Sofia Gubaidulina, R.I.P.

We at Classical Candor join the worldwide classical music community in mourning the recent (March 13) death of composer Sofia Gubaidulina. Gubaidulina was born in 1931 in what is now the Republic of Tatarstan (formerly under Russian control) to a Tatar father and a Russian mother. In 1992, she moved to Hamburg, Germany, where she resided for the remainder of her life. She described herself as a deeply spiritual person and has said of her compositional process, “whenever I’m composing, I pray, no, I actually speak to God.’ 

We have reviewed several of her compositions over the years and can attest to their spiritual nature. Of the three releases on which these compositions are contained, there are two that I have no hesitation in recommending to those unfamiliar with her catalog, but for different reasons. For those who prefer drama, intensity, and giving their stereo a serious workout, I would recommend a DG release featuring violinist Vadim Rapin, conductor Andris Nelsons, and the Leipzig Gewandhaus Orchestra that contains three compositions: Dialog: Ich und Du, The Wrath of God;  and The Light of the End (see review here). For those who might prefer music of a quitter, more reflective nature, there is an EMI release featuring legendary Russian cellist titled The Canticle of the Sun (see review here). The third release is unusual in that it includes two unlike compositions, the first a triple concerto for the unusual combination of violin, cello, and bayan; the second a sonata for cello and bayan (see review here). It’s an interesting album, but the other two are better introductions to Gubaidulina’s music. 

 

Her music was intense, powerful, often challenging. Although it was seldom what most listeners would think of as easy listening, for the listener willing to give it a thoughtful hearing, it could become result in rewarding listening. She was a unique musical voice, and she will ne missed.

Ravel: The Complete Solo Piano Works (CD Review)

by Karl Nehring

Seong-Jin Cho, piano. Deutache Grammophon 486 6814

 

Before sitting down at my computer to write this review, I did a quick search for an old review I had done of a previous release of the complete solo piano music of Ravel so that I could provide a link to that review. To my surprise, however, I found that I never actually have posted a review of the complete Ravel piano solo works. Oh well, there’s a first time for everything, right?  

As seems to be the norm with DG these days, portraits of the artist – in this case, the young Korean pianist Seong-Jin Cho (b. 1994) – appear throughout the trifold digipack, his picture appearing twice on the inside as well as adorning both the front and back covers. The liner note booklet cover is duplicate of the front cover, and the gray and pink background colors are carried over throughout the booklet. The track listings are a bit of a strain to read because of minimal color contrast for the text. When it comes to the notes themselves, the good news is that the text is now black; the bad news is that the font is tiny – as in teeny-tiny. Even eyes much younger than mine may find the text difficult to discern.

 

Seong-Jin Cho is one of the rising young generation of talented pianists who are rapidly making a name for themselves on the international stage. He won the 2015 International Chopin Piano Competition at the age of 21, a remarkable achievement. His playing throughout these two CDs is impeccable: clean, precise, nimble. This approach works especially well in pieces such as Menuet Antique, where the clarity of his fingering (and of the engineering) makes the music come to life. Overall, the clarity of his playing makes for a satisfying listening experience, although that same precision and clarity can also at times lead to a feeling of sterility. Overall, then, a worthy release, one that will go on my shelf along with Abbey Simon (Vox) and Vlado Perlemuter (Nimbus), neither of which can match the sound quality of this new DG release. With 2025 marking the 150^th anniversary of Ravel’s birth, there are going to be a multitude of Ravel releases this year; if the quality of this one is any indication, it’s going to be a rewarding celebration.  

Beethoven Blues (Batiste Piano Series, Vol. 1) (CD Review)

 by Karl Nehring

Für Elise – Batiste; Symphony No. 5 Stomp; Moonlight Sonata Blues; Dusklight Movement; 7^th Symphony Elegy; American Symphony Theme; Ode to Joyful; 5^th Symphony in Congo Square; Waldstein Wobble; Life of Ludwig; Für Elise – Reverie. Jon Batiste, piano. Verve/Interscope 602475263807

 

Pianist and composer Jon Batiste ((b. 1986) is likely an unfamiliar figure to many fans of classical music; however, many others may well remember his 2015-2022 stint as bandleader on the popular television program, The Late Show with Stephen Colbert. (American) football fans might recall that it was Batiste who performed the national anthem at Super Bowl LIX. Born into a musically talented Louisiana family, Batiste recounts in his liner notes that “I spent a good amount of my youth competing in local classical music competitions and gigging in night haunts in the heart of New Orleans. For years now since childhood I have made a practice of going to the piano and reimagining classical music as if it were my own. As a precocious youth I’d alternate between reimagining music and composing my own things. I was often drawn to ben in conversation with Beethoven’s music. Over the years, many have asked if I’d consider recording a pure piano album. Beethoven Blues is the first volume of solo piano recordings to be released over the coming years.”

 

Elsewhere in the booklet we find this interesting statement: “All songs written by Ludwig van Beethoven and interpolated by Jon Batiste except ‘American Symphony Theme’, ‘Dusklight Movement’, and ‘Life of Ludwig’ written by Jon Batiste and published by Kobalt Publishing.” The word “interpolated” is unexpected; however, the expected “interpreted” is not quite correct. Batiste says of his creative process “starts with Beethoven’s original compositions and in real time I am creating something completely original within and inspired by them. I didn’t think about what I would play before sitting at the piano. Within the same performance, I aim to render a stellar modern interpretation of Beethoven’s original works while simultaneously extending the composition, shaping into an entirely new composition that somehow maintains the distinctive elements of the original.” In other words, Batiste sits down at the piano and brings to Beethoven some of his own musical cultural heritage – blues, wobble, stomp, swing, shout – and interpolates into what Beethoven has handed down.

At first hearing, the music can sound as though Batiste is simply adding a layer of stylistic gloss to Beethoven – some trills and frills, some flourishes meant to prettify and trivialize Beethoven’s music. But upon further, more reflective listening, the depth of what Batiste is doing begins to reveal itself, especially in the final track Für Elise – Reverie, a 15-minute deep dive into that familiar melody in which Batiste takes us on a musical and emotional journey as we listen to the freely flowing musical  sounds that are such an evocative blend of Beethoven, Batiste, and our own musical imaginations. Once we have had our minds attuned to Batiste’s approach by this final piece on the album, we can the go back and enjoy the whole of Beethoven Blues for what it is: an informed, informative, and thoroughly entertaining take on Beethoven from a talented musician with a unique and refreshing perspective.

John Field: Complete Nocturnes

 by Bill Heck 

Field: Nocturnes. Alice Sara Ott, piano. Deutsche Grammophon 4866239

Utter the word “nocturne“ to a lover of classical music and you are pretty much guaranteed that the name “Chopin” will come back. Indeed, for many of us, nocturnes for solo piano begin and end with Chopin. But it is more accurate to say that, whenever they “end”, nocturnes begin earlier, arguably with John Field.

Field lived from 1782 to 1837, straddling the transition from the Classical to early Romantic periods. Although Irish by birth (one of a relative handful of composers from the Emerald Isle), he spent most of his life elsewhere, first in England and later in Russia. Although he established a reputation as a major virtuoso in his early years, by the time of his death he was perceived as being somewhat out of date. Still, his works, especially those for solo piano and particularly the nocturnes, influenced composers like Schumann, Chopin of course, and even Liszt.

John Field

So what, pray tell, is a nocturne? The name translates roughly as “night piece”, which suggests quiet, gentle sounds; musically nocturnes are expected to be works for solo piano in which the left hand plays (mostly) arpeggiated chords while the right plays a melody. The earliest of Field’s nocturnes fit that pattern, but, as it is common with composers of merit, Field’s compositional techniques evolved so that his latter nocturnes go beyond this simple definition. It will surprise no one to hear that by the time Chopin came along, the definition was stretched to the breaking point, but one can still hear the echoes of those Fieldian beginnings.

Regardless of definitions and comparisons, Field’s nocturnes are more than worth seeking out. No, you won’t confuse Field’s works with those of the true master of the form, Chopin, but they are eminently listenable and enjoyable. While performances have not exactly flooded the market, there have been several recordings of the complete list of 18 that deserve mention, including those of John O’Connor from the 1990s and Tyler Hay from last year (2024). Now we have this very nice set from Alice Sara Ott, one that is right up there with the best.

Alice Sara Ott

Ott, born in Germany in 1988, proved a prodigy, doing well in youth piano competition at age 5 and winning a major German one at 7. An active recording and concert performance career has followed, with this album being, so far as I can tell, her tenth. She announced in 2019 that she had been diagnosed with multiple sclerosis, but thankfully that hardly seems to have affected her career; the list of upcoming engagements on her website makes me feel exhausted just reading it.

I find the playing here a “just right“ blend of straightforwardness and expressivity, bringing out the beauty and ingenuity of the works without engaging in distracting mannerisms or drawing attention to the performer rather than the music itself. It’s certainly not that Ott‘s playing is in any way mechanical, nor is there any lack of technical virtuosity (just listen to the clarity in the zippy, tinkling runs in number 12). But that virtuosity always seems to be in service of the music, sounding quite natural.

It certainly helps Ott’s cause that the DG recording is first-rate. The sound is close, but not too close, with just a bit of room sound, and is fully coherent, meaning it sounds like a real piano in a real place. It’s easy to immerse oneself in sound like this.

When I first ran across this album on my streaming service and heard these charming works, I blushed in mild shame to think that I was so unacquainted with Field’s oeuvre. But I was relieved to find in Ott’s personal but informative liner notes that she, too, knew next to nothing of Field’s nocturnes until she ran across them more or less by chance while searching for uplifting music during the worst of the Covid pandemic. First Ott, then me – and I suggest, dear reader, that you also may wish to become acquainted with these compositions in such excellent performances as found here.