WETA FM 90.9 Blog

In 2004, 2005, and 2006 I concocted “Best of the Year” lists, in 2007 I restricted myself to listing “A Few of My Favorite Things”. Last year, and inherent presumptuousness notwithstanding, there was a “Best of” list again… and this is the same for 2009, listing my ten favorite new releases and reissues of the year.

(ArkivMusic lists all these recordings–most of them on sale–one this page.)

# 1 – New Release

Bach, Goldberg Variations (arr. Rheinberger & Reger), Piano Duo Tal & Groethuysen, Sony 7526962

I will write at length about this equally curious and stupendous release, but so much for now: Bach channeled through the honest and creatively inspired minds of late romanticism. That’s what you get with the Goldberg Variations in the performance version for two pianos by Joseph Rheinberger and then adapted by Max Reger. There are moments where, in reference to the opera paraphrases of Liszt et al., you might want to re-title: “L’Grand Fantasie d’Goldberg”, but surprisingly few. Instead, the joy is to perk your ears and listen for the often subtle little additions, fourth melodies, staccato octaves added in hushed shades of pianissimo. Even the aria, which is traded among the players but not actually modified, is so captivating that you go from incredulous eyebrow-raising (as you unwrap) to astonished eyebrow-raising as you listen to what’s played. A surprise hit delivered with panache from Tal & Groethuysen.

# 1 – Reissue

Mahler, Symphonies, Leonard Bernstein, Sony 745369

This collection of recordings is a classic—there is little that needs to be said about the performance. The fact they have never been out of print speaks volumes. Even though none of the individual recordings are my top choice among the multitudes of available recordings, the average quality, the passion, and the distinctive personality of them make the earliest set still one of the most attractive ones. What puts this re-release over the top, however, is the meticulous presentation, the care and thought put into putting this box together. No desperate saving of disc space, no skimping on texts or presentation. Each disc has a solid cardboard sleeve, thick enough to have a labeled spine and all the pertinent information printed on it. The sound, not always the best, has been improved through careful remastering, interviews of Mahler’s orchestra players at the New York Philharmonic have been included, and the result is still budget-priced. That’s how such historic re-releases should be issued, and no other way.

# 2 – New Release

Schoeck, Notturno, Rosamunde Quartet, Christian Gerhaher, ECM 001355902

What music! Schoecking, I dare say. If you know Othmar Schoeck only from his dabbling-delightful song-cycle “Elegy” (“Richard Strauss light”), the Notturno—eight poems by Nikolaus Lenau and a short text by Gottfried Keller in five movements—will come as a terse surprise. Not only the setting—voice and quartet—is reminiscent of Schoenberg’s Second String Quartet (and the ‘vocal movement’ of Berg’s Lyric Suite), the music, too, nods vigorously to the harmonic language of the Second Viennese School.

The Notturno flirts with the outer harmonic reaches from a late-romantic vantage point. If it is played with the utmost precision, and if it is thought of in long lines—horizontally, not vertically—it can sound more like Richard Strauss or Zemlinsky than mature Schoenberg. Long, thin strands of music wind through the score, emerging and submerging—in and out of audibility but with Schoeck’s melodiousness-stretched-to-vanishing always felt. Certainly if you hear wistfully lingering Viennese coffee-house romanticism in Berg’s op.1 Piano Sonata, then you will adore Notturno. The Rosamunde Quartet comes close to making this difficult, rewarding music sound ideal; Christian Gerhaher is right at home in the gloomy work and impeccable, anyway. The recording, ever so narrowly edging out its only competition (Klaus Mertens, Minguet Quartet, NCA) is one of the great winners of 2009.

# 2 – Reissue

Langgaard, The Symphonies & Orchestral Pieces, Thomas Dausgaard Danish National SO, DACAPO 6.200001

Rued Langgaard was a wacky composer. He resists categorization, he taunts expectations, he probably enjoyed being original for its own sake. Thankfully the results are so fine—sometimes magnificent—that he delights nowadays, without having to make excuses (WETA review,Best of 2008). I found to Langgaard through Violin and Piano miniatures and eventually fell in love with the great variety of symphonies he wrote… from the large, Furtwänglerian First Symphony to whimsical 15-minute, one-movement works. Dacapo has recorded them over the last decade and now issued the complete Symphonies in their best available recordings in a most convenient box set.

There are very few works of Langgaard that don’t completely endear themselves to me—and the regularly occurring fingerprints of other composers further that effect, rather than coming across as derivative. The unabashedly romantic style of the Wagner-quote and Strauss-flavor sprinkled Second Symphony (“Awakening of Spring”) is as intriguing as the impressionist 23-minute, 13-movement Fourth Symphony. And from the romantic ‘choral piano concerto’ of a Third to the Fifth Symphony’s first version (both are included) with its faint touches of Berg’s Violin Concerto in the “Lento Misterioso”, there isn’t a dull moment (unlike with most other romantic symphonists). Dacapo then outdoes itself on the packaging: instead of lumping the seven jewel cases of the extant releases into a cardboard wrapper, they house the 7 SACDs designed a luxurious little box that is playful and convenient and just about deserving a WPO WorldStar nomination.

# 3 – New Release

Kurtag et al., Kurtag’s Ghosts, Marino Formenti, Kairos 12902

Marino Formenti dazzles, delights, and confounds with his disc “Kurtag’s Ghosts.” You probably didn’t know that you want Stockhausen by way of Machaut, with miniatures of Boulez, Beethoven, Schubert, and Bartók in the same vicinity. This tribute to György Kurtág—works of his are dominantly woven through the occasionally sparse fabric of the abovementioned and many more composers—might convince you that you do. Formenti’s great skill is making you listen anew and wonder at times where Scarlatti ends and Kurtág begins. Superbly played and even more imaginatively assembled. This is perhaps the only inclusion on my “Best Recordings” list that has somewhat limited appeal, but what a feast to open-minded ears!

# 3 – Reissue

Haydn, Keyboard Sonatas & Andante con variazioni, Alfred Brendel, Decca The Originals

For years Alfred Brendel’s four-disc set of Haydn keyboard sonatas was difficult to get in North America and even when it is attainable, only at an awfully high price. A single-disc re-issue on the “Rosette Collection” and elsewhere was an insufficient patch. Now, finally we have the Philips set re-issued as part of the “Decca, The Originals” series. Even if it is only available as an import as of yet (Universal’s different release schedules and policies can be baffling, sometimes), the price has already come down and the excuses not to own this set—especially in the Haydn year—have dwindled. It is, simply put, the best recording of Haydn sonatas and it is the best recording of Brendel. Brendel, who I never found nearly as intriguing and enjoyable on disc as in concert, is everything you want him to be: sparkling with dry wit, precise and lively, bringing Haydn to life before your very ears. There is nothing by way of personality or overt ‘interpretation’ that Brendel imposes on the music, there is nothing wayward or eccentric. With other artists this might mean bland, even boring (as in fact it occasionally does with Brendel in other repertoire), but not here. I like quite a few other Haydn keyboard sonata discs—some of them radically, perversely different. But this Brendel set is the pinnacle and unarguably a must-have.

# 4 – New Release

Mendelssohn-B., Symphony No.2 “Lobgesang”, F.Bernius, Stuttgart Chamber Choir, Bremen Chamber Phil., C.Karg,; M.Bernius, W.Güra, Carus 83213

Mendelssohn wrote his own choral symphony, titled “Lobgesang” (Song of Praise, a Symphony Cantata), in 1840: three orchestral movements and a choral finale, just like Beethoven; though perhaps lopsided with the fourth movement longer than the three preceding ones together. It’s an underrated, perfectly wonderful Symphony that shows the strong influence of Bach on Mendelssohn’s Berlin. But with its rather darker, occasionally even dissonant mood, it’s very different from the champagne-bubbly gaiety we associate with Mendelssohn. It happens to be my favorite of the lot; but it’s not always been served well on record. Perhaps because it was recorded more often as part of the complete cycle, as an afterthought, rather than for its own merits?

2009 was different; two fine recordings have come out: Thomas Fey’s (part of his Mendelssohn orchestra works cycle on Hänssler) and Frieder Bernius’ (part of his recording project of Mendelssohn’s choral works on Carus). The latter is more than fine, it is fantastic. Not since Dohnanyi’s now unavailable recording on Decca have I heard the work so well performed. The participants are first rate: The Bremen Chamber Philharmonic (Paavo Järvi’s orchestra that is also responsible for the currently most thrilling Beethoven Symphony cycle) doesn’t play with the heft of the Vienna Philharmonic (Dohnanyi) or the Berlin Philharmonic (Karajan, DG), nor with the all-out energy of said Beethoven, but neither would necessarily be appropriate for this work—their energetic and flawless performance certainly withstands comparison with the very best. And Bernius has drop-dead gorgeous sounding tenor in Werner Güra who never sounds overtaxed, always sings and never pushes. The choir, as might be expected with choral expert Bernius, is tremendous. This SACD is the perfect introduction to this symphony if you don’t yet know it—and if you do, a worthy addition.

# 4 – Reissue

Brahms, Piano Concertos Nos.1 & 2, Szell/Knappertsbusch, Clifford Curzon, LSO, WPh, Decca Heritage Masters 001268202

Unassuming greatness is the most impressive greatness; few musicians possessed more of it than Clifford Curzon. Decca’s “Heritage Masters” reissue-series illustrates that point by coupling his legendary performance of Brahms’ First Piano Concerto (under Szell with the London Symphony Orchestra) with his performance of the Second, under Knappertsbusch and the Vienna Philharmonic. The Second has not, and probably will not quite attain the exalted status of the First, but now that Decca has finally released a good new release taken from their master tapes, the sound is pretty good for a late 1950s vintage. You will listen for Curzon play with instinctive, unassailable musical poise—but the elsewhere occasionally stodgy Knappertsbusch gets quite into it, too. Treasure trove material from nearly half a century ago.

# 5 – New Release

Beethoven, Cello Sonatas 1-3, Friedrich Kleinhapl & Andreas Woyke, ARS Produktion 38035

The quality of Friedrich Kleinhapl’s and Andreas Woyke’s playing and their Beethoven interpretation leave no room for any misgivings with these three cello sonatas. This is refreshingly gutsy Beethoven playing of the highest order, ferocious and musical. It would be an awkward performance, actually, if it were not for the pianist Woyke to excel at least every bit as much as Kleinhapl on his 1743 Guadagnini (“ex von Zweygberg”). Woyke doesn’t ‘accompany’, he leads, he embellishes and intensifies along with Kleinhapl, and reins his partner in when necessary. Were it not for the delicious sound of Kleinhapl’s cello, even when he abuses the poor instrument, the interpretation might be titled: “It’s the pianism, stupid.” One hopes that this disc doesn’t have any marketing problems in the UK or Commonwealth countries for being on the ARS Produktion label. (WETA Interview)

# 5 – Reissue

Haydn, Early London Symphonies (Nos.93-98), George Szell, Cleveland Orchestra, Sony

Impeccable Haydn, with a dry wit that suits the music particularly well, Szell’s Haydn has always been thought of well, and it will only gain more fans with this reissue of the “Early London Symphonies”. There is nothing flashy here, just exceedingly fine craftsmanship and great musicality that doesn’t try to express itself by waving arms where a wink suffices. Crisp attacks, rattling fortissimos, light-footed pianissimos, and unerring tastefulness put these interpretations up alongside the best from any period—from Thomas Beecham, EugenJochum, and Colin Davis to Sigiswald Kuijken, Frans Brüggen, andAdám Fischer (MDG).

# 6 – New Release

Bach, “Nun komm der Heiden Heiland” – Chorales, Preludes & Fugues, Edna Stern, Zig Zag 90104

Great music intelligently put together and terrifically played; the latest Bach recording on the ZigZag Territories label was always assured a spot among my favorite recordings of this year. Edna Stern sends three Prelude & Fugue pairs into the race, preceded by a transcribed Bach chorale each (one of these four Chorale/Prelude packages comes with Brahms’ Bach-like op.122 no.5, instead), and in doing so lifts her CD well above the pack of Bach-on-the-Piano releases and recitals.“Nun komm’ der Heiden Heiland” starts with the eponymous chorale (BWV 659) in Busoni’s transcription. Stern’s idea is treating Bach as a vocal and orchestral composer which, apart from justification for playing harpsichord works on the piano (as if any was still—or again—necessary), frees her to explore all the advantages of the piano’s range of shades and colors, rather than treating it ‘harpsichordesque’. Might as well, when the result is Bach in such luxuriant sound, indulgent in beauty, yet never fussy. (WETA review)

# 6 – Reissue

Bach, Well Tempered Clavier, Books I & II, Sviatoslav Richter, Sony

Another candidate for romantic Piano-Bach, next to Stern and Tal/Groethuysen. And another sign that Sony has smelled the coffee and started putting discernable effort into their re-releases and re-re-releases. The two books of Sviatoslav Richter’s complete Well Tempered Clavier have been remastered (Yukio Takahashi), which means that the highly deficient sound from which these recordings (live from Salzburg, 1970 and ‘73/74), where each Prelude and Fugue sounds like it comes from a different source—some extremely close, some further away, now comes across as more direct and clearer. Warts and all and certainly better than in all its many previous incarnations (Melodiya, Olympia, Eterna, Eurodisc, RCA Red Seal et al.).

I wonder, too, whether we would find these readings, fabulously old-fashioned though they are, quite so amazing if it were not Richter playing them, but a complete unknown. I should hope I still did, because alongside Tatyana Nikolayeva (Victor) and Mieczyslaw Horszowski (only Book I, Vanguard Classics) these are the Well Tempered recordings of that particular pianistic type I cherish the most. A terrific antidote to the very different modern piano variants of Hewitt or Schiff, for example.

# 7 – New Release

Mozart, Idomeneo, R.Jacobs, Freiburg Baroque Orchestra, Harmonia Mundi 902036

This is the most–the only–complete Idomeneo ever put on disc and it goes to the great credit of René Jacobs that he makes us actually want to listen to all of it. Any lesser performance might have explored the boundaries of Mozartian tedium, this explores his boundless young genius. What Jacobs cannot include he includes in the Appendix, when the score asks for extinct instruments (clarinets in B) he has them reconstructed, and where the ‘secco recitatives’ (he distinguishes between “recitativi semplici”, “recitativi accompagnati”, and “recitativi obligati”) lengthen the opera, Jacobs shortens them not with cuts but by making them more interesting. The practice of using a fortepiano for recitativi semplici that Jacobs has pioneered (or at least popularized) is one aspect. The attention lavished on them another: every singers is stipulated to carefully declaim their parts and the fortepianist encouraged to improvise and riff on the musical material around him. The Freiburg Baroque Orchestra follows willingly and with enthusiasm and the singers, led by the near ideal Richard Croft and Bernarda Fink (if you ‘excuse’ the fact that her part was written for a Castrato and might arguably have been more authentic in the hands of a counter tenor), are doing a very fine job. The result is not only an astonishing achievement of musical archeology but also another indisputable hit among the string of five great and nearly-great Mozart opera recordings Jacobs has now under his belt. When I was still ignoring Idomeneo among the great Mozart-operas, I used to say—less in jest than I should now like to admit—that if I wanted that kind of opera, I’d go straight to Handel. Jacobs has delivered me from the error of my ways.

# 7 – Reissue

Haydn, Piano Trios, Trio Wanderer, Harmonia Mundi 501968

The Trio Wanderer, ARD Prize winners from 1988, has copiously recorded for Harmonia Mundi, and always at a thoroughly terrific level of music-making, easily on par with the Florestan Trio. That they haven’t attained any star-power as a chamber group might have to do with the somehow more humble reputation that piano trios and the literature for it have, compared to limelight-hogging, sexy string quartets. (Since the Beaux Arts Trio there really hasn’t been a Piano Trio that has enjoyed wider name recognition.) It’s very laudable then that Harmonia Mundi is beginning to give some Trio Wanderer releases a new, budget-friendly breath of life with inclusion of their Haydn disc in the HM-Gold series. No one quite rocks the Trios 39, 43, 44, and 45 quite like the homogeneous French ensemble—and if the Van Swieten Trio (Brilliant) does, the latter does it in an original instrument way, with a prominent fortepiano sound. Even if you like the fortepiano (in moderation), the gorgeously recorded modern grand piano sound of the Trio Wanderer is too good to ignore and it bests the competition, including the Vienna Piano Trio (MDG) and Beaux Arts (Philips/Decca). Unless you are bent on getting all the Haydn Piano trios (not that they are not worth having and hearing), in which case Beaux Arts and the Haydn Trio Eisenstadt (Phoenix) might sufficiently satisfy your (modern instrument) needs, the Wanderer-disc is an essential addition to your Haydn collection.

# 8 – New Release

Titz, String Quartets, vol.2, Hoffmeister Q4t (period instruments) Profil 9046

The Allgemeine Musikalische Zeitung wrote sometime around 1805 about Anton Ferdinand Titz as the unsurpassed master of the Adagio. If you listen to the two adagios of the four string quartes on this disc, that statement makes perfect sense.The Hoffmeister Quartet’s performance of these hitherto obscure pieces is not only a world premiere recording, it’s a bit of a revelation. I will write about it in greater detail in the coming months on WETA’s website, until then trust that there is no shame in succumbing to Titz: you are dealing with some of the most agreeable music of its kind and of its time.

# 8 – Reissue

EMI 20th Century Classics, Various Composers & Artists, EMI

Of all the great classical record companies, EMI may well have the most extensive, varied, possibly even most interesting catalogue. It should therefore come as no surprise that they play the re-issue game with particular enthusiasm. Why not profit of all that recorded (and paid-for) material? So EMI wags its “long tail” of music through stores and on-line retailers with vigor, but for many years without discrimination. Many re-issue series—“Encore” (a.k.a. “Nipper”), “Double Forte”, “Gemini”, “Legend”, “EMI Triples” strike as dutiful exercises, not a labor of love: carelessly designed, with little by way of notes, graphically unpleasant, and uneven in musical worth. Except for the “Great(est) Recordings of the Century” (“GRoC”) series, and that suffering from titular hyperbole, nothing has been a unanimous success.

Finally things seem to have changed. The American Classics series is already a step into the right direction, even if the design is still dour. With the 20^th Century Classics series, now, EMI has got it right. About two dozen releases have come out in two batches so far, from Ravel to Henze, from Resphigi to Stockhausen. All contain two CDs with well selected complete works, presented with a fair booklet and with a remarkably well thought-through, appealing design. EMI and Virgin don’t always recycle their most prominent recordings when they can chose from more than one, but just as often they do… or else dig up a much welcome rarity. Like Rafael Kubelik’s Nielsen 5^th Symphony. At $12 a pop, they invite the casual as well as the seasoned listener to explore the near and far corners of the richest century in music. At the same time, each issue can stand on its own rather than being a mere collection of highlights. From the earlier batch Schoenberg, Hindemith, and especially Dutilleux are particularly noteworthy; Tavener, Janáček, and Henze stand out among the second lot. Indulge.

# 9 – New Release

Mahler, Lied von der Erde, Kent Nagano, Montreal PO, Klaus Florian Vogt, Christian Gerhaher, Sony 750821

I debated with myself whether to put this disc into the Best of 2009, and not one of the discs that will make the “Almost List”. But ultimately what is excellent on this disc is more important than any shortcomings. I’ve reviewed it on WETA’s website at some length; suffice it to say it’s the best Lied in some time thanks to Kent Nagano and especially Christian Gerhaher turning in refined-yet-natural excellence.

# 9 – Reissue

Bach, 3 Cantatas juxtaposed, Harnoncourt, Concentus Musicus, Deutsche Harmonia Mundi 756794

Technically this isn’t a re-issue but another heartening sign that Sony (through its Deutsche Harmonia Mundi imprint) has started to put more thought into their classical releases. Nikolaus Harnoncourt in new recordings of three Bach Cantatas (BWV 140 “Wachet auf, ruft uns die Stimme”, BWV 61 “Nun komm, der Heiden Heiland”, and BWV 29 “Wir danken dir, Gott, wir danken dir”. Harnoncourt recording Bach is an event; when he works with soloists like Christine Schäfer, Bernarda Fink, Werner Güra, Christian Gerhaher, and Gerald Finley—all among my very favorite singers—even more so. The result is, not surprisingly, a very fine, notable new Bach Cantata CD that dedicated Bachians would not want to miss. What turns this from “very fine” to “best of the year” is this twist, though: Sony licensed and includes the same three cantatas from Harnoncourt’s Alte Musik/Teldec cantata cycle and allows direct comparison between his Bach from 30 years ago and what he does now.

The results of comparison can be curious: I liked the earlier version of BWV 140 so much, I could see myself preferring it over the newer version (with Julia Kleiter, Kurt Streit, and Anton Scharinger). The Concentus Musicus has become a more refined orchestra and the soloists and especially the choir(s) (famous boys’ choirs then, the highly professional Arnold Schoenberg Choir now) are better now than they were. But there is something quite natural, quite enchanting to the old ways. Even the boy soprano is no bother in this cantata: one accepts the natural shortcomings of a boy’s voice and tries to focus instead on its elements that another, trained adult voice cannot possess. Kudos, little Alan. But in BWV 61, the stunner among the newly recorded three cantatas, the boy soprano turns matters into perpetual cringe. Seppi tries way too hard—and comparison Schäfer is simply cruel. Sold at the price of one CD, this side-by-side new and re-release is a winner.

# 10 – New Release

Tchaikovsky, 5th Symphony, Andris Nelsons, City of Birmingham SO, Orfeo 780091

Andris Nelsons, born in 1978, is one of the conductors to watch emerge as one of the greats of his generation. The City of Birmingham Orchestra, having had good experience with very young, supremely talented music directors, didn’t hesitate long after first experiencing and hearing him: they snatched him off the market in 2007 and signed him to a three year contract, since extended to 2014. I wouldn’t be surprised if other orchestras are already vying for his services behind the scenes—and after hearing this Tchaikovsky Fifth Symphony you might agree. My word, does this protégé of Mariss Jansons know how to pack a punch, elicit bright-eyed vigor from the orchestra, and manage to avoid all Tchaikovsky pitfalls. How confidently he whips the fourth movement along is alone worth hearing. The last time I was even nearly as thrilled by a Tchaikovsky Symphony recording was Daniele Gatti’s Fifth. Not before long he will record for a bigger label then the very fine Orfeo brand… until then they have real little star on their roster.

# 10 – Reissue

Alfvén, Symphonies & Swedish Rhapsodies, Neeme Järvi, Royal Stockholm PO, Brilliant Classics

Brilliant Classic’s trick in classical music is: Trust people to explore music or interpretations they’ve not heard, assuming the price is low enough. Then they send their pack of bargaining dogs to record labels that let their back catalog loiter uselessly about and attain the license for a (limited) reprint. They pump out copies of obscure (and often perfectly mainstream) music in high quantities with production cost kept low… and succeed. One of their great re-issues this year is the set of all of of Hugo Alfvén’s Symphonies and the Swedish Rhapsodies with the Royal Stockholm PO under Neeme Järvi. Formerly on BIS and a bit pricey, the five disc set can now be found less than half the price of the original. The symphonies are much more lively and bright than the icicled bench on the BIS set might have suggested… and you will find them anywhere between perfectly riveting and harmlessly enjoyable examples of Nordic romanticism. If you like Nielsen and Richard Strauss, don’t miss these. The performances have never been bettered… and the one place where Brilliant thankfully doesn’t skimp (anymore) is the fine slim-box packaging.