Handel Arias: Russell Oberlin (rec 1959)

This one won't be everyone's cup of tea, but those of you who enjoy Baroque vocal music, pull a chair up to the fireplace and I'll tell you a story.

Long ago, before there were flowering plants, and dinosaurs roamed the earth (around the middle of the last century), things were different from the way they are now. Male singers with high voices weren't abundant; there were the Dellers --Alfred, and later his son Mark-- there was Grayston Burgess, there was Hugues Cuénod, there was Russell Oberlin... and that was about it. Unbelievable, but true. Bowman, Esswood, Brett, Jacobs, Ledroit... all those guys were later.

Another thing: you didn't find many Baroque recital-type recordings (for male or female voice). We're spoiled now. Look at the wealth of vocal music we can hear --Albinoni, Bertali, Bononcini, Caldara, Campra, Carissimi, Cavalli, Charpentier, Dumont, Ferrari, Galuppi, Gasparini, Grandi, Jomelli, Lotti, Lully, Mazzocchi, Porpora, Rameau, Sances, the Scarlattis, Strozzi, Vivaldi (I'm forgetting a lot of them, and all the Brits, Germans and Czechs, but you get the idea). Back then, even recordings of Handel arias were few and far between. Can you imagine?

This was one of those early ones. Recorded in 1959, reissued in 2007 (and already out of print). Styles and approaches have changed in 50 years, but he's certainly worth hearing.
Oberlin retired from performance fairly young (in his mid-30s) and taught music at Hunter College in New York until about 15 years ago; he'll be 84 in the autumn.

.flac+cue+tracklist+"full scans" (note: for this reissue, DG was not especially generous)

Domenico Scarlatti: 17 sonatas - Zhu Xiao-Mei (piano)

Another gem from the French Institut National de l'Audiovisuel's INA/mèmoire vive series, recorded in concert at Martinů Hall, Prague Academy of Music (15 November 1995).

Elegance, vitality, grace, energy. A wondrous little thing. You'll see.
Don't miss the lagniappe, the Schubert Allegretto on the last track.

Not my own rip -- this now out-of-print recording is shared here with the generous collaboration of DanseDePuck.

flac+cue+covers

Hommage à Scott Ross (orgue et clavecin)

Time here for some earlier music again, I think.

These are part of the French Institut National de l'Audiovisuel's INA/mèmoire vive series, released from their incredibly rich recording archive. They're beginning to disappear from the catalogue; hope to find a few more before they're introuvable.

Ross plays Bull, Blow, de Cabezón, Correa de Arauxo, P de Araujo, Frescobaldi, Scheidt, JS Bach and d'Anglebert on the first CD (organ; recorded 1974-75), and Forqueray, Duphly and JS Bach on the second (harpsichord; recorded in several sessions in 1979, 1981 and 1983). The set was issued in 1999.

Out of print, as far as I can tell. One file per disc, .flac+cue (small covers and a tracklist in the first folder; scans in a separate link -- see comments).

Good news for opera fans

Belgium's La Monnaie/De Munt, recently named "Opera House of the Year" by Opernwelt magazine, has announced they'll be streaming all their operas this season (from after the performance, for three weeks). Free.

Announcement on La Monnaie's website: http://www.lamonnaie.be/en/402/Free-Online-Streaming

They'll be doing Oedipe (Enescu), Cendrillon (Massenet), Salome (R Strauss), Rusalka (Dvorak), Theodora (Handel), Thanks to my eyes (Bianchi), Orlando (Handel again), Otello (Rossini), and Il Trovatore (Verdi).

Check the program for directors and casts: http://www.lamonnaie.be/en/opera/

Marin Marais (1656-1728) - The 250th Commemoration

If the analogy can be made that the contributions of Marais to the literature and technique of the viol are in some way similar to Chopin's contributions to the piano, then this recording must reflect the interpretation of these works by the "Rubinsteins" and "Horowitzes" of the viol. Most of us are familiar with the reputation of August Wenzinger as a performer on the viol for more than fifty years, as a teacher at some of the world's most prestigious institutions, as a first-class scholar, and as director of many recordings for Deutsche Gramophon's Arkiv series. Appearing with Wenzinger on this recording is harpsichordist James Weaver, Director of Concerts in the Music Division of the Smithsonian; and Oberlin Baroque Ensemble members Marilyn McDonald (baroque violin), Robert Willoughby (baroque flute), James Caldwell (viola da gamba), Catharina Meints (viola da gamba), and Lisa Goode Crawford (harpsichord). The performers have all served as faculty members at the distinguished Baroque Performance Institute held at the Oberlin Conservatory each summer since 1972. The contents of the recording are the Pieces a trois violes in G major from Livre IV, Pieces a une et trois violes (1717); two Pieces de viole d'un gout Etranger (Livre IV), the Pieces en trio in E minor of 1692, and the Sonnerie de Ste. Genevieve du Mont de Paris (1723).

This reviewer can only think of superlatives to describe the playing of this music. There are several points which deserve special mention. The performance of the many ornaments seems completely effortless, allowing them to take on their true role as ornaments and not to sound forced or overly virtuosic or to obscure the melodic line. The performers' tasteful use of limited vibrato is likely to satisfy all but the most radical on either side of the vibrato controversy. The tempos are very convincing-neither too fast nor too slow. This is especially in evidence in the Sonnerie, which is here performed slightly faster than in other recordings, resulting in an entrancing, hypnotic performance of this ostinato piece which could, in less able hands, easily become boring. Catharina Meints extracts a very good bell effect from the bass viol in this piece. In the Pieces en trio in E minor, Wenzinger displays his mastery of the treble viol by producing an unusual richness of tone in the lower register of the instrument, and by frequently matching the tone quality of Willoughby's flute.

In addition to the fine performances, the disc itself is a wellmade product. The copy received for review is a flawless pressing, an item becoming increasingly rare these days. The balance is good, although perhaps a bit more volume would be welcome from the harpsichord. The tone quality is rich and satisfying, leading one to speculate that the recording engineers may have taken the time to grasp a basic concept of the ideal sound of the viols. This product of a small new company compares favorably with those of the major European and American recording companies.
John A Whisler in J Viola Gamba Soc 1979; XVI, 76-78 (from his review of the 1978 LP)

Allegri, F Scarlatti, Viadana, Leo: Miserere - O'Reilly, Ensemble Wm Byrd

The Allegri Miserere, yes, but not the way you know it. And have you ever even heard the Misereres of Francesco Scarlatti, Giovanni Moro da Viadana or Leonardo Leo?

A splendid CD, and marginally still in print, so buy a copy soon. Worth every penny (cent, fillér, grosz, Rappen, ban, haléř, øre, whatever...).

Reviewed at ClassicsToday by the other David (Vernier):
http://www.classicstoday.com/review.asp?ReviewNum=4776

The man who made music for the eyes

Alex Steinweiss (24 March 1917 - 18 July 2011)

Not quite about music, but a facet that's almost indivisible from its recorded form for many of us -- the cover art.

Alex Steinweiss, graphic artist and album cover designer par excellence, died last week at 94.

A couple of obituary notices:
http://www.nytimes.com/2011/07/20/business/media/alex-steinweiss-originator-of-artistic-album-covers-dies-at-94.html
http://jazztimes.com/articles/28200-alex-steinweiss-album-cover-art-pioneer-dead-at-94

Visit his website:
http://www.alexsteinweiss.com/as_index.html

Even if you don't have €500 for the book on his work, you can page through it at Taschen Verlag:
http://www.taschen.com/lookinside/05039/index.htm
http://www.taschen.com/pages/en/catalogue/design/all/05039/facts.alex_steinweiss_the_inventor_of_the_modern_album_cover.htm

JS Bach: Goldberg Variations BWV 988 - Charles Rosen, piano

This one won't be everyone's front runner, but certainly worth a hearing. Some think it's a penetrating view, others say it lacks warmth; some that the lines are beautifully defined, others that he's fussy and overly meticulous. Restrained and rational vs. unexpressive. Intellectual vs. boring...
You get the idea. Only way to find out is to listen to it yourself.

JS Bach Goldberg Variations BWV 988
Charles Rosen, piano
Sony; recorded in 1967 (out of print)

Schubert: Piano Sonata D960, Ländler D790 - Leon Fleisher

More post-baroque...
Get it while it lasts -- counterpoint, thorough bass and Affekte could return at any time!

Schubert: Piano Sonata D 960, Ländler D 790
Leon Fleisher, piano (recorded in 1956)

Fleisher's approach to the Romantic repertoire was mature right from this first album given his intepretive options and his sense of drama that nevertheless remained free of pathos. In the Andante sostenuto, each note of the melody resonates as though it were meant to be the last without ever affecting the clarity of line or the precision of the median voices. As for the Allegro vivace con delicatezza, it is played with an irony that verges on mockery whilst consistently maintaining rhythmical rigour, a rich palette and inventiveness.

Finally, and better than most, Fleisher knew how to perform a simple section with simplicity whilst maintaining incredible presence. Even at moments that appear trifling, we are surprised with a feeling of renewed pleasure; the falsely superficial Ländler D.790 intelligently complete the difficult choice of repertoire that this 28-year-old musician had to make.
from the notes by Eric Guillemaud (trans. Christophe Evans)

Dvořák: Piano Quintet Op81, Piano Quartet Op87 - Schiff, Panocha Quartet

To entertain these fair well-spoken days...
...we shall continue our series The Late Post-Baroque, or What Happened After 1760?

András Schiff, Panocha Quartet: Jiří Panocha (violin), Pavel Zejfart (violin), Miroslav Sehnoutka (viola), Jaroslav Kulhan (cello)

recorded in Berlin, 1997
(Elatus reissue out of print; the Teldec original still pops up from time to time)

Hagen: Sonate à liuto solo - Robert Barto

In Bernhard Joachim Hagen [1720–1787] we find a worthy exponent of the lute in its last days. His music is full of surprises. At times moving, spirited, brilliant or humorous, it is always elegant and expertly crafted. Although the occasional lute piece is still found into the beginning of the 19th century, Hagen's works are the last substantial contributions to the lute repertoire. He can truly be called the last great lute virtuoso.
Robert Barto (from the album notes)

Although Hagen was employed at the Bayreuth court as a violinist, he was a virtuoso lute performer and his respectable output of compositions for the instrument includes those on this recording plus a number of chamber works and concertos. When I heard the opening of the first piece, the Sonata in B-flat major, I knew I'd heard it before somewhere. I still don't know where, but Hagen's music has that effect: it's so easy to listen to, so perfectly proportioned and harmonically well-developed, that it sounds familiar--the musical equivalent of a pair of shoes that fit the first time you try them on. The Locatelli Variations are Hagen's own transcription of some selections from a piece for violin written by the Italian master, with an additional original variation by Hagen. Lutenist Robert Barto really captures the style of this ardent, graceful, often eloquent music. His technique, his richly resonant instrument, and the fine sound engineering bring clarity to the melodic lines and a glowing warmth to the lower registers, while allowing the top notes to ring.
David Vernier, ClassicsToday

Barto plays an Andrew Rutherford lute (1988, after Jauck)
Symphonia SY98164 (1999) out of print

JS Bach: Sechs Suiten für Violoncello Solo - Julius Berger

For Sankerib, who's now starting to listen to the cello suites, and for everyone else who appreciates them.

Though I've had this set for some time now, I'm still not sure what I think about it. That is not the case of the Gramophone reviewer, however, so here's his take:

Bach's instrumental music seems happily responsive to the evolving ideas of single interpreters: witness Wolfgang Rübsam, who significantly revised his tempos, phrasing and rubato (compare his Philips and Naxos recordings of Bach's organ works); or Glenn Gould, who could change his mind between takes — and now the distinguished German-born cellist Julius Berger who, although still only in his mid-40s, has done what often amounts to an interpretative volte-face with Bach's Cello Suites. Berger's first (1984) recording of the Suites, issued by Orfeo in 1985, was more formal in style, more studied and tuned at a higher pitch, though even then a telling blend of phrasal individuality and stylistic awareness made a strong impression. Orfeo's recording was fairly dry, whereas this new one, made in the accommodating acoustic of San Vigilio near Col San Martin with distant birds chirruping among the eaves (Wergo's annotator writes of "an atmosphere of inspiration and calm"), is more full-bodied, albeit with more audible fingerwork. In the Sixth Suite, Berger plays the same five-string cello that he used for the whole of his Orfeo set (Jan Pieter Rambouts, Amsterdam 1700), while in the other five he opts for a beautiful Johan Baptist Guadagnini instrument, ex-Davidoff, Turin 1780.

In terms of performance, the tone is lighter than before; inflexions are keener; the overall approach is more appreciative of the dance origins of many movements, and chosen tempos are generally (though not always) faster. The contrasts in speed are most marked in the Prelude to the Fourth Suite, which here is a nifty 3:32" staccato as opposed to a broad 6:52" legato back in 1984. Sarabandes now resemble stately processionals and, in the Sixth Suite, Berger transforms what was a 12:04" Allemande into a more reasonable 7:07" (both performances include the two repeats). Very occasionally, the older set harbours the swifter tempos, but more often than not Berger's new-found spontaneity suggests the sort of fluid improvisation that Bach himself so often enjoyed. Articulation is mostly precise, though the earlier version of the Third Suite's closing Gigue is marginally cleaner. Vibrato is used very sparingly, more often in the faster movements than in the slower ones, and the phases of experimentation that Berger refers to in his booklet-note (relating to vibrato, strings, bows, ways of actually holding the instrument — and perhaps a minor harmonic alteration 0:14" into the Sixth Suite's first Gavotte) appear to have widened the scope of his playing.

Wergo's attractive gatefold presentation quotes Couperin, Mattheson, Brossard, Quantz, Hindemith and Gubaidulina on the character of Bach's music. Berger himself speaks of a "joy inspired by the most radiant peak of tonal art", and anyone listening will happily concur. It is indeed a wonderful set, more free spirited than its predecessor (though I shall want to retain both) and, for me, more compelling than most modern rivals, excepting Janos Starker (his fourth recording) and Anner Bylsma (his second). I urge you to hear it. RC
from Gramophone June 1998, p 65

Bach suites for solo cello nº 1 & 4 (BWV1007, 1010): János Starker (LP transfer)

Throughout his career, János Starker has recorded Bach's suites for solo cello on five occasions. This one, part of the (incomplete) first set from the early 1950s when Starker was in his twenties, shows his characteristic energy and technical mastery, grace, thought, and eloquence.

I've never seen it online anywhere, and am fortunate to have a friend who could rip my LP (which has accompanied me through many relocations over 40 years). There are perhaps three dozen people in the entire world who might be really interested in this one; if you happen to know any of them, please pass it on! (Another option, of course, is to listen to it yourself.)

Bach Suites No 1 in G major, No 4 in E flat major
János Starker, cello
Period SPL 582 (same as Nixa PLP 582, Saga XID 5167, and the Einsätz EZCD 006 transfer from the Nixa LP)
Early 1950s, monoaural
.flac, .cue, covers

For collectors and completists:
The second part of this set comprises suites 3 and 6 (BWV1009, 1012) and can be downloaded (in .flac or .wav format) from the European Archive:
http://www.europarchive.org/item.php?id=lp-00811_BeG

The Period label apparently ran into economic problems, and suites 2 and 5 were never recorded.

The Concert for García Lorca: Ben Sidran, 1998

The Spanish poet Federico Garcia Lorca was a 20th century Renaissance man, whose work also touched on the worlds of music, theater, and politics. Recorded live at the Granada house in which Lorca lived, and using the piano that he himself played, Ben Sidran marks the 100th anniversary of Garcia Lorca's birth with this superb recording.

Something of a Renaissance man himself, Sidran has always intertwined his passion for jazz with many forms, nurturing it not only as a musical tradition, but as an oral and written one as well. Here, Sidran blends his own compositions with the poet's writings, along the way featuring the richly-hued tenor saxophone of Bobby Martinez (who combines the deep glow of John Coltrane's ballad side with the hard grit of David Sanborn). "On Defeating Death" tells Lorca's poignant history, while "On Duende" references the poet's evocation of the "mysterious power that everyone senses, and no one explains."

Undergirding Sidran's incisive piano playing is the quiet intensity of Manuel Calleja on bass and Leo Sidran on drums. Several standards are also woven into the intoxicating mix, with "Lover Man" evoking the cosmopolitan days of Lorca in Manhattan, where he encountered the still-young fervor of American jazz. The quartet also transforms Gershwin's "It Ain't Necessarily So" into an anthem of fallen faith, and performs - appropriately, given Lorca's political concerns - a fabulous version of Eddie Harris' "Freedom Jazz Dance."
from Larry Nai, JAZZIZ Magazine (2000)

Bass: Manuel Calleja
Drums: Leo Sidran
Piano, Vocals: Ben Sidran
Saxophone: Bobby Martínez
Recorded June 18th, 1998 at Huerta de San Vicente, Granada, Spain

A biography of Ben Sidran at All About Jazz:
http://www.allaboutjazz.com/php/musician.php?id=4310

Venezia: a sampler

Various composers, various performers
HMI 987076

For those who don't quite understand why such an obsession with the music of Venice (and for those who do), you might like to test this very enjoyable sampler album (out of print as far as I can tell).

Instrumental and vocal music, sacred and profane, from the likes of Gabrieli, Merulo, Monteverdi, Kapsberger, Cavalli, Marini, Rosenmüller, Galuppi, Vivaldi, Tartini, Bonporti, Caldara, Scarlatti, Uccellini, Porpora and Händel (all of whom somehow had a Venice connection), performed by the likes of O'Dette, Manze, Dieltiens, Verbruggen, Banchini, Christensen, Nasilio, JW Jansen, Kiehr, Scholl, Genaux, Fink, Schaffer, McGegan, Aymes, Jacobs and Junghänel.

The pictures are nice, too.