New from Naxos, Somm, Linn, Channel, etc.

ELGAR: SYMPHONY NO. 2 / SERENADE FOR STRINGS, BBC Symphony Orchestra / Edward Gardner/Chandos SACD CHSA 5197  In its day, Richard Hickox’s remarkable performance of Elgar’s Second Symphony – the first in the SACD medium – was a market leader, and it still remains immensely impressive, with the conductor’s implacable commitment to the music evident in every bar. Since then the symphony has had other catalogue entries in surround sound, here is another striking reading in SACD from the very company that issued that first disc, Chandos. While not displacing the Hickox disc, Edward Gardner’s BBC Symphony Orchestra take is commensurate in achievement with everything else that the conductor has set down for the company recently – a performance of real heft and drama. The bonus is a sympathetic reading of one of Elgar’s most performed works: the Serenade for Strings

RACHMANINOV: SYMPHONIES 1-3, SYMPHONIC DANCES, London Symphony Orchestra, Valery Gergiev/LSO Live SACD LSO 0816  Comprising 3 hybrid SACDs and one Pure Audio Blu-ray, this collection of Gergiev’s Rachmaninov recordings for LSO Live present these full-blooded masterpieces in readings rich with Russian colour and passion, in suitably impactful sound. The one misfire on the set is the Third Symphony, a stolidly dispatched performance that is surprising from such a customarily dynamic conductor, but that aside it’s a strong and persuasive collection.

HAYDN: THE CREATION, Soloists, Houston Symphony Orchestra and Chorus, Andres Orozco-Estrada/PENTATONE SACD PTC 5186614  Haydn’s durable choral masterpiece has enjoyed many recordings over the years, but this is a particularly distinguished addition to the ranks, and couched in the surround sound medium, it immediately becomes a market leader. The conductor Andres Orozco-Estrada draws impeccable playing from his American orchestra, and while soloists may not displace memories of some of their distinguished predecessors, they do full justice to Haydn’s score. Toby Spence in particular lends a ringing assurance to his declarations.

GRIEG: SONGS, Carole Farley, London Philharmonic Orchestra/SOMM Ariadne 5001  While the talented Carol Farley’s voice may be the key selling point for this mellifluous collection, it is the sensitive orchestration of Greg’s piano writing by the conductor Jose Serebrier that makes the disc unique among kindred recordings. Utilising echoes of the variety of orchestration that Grieg used in his own orchestral pieces, it is the perfect accompaniment to Farley’s beautifully sung contributions. Might a second volume be feasible? Greg aficionados who hear this will disc be fervently hoping so….

POULENC: LES BICHES: SUITE, LES ANIMAUX MODÈLES: SUITE, SINFONIETTA, RTÉ National Symphony Orchestra • Jean-Luc Tingaud/ Naxos 8573739  French musical sophistication of the most rarefied kind distinguishes this welcome issue, and the disc is a reminder that Poulenc is a composer who deserves to be more than caviar to the general. Poulenc wrote two ballets, the suites from which feature on this recording. Fusing together musical styles from various periods and genres enabled him to construct the largely plot-free narrative of Les Biches, a sequence of captivating dances that explore many themes which were considered taboo at the time. In Les Animaux modèles, Poulenc transforms the animals of La Fontaine’s fables into human characters in a patchwork score brimming with colour, wit and self-borrowings. The Sinfonietta is playful and light-hearted.

DVORAK: PIANO QUINTETS, BAGATELLES, Busch Trio, Maria Milstein, Miguel Da Silva/Alpha Classics Alpha 403  For those love the music of Dvorak, much pleasure is to be found in the composer’s elegant chamber works with his contributions to the idiom (for virtually all combination of instruments) full of charm, demonstrating something like the warmth and approachability of his symphonies – although of course, the latter remain the composer’s calling card music — and likely to remain so. This very welcome disc of the piano quintets and bagatelles is admirably well played by Busch Trio, Maria Milstein and Miguel Da Silva, and if the pieces do not immediately reveal their secrets as readily as some of the composer’s more distinctive chamber music, the disc is still one will give much pleasure, particularly in performances as sympathetic as this.

SIBELIUS: FINLANDIA, THE OCEANIDES, EN SAGA, THE SWAN OF TUONELA, VALSE TRISTE, BBC National Orchestra of Wales, Thomas Sondergard/Linn CKD 566  Admirers of the composer Sibelius have been well served over the years with multiple recordings of the symphonies and tone poems. In fact, the pieces on this disc have enjoyed a dazzling multiplicity of readings – many very distinguished, so something special is required to render any new entries competitive. That special quality is something that Thomas Sondergard and his forces have brought to the table with this very welcome issue. These are performances of immense sensitivity and (where required) dramatic forcefulness – The Oceanids in particular is given one of the most striking readings it has enjoyed in recent years. The sound quality is exemplary, although as ever with Linn these days, one is remnded that the company has abandoned its commitment to the SACD medium – Linn’s discs in surround sound were among the most impressive in the field, and it’s a cause for regret the company now issues stereo-only discs.

MAHLER: SYMPHONY NO. 6, Minnesota Orchestra, Osmo Vänskä, SACD BIS-2266  Over the years, Mahler’s Sixth has been particularly lucky on disc, with performances ranging from the steady to the fiery and dramatic (of the latter, Georg Solti’s fleet reading from the predigital era was a favourite of many; that approach was echoed to even greater effect on the more recent SACD recording by Michael Tilson Thomas and the San Francisco Symphony. Set against the powerful commitment of that American recording, this new disc by Osmo Vänskä (in BIS sound that encompasses the massive dynamic range that Mahler created) is very successful, if less exhilarating. Vänskä has a reputation for engaging with even the most iconic scores at face value, avoiding preconceived ideas and ‘time-honoured’ traditions. His and the Minnesota Orchestra’s recording of Mahler’s Sixth on BIS follows the 2017 release of the composer’s Fifth Symphony. Nominated for a 2018 Grammy Award, his interpretation has been described as ‘at once committed and detached, intense and transcendentally timeless’.

VAUGHAN WILLIAMS: CONCERTOS AND ORCHESTRAL WORKS, Soloists / Toronto Symphony Orchestra / Peter Oundjian/Chandos SACD CHSA 5201 The greatest possible advocacy is made here for some of Vaughan Williams’ less well-known music; this is an extremely attractive disc. The days when the music of Vaughan Williams was underrepresented on disc seem – thankfully — long distant (the situation began to change when Andre Previn and Sir Adrian Boult began much-acclaimed series of recordings of the symphonies). This unusual collection is a reminder of how popular this great English composer is in the 21st-century. The once-neglected Piano Concerto in particular has enjoyed a variety of recordings both in its one piano and two piano iterations, and this is one of the most impressive; ditto the charming oboe concerto. With this celebratory release completing his fourteen-year tenure as Music Director of the TSO, Peter Oundjian is supported by an all-Canadian cast of star soloists.

WILLIAM WORDSWORTH: ORCHESTRAL MUSIC, VOLUME ONE: Divertimento in D, Op. 58; Symphony No. 4 in E flat, Op. 54; Variations on a Scottish Theme, Op. 72; Symphony No. 8; Pax Hominibus, Op.117, Liepāja Symphony Orchestra, John Gibbons /Toccata TOCC 0480   Another composer who deserves more recognition for his undervalued but considerable achievement is the English composer William Wordsworth, and this inaugural disc in a new orchestral series will win William Wordsworth (a descendant of the poet) many friends. It’s big-boned British music which will immediately appeal to admirers of Malcom Arnold and Bax.

R. STRAUSS: AUS ITALIEN, WOLF-FERRARI: SUITE VENEZIANA, Berlin Radio Symphony Orchestra, Ariane Matiakh/Capriccio C5344  While this new disc is not in the surround sound medium, it is a demonstration that stereo-only recordings, while more sonically limited, can still do a great deal of justice to music as colourful as that recorded here. Aus Italien is something of a poor relation in terms of Strauss’s orchestral tone poems, lacking the popularity of Ein Heldenleben and Also Sprach Zarathustra. But Strauss aficionados are well aware that this is a charming and winning piece, particularly when played as enthusiastically as it is here. Orchestral colour abounds in the two works on this release from Capriccio: the first by a young Richard Strauss who was inspired in 1886 by the ruins of Rome to write his first major symphonic poem Aus Italien, and the second, Suite Veneziana, written half a century later by Ermanno Wolf-Ferrari, then approaching 60 years old and able to draw on his considerable experience as an opera composer. Conductor Ariane Matiakh draws excellent performances from the Berlin Radio Symphony Orchestra.

ROUSSEL: ORCHESTRAL WORKS, Kathryn Rudge / Alessandro Fisher / François Le Roux, CBSO Chorus / BBC Philharmonic / Yan Pascal Tortelier/ CHANDOS CHAN 10957  It is something of a mystery as to why music as colourful and inventive as this is not recorded and played more often, even though on the occasions when Roussel’s scores been set down, proper justice has been done. What’s more, it is hardly surprising that Yan Pascal Tortelier , long a master of the more resplendent items of the repertoire, presents the best possible advocacy for these pieces, particularly in the forte passages, are delivered with great conviction. Three of Roussel’s most remarkable compositions (notably the impressionistic Évocations), showcasing revelatory soloists and impeccable choral and orchestral forces are impressive in Tortelier’s hands. With this disc, the conductor celebrates a seventy-album discography on the Chandos label.

OPERA RECORDING OF THE MONTH: RESPIGHI: LA CAMPANA SOMMERSA, Valentina Farcas • Maria Luigia Borsi, Sopranos, Agostina Smimmero, Mezzo-soprano, Angelo Villari • Filippo Adami, Tenors, Thomas Gazheli, Bass-baritone, Teatro Lirico di Cagliari • Donato Renzetti, Conductor, Pier Francesco Maestrini, Stage Director/ Naxos: 2110571BLU-RAY   Surely it’s time that Respighi’s neglected operas began to receive their due? Few would argue that orchestral music was the composer’s forte – making him unusual among Italian composers — but there is exquisite writing to be found in his little-heard works for this stage – as this impressive issue attests. The opera La campana sommersa (‘The Sunken Bell’) is Respighi’s operatic masterpiece. A symbolist drama on a supernatural theme, it is steeped in beauty, mystery and foreboding, and orchestrated with the Romantic opulence familiar from his sumptuous trilogy of Roman tone-poems. Its triumph at the New York Metropolitan Opera in 1928 was repeated at La Scala, Milan, and this most recent production at the Teatro Lirico di Cagliari, world-renowned for its staging of rarities, was hailed for its ‘brilliant production’ and magnificent performances.

DAVID DIAMOND: SYMPHONY NO. 6 1†, ROUNDS FOR STRING ORCHESTRA 2 • ROMEO AND JULIET 2, Indiana University Chamber Orchestra 2 • Indiana University Philharmonic Orchestra 1 • Arthur Fagen, † WORLD PREMIERE RECORDING/Naxos  Of the list of American composers who were friends and colleagues of the late Leonard Bernstein, David Diamond — like his colleague William Schuman — deserves far more attention than he receives – particularly as his music is as approachable as it is intelligently conceived and orchestrated. This is modern music of real distinction, and this new disc affords the listener the premiere of a very intriguing piece. The three works on this recording were composed at the height of David Diamond’s popularity. Rounds is his most enduringly popular piece, whose simple economy of means prompted Aaron Copland to exclaim, “Oh, I wish I had written that piece.” The concert suite Romeo and Juliet explores the “innate beauty and pathos” of Shakespeare’s play. Taking its cue from the work of 19th-century Romantic composers, Symphony No. 6 is cyclical, the second and third movements deriving from material found in the first.

ARRANGEMENTS, English Symphony Orchestra, Kenneth Woods/Avie  If like me, you are the kind of listener who likes to hear orchestrations of pieces originally composed for other media, you are in luck with this very tempting new disc, which provides cleverly orchestrated versions of Elgar pieces written for other forces. Two years ago, conductor Kenneth Woods and his English Symphony Orchestra made the world-premiere recordings of composer-arranger Donald Fraser’s orchestral arrangement of Elgar’s Piano Quintet and choral version of Sea Pictures. The musicians reunited in Abbey Road’s Studio 2, with Fraser conducting the orchestra in an album of his arrangements of works ranging from Dowland and Scottish folk tunes to Liszt and Ravel, then Woods taking to the podium to conduct Fraser’s original Sinfonietta for Strings.

GINASTERA: ORCHESTRAL WORKS, VOL. 3, Xiayin Wang / BBC Philharmonic / Juanjo Mena/Chandos CHAN 10949  CHAN 10949  There was a time when admirers of Ginastera would have to investigate a variety of disparate sources in order to get their fix of the composer’s music. His neglect was always strange, given the fact that most of his works are full of colour and energy, with instant accessibility being a watchword. The fact that Chandos is now filling Ginastera gaps in generous fashion is not surprising given the company’s commitment to such vivid orchestral fare. The final volume in a series bringing Ginastera’s skills genius to a wider audience is consolidated here, with the bonus of exceptional piano playing from the virtuosic Xiayin Wang.

SMETANA: FESTIVE SYMPHONY, THE BARTERED BRIDE: OVERTURE AND DANCES, Berlin Radio Symphony Orchestra • Darrell Ang/ Naxos: 8573672  Well-known and lesser-known Smetana rub shoulders here. Bedřich Smetana’s Festive Symphony was composed in 1854 when hopes for Emperor Franz Joseph becoming King of Bohemia were high. The splendid sounds of Smetana’s only formal symphony pre-echo later masterpieces such as Má Vlast, but his use of the Austrian Imperial anthem became unacceptable in the subsequent spirit of Czech nationalism, resulting in the work’s neglect. With its sparkling overture and lively rural dances, The Bartered Bride secured Smetana’s international reputation and, as the only Czech opera of its day to enter the standard repertoire, it became a beacon for the nation’s 19th century musical renaissance.

NOWOWIEJSKI: SYMPHONIES NOS.2 & 3, Poznań Philharmonic Orchestra, Łukasz Borowicz/DUX1446  If you are a music lover of the more adventurous kind who is prepared to look further afield than familiar repertoire, the classical recording industry is showing a willingness to tempt you in recent years – and nowhere more so than in this disc of a composer that most modern listeners will not have heard of. Nowowiejski is known (if at all) as a composer of organ and choral music. His symphonic output, overshadowed by the works of Karol Szymanowski (who was composing at the same time) is rarely performed and has not been available to a wider audience in CD format until now. The present album, thanks to the efforts of the Poznań Philharmonic Orchestra under the baton of Łukasz Borowicz, fills this gap and present an intriguing (if hardly essential) picture of Polish music of the interwar period. This DUX release features Symphonies Nos. 2 and 3 (Symphony No. 1 is lost).

MENDELSSOHN: A MIDSUMMER NIGHTS DREAM: OVERTURE & INCIDENTAL MUSIC, soloists, Budapest Festival Orchestra Ivan Fischer/Channel Classics CCSA 37418 SACD (See also Graham Williams review opposite)  If any one orchestra and conductor can point to a body of recorded work over the years with unalloyed pride, it’s the Budapest Festival Orchestra under Maestro Ivan Fischer. Their recordings of core repertoire and other less familiar pieces for the Channel Classics label had been of a nonpareil standard, with those few discs not instantly establishing themselves as market leaders still more distinguished than most of the competition. What’s more, these exemplary recordings have enjoyed typically impressive Channel surround sound of the kind that this company is celebrated for. So it’s hardly surprising this new disc of Mendelssohn’s Midsummer Night’s Dream instantly establishes itself as one of the most poetic, and nuanced the score has enjoyed in recent years (and, the piece has hardly been lacking in recent recorded outings). If that final ounce of drama and sensitivity that distinguished the classic Andre Previn recording is not always in evidence, and some of the tempi are eccentric, in every other respect, this is a good recommendation – not least for those looking for the piece in SACD sound.


Graham Williams on Fischer’s Mendelssohn

New Death & the Maiden from the Chiaroscuro Quartet

Following the Chiaroscuro Quartet’s acclaimed debut recordings on BIS Records, the ensemble announces the release of Schubert’s seminal String Quartet No.14 in D minor ‘Death & the Maiden’ and String Quartet No.9 in G minor, in November 2018. The Chiaroscuro Quartet – with Russian-born Alina Ibragimova, Spanish violinist Pablo Hernán Benedí, French cellist Claire Thirion and Swedish violist Emilie Hörnlund – continues to forge its path as one of the most dynamic young ensembles of today. As one of the few groups performing exclusively on gut-stringed instruments, they are wholly committed to an authentic, historical approach.

2018 sees the Quartet give a number of high profile UK performances with highlights including Aldeburgh Festival on 19 June with pianist Cedric Tiberghien and Wigmore Hall on 1 October with period clarinettist Annelien Van Wauwe.



This recording marks a return to the Quartet’s roots, following its debut disc in 2011 featuring Schubert’s String Quartet No. 13 in A minor, and a continuation of the ensemble’s exploration of Schubert’s works. 


Composed in 1824, after Schubert had suffered a serious illness and realised he was dying, ‘Death & the Maiden’ is considered by many as one of the pillars of the chamber music repertoire. The work, in four movements, is a testament to death, exuding fragility and pain. The Quartet’s use of gut-stringed instruments serves to heighten the colour and contrasts of the music and allows a certain sense of freedom when performing the work, “Each time we play this piece we discover something new about it, it’s never the same twice. Playing with gut strings allow us to explore the extremes of both the fragility of the work but also the unbearable pain, it’s not always beautiful and as a musician, you have to be ready emotionally to play Schubert,” comments the Quartet’s cellist Claire Thirion, “This piece has become a staple of quartet repertoire and it’s one that we have been wanting to record for a while so we’re thrilled to have the opportunity to do so.”


 “Every unexpected twist and turn is as fresh as the day it was written” [Financial Times, 2017]


The ensemble’s recording of Beethoven and Mozart on Aparté led it to become the first quartet to be awarded the Förderpreis by German radio Deutschlandfunk and Musikfest Bremen.

Recent performance highlights include a debut concert tour to Japan, performances at Amsterdam Concertgebouw, Edinburgh International Festival, London’s Wigmore Hall, the Auditorium du Louvre Paris and the Aldeburgh Festival. Last season the ensemble performed at Sage Gateshead, London’s Kings Place, Konzerthaus Dortmund and Cheltenham, among many others.

“…dazzling delicacy…the interpretation of No. 5 that blind-sided me on a first listening.” [BBC Music Magazine, 2017]