Reviews in January 1998

Eroica Trio

George Gershwin: Three Preludes (arr. Penaforte); Maurice Ravel: Piano Trio (1914);

Benjamin Godard: Berceuse (From Jocelyn); Paul Schoenfield: Café Music

Eroica Trio -

Adela Pena, violin / Sara Sant'Ambroglo, cello / Erika Nickrenz, piano (EMI 7243 5 56482 2 8)

This disc marks the recording debut of one of the most glamorous and talented chamber music groups performing today. This unusually gifted trio has built up an enviable reputation for themselves as being one of the world's finest chamber ensembles around despite the relatively short span of their career so far. Like their namesake symphony, this is one trio that will not only impress but also captivate.

Listening to this disc makes it possible to understand why this is so. From the very opening notes of Penaforte's charming arrangement of Gershwin's very engaging Three Preludes, the flawless intonation, the sympathetic harmony of three different instruments blending together perfectly to form an altogether gorgeous gestalt of sound, and the technical mastery of each member is apparent.

Not that their laurels rest only on mere technical wizardry. They are more than merely interpreters who exaggerate the difficulties of the music they are playing in order to highlight themselves. Rather, I get the sense that they present the material with such faithfulness that we are able to focus on the content of the music rather than on superficial frills and excitement. As such, those who are looking for mindless sensationalism may find the Eroica trio somewhat understated in their noble desire to proclaim the music rather than its messengers. However, their passion and commitment is unmistakable.

Those who are looking for a mature and insightful look into the above music will find themselves amply rewarded. The Eroica trio are remarkably versatile, fluent in both the jazz idiom of Gershwin and Schoenfield as well as the more impressionistic mood of Ravel. And there's certainly no lack of fireworks when it's called for. Listen to the pulsating energy of the Third Prelude as well as the fiendishly difficult and brittle Presto from Schoenfield's quirky, humorous Café Music. It is hard not to be electrified by the real elegance, sheer exuberance and jaw-dropping precision exhibited in the latter work.

I was, however, also impressed by their haunting and mesmerizing account of the Ravel Trio. From the hypnotic air of the Modéré to the Oriental-sounding Finale, you are treated to concentration and coherence of a rare intensity. This is nowhere better heard than in the way the Trio comes together seamlessly in the searing and dramatic coda. Heartbreaking beautiful too is the famous Berceuse from Jocelyn.

We are fortunate that EMI has given us more than adequately good sound for this very fine debut recording. It is a pity that the obviously good looks of these young women have been used to promote them, for this may detract from their very real artistic credibility and finesse. Nonetheless, if this introduction is any indication of what we may expect from this trio, we have great things in store. If you are only going to buy one disc this month, make it this one.

Written by Melvin Yap

Clara Haskil - The Legacy
The Complete Philips Classics Recordings 1951 - 1960

Beethoven: Violin Sonatas (Complete); Piano Concerto No.3 in C minor, Op.37; Piano Sonatas in D minor, Op. 31/2 (Tempest); in E-flat, Op.31/3; Mozart: Violin Sonatas in C, K.301; in E minor, K.304; in F, K.376; in B-flat, K.378; in B-flat, K.454; in A, K.526; Piano Concertos No. 9 (Jeunehomme), K.271; No.20, K.466; No.23, K.488; No.24, K.491; Concert Rondo in A, K.386; 9 Variations for solo piano, K.573; Piano Sonata in C, K.330; Schumann: Piano Concerto in A minor, Op.54; Bunte Blätter, Op.99 (excerpts only); ABEGG Variations, Op.1; Kinderszenen, Op.15; Waldszenen, Op.82; Scarlatti: Piano Sonatas in E-flat, K.193; in B minor, K.87; in F minor, K.386; Schubert: Piano Sonata in B-flat, D.960; Ravel: Sonatine in F-sharp minor; Chopin: Piano Concerto No.2 in F minor, Op.21; Falla: Noches en los jardines de España.

Clara Haskil, piano / Arthur Grumiaux, violin (Beethoven and Mozart sonatas) / Orchestre des Concerts Lamoureux / Igor Markevitch, conductor / Vienna Symphony Orchestra / Paul Sacher, conductor / Bernhard Paumgartner, conductor / Hague Philharmonic Orchestra / Willem van Otterloo, conductor (Philips 442 685 - 2) (12 CDs)

[Also available as 3 separate sets: Volume I - Chamber Music (442 625 - 2) (5 CDs); Volume II - Concertos (442 631 - 2) (4 CDs); Volume III - Solo Repertoire (442 635 - 2) (3 CDs)]

One of the most unusual things about the legendary Clara Haskil (1895 - 1960) must be the way she looks. With a head of wiry, unkempt hair and benign but utterly frail, weathered mien, coupled with a thin, fragile, hunched body which was often plagued with illnesses and diseases of various sorts at different stages of her brief life, she certainly looked more like the little old lady peddling her wares in the market than the great, unassuming, distinguished pianist that she really was. Well, her feeble exterior has certainly shocked sceptical concert-goers who doubted if such a delicate old thing could actually play the piano, and play it well too. (One such concert-goer was the then-youthful Russian pianist, Tatiana Nikolayeva, herself a master of the keyboard.) But such is the quality of Haskil's musicianship that all doubts and prejudices in everyone's minds were not just permanently erased, but replaced with awe and the deepest respect on listening to just her very first notes.

Haskil was first and foremost the quintessential Mozartian. No other pianist, past or present, manages to penetrate Mozart's musical thoughts this deeply, and to surface with such sensible, precious, fresh and often profound insights. A true champion of the Classical period repertoire, she represents a school of playing that we hardly ever find among other keyboard giants - free from artifices, superficialities and cheap tricks, aiming instead for the very heart of this music, always searching for its true spirit and essence, always putting the music above self.

Philips has packaged all her recordings for the label in this attractive 12-CD box set. It is unnecessary to say anything more about her peerless Mozart performances here save that in the 2 versions of the tragic D minor concerto (K.466) found here, Haskil is rather unlucky with accompanists: In the later, better-known stereo recording with Markevitch conducting, there seems to be a clash of personalities, with the conductor's more assertive, jauntier brand of orchestral backup sitting awkwardly alongside Haskil's lively yet spiritual contributions; Paul Sacher in the earlier, mono account seems far more attuned to the classical idiom, though, unfortunately, the playing of the Lamoureux Concert Orchestra is not infallible.

In the first 5 CDs containing violin sonatas by Mozart and Beethoven, Philips offers us the celebrated recordings Haskil made with another true classicist - the aristocratic violinist Arthur Grumiaux. Together, they made inspiring music.

Moving on to the other works, her understated account of Beethoven's Third Concerto unveils more classical-oriented sensibilities rather than the maturing Romantic spirit, and the same can be said of her approach to the Schumann concerto. The Chopin 2nd is particularly appealing with her sparkling fingerwork and eloquent phrasing. Falla's Nights in the Gardens of Spain is an unusual work that turns out rather indifferently in such a direct interpretation.

Of the solo pieces, the two Beethoven sonatas - she recorded both twice, both recordings are offered here, and comparisons show up very minute differences - again show Haskil taking a different stance to these works compared to other better-known pianists like Richter and Gilels. Perhaps she is not as bold and openly daring in taking risks, but she displays a mean technique which is used not to hammer Beethoven straight in your face, but to send the work creeping into the senses and then blooming with almost divine inspiration at maximum intensity.

Her Scarlatti is mellow, but not excessively so. The Schubert sonata is sublime and profoundly introspective, though carried a little to excess at times. In the Schumann pieces, the Kinderszenen has plenty of innocent, understated charm, but the Waldszenen, while being superbly characterised and wonderfully atmospheric most of the time, could have been a little more gutsy in the jauntier sections. The Ravel Sonatine is elegantly executed, but lacking the vivacious, temperamental spirit of Martha Argerich (on DG).

The sound quality is refreshed by excellent remastering, and the documentation, which is made up of 3 well-illustrated booklets containing outstanding essays on various aspects of Haskil's life and her art, is truly generous. Lavishly and attractively laid-out in a lovely box at mid-price, this is quite a bargain, considering that in exchange, you are acquiring a document of priceless musicality.

Written by Lionel Choi

Aram Khachaturian (1903 - 1978)

Piano Concerto in D-flat major; Concert Rhapsody for Piano and Orchestra in D-flat major

Oxana Yablonskaya, piano / Moscow Symphony Orchestra / Dmitri Yablonsky (Naxos 8.550799)

Not since the Jemelik/Klima version of the Khachaturian Piano Concerto that appeared on a Parliament LP around 1960 have I heard a recording of this work as compelling as this new one from Naxos. I've endured through the Katz/Boult, Entremont/Ozawa, De Larrocha/Fruhbeck De Burgos, Orbelian/Jarvi, and maybe some others, always with an expectation that the next one would get religion and play with the nearly wanton drive and raw spirit that made the Jemelik so riveting. Well, Yablonskaya turns in a less frenzied performance, to be sure, but one that still captures the vivacious, folksy elements with gusto and muscle, while managing to find subtlety and depth as well, traits one doesn't usually associate with this score. And her conductor-son, Dmitri, partners her with a deft baton that both catches fire and soothes at just the right moments.

From the opening timpani stroke and fleet tempo that follows you know this is a Khachaturian concerto of power and propulsiveness. And Yablonskaya's subtle control of dynamics is evident throughout: there are few pianists who can match her ability to rise from soft pianissimos to potent fortes without seeming abrupt or insensitive. Her first movement cadenza (track 1; 10:58) is a model of sensitivity, virtuosity, and idiomatic grasp. This concerto, let's face it, succeeds or fails depending upon how the soloist erects the fragile scaffolding that connects these three elements. Just listen to her patrician, yet luscious, phrasing of the main theme in its big reappearance in the Andante (track 2; 7:11). Only Jemelik, among her competition, reads the music with this same kind of unhurried, majestically flowing and dramatic approach. I wish all pianists had the good sense to play this passage at this moderate tempo and with this penetrating insight. It's ironic that Jemelik and Yablonskaya are otherwise faster than the others (except for Orbelian), but faster where it counts.

Yablonskaya renders the lesser and less well known Rhapsody with the same kind of artistic insight and virtuosity. It's a good, typically Khachaturian piece, though not a major work. But if you like the exotic, I guaranty you'll like this. The Moscow Symphony plays splendidly in both works. Ates Orga supplies copious and informative notes, and Naxos provides excellent sound. For the concerto, unless you can dig up the Jemelik (re-released on, I believe, Urania with a coupling from a different composer), this is the recording to have. And even then, if I were forced to choose between Yablonskaya and Jemelik, price and sonics and the coupling tilt the scales decidedly in favor of the former.

Written by Robert Cummings

Leontyne Price sings Mozart -
Wolfgang Amadeus Mozart (1756 - 1791)

Ch'io mi scordi di te, K.505; Bella mia fiamma, K.528; Le nozze di Figaro: Porgi amor, Dove sono, Deh vieni non tardar; Idomeneo: Se il padre perdei, D'Oreste, d'Ajace; Die Zauberflöte: Ach, ich fühl's; Il re pastore: L'amerò, sarò costante; Don Giovanni: Or sai chi l'onore, Non mi dir

Leontyne Price, soprano / New Philharmonia Orchestra / Peter Herman Adler, conductor / Nello Santi, conductor / RCA Italiana Opera Orchestra / Francesco Molinari-Pradelli, conductor / London Symphony Orchestra / Edward Downes, conductor (RCA 09026-61357-2)

Category: Classical - Opera - Vocal

American soprano Leontyne Price is probably best known as a dramatic soprano, shedding light on such heavy roles as Aida and Leonora (Le forza del destino) with phenomenal success. But on many occasions, Price made recordings to remind us that she is far more flexible than that. In fact, she must reign as one of the most versatile singers of her time - besides championing the great heavyweight Verdian roles, she is equally comfortable with coloratura and lyric roles, art-songs (she is something of a legend in the music of Samuel Barber), Gershwin and Negro spirituals.

In this collection of Mozart arias, she proves that she is also adept in the classical repertoire.

Mozart must count as one of the most difficult composers to tackle. Whether in the phrasing, dynamics, choice of textures and colours, his timeless music has baffled and intrigued musicians for more than 2 centuries. Both instrumentalists and singers have always found it a real challenge to interpret Mozart's music in a personal yet uniquely sensible way.

Leontyne Price takes on the challenge in this disc with supreme confidence, and offers a programme of beautiful, thought-provoking performances. She lightens her large voice wonderfully, and tackles the soaring melodic lines with intimate beauty and elegance, and florid divisions and high notes with a robust technique. But unlike other better-known Mozart singers, Price's readings are almost always more assertive and more strongly-characterised. Take, for example, the opening Ch'io mi scordi di te, which has never sounded so openly passionate, seductive and larger-than-life before.

The best track here must be her thrilling portrayal of Donna Anna in Or sai chi l'onore from Don Giovanni, which finds her in full-throated, gloriously rich voice.

It's a pity that, unlike Ms Price's contributions, the orchestral accompaniment is not quite as consistently good, though it is seldom distracting. The sound, while retaining some background hiss, still comes up rather fresh and clear. Strongly recommended for all opera buffs!

Written by Lionel Choi

Sergei Rachmaninov (1873 - 1943)

Piano Concerto No.2; Paganini Rhapsody

Ilana Vered, piano / New Philharmonia Orchestra / Andrew Davis, conductor / London Symphony Orchestra / Hans Vonk, conductor (Decca 443 361 - 2)

This disc features some of the Romantic period's best-loved music. Rachmaninoff, despite his chronic depression, has always been a perennial favorite and the massively famous and popular second concerto is possibly the work that he is best known for. While I'm certain that many of the readers of 'Newbies' will have already acquired at least one, or possibly more copies of this justly popular work, along with its companion Paganini Rhapsody, I will like to propose a budget alternative that could make you sit up and take notice.

Vered has never been particularly well-known, nor does she have a particularly copious discography, but the few recordings I do have by her are particularly cherished. For example, I still have fond memories of her unforgettable interpretation of Mozart's Piano Concerto No.21, a version that for me eclipses far more exalted competition like Bishop Kovacevich and Malcolm Bilson.

But enough of digression. For some reason, I've always been hunting for the perfect version of the Rachmaninoff Piano Concerto No.2 and have always been mildly disappointed by what I've listened to. Even the critically acclaimed versions by Byron Janis and Jeno Jando leave me a little cold, seeming to lack that je ne sais quoi that is needed to infuse this work with the fantasy and magic that it possesses.

I'm not saying that the Vered perfectly meets this criteria, but it's a little closer to meeting what I'm looking for. She is a pianist of peculiar mixture of strong artistic sensitivity as well as well-harnessed virtuosity. Sheathing the steely fingers is a touch of velvet that never makes one feel that she is merely reveling in flashiness. Listen to that angry dialogue between the piano and the orchestra at the beginning of the third movement. Vered is utterly beguiling in her nimbleness and agility, exciting yet not forsaking the magical frisson of this work. Davis and the New Philharmonia are utterly sympathetic in their accompaniment and there's a wonderful moment at the coda when the pianist and orchestra clash together in a fiery climax.

The Paganini variations is another of my favorites. This enigmatic-sounding, Oriental work is of course based on that very popular theme from one of Paganini's twenty-four caprices and it never ceases to amaze me how Rachmaninoff can create something so beautiful as the twenty-fourth variation from that deceptively simple melody. Vered is in good form here, accompanied by the very competent LSO. She is somewhat forward because of mike placement but this is not exactly a reservation as this is in every way a taut, edge-of-the-seat performance. There is of course lots of fireworks and electrifying playing from both the LSO and Vered. She is of course particularly flawless in the haunting 17th variation and the achingly beautiful 18th variation. And I've always enjoyed playing again and again the last few very exciting variations which are delivered with full gusto and verve.

The sound is first-class despite its age and this disc is very, very good value for its price. If you already have these two works in your collection, it will do you good to listen to this exquisite alternative.

Written by Melvin Yap