with this much colour and warmth.

At the other end Ravel’s Rapsodie Espagnole is no less characterful. The atmospheric Prélude à la nuit ghosts in from silence, Wilson delighting in the orchestral textures and Ravel’s masterly sense of line. The persuasive rhythms of the Feria are expertly judged, the silky strings giving way as the music surges forward with terrific momentum.

Between these two gateposts are works of colour and élan. It is so good to see the inclusion of relative rarities in Duruflé’s Trois Danses, one of only two completed orchestral works in his output, and Ibert’s underrated Escales (Ports of Call) which gives the collection its name. The Duruflé sparkles in Wilson’s hands, violins caressing the longer melodies of the Divertissement, first dance of the three. Much of the composer’s relatively small output is for organ, which he effectively uses as his orchestra, but a persuasive Danse lente and thrilling Tambourin give us further proof of his prowess with large forces, harnessing the influence of Dukas. The latter features a particularly enticing saxophone solo, the recording indulging the colour and scope of Duruflé’s writing.

The Ibert, meanwhile, is a treat. Just over a minute into Escales‘ first movement, Palermo, there is what can only be described as a murmuration of violins, the music fluttering upwards in a bold sweep. Meanwhile Wilson secures a terrific drive to the description of the third ‘port’, Valencia, which ends with a flourish.

Before Escales comes a fresh faced account of Debussy’s Prélude a l’apres-midi d’un faune, the piece that effectively changed the face of music on the eve of the 20th century. Wilson and his charges capture the sense of newness, but also the enchanting and harmonies, with seductive playing from flautist Adam Walker. By contrast the Méditation from Thaïs, Massenet’s most famous orchestral excerpt, is more conventional. It could have felt misplaced here in terms of mood and musical language, but orchestra leader Andrew Haveron invests it with plenty of affection and never overdoes the romantically inclined melodies.

The packed release also finds room for a symphonic poem by Saint-Saëns. Le Rouet d’Omphale (The Spinning Wheel of Omphale) is a relatively early work and a great example of the composer’s melodic flair and ability for musical programming in thrall to Liszt. Wilson has its measure fully, pacing the music’s build ideally in arguably the finest modern recording since Charles Dutoit’s classic account with the Philharmonia in 1980.

Does it all work?

Yes. This is a brilliantly played and really well-chosen program, suiting both the curious listener and the familiar Francophile. What comes through most of all is the sheer enthusiasm and flair of the players, galvanized by Wilson in accounts that are both instinctive and incredibly well prepared.

From the opening notes of España it is immediately clear how this collection is going to go, and with the changes in mood suitably well planned and ordered – save arguably the Massenet – it is a listening experience you will want to return to often.

Is it recommended?

Wholeheartedly. This is music making as it should be, celebrating great orchestral music packed full of good tunes, instrumental colour and the ability to paint vivid pictures of its subjects. Wilson and his charges should be congratulated for an achievement which will surely land them with a glut of awards in the next few months – and only heightens the anticipation for their third release on Chandos, later this month, when they will return to Korngold for the Violin Concerto and String Sextet. In the meantime, make the most of this wonderful set of French fancies!

Listen

Buy

You can listen to clips from this disc and purchase a copy at the Chandos website here

Live review – Mirel Iancovici & Jeroen Riemsdijk – The Legacy of Music: Enescu and His Teachers

Posted on by
Reply

Mirel Iancovici (cello), Jeroen Riemsdijk (piano)

Romanian Cultural Institute, London
Thursday 7th March 2019

R. Fuchs Cello Sonata no.2 in E flat minor Op.83 (c1908)
Enescu (arr. Iancovici) Romanian Rhapsody no.2 in D major (1901)
Enescu Tre Canti (1905/1903/1938); Sonata-Torso in A minor (1911)
Massenet Thaïs – Méditation (1894)
Fauré Cello Sonata no.2 in G minor Op.117 (1921)

Written by Richard Whitehouse

The significance of Enescu‘s teachers throughout his formative years in Vienna and Paris has often been remarked but seldom reflected in performance, so making this evening’s recital as part of the Romanian Cultural Institute’s Enescu Concerts Series the more worthwhile.

Regarded more highly as a teacher than composer in his lifetime, Robert Fuchs (1847-1927) is best remembered for his orchestral Serenades. His Second Cello Sonata (its unusual key a response to the E minor of Brahms’s First Sonata?) is characteristic in its emotional reticence and intensive interplay between instruments, not least in the equable opening Allegro that duly makes way for a ruminative Adagio then a relatively animated finale. In the hands of Mirel Iancovici and Jeroen Riemsdijk, it certainly made its case for more frequent revival.

All the Enescu pieces featured were arrangements by Iancovici, beginning with that of the Second Romanian Rhapsody whose emphasis on song rather than dance makes it well suited to this medium. The Three Songs derive from various sources: the plaintive Doina (Lament) from a folk-inspired song, grandly rhetorical Preludio monodico from the initial movement of the First Orchestral Suite, then the mercurial Lăutarul (The Fiddler) from the opening movement of Impressions d’enfance. Together these made for an attractive and contrasted sequence, but it was the transcription of the Sonata-Torso that left the strongest impression – the intensely interiorized emotion and rhapsodic progress of this intriguing while undeniably discursive piece arguably better served in this guise than by the violin-and-piano original.

Just before this, the evergreen Méditation from the opera Thaïs by Massenet (a composer who wrote little or no chamber music) made for an easeful and not too indulgent interlude. The recital ended with Fauré‘s Second Cello Sonata, typical of his late music in its eliding of form into expression as confirmed by the fluid unfolding of its initial Allegro then the distanced soulfulness of its Andante, before the final Allegro affords a measure of robust humour and wistful poise as this elusive piece heads to its unexpectedly decisive close.

Throughout this recital, Iancovici’s playing was of an insight and discernment complemented by Riemsdijk’s lucid and attentive pianism. Hopefully they will return in this series; hopefully including either (or both!) of Enescu’s cello sonatas and more of Iancovici’s arrangements.

Further information on the Enescu Concerts Series at can be found at the Romanian Cultural Institute website

BBC Proms 2017 – Charles Dutoit conducts the Royal Philharmonic Orchestra in Saint-Saëns’ ‘Organ’ Symphony; Joshua Bell plays Lalo

Posted on by
Reply

Prom 40: Stéphanie d’Oustrac (mezzo-soprano), Joshua Bell (violin), Cameron Carpenter (organ), Royal Philharmonic Orchestra / Charles Dutoit

Falla El amor brujo (1914-5)

Lalo Symphonie Espagnole (1874)

Saint-Saëns Symphony no.3 in C minor Op.78 (1886)

Royal Albert Hall, Thursday 17 August 2017

You can listen to this Prom here for 28 days from the date of the performance

On paper, a sultry Prom for the middle of summer, capped by a colourful French symphony. In reality, even more substantial – a concert whose tuneful demeanour and performance panache really lifted the spirits, bringing new perspectives to works we might have erroneously pigeon holed as over familiar or under performed.

Into the latter category falls most of the music of Édouard Lalo, whose Symphonie espagnole, a passionate five movement work for orchestra with violin soloist, is the one work to really gain a foothold in the Proms. Lately however it has fallen out of favour, and Joshua Bell was bringing it back for the first time in 15 years. His evidence was persuasive, a performance full of character, wit and commitment that showed the French composer’s Spanish persuasions in a very positive light. The first two movements were a little on the chaste side, but that only heightened the bravura of the Intermezzo, where Bell was really able to let his hair down.

The finale was also a winner, its tune (memorably upgraded by Keith Emerson and The Nice) leaving an impression long after it had departed, and completing a convincing performance of a substantial work. It would be good to see more Lalo revived to the repertoire, for he is a composer of tuneful appeal with colourful orchestration. Bell (above) gave us a substantial bonus in a gorgeously floated encore of Massenet’s Méditation from his opera Thaïs.

Manuel de Falla also fulfils those two qualities, though his way with a melody is if anything even more exotic. El Amor Brujo (Love, The Magician) is packed full of memorably scored dance music that played right into the hands of a skilled interpreter such as Charles Dutoit. Under his baton the Royal Philharmonic Orchestra swooned and sighed, though unfortunately the contributions from mezzo-soprano Stéphanie d’Oustrac (above) were not ideally balanced from our vantage point in the Albert Hall, her notes falling short of the back of the Arena. Because of that the dances were easily the high point of what was otherwise a high quality performance.

And so to Saint-Saëns, and his Symphony no.3 – the Organ symphony, billed on account of the instrument’s role in the final movement. It was surely the last ten minutes of this work – elevated by pigs in the film Babe – that caused such queues for the arena and gallery, but it was particularly satisfying to be reminded of the work as a whole and its inventiveness.

This was surely the first occasion an organ had been used in this way before, and not just that – a piano too, the four handed part beautifully incorporated by Dutoit into the whole. Dutoit ensured the rhythmic invention of Saint-Saëns was to the fore in the first movement, the strings’ lines shimmering in the half light, while the second movement bloomed in a wondrous shade thanks to well-chosen settings by organist Cameron Carpenter (below) for his accompaniment of the strings plaintive but increasingly powerful theme.

A quickfire third movement brought rhythmic impetus again, the motto theme drumming its way firmly into the consciousness, and then it was the finale, where the balance between organ and orchestra was ideal. Dutoit, who has conducted this work for well over 30 years, relished the drama of the chorale theme and the orchestra’s rapturous response, but also brought forward the inner workings that Saint-Saëns uses to drive it forwards.

A final, personal note on Charles Dutoit, receiving his Gold Medal from the Royal Philharmonic Society before we heard the Saint-Saens – which incidentally was commissioned by the same body in 1886. In his recordings with the Montreal Symphony Orchestra, Dutoit has made some very special insights into French music that are I’m sure on the shelves of many a classical collector today. Ravel, Debussy, Poulenc and Ibert are just five of the composers to benefit from his special relationship with the orchestra – and provide just some of the reasons behind the ever-adventurous conductor’s modest receipt of the medal. He may be 81 but the creative fires still burn very keenly!

Ben Hogwood, with pictures (c) Chris Christodoulou

Stay tuned for another in Arcana’s Ask The Audience series, where Jamie Sellers will give his verdict on the Royal Philharmonic Orchestra Prom. Coming shortly! Meanwhile a Spotify playlist celebrating Charles Dutoit is below, containing some of the music from this concert.