Norman Stinchcombe reviews the latest classical CD releases
Sibelius: Sibelius: Ehnes, Bergen Philharmonic Orchestra / Gardner (Chandos CD & SACD) ★★★★★
The Canadian violinist James Ehnes is a throwback to the golden era of fiddlers of the fifties. No showmanship, nor the eccentricity of cult favourite Patricia Kopatchinskaja, his demeanour on the platform is patrician like Nathan Milstein. He heads straight to the essence of the Sibelius concerto, its combination of icy beauty and volatility. Many recordings emphasise one aspect at the expense of the other – Ehnes gives due weight to both. He’s aided by the ever-alert conductor Edward Gardner and phenomenal sound from the Chandos engineers which is full of detail. Ehnes illuminates Sibelius’s miniatures perceptively – the Two Serenades, Op. 69; Two Pieces, Op. 77; Two Humoresques, Op. 87; and Four Humoresques, Op. 89 are polished and glittering. Sibelius’s last completed orchestral work, the Suite Op 117, is short, powerful and leaves us wondering at what might have been but for Sibelius’s long final silence.
Sutton: Humphreys, BBC Philharmonic / Seal (Chandos CD) ★★★★
The composer Adrian Sutton is best known for his work in the theatre such as the music for the hit play ‘War Horse’ and the fifteen minute ‘War Horse Orchestral Suite’ (2023) is included here. In 2022 Sutton was diagnosed with terminal cancer and decided to concentrate on works for the concert hall. The major work here is his three-movement Violin Concerto, a response to Vaughan Williams’ ‘Lark Ascending’ and Richard Bach’s 1970’s fable ‘Jonathan Livingston Seagull’, with soloist Fenella Humphreys portraying a soaring, swooping seagull. The music is varied and eclectic, pastoralism, rustic folk and big screen soundtrack style. Its derivative but enjoyable played with great elan by Humphreys with excellent support from the orchestra under the CBSO’s associate conductor Michael Seal. Sutton’s short works included here – ‘A Fist Full of Fives’, ‘Five Theatre Miniatures’ and ‘Short Story’ – are similarly pleasant, lively and engaging. Excellent recording quality.
Vaughan Williams ‘The Grinke Legacy’: Frederick Grinke / Boyd Neel Orchestra (Albion Records CD) ★★★
The original Vaughan Williams’ ‘The Lark Ascending’ features on a disc devoted to rare recordings by violinist and music teacher Frederick Grinke (1911-1987). He was leader of the Boyd Neel Orchestra and a chosen soloist for many premieres of works by British composers. Grinke’s 1940 recording of the ‘Lark’ so impressed the composer that he moulded his 1954 Violin Sonata in A minor to Grinke’s style and dedicated it to him. Grinke eschews sentimentality and show, his Lark is an aristocrat, and his 1939 recording of the composer’s ‘Concerto Accademico’ is also austerely impressive. Both have been remastered from the original 78s by Ronald Grames which, of course, focused on the soloist at the expense of orchestra detail. The authoritative recording of the Violin Sonata – supervised by the composer – is sourced from a mono LP, with wider-ranging sound, with Grinke accompanied by pianist Michael Mullinar. The CD includes Grinke’s recording of Arthur Benjamin’s ‘Sonatina for Violin and Piano’ accompanied by the composer.
Mozart ‘Requiem’: Soloists, Pygmalion / Raphael Pichon (Harmonia Mundi CD) ★★★
There are some fine qualities in this recording. The quartet of soloists – soprano Ying Fang, mezzo-soprano Beth Taylor, tenor Laurence Kilsby and bass Alex Rosen – are excellent, bringing an operatic fervour to the text. Raphael Pichon’s original instrument band and youthful-sounding chorus have vocal agility, crisp diction and passion, their ‘Dies Irae’ is fearsome. The spacious recording, made in Namur’s Grand Manège concert hall, allows us to appreciate the Requiem’s scope and power. But – and it’s a big ‘But’ – Pichon, as his booklet notes reveal, can’t resist re-contextualising the work as the French might say, or messing it about if one is English. He prefaces the Requiem with the ‘In paradisum’, sung by a treble, and then regularly interrupts it with other Mozart sacred pieces; the Miserere mei K.90, ‘Ne pulvis et cinis’ from Mozart’s incidental music for ‘Thamos’, and arrangements of the sacred song ‘O Gottes Lamm’, the Adagio from the ‘Gran Partita’ and others. Revelatory or self-indulgent tinkering? The listener must decide.
Fauré, ‘Complete Works for Cello & Piano’: Michael, Tong (Resonus CD) ★★★★
This year is the centenary of Gabriel Fauré’s death, with commensurate CD releases, but few will be finer than this one. It tries to capture the instrumental timbres of a contemporary performance with Robin Michael playing a gut-stringed replica of a 17th century instrument by Matteo Goffriller while Daniel Tong plays an 1885 Erard piano with its distinctively light and slightly clangy sound. It’s a world away from richer, more romantic interpretations on modern instruments like Gil Shaham and Brinton Smith (Canary Classics). The major works here are the two late sonatas in D minor and G minor and both are sparer and more astringent than the familiar Faure of the lush consolatory Requiem. The G minor’s opening movement for example is unexpectedly aggressive before respite comes with the song-like Andante. Michael and Tong are always alert to the music’s rapid shifts of mood. The lighter works like the fluttering ‘Papillon’ and the early ‘Berceuse Op 16’ are both performed with great affection.
‘African Pianism’ Volume 2: Rebeca Omordia (piano) (Somm Recordings CD) ★★★★
A delightful CD which is, unless you’re an expert in the field, full of surprises and played with exquisite touch and execution by Rebecca Omordia. The album gets off to an uplifting start with Ethiopian composer-pianist Girma Yifrashewa’s ‘Elilta – Cry of Joy’ (2006) which gradually builds to an exuberant climax. Pioneering composer Florence Price – the first black woman to have a symphony performed by a major American orchestra – wrote piano works inspired by spirituals including the ‘Fantasie Nègre in E minor’ (1929), in this case ‘Please Don’t Let this Harvest Pass’ which shows great ingenuity in exploring and elaborating its folk material. Salim Dada’s Algerian miniatures are little impressionistic pieces while Nabil Benabdeljalil’s ‘Two Preludes’ – imagine Debussy transported to the scorching sun of North Africa – weaves in the sound of Arabic singing, Omordia conveying the music’s shimmering, sinuous qualities. The Menuhin Hall recording is first rate as are Robert Matthew-Walker’s informative booklet notes. Highly recommended.