By Karl W. Nehring
Poems & Rhapsodies
Saint-Saëns: La muse et le poète, Op. 132; Chausson: Poème symphonique, Op. 25; Vaughan Williams: The Lark Ascending; Anatoly Kos-Anatolsky: Poem for Violin and Orchestra in D Minor; Kenneth Fuchs: American Rhapsody (Romance for Violin and Orchestra); Myroslav Skoryk: Carpathian Rhapsody. Solomiya Ivakhiv, violin (all tracks); Sophie Shao, cello (Saint-Saëns); Volodomyr Sirenko, National Symphony Orchestra of Ukraine. Centaur CRC 3799.
On the morning that I discovered that the long-feared invasion of Ukraine by Russian forces had finally begun, I was so upset by the news that my immediate reaction was to find something to do to take my mind off the conflict. After a few brief moments of indecision, it suddenly hit me that the best thing to do would be to switch into reviewing mode: pop a CD into the player, settle down in the listening chair, do some serious listening, take some notes, and forget about the war in Ukraine, at least for a while. So, of course, the first CD I found waiting for me to audition was this one: Ukrainian musicians recording in Kyiv. Now I was pretty much just an emotional wreck, not fit for much of anything except a shower and then some calming conversation with my wife. Only then could I get back to life, the universe, and everything, including that ominous pile of what seem to be at least 42 CDs awaiting review, starting with this one.
The program is a mix of the familiar (The Lark Ascending, Poème symphonique), the relatively unfamiliar (American Rhapsody, La muse et le poète), and the truly unfamiliar (Poem for Violin and Orchestra, Carpathian Rhapsody). A common thread among them is that they are all lyrically beautiful; moreover, they are presented with both skill and feeling by the assembled performers. At first I had some reservations about seeing The Lark Ascending in the list of titles (come on, Centaur, did we REALLY need yet another recording of RVW’s lovely piece to add to the umpteendiddlymillion already on the market), but this is a perfectly fine version that fits right in with the rest of the program and in the end I was grateful that it was included. (And, yes, Centaur, I guess we did, so thanks!). From beginning to end, this is just a splendid disc, starting with the interplay among violin, cello, and orchestra in the Saint-Saëns, which is just a lovely composition by that French master who seem to be so sadly underrated these days (and I must confess that listening to Ivakhiv and Shao wend their way through La muse et le poète have brought me to the brink of repentance of that very sin –I shall be embarking on a Saint-Saëns spree post haste) all the way through the newly unearthed Carpathian Rhapsody by Myroslav Skoryk, a composer whose name is doubtless unfamiliar top all but a very few.
I also had wondered why the University of Connecticut had been involved in the recording; as it turns out, the featured violinist, Ukrainian-born Solomiya Ivakhiv, along with cellist Sophie Chao and composer Kenneth Fuchs, are all UConn faculty members. Along with Volodomyr Sirenko, National Symphony Orchestra of Ukraine, they recorded this program back in July, 2019, in Kyiv, but because of the COVID-19 pandemic, the recording was not released until late in 2021. The engineering is excellent, the liner notes give some background on both the music and the performers, and this is an excellent release all the way around. In addition, it is most generously filled, timing out at more than 78 minutes. I hope and pray for the safety of the members of the Ukrainian musicians and their families during this horrific ordeal,
Francesco Tristano: On Early Music
Tristano: Toccata; On Bull Galliard in D; Peter Philips: Fantasia in D Minor; Tristano: Serpentina; John Bull: Let ons met herten reijne; Tristano: On Girolamo Frescobaldi's Quattro correnti; Girolamo Frescobaldi: Partita sopra l’Aria la folia; Tristano; Ritornello; On Cristobal de Morales Circumdederunt Me; Orlando Gibbons: Pavan; Air & Alman; Italian Ground; Ground; Tristano: Ciacona seconda; Frescobaldi: Cento partite sopra passacaglie; Tristano: Aria for RS. Francesco Tristano, piano. Sony Classical 19439917392.
As I do with most recordings that I review, I start by listening. Yes, I look at the CD package front and back to see what I can glean about the musical program and the performer(s), but other than to extract the CD so I can pop it into one of my CD players, I try to avoid reading any of the information contained within. In this case, however, being completely unfamiliar with pianist Francesco Tristano, and given that the scandalously skimpy liner insert (one sheet: the cover photo with brief notes on the reverse. Th-th-that’s all, folks), I had to turn to Wikipedia for more information to find that Francesco Tristano is the stage name of Luxembourg-born Franscesco Tristano Schlimé (b. 1981), who composes both classical and electronic music and also plays the clarinet. He is a Julilliard graduate who has gone on to study keyboard with Emile Naoumoff, Rosalyn Tureck, and Mikhail Pletnev. Well, that confirmed several things I had suspected from listening to the CD several times. First, that Tristano had some serious chops, along with a serious regard for and interest in early music. Also, that he must have some experience in the electronic manipulation of sound, of what could be done in a studio.
The musical program consists of Tristano originals written in the style of early music masters, Tristano’s “takes” on pieces by some of these masters, along with some more straightforward interpretations of their music. Although there is some variation in style and sonority, largely due to studio manipulation of the sonics and some generally subtle although occasionally surprising electronic effects, Tristano’s musical vision is coherent from beginning to end. Highlights include the persuasive dance rhythms Tristano creates in track 6, On Girolamo Frescobaldi's Quattro correnti, the mysterious but energetic atmosphere created by track 8, Ritornello, the stately elegance of Orlando Gibbons’s Italian Ground, and some of the surprising, presumably deeply personal sounds that Tristano has included in his closing track, Aria for RS, which is at times jolting, but only briefly, set against a backdrop of deep tenderness, a moving end to an musical program that was clearly labor of love.
The sonic perspective is very close to the piano. On the opening cut, for example, you can hear every little (and big!) sound of the Yamaha cfx. As the album continues, with its expanding sonic palette of acoustic sounds and electronic colorations, the engineering is up to the task of presenting every sonic hue and cue. I’ve not yet tried it on headphones but imagine it would be quite the experience… In any event, my only quibble with this truly remarkable release is the liner insert, which put me in a John McEnroe “You cannot be serious!” frame of mind. C’mon, Sony, surely you can do better than this! Or was this what Tristano wanted? In any event, the lack of any useful information about the music is a real disappointment.
I was going to hold off and include this review in my next installment of Piano Potpourri, but despite my reservation about the liner notes, this release is so musically appealing that I want to get the word out as quickly as possible. If you enjoy piano music – especially if you are a fan of Early/Baroque keyboard music – then this is a release you really ought to consider giving an audition. It’s a knockout both musically and sonically.
Saint-Georges: Symphonies concertantes
Symphonies conertantes, Op. 9; Symphonies concertantes, Op. 10*; Symphony in G major, Op. 11, No. 1. Yuri Revich, solo violin I; Libor Jezek, Solo violin II; *Pavla Honsová, solo viola; Michael Halász, Czech Chamber Philharmonic Orchestra Pardubice. Naxos 8.574306.
This CD is one of those that I picked up at the library on a whim. Although the music was not from an era that I usually gravitate toward, there were several things about the cover that grabbed my attention. First was the name of this composer, printed on the cover as “Joseph Boulogne, Chevalier de SAINT-GEORGES.” Quite a moniker, that. Then there was the cover portrait of a distinguished-looking Saint-Georges (1745-1799) holding what I at first glance took to be a conductor’s baton but then quickly realized was not a baton but rather a sword. I also noted that the picture of Saint-Georges revealed a man with large shoulders, arms, and hands, a dignified, confident countenance, and most likely some African ancestry. Flipping over the cover I quickly read that he was “a brilliant swordsman, athlete, violin virtuoso and gifted composer, with a claim to being the most talented figure in an age of remarkable individuals. He was an early exponent of the hybrid symphonie concertante – a genre that draws on both the symphony and concerto traditions ”
Having discussed the composer (but more on him to come), it is time to consider his music as recorded here by these Czech musicians. It is fresh, lively, and vigorous. The two Symphonies Concertantes both feature prominent roles for the solo instruments, violins in Op. 9 and the violins being joined by a viola in Op. 10. Note that “Concertantes” is plural: both Op. 9 and Op. 10 consist of two parts. Op.9 No. 1 in C major has an Allegro and a Rondeau, as does No. 2, which is A major. Op. 10. No. 1 in F major varies the pattern by having two Allegros, but No. 2 in A major returns to the Allegro then Rondeau form. Both works are reminiscent of Mozart, and both sound as though they must have been fun for the musicians both in 18th century Paris as well as 21st century Pardubice. The program concludes with the brief Symphony in G major, which is three movements, each barely over four minutes long. Although it hardly strikes modern ears as weighty or profound, that is not what it was meant to be; it was meant to be entertaining and pleasant, and that it is in abundance.
Having greatly enjoyed the music on this release as well as the biographical information included in the liner notes, I decided to do a bit of quick research, so I turned to Wikipedia, where I found quite a wealth of information. Should anyone be interested, the entry on Chevalier de Saint-Georges is quite fascinating, but for the sake of brevity, I will quote just a few sentences form Wikipedia’s account: Saint Georges “was a Guadeloupean Creole classical composer, virtuoso violinist, a conductor of the leading symphony orchestra in Paris, and a renowned champion fencer. Born in the then French colony of Guadeloupe, he was the son of Georges de Bologne Saint-Georges, a wealthy married planter, and Anne, dite (called) Nanon, an African slave woman of his wife. When he was young, his father took him to France, where he was educated. During the French Revolution, the younger Saint-Georges served as a colonel of the Légion St.-Georges, the first all-black regiment in Europe, fighting on the side of the Republic. Today the Chevalier de Saint-Georges is best remembered as the first known classical composer of African ancestry. He composed numerous string quartets and other instrumental pieces, Violin concertos as well as operas. He knew many composers including Salieri, Gossec, Gretry, Gluck and Mozart.” A remarkable man, about whom I must confess I was completely ignorant until that chance encounter with this Naxos CD in my public library. I now recommend that CD with enthusiasm to those who would like to learn more about the remarkable man and his enjoyable music.
KWN
Poems & Rhapsodies
Saint-Saëns: La muse et le poète, Op. 132; Chausson: Poème symphonique, Op. 25; Vaughan Williams: The Lark Ascending; Anatoly Kos-Anatolsky: Poem for Violin and Orchestra in D Minor; Kenneth Fuchs: American Rhapsody (Romance for Violin and Orchestra); Myroslav Skoryk: Carpathian Rhapsody. Solomiya Ivakhiv, violin (all tracks); Sophie Shao, cello (Saint-Saëns); Volodomyr Sirenko, National Symphony Orchestra of Ukraine. Centaur CRC 3799.
The program is a mix of the familiar (The Lark Ascending, Poème symphonique), the relatively unfamiliar (American Rhapsody, La muse et le poète), and the truly unfamiliar (Poem for Violin and Orchestra, Carpathian Rhapsody). A common thread among them is that they are all lyrically beautiful; moreover, they are presented with both skill and feeling by the assembled performers. At first I had some reservations about seeing The Lark Ascending in the list of titles (come on, Centaur, did we REALLY need yet another recording of RVW’s lovely piece to add to the umpteendiddlymillion already on the market), but this is a perfectly fine version that fits right in with the rest of the program and in the end I was grateful that it was included. (And, yes, Centaur, I guess we did, so thanks!). From beginning to end, this is just a splendid disc, starting with the interplay among violin, cello, and orchestra in the Saint-Saëns, which is just a lovely composition by that French master who seem to be so sadly underrated these days (and I must confess that listening to Ivakhiv and Shao wend their way through La muse et le poète have brought me to the brink of repentance of that very sin –I shall be embarking on a Saint-Saëns spree post haste) all the way through the newly unearthed Carpathian Rhapsody by Myroslav Skoryk, a composer whose name is doubtless unfamiliar top all but a very few.
I also had wondered why the University of Connecticut had been involved in the recording; as it turns out, the featured violinist, Ukrainian-born Solomiya Ivakhiv, along with cellist Sophie Chao and composer Kenneth Fuchs, are all UConn faculty members. Along with Volodomyr Sirenko, National Symphony Orchestra of Ukraine, they recorded this program back in July, 2019, in Kyiv, but because of the COVID-19 pandemic, the recording was not released until late in 2021. The engineering is excellent, the liner notes give some background on both the music and the performers, and this is an excellent release all the way around. In addition, it is most generously filled, timing out at more than 78 minutes. I hope and pray for the safety of the members of the Ukrainian musicians and their families during this horrific ordeal,
Francesco Tristano: On Early Music
Tristano: Toccata; On Bull Galliard in D; Peter Philips: Fantasia in D Minor; Tristano: Serpentina; John Bull: Let ons met herten reijne; Tristano: On Girolamo Frescobaldi's Quattro correnti; Girolamo Frescobaldi: Partita sopra l’Aria la folia; Tristano; Ritornello; On Cristobal de Morales Circumdederunt Me; Orlando Gibbons: Pavan; Air & Alman; Italian Ground; Ground; Tristano: Ciacona seconda; Frescobaldi: Cento partite sopra passacaglie; Tristano: Aria for RS. Francesco Tristano, piano. Sony Classical 19439917392.
The musical program consists of Tristano originals written in the style of early music masters, Tristano’s “takes” on pieces by some of these masters, along with some more straightforward interpretations of their music. Although there is some variation in style and sonority, largely due to studio manipulation of the sonics and some generally subtle although occasionally surprising electronic effects, Tristano’s musical vision is coherent from beginning to end. Highlights include the persuasive dance rhythms Tristano creates in track 6, On Girolamo Frescobaldi's Quattro correnti, the mysterious but energetic atmosphere created by track 8, Ritornello, the stately elegance of Orlando Gibbons’s Italian Ground, and some of the surprising, presumably deeply personal sounds that Tristano has included in his closing track, Aria for RS, which is at times jolting, but only briefly, set against a backdrop of deep tenderness, a moving end to an musical program that was clearly labor of love.
The sonic perspective is very close to the piano. On the opening cut, for example, you can hear every little (and big!) sound of the Yamaha cfx. As the album continues, with its expanding sonic palette of acoustic sounds and electronic colorations, the engineering is up to the task of presenting every sonic hue and cue. I’ve not yet tried it on headphones but imagine it would be quite the experience… In any event, my only quibble with this truly remarkable release is the liner insert, which put me in a John McEnroe “You cannot be serious!” frame of mind. C’mon, Sony, surely you can do better than this! Or was this what Tristano wanted? In any event, the lack of any useful information about the music is a real disappointment.
I was going to hold off and include this review in my next installment of Piano Potpourri, but despite my reservation about the liner notes, this release is so musically appealing that I want to get the word out as quickly as possible. If you enjoy piano music – especially if you are a fan of Early/Baroque keyboard music – then this is a release you really ought to consider giving an audition. It’s a knockout both musically and sonically.
Saint-Georges: Symphonies concertantes
Symphonies conertantes, Op. 9; Symphonies concertantes, Op. 10*; Symphony in G major, Op. 11, No. 1. Yuri Revich, solo violin I; Libor Jezek, Solo violin II; *Pavla Honsová, solo viola; Michael Halász, Czech Chamber Philharmonic Orchestra Pardubice. Naxos 8.574306.
Having discussed the composer (but more on him to come), it is time to consider his music as recorded here by these Czech musicians. It is fresh, lively, and vigorous. The two Symphonies Concertantes both feature prominent roles for the solo instruments, violins in Op. 9 and the violins being joined by a viola in Op. 10. Note that “Concertantes” is plural: both Op. 9 and Op. 10 consist of two parts. Op.9 No. 1 in C major has an Allegro and a Rondeau, as does No. 2, which is A major. Op. 10. No. 1 in F major varies the pattern by having two Allegros, but No. 2 in A major returns to the Allegro then Rondeau form. Both works are reminiscent of Mozart, and both sound as though they must have been fun for the musicians both in 18th century Paris as well as 21st century Pardubice. The program concludes with the brief Symphony in G major, which is three movements, each barely over four minutes long. Although it hardly strikes modern ears as weighty or profound, that is not what it was meant to be; it was meant to be entertaining and pleasant, and that it is in abundance.
Having greatly enjoyed the music on this release as well as the biographical information included in the liner notes, I decided to do a bit of quick research, so I turned to Wikipedia, where I found quite a wealth of information. Should anyone be interested, the entry on Chevalier de Saint-Georges is quite fascinating, but for the sake of brevity, I will quote just a few sentences form Wikipedia’s account: Saint Georges “was a Guadeloupean Creole classical composer, virtuoso violinist, a conductor of the leading symphony orchestra in Paris, and a renowned champion fencer. Born in the then French colony of Guadeloupe, he was the son of Georges de Bologne Saint-Georges, a wealthy married planter, and Anne, dite (called) Nanon, an African slave woman of his wife. When he was young, his father took him to France, where he was educated. During the French Revolution, the younger Saint-Georges served as a colonel of the Légion St.-Georges, the first all-black regiment in Europe, fighting on the side of the Republic. Today the Chevalier de Saint-Georges is best remembered as the first known classical composer of African ancestry. He composed numerous string quartets and other instrumental pieces, Violin concertos as well as operas. He knew many composers including Salieri, Gossec, Gretry, Gluck and Mozart.” A remarkable man, about whom I must confess I was completely ignorant until that chance encounter with this Naxos CD in my public library. I now recommend that CD with enthusiasm to those who would like to learn more about the remarkable man and his enjoyable music.
KWN
