Rimsky Korsakov - Russian Easter Festival Overture [Maazel-The Cleveland Orchestra]

Well here's the Russian Easter Festival Overture again!, only two days ago was i writing about Ozawa conducting it [29th May 2010].

Here's how i got into the overture, i heard it for the first time while i was waiting in someone else's parked car for a couple of hours, with nothing else to do, i found a cassette tape, and played it [the radio did not work!], it was this overture, i immediately liked it, and played it four or five times in succession, never getting bored of it, but actually getting more excited by it, this overture still sounds fresh and vigorous as the first day i heard it anew.

Maazel is a minute slower than Ozawa, and in certain places [usually the more reflective], Maazel seems to hang around a little too long, there is however a nice bloom on the recording, so that resonant sounds come out wonderful, the deep pizzicato bass, and the timpani too.

What i loved in the Ozawa performance i loved here too, about a third of the way through there's some nice deep brass playing, and those busy frantic strings, and the timpani can't keep quiet [4:59-6:34], with a nice surge at [5:58], likewise two thirds of the way through the timpani have some nice hits [9:28-9:48], and then it explodes into brass v strings [9:48-11:48], the last part is near the end, the bells come out, especially the glockenspiel [12:59-13:48], at the very end the Overture is trying to copy the 1812, it's a lovely piece of music that should be better known.

Here's Gregory Carreno conducting this Overture on YouTube.

Various Composers - French Soprano Opera Arias [Pollet/Diederich-Orchestre Philharmonique De Montpellier]

I can't find much information about Francoise Pollet, apart from she's French, and is now 60.

This is a lovely recital, every time i play it i really enjoy it, one of the good things about this disc is the fact it has some less known arias on it, when you dig deeper beyond the obvious, you find some treasureable arias in the French repertoire.

The arias i found most enlightening were 2, 4-5, & 7-10, with track 9, the Verdi aria from Don Carlos 'Toi qui sais le neant des choses de ce monde', sung by Elizabeth to be the most satisfying and enlightening.

It begins with a long orchestral introduction [about two and a half minutes], starting with soft horns that grow louder into full brass [0:00-0:35], the same horns/brass return, but now are accompanied by the violins [0:59+], a lovely start to the Aria, which sets the scene so well, Elizabeth sings of all nature in the garden might sing of her love for Don Carlos [6:49-7:47],

Beaux jardins espagnols [Fine Spanish gardens]

a l'heure pale et sombre [now pale and dark]

Si Carlos doit encore [If Carlos once again]

s'arreter sous votre ombre [were to stop in your shade]

Que vos fleurs [May all your flowers]

vos gazons, vos fontaines [lawns, and fountains]

Chantent vos souvenirs [Sing your memories]

avec toutes leurs voix [with all their voices]

There's a climax at Chantent [Sing], very powerful, the Aria is nice and varied, lots of different things to enjoy.

Here's Kiri Te Kanawa singing this Aria on YouTube.

Rimsky Korsakov - Russian Easter Festival Overture [Ozawa-Wiener Philharmoniker]

This is a very neglected overture, along with Rachmaninov's Isle Of The Dead, and Glazunov's Stenka Razin, when anyone thinks of a Russian overture, it's always Tchaikovsky's 1812, which is overplayed and overrated.

The booklet shot is great, i love colours, and the rainbow 'Scherazade' is wonderful, plus an imaginative photo by Fernando Van Teylingen.

Well the Russian Easter Festival Overture is a kaleidoscope of varied sounds and colour, the whole orchestra is used to paint a wonderful palette of noise, there's lots of stop/start and change of direction and speed, in essence the overture is like a huge set of loose variations on a couple of themes, it starts off with a soft chant by the wind [0:00-0:18], with pizzicato strings coming in [0:13+], and the violins coming in with the main melody [0:19-0:30], a beautiful and atmospheric start, which conjures up religious chanting monks, i seem to like the more robust moments, and a third of the way in the brass have a loud fanfare, while furious strings are busy in the background [5:19-5:55], likewise two thirds of the way through, low brass chant and the woodwind reply, while the same furious strings play [9:46-11:11], towards the end the Easter bells come out to play, while the growling brass chant again [12:30-13:20], i loved this overture the very first time i heard it, and it's still thrilling all these years later.

Here's Ozawa conducting this piece on YouTube.

Dvorak - Symphonic Poems [Kosler-Slovak Philharmonic Orchestra]

Here's a great set of Dvorak's 5 Symphonic Poems, i have other sets as well, but this set includes the Symphonic Variations, a very underestimated set of Orchestral Variations, i spoke about these in March [28th March 2010].

I really like the Noon Witch, it's the shortest of the five at 15 minutes, it's a sad but sober tale of child that just won't be quiet, so the Mother threatens the child with 'if you don't keep quiet, the Noon Witch will take you away', well it works for a while, but eventually the Noon Witch appears in the doorway, 'give me your child!', it's very nice the way the music fits the poem.

It starts with a Mother happy in her chores, but the child's cries keep interrupting her [0:00-1:05], the mother scolds her child [1:06-2:01], in a nice lively section, and the child quietens down, but the whole thing repeats itself [2:50-4:45], this time the Mother threatens the child with the Noon Witch [5:17-6:21], a nice eerie piece of disquiet, with the bass clarinet [Witch] menacingly in the background, but the Noon Witch actually turns up at the door outside! [6:22-6:57], the door is flung open [6:58+] 'give me your child' the Witch demands on trumpet and trombone, this section is stated twice, there seems to be a soliloquy for the dead/dying child [12:06-13:02], mourned by the child's cor anglais, right at the end the Father comes home from work, only to find his wife collapsed with the child in her arms, which turns out to be dead, at tremendous forte they grieve [13:46+], but you can hear the Witch theme [14:01+], as the Witch gets the last laugh, 'ive got you child!', the best bit is the eerie appearance of the Witch and her demand [5:17-9:31].

Here's Akira Mori conducting The Noon Witch on YouTube.

Brahms - Violin Sonata 1 [Weithaas/Avenhaus]

This a new set of the Brahms Violin Sonatas that i bought recently, just because they looked really good, i like the booklet cover photos, nice black and white shots.

Well the name Antje Weithaas is new to me, and she's recorded on a small but enterprising label, but don't let that put you off, she's good, the disc was recorded in 2006.

The recording can seem a little bass heavy, but the engineers have done a wonderful job, a very lively clear recording indeed, especially the piano is caught superbly, and the treble registers are a delight.

I enjoyed the first movement, just to give you a flavour of Pianist Silke Avenhaus treble right hand playing, try a section near the beginning [0:28-1:33], the violin turns to pizzicato as the pianist runs up and down the keyboard [3:38-4:23], the violin joins in those runs in a game of catch and chase [4:02+], the music turns more passionate [5:13-5:53], with both violin and piano having a great intensity, towards the end there's more lovely treble work by Avenhaus [7:16+], which culminates in a deep passion by Weithaas [7:45+], which include four lovely descending bass notes on the piano as the violin muses [7:54-7:58], a very magical moment, i'm glad i noticed this, this was the highlight for me!, there's a nice slow quiet coda at the end, which quickly bursts into one more impassioned bravado to the end [10:00-10:57], a movement bustling full of interest.

Here's Maxim Vengerov playing the first movement on YouTube.

Bantock - Celtic Symphony [Handley-Royal Philharmonic Orchestra]

Here's the phenomenally underestimated Granville Bantock in what he calls his Celtic Symphony, for String Orchestra only [plus 6 harps!], it's in one movement, and lasts about 20 minutes, in my own mind it just doesn't fit the 'Symphony' mold, it's more like a Tone Poem, or a Fantasia, and its nearest cousin would be Vaughan Williams's Tallis Fantasia, it's gorgeous and should be just as well known as the VW work.

Vernon Handley died a couple of years ago, he was a staunch promoter of English Composers, and we have him to thank for this disc.

It opens with the most enchanting and astonishing string melisma [track 1, 0:00-0:38], which is repeated again so delicately and raptly [track 1, 1:20-1:56], if this doesn't tug your heart, then you ain't got one, track 2 is a more lively section, but it's built on variations of the opening, the opening comes back to wonderfully haunt us [track 2, 5:19-6:15], a solo violin and delicate strings play on our hearts in a slow section [track 3], the opening theme comes back in forte glory towards the end [track 5, 0:00-0:43], but it's the opening that you keep wanting to hear again and again, it's something very beautiful and special.

Here's excerpts of this Symphony played on YouTube.

Iris Dement [My Life]

This album was a purchase from Our Price back in 1994, who were doing a promotion called 'No Risk Disc', buy the disc, and if you didn't like it, you could return it and get your money back, well i never returned it, a winner for Our Price, and a winner for me.

At first i would pigeonhole her as Country music, but on closer inspection i feel she's American Folk, or more towards old Gospel, you know you're onto a winner when you just can't slot someone into a neat category, she'll hit the big 50 early next year.

The disc can seem depressing in a way, about death, love lost, sinning, boredom, tragedy, a life that adds up to nothing, but between the lines there's a stoic energy, that life can teach you great lessons, personally i find this album tremendously heartwarming and positive, it doesn't pretend life is a fairy tale.

On this listen, the middle track 4-6 are impressive, and it's track 6, an old Gospel song called 'Troublesome Waters' that really hits the mark, i guess it's a hymn, and one of only two tracks on the album not written by Dement, it's nice and gentle, but each verse gains in intensity and Dement's drawl starts to crack, the third verse is meaningful,

When troublesome waters are rollin' so high

I lift up my voice and to heaven i cry

Lord i am trustin', give guidance to me

and steady my boat on life's troubled sea

punctuated by dobro and piano etc, the song weaves a lovely magic.

Here's John Robert Mallernee singing Troublesome Waters on YouTube, he sings in a different key, plus he's got a good voice, he intro-talks for the first minute.

Sibelius - Violin Concerto [Chang/ Jansons-Berliner Philharmoniker]

This is the third time this Concerto has appeared in my Blog this month [9th May 2010 & 1st May 2010], hmmm, just in the recent past year, this has become very popular for me, the more i play it, the more i understand it and love it, and of course the more versions i buy, which makes more versions to choose from to play, but a work like this can handle so many discs, and so often playing, because i never get bored of it.

Sarah Chang is a superstar now, playing regularly all over the world, she will hit the big 30 at the end of this year, but she's relatively still young, still so much to record, i would love to hear her Brahms Violin Sonatas, also the booklet photo [Sheila Rock] is gorgeous, nice soft whites and luminous light blue, she looks truly pretty.

This time i enjoyed so much the heavenly Adagio di Molto, deep halfway through the movement, Chang develops a serious intensity i love [4:41-6:45], there's a couple of breathtaking crescendos here, but i like the upward trills on the violin [5:05-5:15], a very beautiful moment that caught my attention more than any other, another little nugget to stow away and remember forever, a Concerto that always has some surprise waiting for you to find.

Here's Sarah playing the slow movement on YouTube.

Brahms - Violin Concerto [Chung/ Rattle-Wiener Philharmoniker]

Here's a great pairing, Kyung-Wha Chung and Simon Rattle, i like this recording, usually you have two Violin Concertos on a disc, but to have a Violin Concerto and a Symphony is strange, especially if it's two different Composers, but for me it works, i think that things should be programmed more like this, it actually feels more like a concert, where you have a greater variety.

The Brahms Concerto is a real rugged workhorse, lots of technical demands are placed on the soloist, plus Brahms's Concertos always have the tendency to be very Symphonic, originally Brahms wanted his Violin Concerto to be a four movement work, but the discarded Scherzo found its way into his 2nd Piano Concerto.

I love the central Adagio, one thing about Brahms, he didn't really care for convention, four movement Symphony-Concertos, or in this case almost an Oboe Concerto, it's this touch which makes it distinctive, the oboe grabs the glory by introducing the gorgeous slow tune, and not just a short intro, but for a whopping good 2 minutes [0:09-2:00], lovely languid lines, until drowned out by the flute, the violin takes up the oboe tune [2:19+], and immediately plays sweetly in the high register [2:28-2:40], i keep expecting to hear the oboe break in with its intro all over again, or maybe a full duet, and even though there is a little taster of that [7:37-8:08], but really it's a Violin Concerto after all.

Here's Kyung-Wha Chung playing the Adagio on YouTube.

Beethoven - Overtures [Karajan-Berliner Philharmoniker]

It's good to have a boxed set of the complete Beethoven Overtures in one package, in many ways these are like 'mini-symphonies', Beethoven in bite-sized packages, all the drama and excitement squashed into a 5 to 10 minute commercial.

And Karajan the 'Beethoven Symphony cycle man', made these recordings alongside the Symphonies, so these are shorn of their big brothers, it's good to have Karajan's take on these works, his is a serious approach, big bold Beethoven.

It's been over 20 years since Karajan died, time has really flown, but you can't get away from the phenomenal impact that this one Conductor had on the world of recorded Classical music.

Listening to this set, made me realize what gems Egmont & Coriolan really are, i especially like Coriolan [track 5, disc 1], starts with a series of forte blasts from the Brass, expertly using silence in between [0:00-0:22], the strings come in proper, but the forte blasts never stop, the strings play a sweeter episode, very noble [1:25+], but the undercurrent of darkness prevails, there's an inspirational passage where the strings are divided, low against high [2:46-4:05], the cellos chug the music along, while the strings carry the main tune, this for me is the best moment in the Overture, the sweet and noble strings episode returns twice [4:49+ & 6:37+], at the end the whole thing whimpers out, from forte brass blasts [7:31+], to string blasts, to finally soft pizzicato heartbeats [8:06-8:57], a lovely and novel way to end an Overture, that sounds like it was going to go out with a bang/blast!.

Here's Karajan conducting Coriolan on YouTube.

Chopin - 21 Nocturnes [Barenboim]

Here's Chopin's 21 pieces of 'night' music, i'm very partial to this music, and i have quite a number of recordings of the Nocturnes, this is one of my very favourites.

In case your wondering, this DG entree reissue is only a one disc selection, but i'm using this booklet with a complete set of the Nocturnes by Barenboim, mainly because i love the booklet photo shot, again it's a gorgeous black and white study, lovely lighting, very moody, i love it! [it doesn't say who it's by].

The 21 Nocturnes are endlessly fascinating, and a phenomenal variety too, it seems like i discover a different favourite each time i listen to them, this time i especially liked Nocturnes 8 & 10-11, with Nocturne 8 really hitting the mark, it's a very dreamy piece of music, the intro in the left hand naturally becomes the accompaniment, and i would have loved Chopin to make more of this lovely intro, certainly longer, the tune is so enchanting, and Chopin's ability to hit a note, and let it hang in the air, little hesitations tease, this Nocturne seems to benefit from beautiful rubato, after a slightly more fiery middle section, comes a slowing down [4:21-4:49], notice the up/down the keyboard moment [4:36-4:41], and then comes the delicious coda [4:50-5:29], the slow dropping down the keyboard as the day trickles away into the night, a real magic from Barenboim & Chopin.

Here's Barenboim playing this Nocturne live on YouTube.

Bruckner - Symphony 9 [Tate-Rotterdam Philharmonic Orchestra]

In my mind this is one of the very best cover shots on any booklet, it's a magnificent black and white study of Jeffrey Tate by Nigel Parry, it has real power, just look at those freckles!.

Jeffrey Tate is English, and has recorded a lot of Mozart for EMI, and the Mozart Piano Concertos with Uchida, though i don't hear him recording much nowadays.

Well i must admit that the Ninth is far from my favourite Bruckner Symphony, therefore i listen to it somewhat less to compensate, the third movement Adagio has a lot going for it, it's the final movement, but was never intended as such, there was meant to be a finale, which would resolve/release all the knots that the former movements had tied, so the whole thing hangs on a question mark, instead of a satisfying answer, also unlike the Adagio of the Eighth, the Ninth is more bland, it isn't blessed with the same abundance of great tunes.

It's a mammoth nearly 30 minutes long movement, it starts off with a sour tune on the strings, which slowly ascend with the brass to a pinnacle [0:00-0:59], this same intro/tune comes back to haunt again [9:01-9:56], after a great thwack on the timpani, a huge forte brass fanfare blazes again and again [2:08-2:57], this also comes back in a shorter form later [14:02+], about two thirds of the way through, Bruckner gives us one of his lovely wistful string melodies, with sad horns in reply [17:43-18:49], this sounds like something Bantock would do, and for me it's the highlight of this Symphony's listen, slightly later restless strings underpin the horn melody [21:20-22:08], horns turn to brass, and the strings get more agitated, at the end there's a short but peaceful coda [26:00-27:28], nowhere near as glorious and aching as the Eighth Symphony, but satisfying in it's own way.

Here's Jochum conducting the third movement on YouTube.

Haydn - Symphony 82 [Dutoit-Sinfonietta De Montreal]

The Swiss Conductor Charles Dutoit has been the main Conductor of the Orchestre Symphonique De Montreal for 25 years [1977-2002], of which this stripped down Sinfonietta comes from.

Symphony 82 is the first of the Paris Symphonies, nicknamed 'The Bear', i truly enjoy Haydn's first movements, and in this Symphony it's a wonderful powerhouse of surging momentum, at first hearing it seems quite complex, lots of changes of speed and colour, little nuggets of ideas all sewn together seamlessly, and certainly lots going on, it's hard to explain it all, basically it can be broken down into four building blocks, the first and second are exact repetitions of each other, the third is a variation on the opening two, and the last is the same as the first two, but certain different 'endings' creep in to make it a nice finale, it's the opening that is the key, after quicksilver string fanfares and a waltz [0:00-0:10], there's some nice fanfares by everyone, with the timpani making its presence felt, nice brass towards the end [0:10-0:24], there's very quick fleet violins that surge the music forward [0:30-1:01], nice lots of repetitions to drum things into your head and feet, including a perfect replica of the first 2 minutes in the next two [2:06-4:12], i like the way right at the end the opening fanfare changes into the closing fanfare [7:15-7:35], a very magical move.

Here's Leonidas Kavakos conducting the first movement on YouTube, he's a Violinist, i've never seen him conduct before, he doesn't use a baton, and the way he swings his arms around in figure eights in the waltzy bits is quite novel, but i like his conducting.

Bobby Watson [Present Tense]

The American Bobby Watson first did his stint with Art Blakey's Jazz Messengers from 77-81, becoming their main composer before moving on to a solo career, this album was recorded in 1991.

This was another one of my Jazz purchases that looked good in the shop, so i bought it, sometimes this is the only real way to branch out and discover new musicians, i liked the cover photo, there's a hint of double exposure on the lower half of Bobby Watson.

I so much liked tracks 1, 7 & 9-10, i guess the standout track is number 9 'Love Remains', it's a track that he's recorded before, he only uses a quartet here, Trumpeter Terrell Stafford sits this one out, and it only lasts just under 5 minutes, it starts off with just Watson and Pianist Edward Simon playing duet for the first minute, when the Drummer Victor Lewis comes in [1:00+], he's really clever, in a lot of ways he's like the real star of this album, endlessly inventive, Bobby Watson also made a 9 minute plus track for another quartet, on his 'Love Remains' album from 1986 [very good too], but it's nice to have a different take on this tune.

Here's Bobby Watson playing 'Love Remains' on YouTube, this is the 9 minute plus version.

Rodrigo - Concierto De Aranjuez [Yepes/ Navarro-Philharmonia Orchestra]

Here's this sunny evergreen again, this time played by Narciso Yepes, who has helped immensely in bringing this work into the public eye.

In a lot of ways the booklet picture says it all, the Royal Palace at Aranjuez, with a tree overhanging in the foreground, the Concierto was inspired by the gardens of this palace.

I cannot help being moved by the middle movement Adagio, even though the outer movements are of a very high calibre, my heart always returns to this central piece, it speaks for many people, it starts with the guitar gently strumming, and then the tune comes in with the cor anglais [0:07-0:41], the perfect instrument to evoke something long lost or far away, on this wonderful intro the guitar is able to build on with its solo appearance [0:41-1:16], however the cor anglais keeps making its presence felt [1:20-1:51], and the guitar keeps responding [1:53-2:34] the two intertwine in a touching dialogue, Rodrigo's wife Victoria revealed that this slow movement was 'an evocation of the happy days of their honeymoon', [and the sad days at the miscarriage of their first pregnancy], i don't know if Rodrigo is the guitar, and his wife the cor anglais, but it is a phenomenal duet, towards the end of the movement, the Orchestra explodes into a forte of the main tune [8:55-9:54], a hair raising moment, what a perfect middle movement.

Here's Narciso Yepes playing the Adagio on YouTube, notice the ten string guitar he plays.

Various Composers - Tenor Opera Arias [Vargas/Viotti-Munchner Rundfunkorchester]

The Mexican Ramon Vargas will be 50 later this year, this recital disc introduced him internationally, a lovely lyrical tenor voice.

On this hearing, i was really impressed with Arias 3, 7, 11 & 13, especially Aria 7, 'Una Furtiva Lagrima' from Donizetti's L'Elisir D'Amore, played upon a lovely canvas intro of gentle harp strummings, with a solo bassoon playing the main tune [0:00-0:42], the stage is set for Nemorino's Aria, which is two verses and two chorus's, the second verse/chorus is full of longing and love,

Un solo istante i palpiti [Just for one moment to feel]

del suo bel cor sentir! [the beating of her lovely heart!]

i miei sospir confondere [just for a little to blend]

per poco a' suoi sospir [my sighs with hers]

cielo, si puo morir [o heaven, i could die]

di piu non chiedo [i ask for nothing more]

si puo morir d'amor [yes, i could die for love]

Nemorino's love potion works!, even though it's only ordinary wine!, but it transforms our singer into a lover, a lovely story of the poor guy winning the heart.

Here's Ramon Vargas singing this Aria on YouTube.

Schumann - Piano Concerto [Engerer/ Krivine-Royal Philharmonic Orchestra]

Brigitte Engerer is a French Pianist, she is pretty much unknown, but she has recorded the complete Chopin Nocturnes, and they are very nice, so it's refreshing to acquire a rare Denon disc of her Tchaikovsky and Schumann Concertos.

Denon is a great little record company, especially their Classical discs, so many otherwise unknown Artists have recorded for them, i really do like the booklet, nice colours and layout, very pleasing to the eye, Denon really have a way with visuals.

The first movement of Schumann's Piano Concerto started out as a Fantasy for Piano and Orchestra, but he added the other two movements and it became a Concerto, so there's still this 'fantasy' element about it, of course the opening consists of a short oboe solo, and in other places this oboe colours the background with this tune [3:05-3:39], and there's even a little dialogue with the piano, for me the highlight of the movement is some very languid piano lines [4:44-6:14], with the clarinet and the flute creating a wonderful dialogue, very dreamy indeed, would have made a delicious slow movement, indeed a real fantasy for piano and orchestra.

Here's Martha Argerich playing the first movement on YouTube, with Chailly conducting.

Various Composers - Virtuoso And Romantic Violin Encores [Znaider/ Gortler]

Nikolaj Znaider is actually Danish, for some crazy reason i thought he was Russian or East European, he'll be 35 soon, but already he's making a big name for himself, not merely yet another phenomenal young violin player, but something more, he sounds very old school, his Brahms Violin Sonatas with Bronfman are very special, he's got a great future ahead of him.

So here he is with a recital of chamber music pieces, 'encores' as it says on the booklet, short pieces played after the main course, very much to bedazzle and entertain in a more lighthearted way.

However some of these pieces are more deeper than mere ending showpieces, on this recital i was struck by Achron's 'Hebrew Melody' [track 8], which is not what would be considered melodious, it sounds so much more like a lament or dirge, after dark piano chords, the violin comes in very sombre [0:25-1:24], in some ways it can sound like wailings at a funeral, the violin and piano play the same tune in the higher registers [1:25-2:20], and the whole thing sounds a shade less sad, the piano plays deep bass notes as well as high treble notes simultaneously [1:50+], very effective, then comes a new sad theme, maybe lighter in ways, maybe more bittersweet in others [2:21-3:10], but a great subtle change of direction, the whole thing becomes more emotional and virtuosic [3:11-4:20], the main theme comes back, this time very high in the violin stratosphere, with simple treble notes in the piano [4:39-5:49], the piece ends without any resolution, in some ways fairly unsatisfactorily, but this adds to the sadness of the whole thing, a really heartwrenching piece, and Znaider knows how to play those notes that tug at your heart, a piece really worth getting to know.

Here's Yuri Beliavsky playing Achron's Hebrew Melody on YouTube.

Article = Christopher Whiting, 'The Search For Perfection'

Tchaikovsky - Violin Concerto [Shkolnikova/ Simon-Philharmonia Orchestra]

The Ukrainian Violinist Nelli Shkolnikova died earlier this year, she recorded very little, but what she did record was highly praised, so this is a rare opportunity to hear her talents, she was 60 when she made this recording.

I love the first movement, it's got everything a Violin Concerto should have, plus it's got Tchaikovsky stamped across all of it, you can hear his Symphonies and Ballets in this Concerto, early on there's a steady lyrical passage for the violin [3:10-4:13], which slowly becomes more and more impassioned, it's good to hear Schkolnikova sustain this well, and almost right after it a moment of brilliant virtuosity [5:20-6:06], which uses the high notes of the violin, then comes a forte passage for orchestra which comes straight out of Marche Slave [6:06-6:41], notice the trumpets bleating in the background, i like the way the violin pulls off the main theme in staccato for about a minute [7:30-8:39], a nice touch, and a great variation, the movement ends in sheer bravura, starting with a repeat of the impassioned music at 3:10 [13:48-14:44], and it goes into the high register, and to bring the thing to a close there's very fast bowing [15:19-16:21], and a final almighty flourish [16:47-17:32], this must be one hell of a Concerto to pull off with style.

Here's Shkolnikova playing the first movement on YouTube this time with Kondrashin, recorded in 1959.

Schubert - 4 Impromptus D935 [Kuerti]

Anton Kuerti was born in Austria, now in his seventies, he has mainly recorded for smaller labels, and he made a full survey of Schubert's Piano Sonatas for IMP, some of which were very innovative.

Well yet again i feel that the first Impromptu [D985/1] moved me so much, it was only 2 days ago i heard Andras Schiff play this piece [10th May 2010], this is getting high exposure in my life, there i mentioned that Leonskaja played this Impromptu slow at 12:35, well Kuerti is even slower at 12:59!, and yet he sustains the speed quite well, it's actually good to hear how this Impromptu can work slower, the first half he takes roughly 7 minutes, and the second half takes 6 minutes, so he speeds up, which gives a sense of greater flow, the very bottom line is that i prefer a more flowing speed [roughly 11 minutes], it just works better, but there's still gains and beauties about the Kuerti reading, it's not about either / or, all speeds can be valid.

Here's Talia Amar playing this Impromptu on YouTube quite fast

Beethoven - Violin Sonata 9 [Nishizaki/ Jando]

Takako Nishizaki is Japanese, she's married to the Naxos Record Label owner, so it's probably been easy for her to get some recordings, her Beethoven Sonatas are very good, and even though i'm a bit adverse to the Naxos label, this is one of the better issues the company have released.

The booklet cover is extremely poor, Naxos have a knack of creating uninspiring covers, maybe they should win an award for their lack of creativity [this is the main reason i try to steer clear of Naxos].

Again the second movement variations are endlessly entertaining, and i have written timings for the variations on the back of the inlay tray, i just love so much the coda at the end [12:58+], such sublime playing, fun and virtuosity are put aside for something more deeper, more serious, it's that bittersweetness that gets me, Beethoven is so skillful at bringing out such an emotion, a lovely set of variations.

Here's Rachel Barton Pine playing the second half of these variations on YouTube, including the coda passage mentioned above, starting at 3:11.

Schubert - 4 Impromptus D935 [Schiff]

Here's Andras Schiff's set of the second book of Impromptus, it would have been so nice if Decca had released this as a full set of the 8 Impromptus.

The Hungarian Andras Schiff, plays Schubert of the highest order [including his chamber works as well], very much a pianist with the same repertoire as Brendel, but they are quite different soundwise.

Again i liked the first Impromptu, it has that everlasting quality of length, it seems to want to go on forever, and you want to let it, i'm sure that Schiff is playing a Bosendorfer, a very nice ring to it, it has an extremely slightly fortepiano sound to it compared to a Steinway, its main feature is that it has this nice 'autumn ring' to it, especially in the treble end of the spectrum, and especially when played loud, reviewing this piece last month with Elizabeth Leonskaja [24th April 2010], i said her version was slow at 12:35, Schiff on the other hand is 10:31, and it shows in a very flowing reading, maybe too fast at times, [Brendel is around 11:00], on the legato/staccato scale, Schiff is slightly staccato of centre, you can hear the flowing-ness in an early passage [1:35-2:30], there's extreme repetition in this piece, and yet the whole thing is really only played twice, there's subtle changes everywhere, so you really have to be on your toes, one passage naturally leads to another, and then another, and then seamlessly back to the beginning in one huge everlasting rondo if you let it, i like Schiff because he is so wonderfully flowing, no rubato all over the place, lovely and sustained.

Here's the first Impromptu [D935/1] played by Andras Schiff on YouTube.