By Karl W. Nehring
Mozart: Piano Concerto No. 25 in C Major, K. 503; Rondo in A Minor, K. 511; Piano Concerto No. 20 in D Minor, K. 456. Jeremy Denk, piano and conductor; The Saint Paul Chamber Orchestra. Nonesuch 075597916874.
The American pianist Jeremy Denk (b. 1950), recipient of a MacArthur Foundation “Genius” Fellowship, is not a pianist who releases a lot of recordings; however, when he does release a recording, it is well worth checking out, as is this new Mozart album on Nonesuch. I have only one other recording by Denk in my collection, his rendition of Bach’s Goldberg Variations. Not only is it a fine performance, but the album includes a fascinating DVD with Denk discussing the music and playing examples at the keyboard. You can see an excerpt from that lecture here: https://www.youtube.com/watch?v=NEuaKv4sGrQ. This new Mozart release does not include a DVD, but it does include extensive liner notes by Denk himself that offer insight into the compositions as well as his thoughts and feelings about them. For example, of the concerto that opens the program, Denk reflects, “As I write these words … the world as it used to be has vanished, a pandemic world has settled in, and—as we keep telling ourselves—we have to live with uncertainty. Which has always seemed to me one of the key messages of this great concerto, so different from the rest, and so full of the love of its creator… 503 has very few tunes… this may explain why it is not one of the most popular of his concertos … you feel that Mozart is instructing you to listen more deeply, away from ornament, behind the frills, to realize that music is more than an assembly of charming and diverting tunes, to think about ideas beneath the surface, forces and principles.” His comment about “very few tunes” is an interesting one. One the one hand, it is true that there are no instantly memorable melodies, but on the other hand, this is Mozart, after all, so the music just seems to flow along like water in a mountain stream. I will confess to being unfamiliar with K. 503, but this recording has won me over. It is a piece and a performance that simmers with power. I want to hear it again and again.
Sandwiched between the two concertos on the program is a work for solo piano. Denk writes of Mozart’s Rondo in A minor, K. 511, “Mozart wrote so many sad songs in his short life: laments of ardent young tenors, of innocent maids, of jilted Countesses, sorrows across the human spectrum, across class and age and mindset, giving voice to regrets vast and small. But in this case I’d argue he does something different—a piece about the nature of melancholy, a sadness (if you like) about sadness.” It is a pensive piece, reflective for sure; whether you find it actually a reflection on or of sadness depends, to my mind at least, upon what your mind and mood bring to your listening session. And even if you do find it sad, you will almost certainly find both the music and the performance undeniably moving and beautiful.
After giving us two less-familiar works, Denk closes his recording with a Mozart concerto that will be much more familiar to most classical music lovers, his No. 20 in D Minor, K. 456, of which Denk notes, “is a far more famous and popular piece than 503, partly because it is what it promises to be. If 503 proposes grand, certain chords and then undermines them, 466 takes the opposite approach: it starts from a distilled unease which accumulates into chords and statements, outbursts of anger. A purer tragedy—and a clearer narrative.” Indeed, I have heard this piece so many times that as soon as it began, I found myself humming along and then trying to restrain myself from playing an imaginary keyboard once Denk started playing. His is a performance I would describe as crisp and powerful in the opening movement, crisp but lyrical in the second movement, and crisp and dramatic in the finale. You can hear an excerpt of his performance here: https://www.youtube.com/watch?v=LKzaJo31TP4
The recording quality is excellent overall. Yes, the piano seems a bit supersized, but that is typical of concerto recordings. Overall, the frequency balance is excellent, the imaging is believable (other than the huge piano, of course), and my only quibble is that the CD seems to be mastered a bit on the hot side, several decibels louder than one might expect. Perhaps this is becoming the New Normal as streaming and earbud listening take over from the traditional home stereo listening setup favored by fogies such as your truly. In any event, this is a richly rewarding recording that I recommend with utmost enthusiasm.
Tanguy: Clarinet Concerto; Matka; Violin Concerto No. 2. Pierre Génisson, clarinet; Júlia Pusker, violin; Ville Matvejeff, Jyväskylä Sinfonia. Ondine ODE 1390-2.
Let us once again sail into uncharted musical waters and listen to the music of a composer we have not heretofore discovered as we explore these three compositions by Éric Tanguy (b. 1968), one of the leading composers in contemporary French music. Once again we encounter truly international music-making, with music by a French composer being played by a Finnish orchestra and conductor, with soloists from France and Hungary, recorded on a Finnish label and manufactured in Germany. But the story gets even more international than that. French clarinetist Pierre Génisson (b. 1986) and the composer were in fact both living in Los Angeles in 2014 when, as Tanguy recounts, “Pierre communicated to me his wish that I write a score for him that he would be able to play >>in mirror<< in a concert including Mozart’s concerto. I of course accepted his project with a great deal of enthusiasm.” The concerto sounds nothing like Mozart’s, as you might expect, but it is quite listenable and enjoyable. Tanguy notes that “in this work there is a clearly consonant , melodic, and lyrical aspect that in no way excludes drama and melancholy.” As an old clarinetist (very old, very mediocre) myself, perhaps I am overly partial to the sweet sound of the “licorice stick,” but to my ears, Tanguy’s Clarinet Concerto (completed in 2017) is a true delight, capturing the imagination with its blend of dramatic gesture, tender reflection, and lyrical exuberance.
Next on the program is the relatively brief (11:28) tone poem Matka, which Tanguy composed in 2015 at the request of conductor Ville Matvejeff for the 150th anniversary of Sibelius, to be commissioned and premiered by the Jyväskylä Sinfonia. Of the title, Tanguy explains that “the Finnish title, ‘Matka,’ refers both to the idea of traveling in Finland, but at the same time to an inner journey and introspection.” Of the music itself, he continues, “Although there is no specific stylistic reference to Sibelius, I wanted to pay a spiritual tribute to the composer whose works fascinated me at a time when I was looking for my own way, thirty years ago.” It is a fascinating piece, one that pleases the ear and engages the imagination. As usual, I listened to it a few times before reading the liner notes, enjoyed it, and thought I heard a hint of Sibelius. After reading the notes, I heard even more hints, as you might expect.
Adding an additional dimension to the international aspect of the production is Hungarian violinist Júlia Pusker (b. 1991), who takes the spotlight in Tanguy’s Violin Concerto No 2. This piece was originally written in 1997 at the request of Phillipe Aïche, concertmaster of the Orchestre de Paris, and is dedicated to him. Later, however, Tanguy felt as though the piece would benefit from having the orchestral part rescored for smaller forces, so he modified it in 2003, and that is the version that has been performed in concert ever since and is the version recorded here. The concerto is in the traditional three movement form, which Tanguy succinctly (and to my ears, quite accurately) characterizes as a first movement with a contrasted lyrical and dramatic color, a second movement with a very mysterious and suspended atmosphere, and a finale that is very virtuosic, challenging both for the orchestra and the soloist. The opening measures might be a bit off-putting to conservative ears, but once you get past that, your ears will be rewarded, especially by the thrilling cadenza that Júlia Pusker plays in the final movement, which is virtuosic indeed! Excellent engineering and solid liner notes make this an easily recommendable release for those listeners looking to take a chance on contemporary composers whose names may be far less than familiar.
Remembering. Norgard: Between – Cello Concerto No. 1*; Remembering Child – Viola Concerto No. 1 (adapted for cello by Jakob Kullberg)**; Saariaho: Notes on Light for cello and orchestra***. Joakob Kullberg, cello; *Michael Francis, BBC Philharmonic; ** Szymon Bywalec, Sinfonia Varsovia; ***John Storgards, BBC Philharmonic. BIS-2602.
This release features some amazing playing by the Danish cellist Jakob Kullberg (b. 1976) in three cello concertos, two by Danish composer Per Norgard (b. 1932), with whom Kullberg has had a close musical relationship for may years, the other by Finnish composer Kaija Saariaho (b. 1952). Continuing the theme of musical internationalism, Varsovia Sinfonia and its conductor Szymon Bywalec both hail from Poland, the recordings were done for a Swedish label, only one of them (Remembering Child) in Poland and the other two in England. I suspect that for many listeners, the “make-or-break” point for their acceptance or rejection of this disc will be the first track, In Between, the opening movement of Norgard’s Cello Concerto No. 1. In my own listening sessions, I found it frustrating, because the rest of the program was enjoyable, but I could never quite relax and enjoy that first movement no matter how much I tried. I took some solace, though, when I finally turned to the liner notes, which said of this concerto, “The title mainly refers to the first movement, in which the cello is unable to unite with the orchestral sound, and instead belongs in the interstices.” The other two movements seem much more musically integrated, and through them all, even that problematic first movement, Kullberg’s playing is a marvel.
Thankfully enough, the remainder of the program on the disc, although still contemporary in character, falls easier upon the ear, including Norgard’s Remembering Child, which closes the program on a more agreeable note than it had begun. However, the highlight of this release is Notes on Light by Kaija Saariaho (b.1952), the longest work on the program, coming in at more than 33 minutes. Ms. Saariaho has cast her composition in five movements: I. Translucent, secret II. On fire III. Awakening IV. Eclipse V. Heart of Light. Perhaps I was influenced by the title, but I did find the music to possess a luminous quality, a sense of shimmering and reflecting that was quite fascinating. The liner booklet, by the way, includes a photo of Kullberg, Norgard, and Saariaho gathered together looking as though they are going over a score together, which is a nice touch. The transparent sound quality typical of the BIS label adds to the overall appeal of this release. Recommended, but with the reservation that the first track might be tough going for some listeners.
KWN
Mozart: Piano Concerto No. 25 in C Major, K. 503; Rondo in A Minor, K. 511; Piano Concerto No. 20 in D Minor, K. 456. Jeremy Denk, piano and conductor; The Saint Paul Chamber Orchestra. Nonesuch 075597916874.
Sandwiched between the two concertos on the program is a work for solo piano. Denk writes of Mozart’s Rondo in A minor, K. 511, “Mozart wrote so many sad songs in his short life: laments of ardent young tenors, of innocent maids, of jilted Countesses, sorrows across the human spectrum, across class and age and mindset, giving voice to regrets vast and small. But in this case I’d argue he does something different—a piece about the nature of melancholy, a sadness (if you like) about sadness.” It is a pensive piece, reflective for sure; whether you find it actually a reflection on or of sadness depends, to my mind at least, upon what your mind and mood bring to your listening session. And even if you do find it sad, you will almost certainly find both the music and the performance undeniably moving and beautiful.
After giving us two less-familiar works, Denk closes his recording with a Mozart concerto that will be much more familiar to most classical music lovers, his No. 20 in D Minor, K. 456, of which Denk notes, “is a far more famous and popular piece than 503, partly because it is what it promises to be. If 503 proposes grand, certain chords and then undermines them, 466 takes the opposite approach: it starts from a distilled unease which accumulates into chords and statements, outbursts of anger. A purer tragedy—and a clearer narrative.” Indeed, I have heard this piece so many times that as soon as it began, I found myself humming along and then trying to restrain myself from playing an imaginary keyboard once Denk started playing. His is a performance I would describe as crisp and powerful in the opening movement, crisp but lyrical in the second movement, and crisp and dramatic in the finale. You can hear an excerpt of his performance here: https://www.youtube.com/watch?v=LKzaJo31TP4
The recording quality is excellent overall. Yes, the piano seems a bit supersized, but that is typical of concerto recordings. Overall, the frequency balance is excellent, the imaging is believable (other than the huge piano, of course), and my only quibble is that the CD seems to be mastered a bit on the hot side, several decibels louder than one might expect. Perhaps this is becoming the New Normal as streaming and earbud listening take over from the traditional home stereo listening setup favored by fogies such as your truly. In any event, this is a richly rewarding recording that I recommend with utmost enthusiasm.
Tanguy: Clarinet Concerto; Matka; Violin Concerto No. 2. Pierre Génisson, clarinet; Júlia Pusker, violin; Ville Matvejeff, Jyväskylä Sinfonia. Ondine ODE 1390-2.
Next on the program is the relatively brief (11:28) tone poem Matka, which Tanguy composed in 2015 at the request of conductor Ville Matvejeff for the 150th anniversary of Sibelius, to be commissioned and premiered by the Jyväskylä Sinfonia. Of the title, Tanguy explains that “the Finnish title, ‘Matka,’ refers both to the idea of traveling in Finland, but at the same time to an inner journey and introspection.” Of the music itself, he continues, “Although there is no specific stylistic reference to Sibelius, I wanted to pay a spiritual tribute to the composer whose works fascinated me at a time when I was looking for my own way, thirty years ago.” It is a fascinating piece, one that pleases the ear and engages the imagination. As usual, I listened to it a few times before reading the liner notes, enjoyed it, and thought I heard a hint of Sibelius. After reading the notes, I heard even more hints, as you might expect.
Adding an additional dimension to the international aspect of the production is Hungarian violinist Júlia Pusker (b. 1991), who takes the spotlight in Tanguy’s Violin Concerto No 2. This piece was originally written in 1997 at the request of Phillipe Aïche, concertmaster of the Orchestre de Paris, and is dedicated to him. Later, however, Tanguy felt as though the piece would benefit from having the orchestral part rescored for smaller forces, so he modified it in 2003, and that is the version that has been performed in concert ever since and is the version recorded here. The concerto is in the traditional three movement form, which Tanguy succinctly (and to my ears, quite accurately) characterizes as a first movement with a contrasted lyrical and dramatic color, a second movement with a very mysterious and suspended atmosphere, and a finale that is very virtuosic, challenging both for the orchestra and the soloist. The opening measures might be a bit off-putting to conservative ears, but once you get past that, your ears will be rewarded, especially by the thrilling cadenza that Júlia Pusker plays in the final movement, which is virtuosic indeed! Excellent engineering and solid liner notes make this an easily recommendable release for those listeners looking to take a chance on contemporary composers whose names may be far less than familiar.
Remembering. Norgard: Between – Cello Concerto No. 1*; Remembering Child – Viola Concerto No. 1 (adapted for cello by Jakob Kullberg)**; Saariaho: Notes on Light for cello and orchestra***. Joakob Kullberg, cello; *Michael Francis, BBC Philharmonic; ** Szymon Bywalec, Sinfonia Varsovia; ***John Storgards, BBC Philharmonic. BIS-2602.
Thankfully enough, the remainder of the program on the disc, although still contemporary in character, falls easier upon the ear, including Norgard’s Remembering Child, which closes the program on a more agreeable note than it had begun. However, the highlight of this release is Notes on Light by Kaija Saariaho (b.1952), the longest work on the program, coming in at more than 33 minutes. Ms. Saariaho has cast her composition in five movements: I. Translucent, secret II. On fire III. Awakening IV. Eclipse V. Heart of Light. Perhaps I was influenced by the title, but I did find the music to possess a luminous quality, a sense of shimmering and reflecting that was quite fascinating. The liner booklet, by the way, includes a photo of Kullberg, Norgard, and Saariaho gathered together looking as though they are going over a score together, which is a nice touch. The transparent sound quality typical of the BIS label adds to the overall appeal of this release. Recommended, but with the reservation that the first track might be tough going for some listeners.
KWN
