Reviews in February 1998

Dominick Argento (b. 1927)

A Water Bird Talk (1976); Miss Havisham's Wedding Night (1981)

John Shirley-Quirk, baritone (A Water Bird Talk) / Linda Mabbs, soprano (Miss Havisham's Wedding Night) / Sinfonia of St. Cecilia / Sara Watkins, conductor (KOCH International Classics 3-7388-2 H1)

Dominick Argento, considered to be America's pre-eminent composer of lyric opera, has written a consistently well-received body of instrumental and vocal works which are unusually accessible. Among other honours and awards, he has received the Pulitzer Prize for Music in 1975 for his song cycle, From the Diary of Virginia Woolf.

The two works featured here, both written after Virginia Woolf, are monodramas, meaning that they are operas involving only one singer. Arguably the finest and most frequently-recorded work of this kind is Schoenberg's Erwatung, a intensely psychological masterpiece that is not just searingly dramatic but atmospherically emotional as well.

The two Argento compositions featured here are pretty much in the same vein, if a degree less taut.

Miss Haversham's Wedding Night is inspired by Charles Dickens' Great Expectations. A charged melodrama of pathos and near-demented wit, Miss Haversham, seated amongst the rotting finery of a marriage which never took place, entertains imaginary visitors and old suitors.

American soprano Linda Mabbs somehow doesn't quite strike one as an incredibly imaginative singer in the role of the deserted bride, but under the able guidance of conductor Sara Watkins, herself making a remarkable debut as conductor with this recording, she delivers a freely-expressive, colourful interpretation of her meaty part.

Even better things await the listener in the opening 42-minute A Water Bird Talk, based on a short story by Anton Chekhov, and features a lecturer ostensibly giving a commentary on a slide show of birds, but who unwittingly reveals details of his wretched marriage and family life as his lecture progresses.

Celebrated English bass-baritone John Shirley-Quirk is something of an exponent in contemporary music, having previously made outstanding forays into the vocal music of Stravinsky and Britten, among others. Well into his mid-sixties when this recording was made, he continues to display an undiminished affinity for detailed word-pointing, undoubtedly a skill that only the greatest Lieder singers can possess.

He makes a big feast out of his difficult role, bringing various shades of emotions to the confused lecturer, slapping climaxes with potent irony, and at all times ensuring that the poor man remains undeniably human rather than the larger-than-life hero we find ever so often in dramatic performances of monodramas.

Watkins directs with a sympathetic, committed hand, and at so many points, she makes memorable much of the score which, under the baton of someone less competent or less involved, would seem like disappointing non-events. She distills a mystifying and intense, yet down-to-earth backdrop for her soloist, building various climaxes with unassuming directness.

The recorded sound is a little low on amplitude, but when set at the right volume, the three-dimensional clarity is astounding.

Borrowing a catch-phrase used by certain movie critics, this one deserves two thumbs up. Way up!

Written by Lionel Choi

Jascha Heifetz: The Concerto Collection (on RCA)

The Heifetz Collection Vols. 11-15: Violin Concerti - Beethoven, Mendelssohn, Prokofiev No. 2 (Boston Symphony Orchestra / Charles Munch); Brahms, Tchaikovsky (Chicago Symphony Orchestra / Fritz Reiner); Bruch No.1, Scottish Fantasy, Vieuxtemps' No. 5 (New Symphony Orchestra of London / Sir Malcolm Sargent); Glazunov (RCA Victor Symphony Orchestra / Walter Hendl); Sibelius (Chicago Symphony Orchestra / Walter Hendl); Bach's Double Concerto (Erick Friedman, violin / New SO of London / Sir Malcolm Sargent); Mozart's Sinfonia Concertante (William Primrose, viola / RCA Victor Symphony Orchestra / Izler Solomon), Brahms' Double Concerto (Gregor Piatigorsky, cello / RCA Victor Symphony Orchestra / Alfred Wallenstein); Short Concertante works by Tchaikovsky

Jascha Heifetz, violin (RCA Victor Gold Seal 09026 61779-2) (5 CDs)

But no, here they all are: Jascha Heifetz's most famous stereo concerto recordings made in fabulous sound for the period. It is in the most celebrated of the concerti that the aficionado can hear the sheer mastery with which Heifetz breathes new life into the most familiar music. If your taste is for the works of the 20th century, here are the legendary Sibelius and Prokofiev (No. 2 only of course) recordings which most famous violinists on the concert circuit today try to emulate but, by their own admission, cannot quite match.

Heifetz's tempi are always one notch faster, though never sounding breathless. As a direct result of this, today's DDD releases either sound laboured or appear to be produced under laboratory conditions. Heifetz has been called the epitome of violinistic perfection. But because of his stage demeanour, he had been accused of coldness and aloofness. I am leased to report that every phrase on these CD's is deeply felt. In the upper registers of the E string, I have never heard such perfect intonation and lack of effort, such amazing beauty with no pseudo-sentimentality.

The orchestral playing is frequently extraordinary and is in the best American tradition. The partnerships of Reiner in Chicago and Munch in Boston are well known and need no further elaboration. Some may think (and I would agree) that the New Symphony Orchestra of London does not match the ChicagoSymphony-Leonard Slatkin partnership (with Cho-Liang Lin on Sony) in the works by Bruch. The RCA Victor Symphony is also slightly below what might be called "top-notch".

I should mention that three great instrumentalists join Heifetz on the last CD in the set and in no way do they play second fiddle to him. Erick Friedman (not to be confused with the pianist Ignaz Friedman), Primrose and Piatigorsky were Heifetz's most frequent partners and their performances put many of today's partnerships to shame by a wide margin.

Without going into too much detail, I would heartily recommend these CDs to all who know the works on them very well. They would undoubtedly already have multiple versions of these works and may be chagrined about having spent so much money in the past when they hear the surprising recording quality and marvellous playing on these latest releases. Listen to these performances and hear what the violinists of today rave about. They are the interpretations of an artiste whom Pinchas Zukerman once described as "The King of us all".

Johannes Brahms (1833-1897)

Piano Concerto No. 1 in D minor, Op.15

Serge Prokofiev (1891-1953)

Piano Concerto No.3 in C major, Op.26

William Kapell, pianist / Philharmonic Symphony Orchestra / Leopold Stokowski, conductor (Prokofiev) / Dmitri Mitropoulos, conductor (Brahms) (Music & Arts CD-990)

William Kapell, probably an unknown name to the music lovers of this generation, was a legend of his time and died at the prime of his life in a freak plane crash. He was noted for his ability for producing music of extraordinary beauty despite having, paradoxically enough, a violent, aggressive style. Kapell was lamented for his premature passing and if you listen to this disc, you'll find this justifiably so.

Kapell's transcendental, brilliant and frighteningly urgent rendition of the Prokofiev concerto is given here in partnership with another legend, Leopold Stokowski with the Philharmonic Symphony. It is a live performance, and remains for me now after hearing it one of the most well-rounded and satisfying recording of this popular work. Many virtuosos, the most notorious example being Evgeny Kissin, are able to surmount the considerable technical difficulties of this work without much effort but very few (only Argerich's name comes to mind) are able to capture the fantasy, irony and curious beauty of this peerless work.

Kapell gives a superb account of the third piano concerto here, demonstrating a masterful understanding of Prokofiev's mind. His pace is relentless and very fast (faster than any other account in recent memory) yet not rushed, angular and motoric without becoming gritty. His is playing of rare sensitivity and very often wanders into that realm of magic called genius.

The first movement is full of virility and sparkle, Kapell obviously reveling in his wonderful, aggressive and perennially surprising technique. This is a very masculine performance, very much like Argerich's, except that perhaps the dated sound gives it an even greater atmosphere of magic and wonder. Tempi are never that fast but yet one can't help but be mesmerized by the sheer exuberance that Kapell must surely be facing in this tense and electrifying live concert.

The second movement is intelligent, poetic and thoroughly lyrical and the pace is measured but never tedious. Stokowski, famed for his frenetic speeds, fortunately takes a tempo that is fast yet not ridiculously fast here, and his accompaniment is exciting and coruscating. The final movement, of course, is the climax of the work and though Kapell may occasionally deceive the listener by slowing his pace, you can be sure that the momentum is building up and up into a final maelstrom of glorious and cacophonous noise that has the pianist rushing like crazy up and down the keyboard and finally hammering blindly, almost in relief.

Kapell is only slightly less successful in the Brahms concerto. In this gigantic, and immensely grand work, we have the Philharmonic Symphony again, this time under the baton of Dmitri Mitropoulos, and the recording took place in nowhere other than the old Carnegie Hall. Again, the playing is of the highest order, and Kapell the tiger is ferocious at the right bits, attacking the music with a passion and sincerity that is so often missing in the technically perfect but sterile pianists of our day. Nonetheless, he clearly is not mindless in his fury and time and again we see a gentler, more poetic side to the demonic virtuoso, drawing us to the serenity and pastoral quality that characterize Brahms' works.

All in all, a very interesting disc and one that I am glad to have reviewed. Do not be deceived by the age of the recording --- the quality of music-making is so very high that audio lapses are more than forgivable. Prokofiev lovers should consider this disc an invaluable addition to the catalogue.

Written by Melvin Yap

Max Reger (1873 - 1916)

String Trio in A minor, Op.77b; Clarinet Quintet in A, Op.146

André Kerver, clarinet (op.146) / Valerius Ensemble (Valerius Records #001)

The two chamber works featured in this independently-produced CD are true rarities. The A minor String Trio is a pleasant, sophisticated work written in a somewhat Brahmsian fashion, and exploits string colours so completely that it is sometimes amazing to realise that only 3 instruments are playing at one go!

Rumour has it that Reger's contemporaries did not think much of his work, that he was an old-fashioned composer trapped in the past. While it might be true that the String Trio is largely based on traditional concepts of harmony and tonality, Reger's mastery in creating rich textures and still retaining an atmospheric ambience is truly remarkable even in his time.

Whatever his reservations about 'programme' music, the Clarinet Quintet, his final work, certainly reflects some sort of a spiritual dimension to the composer, who takes a long, nostalgic look at musical styles embraced in the past, and turns out a magnificent yet touchingly honest, unforced and introspective work.

To these ears, but for the more adventurous use of shifting harmonic progressions, this would sound like late Schubert - restrained but rich in pathos in its quiet dignity.

The Valerius Ensemble, formed in the Netherlands in 1988, is made up of musicians of true quality. In both works, they play with a profound understanding for Reger's style. Their ensemble work is marked by a precision, beauty, total refinement and naturalness that elude many 'star' ensembles who willingly trade these qualities for greater fervour and fiery personality.

That is not to say that these Dutch players lack real panache and energy, but occasionally one does crave for more extrovert dynamism and bolder spirit, especially in their soft-grained approach to the third movement Scherzo of the Trio, and the second movement of the Clarinet Quintet.

But these remain touchingly spiritual, beautiful and exuberant accounts of seldom-heard repertoire that should appeal to both beginners and connoisseurs alike. A highly distinguished CD.

Johannes Brahms (1833 - 1897)

The Four Symphonies; Variations on a Theme By Joseph Haydn, Op.56a; Tragic Overture in D minor, Op.81; Academic Festival Overture in C minor, Op.80

Berlin Philharmonic Orchestra / Nikolaus Harnoncourt (Teldec 0630-13136-2) (3 CDs)

Edward Elgar (1857-1934)

Violin Concerto in B minor, Op. 61

Ralph Vaughan Williams (1872-1958)

The Lark Ascending

Kennedy, violin / City of Birmingham Symphony Orchestra / Sir Simon Rattle (EMI 7243 5 56413 2)

The second movement has some really exquisite moments where Kennedy shows a keen understanding of the magic and tenderness of the very romantic music. He is pensive and meditative, always lyrical yet observant, drawing us into his musical world. It is hard to imagine the second movement done better. Personally, the final movement is my favorite although some detractors at Gramophone have apparently torn it to pieces. It is a very brisk and capricious account and some might feel that Kennedy might have been a little too casual and light-fingered here in tossing off such weighty music in this cavalier manner.

However, I do not find his treatment at all inappropriate and in fact thought it rather enjoyable in comparison to more sober and traditional versions. Kennedy carries the music effortlessly through to the very satisfying and bravura culmination of the work. Sir Simon Rattle, as might be expected, is a very competent and sympathetic accompanist in this work, drawing warm and beautiful playing from the City of Birmingham Symphony Orchestra. All in all, a fine accomplishment from an artiste who has taken such a long sabbatical. Although I find Kyung Wha Chung's version with the LPO more aesthetic and 'acceptable' in that sense, boasting a stronger and paradoxically more masculine performance, Kennedy's version is by however the more meditative and thought-provoking.

Unlike the earlier recording, this one is more generously coupled with Ralph Vaughan Williams' beautiful The Lark Ascending. Kennedy is wistful and lugubrious, perhaps too lugubrious, and loses a little of the pastoral freshness inherent in the work. Also, I can't help but feel that Kennedy is somewhat unfocussed in this work, and is unable to paint for us the big picture. Nevertheless, this is a distinguished if not very luminous account.

More than acceptable sound from EMI and definitely a better buy than any version by Menuhin. However, more conventional listeners (like myself) might find the Chung more attractive.

Written by Melvin Yap