THE WORLD'S BEST CLASSICAL MUSIC REVIEWS Est 1923. DECEMBER 2016 GRAMOPHONE AGRAMOPHONE DIGITAL SPECIAL gramophone.co.uk ; Vv ish frang oritten korngold fel BEETHOVEN | PIANO SONATAS BACH MURRAY PERAHIA Wai \PELL!A new interface for a better musical experience A rich and faithful listening experience Aunique editorial slant An application built to meet your needs 1 MONTH OF FREE © MUSIC STREAMING Visit www.qebuz.com/gramophonespecial¢ Another truly vintage year he 2016 Gramophone Classical Music Awards, | presented in association with ERG International and the BPI back in September, provided some ‘of che most satisfying listening for many years, Not only did they celebrate some of the finest classical music ever ‘written (Bach's Golerg Variations, Beethoven's Diabels, Shostakovieh’s Tenth Symphony, violin concertos by Britten and Korngold, Monteverdi madrigals, Tippet string quartets and Verdi's Aida to name a handful), but they als offered powerful reassurance thatthe standard of music-making. emains incredibly high. To have artists ofthe calibre of Vilde Frang, Daniil Trifonoy, Igor Levit, Andris Nelsons, Antonio Papp Artist of the >. Véronique Gens and our latest Young ar, Benjamin Appl (again to pick just a few) performing for us was a treat indeed, “This digital magazine, published just before Christmas, has become a Gramophone tradition, and is one ofthe most-read publications we ereate exch year. The premises simple: to highli 1 what we consider to have heen the finest recordings ‘over the 12 months and 13 issues) of the year. All the Editors Choice recordings ae featured as are the eategory winners from the Gramophone Classical Music Awards (often there is considerable overlap ~ a this year again proves) For the first time, the Awards were streamed over the ‘web by mediei.tv and joining us live for the ceremony in September were over 7000 peopl; as we go to press with this digimag this figure had passed the 34,000 mark as many mote people caught up with it ater. The number of terrific rusicians who joined us at St John’s Smith Square is proof that Gramophone is an important pate oftheir world. Ialso suggests that the web is becoming an increasingly important destination for classical music programming that hasnt succumbed tothe belief that we all have an attention span of no longer than 30 seconds, Whether you buy your music on CD, download it o stream it, there's bound to be something in the pages that follow that wil pique your interest and, T hope, provide you with the pleasure chat a great recording can. Once aguin, we present this digital magazine in association with Qobuz.— simply click on the sleeve image and (provided you live in a ‘country where Qobur. operates) you can sample the majority ‘of recordings as you read James Jolly December 2016,RECORDINGS OF THE YEAR anuary In the First Sonata, =, Xavier Phillips and BEETHOVEN Francois-Frédéric Guy SEE conjure up the sense of a genre being formed < before your ears Harriet Smith welcomes a new recording of Beethoven's cello-and-piano works Beethoven ‘Complete Works for Caio & Pian Xavier Philips rangle Fret Guy dence EvcDOt5 125 +000) Thisis he tid instalment in Franois- journey fom the ridiculous (the 'See the Congu'ting Hero Comes, in which Guy dispatches the virtuoso piano pare with complete apo sublime (the Op 102 of variations on themes from Mozart's Mags Flat area very different proposition from ectable effet to the the ‘Conqu'rng Hero’ but just as persuasive, with the Op 66 set given a pariculaely sparkling reading. ‘Comet “avi Pips and Franols Frere Guy course thick on the with which Beethoven ‘overtly brilliant. ‘The First Sonata’s Rondo is ground, not least from Isserls and Levin of sonata for piano ighligh, with areal one-in-a-bar swing, (playing a tremendously characterful sttime. In the opening the minor touches given due prominence. McNulty fortepisno), which was an obvious Adega seen of Op 5 No, Phillips and By comparison, both Mille-Schot/Hewiet, choice for Record of the Month in February Guy conjure up the sense ofa genre being _and Qin/Tiu sound too well behaved; Iserlis 2014, But Philips and Guy deserve that ars. Compelling and Levin ae alsoa degre steadier but they accolade just 2s Fchly and thee uy ne office this with some fantastically imaginative Aifferen sound world is equally rivet the limelight fom Philips, houg keyboard colours, But when i comes to From the same years the Fin Machen be easy todo so, parscularlyin the frstewo judging the final moments, with che genele ‘der Weibchen’ Variations come the sonatas, in which the pianos role is more issolve’ into a meditative mood that is then 4 GRAMOPHONE RECORDINGS OFTHE YEAR 2015 cickonaco core tovitean on OS cramoprenecoukRECORDINGS OF THE VEAR January Editor’s Choices weeact 8 BRAHMS. BARTOK Mozart et atin concertos Cenc for To Pos Neon Serine onsen 180; Ucar and art Moudcratoniss cece rcesta/ disse ASME) tne sayy Braco Poon Siete Mariner Spied chgocend =m o lively performances, recorded in appropriately vivid sound, of music by the ever-intrguing figure of WP Bach, the eldest son of Bah, SAINTSAENS. Cello Concertos, ete “ruls Merk Lous Lottie, Mélene Mercer psBergenPO/ "Noome Jrvi From the concerts to The Carica ofthe Animal, Saiot-Saéns celebrated by superb soloists who clearly relish the repertoire. ‘MOZART Plane Sonatas, old Christan Blackshaw pf ‘Wigmore Have Following the frst three releases in Blackshaw’s Wigmore Mozare sonata series has been richly rewarling experience - with Vol 4 it comes ‘oan end, but in suitable syle. An inward, personal performance from this month's cover star virtuoso bringing deep understanding to well known works "MY ARMENIA" Sergey Khachatryan Ls Knachatryan c+ nave Awell-crafted and passionately played tribute t their homeland Armen and to its music ‘composed throughout the 20h cent from Khachatryan siblings “neeRE? S Veronique Gens 39 Susan Manot A eruly beauiflly performed and prepared programme ‘of French song, from the very familia tothe perhaps les o, from one ofthe genre's most ‘exquisite exponents ‘The fine of wo sibling the formidably talented discs this month Jussen brothers join Marriner in Mozart for two performed with virtuosity and great charm, pert ‘Compete Pano Works {ipperErekson Navona A fascinating and elighful introduction ~ cerainly for me~ to an engaging composer fom carly 20eh century America, covering ll his piano music, written across his ereative life ZANDONAL Francesca da Rimi Sols Freiburg PO Fabrice Ballon cro A work on the periphery ofthe repertoire ~ but conductor and singers here make a strong ease for this post-seriime opera. A highly enjoyable listen boisterously cast aside, Guy and Philips are unassilabe. The finale of Op 5 No2 also has a wonderful elasticity, combining ‘mischiewousness with ardent tenderness, Beethoven demands, We'te made acutely aware ofthe different ar breathed in each sonata, Philips imbues the opening of Op 69 vith a confiding quality that sas right Miller-Schort ia tad more tentative, though both have a songfil beauty of tone in their upper registers. In che same work's Sera, incidentally, Guy chooses (like Hewit) not to repeat the ted notes where Beethoven marks change of i ‘feature which both Levin and Tiu observe, (One of the finest aspects ofthis new set sense of absol rightness about each of the tempi chosen. The slow movement of Op 69, for instance, possesses a natural songfalness slongside which Mlle-Schote/Hewite and (Qin/Tiv sound somewhat effort this contrasts splendidly with an ebullenly quick ramephonecouk finale, neither player ever sounding ped The C major Sonata, Op 102 No Ii just as impressive: i unfolds with a sense of otal incvtabily, its frequently gnay world view convincingly conveyed, while the brief daa has a prayerfal intensity And if you want to sample the seamless responsiveness ofthis partnership, just listen to the opening of Op 102 No 2, with its quicksilver changes of moox from graff ‘good humour to elegane yearning and then Ina aguin toa kind of tare playfulness, The development, in which Beethoven conducts futlandish experiments on the briefest of motif is again judged toa nicery~ Philip's Aeep srsato accents slicing through the tecture without becoming aggressive. “There follows one of Beethoven's great Inte slow ovement Phillips and Guy sh its arching, aching lines with grea intensity i ister and the Isserls and Levin are a cells’ use of vibrato only as an expressive | cts very striking. The test point with this Adagio isthe presi melody introduced by piano and hen joined by cello. Too slow ad ie sags ike perished elastic, but not inthe hands of Phillips and Gay (dise 2, t 7,056 But then turn to dy Pré an Barenboim and you find something more miraculous sil ata recklessly spacions tempo they torn it into a profoundly moving prayer. The lose ‘of the movement, a Beethovenian question ‘mark, is answered by afugl finale which in this new version has wondrows arines and energy without trenchaney. Ie's a recording that brings tis sublime music into your liv room i the most natural manner possible, and I can't wait for Vol 4 ofthe sri, Terrific! @ a Pr, ari (76) EMD 6002-2 (i, Tn 110 DEC $99 9119 GRAMOPHONE RECORDINGS OF THE YEAR 2016 5RECORDINGS OF THE YEAR February vj iid e drang komgold Playing with almost tg, itimidating dexterity and polish, her music- making projects an impression of honesty and naturalness David Gutman welcomes a unique pairing of two 20th-century violin concertos ~ the fulfilment of a long-held wish by its star soloist Be Tserio ea james gaffigan Britten - Korngold Buten Vin Concert, Op 5 Norngold Vein Concerto, 0935 ‘erage Rao ‘Smphony Orchestra / ames atin inner sss 236460082 62-000) Colleewors ofa certain age may look askance ax the packaging (there ae no fewer than five photographs ofthe soloist and no one else gets alook-in, but lt the carping end there. These are urgently communicative, potentially eransformative accounts of sores which, ino longer confined to the fringes ofthe repertoire, have yet to command ‘universal admiration, Placing them back toback isa risk given their very divergent aesthetic responses tothe huge political and ‘moral challenges of ther time. Sofa a Lam aware, Gil Shaham and Daniel Hope are the only big-name soloists to have recorded both concerts, never mind actully paring them, Inher bref introduction to the projet, Vilde rang writes that it has long been her wish to bring together two of her favourite concertos, If you've boen impressed by her previous releases you'l already have this one marked down as a compulsory purchase and likely Awards contender. "There are several paradoxes at the heart of {6 GRAMOPHONE RECORDINGS OF THE YEAR 2016 "ie Fang wih the Fankurt aco Symphony Orchestra and Jaes Gahan Frang’s captivating performance style, Playing ‘with almost intimidating dexterity and polish not to mention impeccable intonation (it ‘comes as no surprise to discover that Anne- Sophie Mutter was an early mentor), her music-making sill manages to projec an impression of honesty and naturalness. An citing player, she prefers taking chances to playing safe ins inwenpretations fel a ‘ostentatious. I's quite 2 ‘onsupporive collaborators ble ounild a (Gometimes unpredictable) musical narrative with comparable ease. Fortunately James Gaffigan, whose international eareer was (tek on acd cover toburstrean rom fl launched in Frankfurt tthe 2004 Sir Georg Soli International Conducting Competition, is with her every step ofthe way, ass the Frankfure Radio Symphony Orchestra First up is Korngol’s escapist confection, and it receives notably unsentimental reading, This snot to imply thatthe super- articulate music-making is ether cool or ‘The first-movement cadenza with sudden anger, the slow movement played witha clean directness that sounds tery fresh, atleast until a rskily self-conscious inflection jst before the end. In the empricr pyrotechnics of the finale rang comes close to trumping Shahan, ramephonecoukRECORDINGS OF THE YEAR February Editor’s Choices MONTANARI wixsen MENDELSSOHN Mtn ont Mote Voth, lz Shing Quartets Op 8 =a Ensemble Diderot Cecilia Zitiacus Nos tand2 Jones Preoteo veingerS0/ Cec cure Montanari om Dani ett tea Shane discover cared Former Bai Quart some fining bt ‘A dcmanding works Competition vines forgotten works from the Baroque, and a very strong case is made for them by this fine Paris-based ensemble, ‘BRAHMS The Complete Solo Pane Muse Vol Jonathan Plowright Jonathan Plowright, always a thoughtful and brilliantly skilled pianist, continues his Brahms survey with another superb collection, DuKas ‘Cantates,choeurs et musique symphoniave Sols: Flemish Radlo Chon Brussels Phiharmonic (Orenestra/Herve Niquet EaiconesSingusres "They may not have won Dukas the ‘competition he wrote them for, but don't et that pur you ofa rewarding listen, containing varity of styles and approach = not to mention technical challenges ‘bu all beauiflly conveyed here by Cecilia Zilia. i MEDTNER. i RACHMANINOV Pian Works Yevgeny Suabin ‘Yeegeny Sutbin's understanding of| Meskner’s sound world fels instinctive and his performance isa highly personal one HANDEL, ‘Duet e erat tain’ Sols LaRisonanza/ Fablo Bonzzont Gosia "The impeccable standant of singing and playing we've come to expect from Bonizzoni snd colleagues, here in a survey of rarely recorded early Handel the Cecilia Quartet wonderflly approach these middle Mendelssohn quartets with clegance and affection VILSMATR. BIBER. PISENDEL Soe Von Works ‘Vaughan Jones More superb Baroque Aliscoveries this month; the highlights the engaging and wonderfully played set of Six Pattas by Vilsmay, LECLAIR Sela et Gloucus ‘Sols Les Nouveaux Caracteres/ Sébastien enesin oc io, emotion and some quite delightful musie courtesy of Leclair in is only opera here given superb and spirited advocacy not Heifer (whose recording isthe subject. ‘of this month's Classics Reconsidered ~ see ‘age 96). Her pure, sweet timbre is leaner but she is much assisted by sensitive conducting the kind of sound engineering that ‘exposes unexpected stands in the orchestral texture rather than andblyspotighting the star. [found this a deeply satisfying take on vehicle intended to slake Heifet’s insatiable thirst for technical display rather than to ‘extend Korgol's compositional ring That said, you may fel thar the swashbuckling needs litle more schinalteto make it palatable From Korngold’s Romantic patchwork to Briten’s high seriousness (and hs obsessive working of salic material) is quite a leap, yet, with these exponents, there's no hint ofthe latter overreaching himself in this extended, bleakly eloquent take on the Prokofir violin ‘concerto model, Indeed, che argument is projected with such searing intensity that the work asserts its claim to be considered ramephonecouk ‘one of the masterpieces ofthe lst century. ‘Once agin Fang proves immaculate above the stave; and, because the thind-moveme passacaglia never gets bogged down in the inner of Vengerov and Rostropovich or Little and Gardner, the sense oflooming threat is ever present through to the equivocal close. While Marwood and Volkov make the whole concerto feel more contemporry, borisker from che ouse, textural spkier and more fretueed than Lubotsky with Briten himselfas conductor, there are other aesthetic possibiies, Whatever the work's pockets of English reserve, Frang refuses to undersll those pasionate outbursts felled by the composer's political and moral convitions during and afer the Spanish Civil Wee. This isa remarkable rendition, at once spacious and tautly held together, cool where it ‘needs toe but eminently emotive with just the right kind of ‘perilous sweetnese The soloist’ tone is never remotely wiry or frayed and the harmonies are simply sensstona | ere then are two ardent performances to.complement or even supplant exiting favourites. Such technical involabilty sd emotional truth is born of long arty. In 2013 Frang and Gatfigan took the Briten as far afield as Sydney and, as YouTube aficionados will know, the Korngold isan old fiend to. That the works’ American connections are ably explored in Mereyn Cooke's hooklet-note isthe icing on the cake, @ Hoses Lv Al PO Wain Stem £30, Prin 094 (DG) 49886268 Vag 150, Raph C9) (EM) 984835.2 (oan gave coaster Lin, BBC Pity, Garr C709) CHAN) CHANIOTEA (GRAMOPHONE RECORDINGS OF THE YEAR 2016 7RECORDINGS 01 March THE YEAR Ate} That final wistful reminiscence of the Adagio distils the 2 requisite lump-in-the- aaa ars Andrew Achenbach welcomes a tri mphant new recording from St throat poignancy n Isserlis, which brings together compelling and moving accounts of cello concertos by Elgar and Walton Elgar : Holst - Walton ger ato Concerto, 0985 G Holt nvcaion COpt9N02"1Molt Me Fallot the Let Walton eto Concerto? Steves "pntnarmoia Orchestra Hyperion 8 COAGBO7? G3 “00D. ‘One of Steven Issrli's earliest triumphs in the reconing studio was a wonderfully intuitive account ofthe Elgar Concerto with Richard Hickox and the LSO (7/89) I this joyously articulate and rapty communicative performance is anything to goby, is clear ‘thatthe intervening decades have only served to heighten and refine his responses to this achingly personal music. With his immaculate technica address and ravishingly song, mellow tone, Isserlis strikes precisely the right balance between classical strength and private introspection, his conteibuion as full of ‘radiant spontaneity and cumbling fantasy as ‘one could wish eis also blessed in having such 9 serupolously attentive partner as Pavo Jari, ‘who procures playing ofthe very highest ‘quality from the Philharmonia. Temp ‘throughout are uniformly well judged, The first movement ideally combines suppleness and purpose, leading into a quicksilver {8 GRAMOPHONE RECORDINGS OF THE YEAR 2016 scherao that cexchews any suggestion of hectic ashines. Te the glorious slow movement Issrls and Jv boring an ‘unexaggerated depth offeling, tenderness of expression and simple flow that put me in mind of| Anlré Navarra 1957 alliance with Barbiroll and the Hallé (a huge personal favourite), The finale, too, is splendid. In the fist half with ts beamingly playful echoes of Elgar's 1913 masterpiece Falta, what captivating smagger Isserlis locates in thot rolling arpeggios from fg 55 or 358" (which really do leap off the page here) —and jst listen to the relish with which both soloist and the Philharionia's cello setion tuck into their inresistible unison line that follows soon aerwards at ig 59 (3'58"), ‘Thereafter, the tingles materialise early (always a good sign) asthe shadows begin to cikonacocone tonite om OSE lengthen: those devastatingly imploring pages that follow the Poco pi fento marking at fig 66 (638°) really do move to the marsow every time, while that final wistful reminiscence of the dagio certainly distil the requisite amp- in-the-throat poignaney.Allinall,Iselis's is and taste acount of the the most rencha Elgar wo have come my way since Paul Watkins's with Andrew Davis andthe BBC Philharmonic (Chandos, 7/12), and 1 feel confident ts unstnting appeal will not dwindle withthe passing of the years ramephonecoukRECORDINGS OF THE YEAR March Editor’s Choices coPLAND DVORAK. SUK “NEW YEAR'S Crees Works ol Vata Works Concent 2016 tocritarmonic hisian Tet Vienna Phihenmenic Orchestra 4h Witon Han Piarmonic Orchesta/ anton ‘Orchestra / ohn Marios eons A chrling signal storgirs Sony Case that this Copland orchestra series rom one “The well-Enown pices John Wikon will be one wo follow, from a Fanfare of real drama toa ‘Hoe-Down! of lorious charm! Seay sean ‘SkSontas for Von an Harpsichord Lela Schayeah 6x9 Halubek 2 = ‘ssa Such exposed lines require impeccable playing, which Schayegh Ihre delivers bilan, in captivating ‘conversation with harpsichordst Halubek throughout ABRAHAMSEN let me tll you Barbara Hannigan o> Bavarian Radio| ‘Symphony Orchestra / ‘Andris Nelzons| ese “There's something otherworldly about the Danish composer Hans Abrahamsen’s response to He's Ophelia You can read Tetslaff's advocacy ofthe eof in our cover story; here he more ‘than justifies his belie inthe work: TIPPETT ‘Sting Quartets Heath Quartet Wigmore Hl uve survey of these fascinating works which stands out for is sense of presence and journey, the atentive Wigmore audience als playing its par in the powerfil atmosphere JSBACH Massin minor Sols Concerto ‘Copentagen /Lars Uk Mortensen Three months ago Gardiner’s return to the work occupied these pages but when an approach is as Afferent, and impressive, a this, there's oom for another, evel just what superb players the VPO are and who better to introduce listeners to the lesser-known pieces? a 5 RAVEL sei Piano Works ertrand Chamayou st eto ‘Chamayou finds all the ‘eauty in Ravel’ piano music, presenting it with a strength of vision that sounds deeply fele and wonderfully personal. “MUSICA E POESIA’ Rosa Feola:20 fain Burns This release embodies the Rosenblatt series mission: to find remarkable singers and present them to as wide as possible an audience, ‘An absolute “The Walon concert likewise finds these sympathetic artists atthe top oftheir game, ‘Composed in 1956 for Gregor Piatigorsky, ‘sa rather more indulgent aie than its counterparts for viola and voli, Not only does it require careful handling ifits seductive charms and myriad intricacies ae to be fully appreciated, the extended, improvisatory finale can be exceedingly tricky to hold together. In recent months, I've been abe to wax lyrical about elassy renderings from the likes of Paul Watkins (Chandos, 5/15), Li-Wei Qin (who opts for the revised coda that Walton fashioned specially for Piatigorsky in 1975) and Christian Poltéra (ABC Classics and BIS, 1/15). Is this swcomer possibly the finest yet? I'm inclined tothink so, Aer sultry and intoxcatingly poised opening movement, the central scherzo furl crackles with wit and ear ramephonecouk pricking detail (how good iis for instance, to have those harmon overtones register so subely in the soloists bref eg passage just hefore the end, As for the ambitious finale, I don’ think Tee ever heard i essayed witha greater combination of stylish teamwork, sinewy ‘hrast and inevitability oth exdenzas, by the way, ae riveting). Just occasionally, found myself eraving a faction greater ambient glow than the acoustic of Southwark’s Henry Wood Hall can muster, ‘hough the actual balance is beyond reproach in its wholly realise perspective Two rarities boost the playing time to aver 73 minutes, Gustav Holst's alluring bration dates from 1911, when he was preoccupied with his settings of steed texts from the Hindu Rig Veda Isserlis himself nicely encapsulates the essence of this music when aon oon onsen on SSE Ihe writes in the booklet how it*has a shimmering, mystical quality tha is carious evocative — exoie and yet somehow, perhaps because ofits calmly ‘modal language, unmistakably English’ Needless to say, it’s exquisitely given here asis Imogen Holts The Fall of the Leaf, a solo study of no lite resourcefulness and impeccable caf, completed in 1963 and ‘hase on Michael Peerson's eponymous [keyboard piece from the Fitzwilliam Virginal Book: ‘Make no mistake, every aspect ofthis enterprise reflects enormous credit on all involved, not last Hyperion's art department, whose choice ofthe evocative Study of Westminster Bridge (1878) by Giuseppe Di Nits (1846-84) t adom ‘the cover was surely an inspired one An unmissable release, © (GRAMOPHONE RECORDINGS OF THE YEAR 2016 9Sudbin embraces the full resources of his Steinway Model D to recreate this music jor a modern age Harriet Smith hails Yevgeny Sudbin’s second disc of Scarlatti a decade after his first keyboard sonatas, rel DScarlatti 18 Sonatas Keyboard Sonatas -Kko; KKt2: KK29KA32: KS; 6; KKOS, KAS; KI2, KAI, La acc KA 4208; KS KAT MASTS KAT, KAS KAS YewgenySuabincr 115. © 8209 Gs -DOOIDsO) Back in the May 2005 ise of Gromapbons Bryce Morrison extolled the vires ofa Scarlatidse bya young Russian pianist, His name was Yergeny Sudbin and it was his ‘debut on BIS. Ten years on, Sudbin decided ie was time for another instalment 18 more sonatas, as enterprisingly and imaginatively programmed as on tae frst ise In the playing itself, there's the same familiar mix of virtuosity and refinement E vision, so Sudbin ch that marked out the fist CD. Subin embraces the fll resources of his Steinway Model D to recreate this music for a modern age, desribing what he does in his eloquent booklet essay a ‘in effect piano transcription, Just ag Horowitz had his pianos doctored to ereate the right sound and reactivity for Scala’ unique musical extres shifs himself of hat wil have phrases up an octave and a the sustaining pedal in purists fleeing for cover. Yet even they 10 GRAMOPHONE RECORDINGS OF THE YEAR 2016 se before rejecting anship. The open Kk#17, hecomes 2 miniature symphony in scope, from its should perhaps such vialy alive fervently enunciated opening scale chrough to the Sudbin-enhanced orchestral richness of es closing moments. Repeats are never ant simply to dynamic merely that ~he's noted ada ornamentation och sense of true development instead w ‘This might sound contrived on paper, and could well have been in the hands of lesser ‘musician, but Sudbin is an artist of rare refinement, as he constantly demonstrates haere. He pushes the boundaries, yes, but never simply for shock effec. Just listen t9 what he does in the fist half oF the A major Sonata, KI2OS, where what was simple erotchet accompaniment in the lft hand suddenly wakes up inthe repeat and starts a dialogue withthe right. Irworks because, ‘without a score in from of you, ts hard to ramephonecoukRECORDINGS OF THE YEAR April Editor’s Choices LUTOSEAWSKI. == WEBER ‘BEETHOVEN/LISZT SZYMANOWSKI Complete Overtes SyrptonrNeo Ortestal ers ‘Won symtony ryan? Pen rl Rado Orch cologne? xem Symphony Orcesta Moword Gets Ther than sounding ‘ander eres = cro Ties mere eduction owe Toward Gris then pets The orchestra is just one ofthe stars on this first-rate recording ~ the other is Katowice's new and fine-sounding hal. BOULEZ Compete Music for Solo Pano Mare Ponthus 2" ridge A cimely and appropriate tribute to Pierre Bouler, who died in Janvary. ‘This i an expertly played survey of the composer's complete musi for solo piano —a fascinating listen, a — LANTINS secular Works LeMiroirde Musique Baptiste Romain Fieenth-centory repertoire from Tide-known figures possibly brothers ~ but well worth the committed advocacy given here ‘These are richly rewarding vocal and instrumental performances and his players bring athiling sense of characte, clarity and colour to these Weber ‘overtures ~ hugely enjoyable listen HANDEL/ MENDELSSOHN Irae in Aeypten ‘ThekKing’s Consort Robert King This reconstruction ‘of Mendelssohn's reconstruction is of great innetest from a historical perspective, but also richly rewarding from a musical one "AMUSE-BOUCHE 1 Fegitini/ Robert Holingworth “There's some very slaful singing here nan imaginative and ‘entertaining programme of 20ch-century French repertoire, marking this fine group's 30th anniversary in syle. superbly as here this tanserption has drama and poignancy all of is own, conveyed on a heautifl-sounding peri piano, HOWELLS: Colesium Regale Chola Ty College, Cambridge / Stephen Layton Hyperion Stephen Layton’s skilled shaping of this glorious music matched by excellent singing from his choir ~a wonderful follow-up to their 2012 Award-winner HONEGGER/IBERT Algor Sols Montreal ‘Symphony Orchestra / Kent Nagano This itle-known ‘opereta is given a delightful performance by French-speaking castin what marks 9 new era in the Montreal SO's relationship with Decca tell what isthe work ofthe composer and what the pianist, so naturally do the two combine. Seatats's sonatas were the food ‘of Sudbin’s youthfal studies in Russia Che was almost considered a “Russian” composer since his sonatas were standard repertoire for any stunt a the conservatories and ‘music schools’) ~and ie shows in his sense of ‘complete familiarity with the mse, one that allows him eremendous freedom. Each piece offers fresh deights: Sudbin’s (C major Sonata, KEIS9, is extraondinary fr is rnge of colour the way he gives the opening hor calls delicate haze of peal the second ‘ime around, and als ornamentation that in les subile hands would be merely outlandish, yet which he caries off with aplomb, In the Same sonata, Angela Hewit,on her recent disc, sounds merely careful by comparison. Some might find chat the poignaney'of the F minor Sonat, Kk69, comes aross most poserfilly when played simply (by Anne ‘Quelle, for example, o Marcelle Meyer), ramephonecouk yer Sudin's view oft san operatic scena of the utmost tension is ends fiscinating. Again, cur to Hewit’s recent performance and ‘what's striking scat, though Sudbin is much more radial, Hewites the one who sounds les natural He follows this pie with the restless Inilane Kk$25 ~ minefield for anyone not at the top oftheir gume —in which he conveys not ‘only virtuosity but a confiding quality too. Te shares with Horowiee an ability to ‘conjure up landseapes and narratives within these sonatas, so vividly and intensely are they etched. The rarely played KK99 is given time to unfold expansively, its moments of Spaishry given with due generosity, while che downwards-rushing scales of te G minor Sonata, KI373, are vibrantly given, Scarlat’s famously treacherous repeated notes clearly hold no fears either, no matter how fist the tempo smarking: just sample what he docs in KI29, 125 and 141, i the lst ofthese outplaying ‘even Pltner, which is no mean feat And even in a piece a well known as 9, one ofthe highlights on Queffgle’s disc, Sudbin finds rare lightness and dexterity that leaves most others sounding ponderous. When he stars to play’ with things even more in che second hal, i's astonishing and ueterly mesmerising. The result could have been show-off, and it tribute to his panisn and masiality eh it ‘doesnt sound that way a all, The trump of his ise isnot eat it rakes you thnk ‘what wonderful playing’, bo ‘what wonderfl sonatas’ Agni andl again ‘you marvel at Scarlatti endless invention ‘And, tellingly, udbin ends on a profound note withthe tenderly inward KK32, again _given lsciowsly vor quality, which is beautifully eapeured by BIS's sensitive recording. A winner. @ phar Sosa opis Moe uy 560822 Pens (2969 (TRG) 096-2 0 (ui (959 (ERAT 046 4988.2 (GRAMOPHONE RECORDINGS OF THE YEAR 2016The English accent is very much written ELGAR sto thisamaisie bak b BARENBOIM into this music but the MN Ne Staatskapelle Berlin ly STAATSKAPELLE BERLIN | cans seem to feel it entuili Edward Seckerson welcomes a luminous new recording of Elgar’s First Symphony from Daniel Barenboim in Berlin Elgar Symphony Wot Opa Snntsapt erin /anel arbi Barenboin's lng aseocation with, and fove for, Elgar has effectively made i par of his musical DNA. He And bonus he erstands is particulars Inows how it goes. er he has somone at, both in practical and spisiual terms, to an orchestra for whom itis relatively un startling ach vila "Tha is the really sit here and it manifests itelfin playing that sa exiting asi is ‘nuanced and which ean turn on a sispence J ght sound bbeeause Barenboim and his players each other so well. That which ‘mannered in other hands (though it must be said that Barenboim has matured and refined unique Flgarian colours. Indeed, the recording winds of change and Barenboim does not his ‘expressiviy’ i here so naturally achieved. balance generally (producer Andrew Keener) spare the rhetoric in conveying the anguish He has mastered the long and dificult isexemplary, the earconstandy arrested by of what that means i the contest of the first movement chronicling the turbulence of telling details so often absorbed into the symphony asa whole. The re anera-indeed oflife in general in which overall ichnes of Elgar's soundscape theme ~ one of Elgars nobles tiny oases of peace and tranquility open up ‘Buco return again to the structure ofthis — is hewily indecisive i the closing minutes ssf recalling happier times, The scoring first movement, its Barenboin’s command of the movement. Doubt and a sense of. isso fragrant and beautflin these Ehsan of eansition, of cb and flow, storm and unfinished business preva dlepartures andthe sbrle balancing of leading stress, that carries al before it. Those In Barenboim’s freely dynamic approach and accompanying voices makes for some reveries ae soon buffeted by the previ to the scherzo — fll of martial gung-ho — weRECORDINGS OF THE YEAR May Editor’s Choices nergy ‘GRIEG. TCHAIKOVSKY IBERT orchestral Works a" KHACHATURIAN. i Pane eaten Suse omane TrowaMovsir = Denton Orc Noo rar concen = terinns0/ ome Xap ang” ees Siay Neome Jiri and TH Petr Oaian nore hiscalen pes one ‘comer debut cpg such jor ofr os dep ‘Nn super Chan ‘works? Bold, but entirely justified by «wo superb performances from this Queen Elisabeth Competition frst prize winner. ADAMS. JS BACH. MESSIAEN visions ‘cvistina & Michelle Naughton From the formidable intensity of Messiaen’s Vision de PAmen tothe sprightly grace of Adams's Halljab Function, these pianist ‘ssn demonstrate remarkable virtuosity and rappore. AMITATI Ricercar Consort ore Immediaey of sound and infections zest words by our eritie Fabrice Fitch, and ‘ones which perfectly eapeure this delightful ise of representative’ musie hy Biber and some of his contemporaries. performances ofthe French composer's two best-known works, along with leser-known pieces all adding rich sense of context. MOZART Vian Sonatas ‘Alina oragimova ‘Cedre Mherghlen pf Hyperion No stranger tothe Ealtor’s Choice page, ‘Alina Tbragimora is ‘one of the most consistently compelling violinists of her generation, while Cédric “Tiberghien proves every bi the perfoct paruner here Viouth ‘INMEMORIAM ‘The Choir ofkings College London Gareth Wizon Depron A programme of Renaissance works and contemporary commissions in a moving tribute from David Trendel’s choir tothe choral conductor who died in 2014, disc from pianise Xiayin Wang, who in both works is, argues etc Jeremy Nicholas, ‘up with th very best’. High praise indeed! ‘SCHUBERT ‘Sting Quintet. Lieder Mattias Goerme sr Ebane Quartet wi ‘GauterCapugom ic ato ‘The Quinte is legant and eloquent, as you'd expect from the acclaimed personne involved, while the Lieder make fora rounded Sch "WESTERN WIND ‘Taverner Chir & Players I nndren Parott A fascinating, thoughtfally curated and, most importantly, ‘beautify performed portrait of music- smaking inthe time of Henry VIL, woven around the muse of John Taverner. now why: Iisa ifthe musics seen impending strife (premonitions ofthe Great War) and there i no sina irony hee in its “Teutonic brashness, Agtin, the trio feels ike conscious distraction from the farfal and the gradual winding-down into the great slow movement is marvelously achieved Ifthe symphony as Elgar himself suggested, iseserally a formal expression of human ‘experience with alts tials and tribulations ‘pat ulkmatey a need to “come home’ with hope, then the First Symphony’s slow movement i where everything is put into perspective and ll flies disappoinements and regrets are tempered witha deeper sense ‘of resignation, Complex character that Elgar ‘vas tha found is way into the writing and Barenboim’s generously sounded account of ‘this wonderfal movement makes such capital ‘ofthe depth achieved in the susivisons of the string- writing [know thatthe peculiarly English accents very mach written into this ‘music but hs Stuatskapelle Berlin eer to ramephonecouk feel ie inmutvly, not Least wit regard wits deep and abiding sense of consolation. That is ‘univers ofcourse, and reminds me ofa very swell-nown conductor who observed that if Elgar had been born in Austra he'd have been called Maer. The quiet hush of resignation a the lose lof the movement (achieved ata price, we are made to believe) is breathtaking without feeling affected ~ as in super-hushed for ‘hearialeflect - sell retaining is fll tone, and the pale, wistful clarinet peeping through inthe final bar again reminds us how subtle Elgar's colorations ar. And so the finale i upon ws, withthe ‘moto theme darkly disguised. Barenboim's rive through the movements development feel ikea kind of celebration of what the symphonic alg can generate in terms ‘of energy, and itis only when it finally does abate into a kind of repose that you inctvely know that something wondrous this way comes, The transformation ofthat darkly ominous march into something radiant snd transcendental i quite simply one ofthe great moments in English or any) music, and Barenboim and his orchestra ease us so gently ‘nc this revelation tha the lima when it comes sings all the more gloriously. ‘The “triumphant return of the mot is quite thrilling and again quite unlike anything else in Elgar: those euphoric srsandor really make the heat leap in whac has to bbe one ofthe most original depictions of hard-won jubilance in music. The dense selling ofthe orchestration in these pages sounds marvellous here with again exemplary balances So there isn'ta tempo, a turn of phrase or rubato anywhere that I would take issue with More importantly, the whole feels thoroughly integrate and gloriously spontaneous, This is ‘up there, youl have gathered, withthe very finest chat the gramophone has yet given us ‘of this great~and finally, I hope, universally celebrated symphony. © GRAMOPHONE RECORDINGS OF THE YEAR 201612RACHMANINOV eee thee) NOS yj ris Giltburg’s originality stems from a convergence of heart and mind, served by immaculate technique Rachmaninov Etudes tableaux Op 29 Moments musicaux. O16 ‘Bors Gtburg | Naxos @ 8573469077-000) Boris Giltburg, the Russian-horn Ista pianist who won the 2013 Queen Blisabeth ‘Compeiton, is that genuine rarity pianist ‘whose Rachmaninov i entirely idiomatic yer inzensly personal in away that yields fresh sense of rhythm is immpeceabe, with a chaste pplication of rubato that is organically derived from che life ofthe phrase, He isa master of the great surges and retractions of energy so specific to the composer. Giltburg’s pellucid sound is never forced; his large dynamic ange hnasa soft spectrum, between me=2opiono and _pp. which is infinitely calibrated and shade. CClariyis everywhere paramount. Dense chordal passages maintain beauflly balanced ‘icing even at breakneck speed. His contabile apremicois tha of a culivated singer and his prot leggery positively dazzles, Gilturg’s 14 GRAMOPHONE RECORDINGS OF THE YEAR 2016, probing imagination unlocks within each of ‘hese small forms an individual microcosm with its own unique narrative, Rachmaninow’s affective rang, which in esr hands can seem limited, here unrls with the natu, unaffected pride of a peacock display. Ifeliché and sentimentality are anathema to Giltburg, ‘one never doubts that he speaks frm the heart His eloquence derives from a poise and restraint that, while uniquely his ow, is not ickonacocovertobuatean tom unlike the aristocrati delivery that was the hallmark of Rachmaninow’s plying TThe thoughtfully conceived programme looks hack over two decades, fom the ripe npressionism ofthe 5-ableaue, completed before Rachmaninow’s departure from Russi, tothe six Moments musica of 1896 The Btude-tableaus in particula cll mind the old adage that, among musicians, ramephonecoukRECORDINGS OF THE YEAR June Editor’s Choices 2} PROKOFIEV stony BERG SCHOENBERG. FRANCK Foo cist tes Sotin ute WEBERW compte DEBUSSY sig cut y Dechert ers ting curt Marcin amet? ‘vce at Ditina onrtet Tots Quartet Tegner we ‘geen menses hey impressive The sper ever “Tugan Sokhiev i building an impressive catalogue of Rusian repertoire recordings, and this Prokofiev Fifth i an addition very much worth acquiring "viRTUOSO" Leonidas Kavakos rico Pace st Decca These show-stopping virtuoso pieces push the violin (aot 10 ‘mention violins) tothe absolute limit, something the ex Kavakos handles, and revels in, brilliantly. ellen soloise Leonidas MACHAUT Mesze de Nostre Dame Graindeavode/ ‘Brune Schmelzer Glssa ‘This is wonderfully exciting ~ there's an ‘earthy pasion underpinning the excellent _mscianship which lends something very different and quite unforgettable to ‘Machaut's music, ‘survey, not just of the works for quartet by these key 20th century composers, but ofthe interpretative skill of this fine ensemble oo. ISBACH Soi Violin ‘Sonatas and Parttas ache! Barton Pin poe laying hae feels ‘entirely atthe service of Bach’s profound music, but the best possible ‘way: a powerful and personal performance of these masterpieces for solo violin, SSATIE Socrate. éloies ‘Barbara Hannigan 09 Reinert de Leeuw" Songs which sem tailor-made for Barbara Hannigan’s silat ‘making controlled coolness sem rich and ramati, with equally superb piano support from Reinbere de Leeuw illuminating Takes we Debussy) and the brilliant André Hamelin unite for truly eal eake on the Franck Quinte. ‘NEGLECTED WORKS FOR PIANO" Bengt Forsberg 27 a Prosicions Neglected works, by neglected composers — all of whom are women are given richly rewarding and beautfal advocacy by Benge Forsberg. A fascinating and compelling recording. ZELENKA Mesa Divi Xaver Collegium 1708, Vaclav Luks cet Marvellous theatricality and virtuosity, combined with excellent singing throughout, make this a fest-class recording of this 18th-cennury Mass the best techniques are those that draw leas Sani attention, The stillness fom which conflict, emerges and subsides in Op 39 No? isa quiet pool evoking some ideal, ethereal calm. The bright colours and delicate tinling bells that embellish the fol tale of No 4 are erated with a precision recalling Faberge. The vast topography and heroic breadth ofthe mighty E flat minor, No 5, are achieved without brutality or overplaying. Even Giltburg’s most driven readings, suchas the harrowing flight from the Furies of No 6, are tempered with vivid contrasts chat heighten their character. The molten volatility, for instance, ‘of No 1, is simultaneously aseadyin shape and contour, whereas the ultimate purpose of the mercurial, swirling turbulence of No 3 is withheld until the final, desolate bars A visit to the younger composer in the Moments masini equally rewarding. Structurally more song-like and improvisatory than the narratives woven by the Ends, they pose subtler interpretative ramephonecouk problems, no doubt the reason why relatively few pianists have recorded the fll et. burg brings a decisive integration and cohesion to these ‘miniatures, the longest of which, adminedly, stretches 6 seven anda half minutes. What makes tis so special? As remote as Imperial Rusia under the Romanovs seems to us today, Rachmaninov himself is relatively near. Think ofthe excellent recordings of his playing and conducting, the film footage and photographs, and the vast archival collections in Moscow, Washington and Switzerland: I few people alive today sctually heard him play, the living tradition surrounding Rachmaninov, now 73 years afer his death, is surely a5 rch as that of any ‘comparable contemporary. Temay be, however tht the cumulative ‘weight ofthis multivalent living edition rmitgates a truly fresh take on music so familiar chat i can be said to have the vernacular. Listening to Rachimaninow's | contemporaries ~ Hofiann, for instance, for Moiseivitsch, Rubinstein or Horowitz — ‘play his music, one can't help but be struck by thee variety of stylistic approaches, Today, when the majority of professional pianists include some Rachmaninow in thir repertoires, che interpretations seem co have shrunk to a median of predictable responses Gitburg’s readings so refreshing. Without ‘ostentation or fis, he has examined these scores in every kind of light, lived with them sind come up with vision that, without being wilfilly contrarian, is nevertheless something Ineyond received wisdom, I suspect that before Jong this vision wil place him among the truly memorable Rachmaninov intenpreters, an elec including Moiseiwitch, Horowitz, Kappel, Richter and Cliburn, His originality stems om a convergence of heart and mind, served by immaculate technique and motivated bya deep and abiding love for one ofthe 20th century’s greatest composer-pianists. @ GRAMOPHONE RECORDINGS OF THE YEAR 2016 15RECORDINGS OF THE YEAR July NICHOLAS == ret SCHUMANN CHOPIN This Kreisleriana stands comparison with the most thoughtful and imaginative, Annie Fischer, Argerich and Perahia among them DEDICATION Patrick Rucker salutes the near-perfection achieved by Nicholas Angelich in a programme linking three pillars of the Romantic piano repertoire ‘Dedication’ ‘Chopin des Op 10 No 0: No. Revoitonary Schumann Kreserana, Op 16 Nichols Angie ato. 019029 5980671 08-000) of artiste sccompli personalities and te pillars of Romantic pan the : than a century ago, with aerspy hythmical, organ hasbeen e 16 GRAMOPHONE RECORDINGS OF THE YEAR 2016, ramephonecoukRECORDINGS OF THE YEAR July Editor's Choic NoRGARD BA crainscuine CHOPIN rower Ma re renestn26s MAE TIT) cure ruce BEETHOVEN Boose: Oo harmonic PM Gonos = Cita us FD oxcresias CO utente Ones somstroiae Card Quatt In bt the Chopin buco Sone Preludes andthe Both this and the disc of Nos and 5 from. the same forces are well worth hearing this month here, in Nos 2 and 6, we really ‘encounter some fabulous music-making. LAWES complete Music for Solo tyra Vik Al Flchard Boothby 2 vit moni Muna A beautifully played programme of solo Iya viol music from Richard Boothby, one of todays leading performers of the instrument and its repertoire, makes for rectal of eal intimacy REGER Drei Moteten ‘WR Vocal Ensemble, stutgart/ Frieder Berns cons Reger advocates are determined to we the composer's Anniversary year to highlight che diversity and heauty of his musi; this dis is a superb ‘contribution to that end, Jolin Bliss is alert an alive to the power of dance inan engaging new work fr clarinet; Ihe and the Cardueci Quarter are equally ‘onited in the Brahms. uray ‘es Messe teneur ‘cut ciee/ Jesse Rodin MsqueenWatonie Some very’ fine performances of these significant works from Dufay’ aso decades: eight singers, all on impeccable form, make fora lively, intimate and focused experience, SCHUBERT Leder | Benjamin Appie”| | Graham Johnson” ‘Womoce Halve A pised debut on Champs Hil, now signed wo Sony but in hetseen comes this mpresive Wigmore Hall recital, marking ‘out Benjamin Appl as a baritone thoroughly ‘worth watching Beethoven Op 33 Bagatelles, Cristian Buda ofthe Clara Hash competition = proves himselfa master of the miniature in an impressive debut dise HARVEY choral Works Choir oFSt Johns College, Cambridge ‘Andrew Nethsingha Stobstsignum SeJohn’s, Cambridge = choral institution witha proud recording heritage launch their new label with this superbly prepared and performed dise of Jonathan Harvey works. ASCARLATTI T) Leora i Primavera Sols: Phiharmonia Baroque Orchestra/ Nicholas Mecegan Nicholas McGegan isan excellent guide to ‘this paean on a prince's birth his players and Singers are excellent throughout this work by. the elder Scat greater and greater sped, a fr insane in the cataclysmic finale of No 3 or the Fugato of No 7, Anglich always seems to Ihave reserves atthe ready, The landscape ‘outside the window may be abla but the ‘tain remains firmly on the nis. During the -ecitatve that introduces No 4, desolation and hopelesness are evoked to chilling effec As the eyele concludes, with No 8's crippled figurations skipping beyond earsho, isa toss-up between reli From the surfeit of cemmotional intensity and regret that so vivid an ‘engagement has ended, This isa reading that stands comparison with the mos thoughtful snd imaginative, Annie Fischer, Argerich and Perahia among them, “The Lise Sonata is briliantin both concept and execution. Parentheticaly it should be noted that octave passiges ae even faster and ‘more aeeurate than Hlorowits 1932 account But dizling octaves do nota succesfil B minor Sonata make, and here they are but ‘one feature ofa spacious musieal topography: ramephonecouk The defining architectural elements contributing to this mighty edifice are subely sculpted phrase shapes, vivid contrasts of texture and articulation, and an unerring sense of dramatic thease osamer figurations at 9'20" take fight, shimmering with prismatic colour. Angelich’s cunning transition away fom the molten shetorcal assertions ofthe frst movement tisipates, Arial a the indo sent oul be the frst glimpse of another world heretofore unimagind. Its profound quiet and calm are breathtaking in their anquily. The fog begins a ly nsinuation tht quik athe strength, with kenly boned edges thaccal to mind the hastrous clarity of quartz ext pias busing randomly fo tei scoogial matrix ‘One may npc, ofcourse. The wily question of the hicrarchy of heats within sure ha pei impiations forthe [Bmninor Sons's opening satment should beats two and four receive identical emphasis? And what of ills in an essa contest? Docs ‘long, uniformly fase rl ike a whitigig held ‘out the window ofa fast-moving automobile really ft he bil But these questions seem quibbles inthe face of 0 compelinga reading Angelich’s magisterial virosty is uniquely ‘contemporary, even as his imaginative grasp cexsily encompasses persuasive vision of the 19h-cencury ethos. One could specelate that his tance of heroie nobility i but a shore step from what the declamations of Talma and Bocage might have been on the stage ‘of the Comédie-Francgse, his poignant Iyricism not fr from the mercurial pathos of Bernhard, Les intellectual than Corte or Brendel and perhaps closes in sensibility to Richter, Angelch’s shetorcal authority nd architectural cohesion place him alongside (Garvie Ohlsson and Mare-André Hamelin, ‘whose Lise Sonatas were the most compelling ‘to.emerge during the 2011 centennial year. © GRAMOPHONE RECORDINGS OF THE YEAR 2016 17RECORDINGS OF THE YEAR August The assurance, insight and finish of this set of Bacewicz’s seven string quartets make it feel like a landmark Richard Bratby welcomes the complete quartets by a Polish composer whose works are worthy to stand alongside the cycles of Tippett, Britten, Shostakovich and Bartok Grazyna Bacewicz Cenplt Sting Quartets Steen dunt Chacon 2 chANO4C8-000) war ting quartets, The Heath Quartets fecene Wigmore Hall Tippett se @/10) tas prompted an overdue easesment of remarable body of works now, hota he tel ofthe Lutonawali Quarters vey GraiynaBacewie quartet eel from the Kavwie-based Silesian String Quart. And if you've ever fet hat Tipe quartets form «sre of ema biography {thir compose, the same i doubly tru for Baceice These sven works Composed berween 1938 and 1965. add up toa compeling poi of «powerfally Those were turbulent yar in Poland Arian Thompsons booklet notes outline the story, and one ofthe mos distinctive and appealing aspects of Bae way her quartet seem to have aswel, notan escape, exe it’s extrorinary how one of and most outwardly carefree oft the Second, dates from 1943, And how lide 18 GRAMOPHONE RECORDINGS OF THE YEAR 2016 tention, t0, she pays to the demands ‘of Soviet artistic dogma inthe post- war petiod. The quartets are more Tike an affirmation of areas ar of music's autonomy to speak and no other, in an ‘evolving language ‘hat combines intense ‘emotion, boundless and thiling Formal mastery “That's one particular benefit ofthis set. Unlike Naxos, and an enslier eel from the Amar Corde Quartet on the Polish abel Acte Préalable, Chandos presents the quartets in path into Bacevricas sound world. Take that i’ dificult not to be convinced he quartet cyeles -, Shostakovich and Bartok. The first ro quartets are buoyantly neo-classical (the First actualy quotes cxxnsooer mnt en SSE Lihvanian folksong), vibrant with Bacewica's plyfol rhythmie sense and volnis’s instine for string sonority. There are suclden sweeps, dancing finales and moments of glacial stillness, By the Second Quartet, Bacewiczs fingerprints (sighing glissindos, haunted dy emerging. By the propulsive, exuberant Thied and Fourth were dealing with mastery. Modernist colours ~ percussive pizicat, metallic shivers ramephonecoukRECORDINGS OF THE YEAR August Editor’s Choices stostaxovic TeHAIKOVSKY DOWLAND Lacxinse Symons Nos. 869 Symphonies Nos .265 Prana Sonton Symphony Royal vero! Un oneness! Prinarmoni Orchestra These sre poignant Anca Netons Vas Petrenko rerformances of mise 6 one Secped in melancholy ‘Symphony No 10 frm the same forces was ‘our Recording ofthe Month lst August. A year on, and this futher selection shows just the same power and pasion, RILEY Four Four Three’ Ragazze Quartet A hugely enjoyable and sisinetive response to the challenge erry Riley st for an undetermined number of musicians. An ~ or freedoms iconic work, excellently recorded by our current label of the year. ESENVALDS Passion ‘According to St Luke Latvian Radio Choie/ SlovardsKjva Oreine Beginning in a moment of high drama ~ the crowd's shouting ‘Crucfy him ~ ESenvalds’s 2014 Passion setting offers listeners varied ‘musical styles and superb performances. An auspicious beginning to what could wn out to bean eacellent eycle from Petrenko, one which swith the deams and detil of really these symphonies. “BACH ALLITALIANO® ‘Simon Bort ango90 Young reconler player Simon Borutki is highly impressive in this performance of, among other pices, Bach's transcriptions for harpsichord of violin concertos, now arranged for recorder ~ just listen! MacMILLAN Since vas the Day of Preparation. Hebrides Ensemble Deipian “The second fascinating modern Gospel setting in this month’ selection — this time ofthe final sections fom St John: a powerful work of personal faith by James MacMillan, and given a deep beauty by Elizabeth Kenny’and Phantasm, Jed by Laurence Dreyfus: relly wonderful Dowland recordin BEETHOVEN Misa solemnis CConcentus Musicus Wien Nikolaus Harnoncourt “This posthumous release sa moving and important final legaey lef by Nikolaus Harnoncourt ~a remarkable recording ofthe Misi slonnis from an extraordinary man, WOLF ‘Kennet lu das Land?” Sophie Karthsuser sop Eugene Ast? Harmonia Mond Beauifil singing from soprano Sophie Karhauser, who seems perfectly at home in Lieder and specifically in this fine Wol selection, with Eugene Asti an excellent partner. Filla tae clasial form inthe Fifth and in the opening sides and sighs ofthe Sixth ‘Quartet (1960 ~ Bacewier’s first venture ineo the ewelve-note system) her voice (like Stravinsky’) is so distinctive that you don’ hear tone rows: you hear Bacewir, The Seventh Quartet (1965) unites fantastic, ‘mercurial contrasts of mood in a form so cogent that the closest parallel I can think of is Haydn ~and you can't give higher praise than that. In short, Bacewice’s quartets are essential listening, and the Silesian Quareet realy give the impression of having lived with them, “They approach the eycle as unity as cat as the First Quarter, theyre colouring sccompaniment figures to anticipate the sul ponticello buzzings of the later works ~ and everything grows out of a deep sense of Bacewicr’s strutures listen to the sheer ‘momentum they generate inthe opening ramephonecouk bars of the Fits, Third and Fifth Quartets "There's an objectivity and a sense of musical intelligence here that (feel serves the msc better than the more red-in-tooth-and-claw Lutoslwskis (Naxos sound, too, ion the ‘boomy sid). Chandos caprures the Silesian ‘Quartet ina lucid, atmosphere recorded sound that’s gutsy without being hecoring. Not tha there's anything eok-blooded about their playings their range spans from smelting tendemess inthe ist movement of the Fourth (the most openly romantic) to the fire-and-ice concentration of the third ‘movement of the Fifth ~ one of several Bacewiczslow movements tht sem to thaw slowly from with the bearer of Bacesricy’s most intimate confessions and the Silesian Quarte’s viola player Lukase Syrnicki is capable both of fte-ikesofiness and ardent declamation, But the whole group seem to understand The viola is often | this ife-affr [ven their comic timing is spot on — vital in Bacewier’s witty, high-voltage finales With at least tree recorded cycles, Bacewier’s quartets haven't been a bly served as some and i's wonderful to have the choice of two very diferent reen recordings. Nonetheless, the assurance, insight an finish ofthis particular et snake eel ike a landmark ~an assercon ofthis music's place a he heart of the 20th-cencury quartet repertoire, where it surely belongs The Silesian Quaret play it ike ies Beethoven, There's no pointing, just shared commitment toleting Bacewir speak. And that's something profoundly worth hesring. @ Swing ur Nt 3.68 tt 8480 #572006, Sry Qu N43 prin tt 8480) 8572007 (GRAMOPHONE RECORDINGS OF THE YEAR 2016 19WHAT IS APU Laenea providing you various content: ee on ee ec ee sc Pee Maat Unlimited satisfaction one low price Cheap constant access to piping hot media Protect your downloadings from Big brother Safer, than torrent-trackers 18 years of seamless operation and our users' satisfaction ONT E a aUr or Te Tle ma AU meld One site AvaxHome - Your End Place We have everything for all of your needs. Just open https://avxlive.icuRECORDINGS OF THE YEAR September CHRISTIAN TETZLAFE LARS VOGT BRAHMS Chris ian Tetzlaff and Lars Vogt take obvious pleasure in details without losing sight BO of the larger picture Andrew Farach-Colton welcomes Tetzlaff and Vogt’s return to the three Brahms violin sonatas ~ more spontaneous even than their 2002 live recording Brahms Vitn Sonatas No Op 78: No 2, 0p 100: No3, Op 108. FAE'Sonata Scherzo, WoO2 Christan Teta Lars Voat (Christian Tetzlaff and Lars Voge fist recorded the three Brahms violin sonatas for EMI athe 2002 ‘Spannungen’ chamber mse Festival in Heimbach, Germany spirited, oecasionaly restless performances that thrillingly eapure the adrenalin rush ofa live concert. This new studio account from Ondine preserves mich ofthe incisivenes, urgency and lightness of ‘ouch’ chat Edward Greenfield justly praised in his review ofthat EMI dis, along with a breathtaking balance of poise snd dating Asin ther live reonding, Teeaffand Vogt favour flowing tempi, ye there's an ever greater sense of spontaneity and elasticity here than before ~ asthe opening movernent of (Op 78illusates so beautifully. Although i’ marked Vow ma non ropa, the players start ‘our serenely indeed, there's ile if any sense cr,one becomes aware of signalled subd at che only in the coda, which surges exultandy 20 GRAMOPHONE RECORDINGS OF THE YEAR 2016 Inberween though, the an ebb an flow uninterruped, unified body Listen ac around 258°, where the instraments trade searching, syncopated melody and breathless accompaniment Teta and Voge imbue this iterovining dance with tender intimacy, an che ressling Feeling of anicpation is exquisite. In numerous passages thro programme, in fae, the players find ways 0 hold even the most expansive melodies or rout the phrases taut (bur no rigidly so) ‘create enormous tension. There's a section Adagio of Op 78 at figuration the texte suddenly becomes drastically simplified to something lke a distantly remembered decelerated march. Voge does’ stiffen up here and grip the dose hythms, a8 Gydirgy Seba does, a; in his classic Philips recording with Arthur Graminox, bt insted seems to fel his vay forwards, step by stp. Sebdk’s approach Aisspates the emotional pressure, Vogts heightens it. And when, over this slow-moving procession, Tetlaff enrets witha warm, beaeon-like song, the elect is mesmerie: ‘Vogt canbe almost reticent a dimes, lis is very soft, although its presence is felt even a its quietest, perhaps because ramephonecoukRECOR INGS OF THE YEAR September Editor's Choices SIBELUS Symphonie TELEMANN conceror = © sewoensens teen ee7 Portege Sting dure Meneses orcs Crete feat Qurst sme an ‘cg Coun es Spite lebron, Fetlowing on fm Few conduetors have such an distinguished history of bringing such consistent insight and instintiveness 1 Sibelius as Vins ~ fine addition to bis, i's, discography’ and Si uszt Transcendental Etudes Ke ersten ye Stamina, virtuosity and musicality are really co the fore in this extraordinary joumey through Lisz’s Transcendental Bends from former Gilmore Artist Award recipient Kiril. BRAHMS Vier erste Gesinge Mattias Gere Christoph Eschenbach» moni Mun An everindividual singer joined by an cever-engaging conductor/pianist make fora thought-provoking ~ and often extremely beautiful ~ Brahms recial both of Telemann’s muse for flare and recorder, and of period ensemble Flrilegiu’s ch anniversary: many well- deserved congratlations on both counts! Ul Wallin oozes ] ‘command throughout this tof wonderfl_ in both the forceful and fragile moments of pieces that pose considerable technical demands REGER Four Solo ‘Vion sonatas, Op 42 utr Watin cro Swedish violinist , [BRUCKNER , NaseNo te ra Pritarmoni Festive | Gerd scaler Prot Gerd Schaller fllows hiiseycle of Brockner symphonies with an excellent performance ‘of the composer's Mass No 3, superb soloists and recording quality adding tothe appeal. the Diotima Quarte’s set of two months ago, the Asasllo Quartets Schoenberg survey is equally penetrating, perceptive and fascinating ~ and worth acquiting BLOW Srmphony Anthems Choir otNew Coleg, Oxford Robert Quinney 1a cere es errs a vik RACHMANINOV Vespers ‘st Thomas Choi of Men ‘and Boys John Scott Rachmaninov’ Vespers, here recorded with anall-male choir with boy trebles, in ‘magnificent performance under the sure hand of the ate John Seo. his touch is so varied and articulate. Inthe finale of Op 78, note how he distinguishes between the delicate piterpatter of the right hand’ semiquavers and the lf’ pizicatolke inmerjctions. Tela, for his part, employs a similarly diverse tonal arsenal, That glorious fat major melody (at 350") is rendered with asilly legato, the double-stops amplifying the effect through texture, not volume, as fa single tone could not contain such emotion, And then atthe movements end ~ ist at 6°40", with its ravishing dakisi playing, ann then at 729", where Teta redces his sound toa confessional whisper — every phrase isinensely, ly expressive. (On the lve FMI recording, Terlaf's sound was wiry and slighly edgy. Here, in Bremen'sSendesial, Ondine's engineers do him fl jasice. He docs not havea big ft, ‘voluptuous sound ison the lean side, yet focused, gleaming, and capable ofa completely ramephonecouk un-saccharne sweetness. Notable, 109, his cloquent use of portamento ~ inthe llegro ‘amabile of Op 100, where he moulds the fist, theme so elegandy (0°34), and then, more ‘impressively il in the Adagio of Op 108, ‘which i so heart and noble, Tetzlaff and Vogt take obviows pleasure in details without losing sight ofthe larger piture, whether ia phrase, movement oF an entire work Indeed, they sharply delineate ‘the invideal character of each sonata, Opp 78 and 100 are both overvhelmingly sunny and Iyrical, yee there's greater vulnerability i the former and more confident ardour inthe liter. (Op 108, onthe other han sane ridden and turbulent and this interpretation aply broods and frets, seethes and squalls. Even the cere mal log passage tha introduces the frst movement's development (t 216") harbours a deep disquiet. The finales explosive, rhythms bristling, dynamie conessts scary illuminated, and with an unrelenting dramatic thrust. Similarly, in the propulsive, Hoffnann= ‘esque Scherzo Brahms composed forthe collaborative PAE Sonat (along wit Schumann and Albert Dietrich), Tetaaft and Vogt go fr broke Teta makes his Violin spit and whine like idler possessed, while Vogt stabs atthe jagged syncopations with gusto Is an exhilarating encore to superbly satisfying die. No matter that the aalogue is crammed with reeordings ‘ofthese sonatas this one wil st proudly ‘on my shelf alongside Szeryng/Rubinstin, Mollova/Anderszewsk and Dumay/Pires, © Grams, S178) PHS Be 6 7027 any Pr 99) B35 2G Ma Ass 9) PIL 78 ASHEN? Tena Vg (09 (9 555282 GRAMOPHONE RECORDINGS OF THE YEAR 2016 21RECORDINGS 01 Awards issue THE YEAR You may be surprised by Thomas Dausgaara’s force and conviction as a Mablerian David Gutman is enthralled by a new dise of Mahler's unfinished Tenth Symphony from Seattle that all but trumps its many predecessors Mahler Symphony Noo erforming version by Deryck Cooke) ‘Seat Symptiony Orchestra / Thomas Dausgard Seattle Symphony Meda ® S840" 72-000) Recodeive a eraoya Ha Seat Tescems thatthe Ninth is limit. He who wants to go beyond it mst pass away. Te seems 2 f something might be imparted to us which ‘we ought not yet to know, for which we are not ready.’ Amold Schoenberg might just have been wrong though. The resurection of Mahler’ projected Tenth may have triggered a permanent shiftin perception. And, of course, Shostakovich did manage 15! ‘When a composition comes down to 3, a workin progeess its only tobe expected that musicologist and interpreters should feel entitled to innovate Thomas Dausgaand adopts the familiar Deryck Cooke performing ‘version but gives ita potent new slant. Ifyou only know the conductor from his buoyant post-authenticse work with the Sed (Chamber Orchestra you may be surprised by 2 GRAMOPHONE RECORDINGS OF THE YEAR 2016 his force and convietion asa Mahlerian, Three ‘concert performances, dedicated to the vets ‘of erors attacks in Paris and Beirut, have ben edited together to make a convincing ‘ovn-label release and 1 should say a once that the standard of ‘execution i astonishing given thatthe Seatle Symphony had never previously encountered the ‘complete sore Tean't remember hearing a more turbulent and propulsive rendition, nor one that does 0 much to address the string-heavy bits ofthe Cooke realisation Dausgaard ses the musi differently from ‘Yannick Névee-Séguin, whose occssionally alist less than squeaky-clean lontreal account is comprehensively ‘atelassed. So too are most of its predecessors, Even the opening Adagio sounds freshly cironaco cone tovean om OE mained in Seale, switchback ride cmbricing almost expressionless torpor, passionate bloom and even puckish humour at the expense, perhaps ofa messure of its horror and ferocity. The strings are remarkably assured even in the highest lying writing; and, ifyou like consequential phrasing and copious old-school portamentos, this will bea must-have. Wind contributions are similarly characterful. Those lean chamber= ramephonecoukRECORDINGS OF THE YEAR issue Editor’s Choices copLaNo BEAN too muse MENDELSSOHN Orta Wo, 2 Seen chamber Shing uae os 5 oC Pinermonic ‘Orchestre Dean Darter Quartet rcs etm son ts ne (cranes Dise two in Wilson's (Copland series takes us to less well-known works, but with the rigour of understanding and complete conviction tha are this conductor’ hallmark, ‘CHOPIN Mazurkas Pavel Kolesikoy 0° Hyperion The young Russian Pianist ~a member ‘of the BBC New Generation Arist scheme and former Honens Prize winner shows a remarkable command and originality in thie superb Chopin st KRENEK Reisebuch ZZEMLINSKY Songs Florian Boesch Roger Vignoes 2 Hyperion | Exceptional Lieder singing from baritone Florian Boesch ~ engagingly communicative throughout - ina perfect partnership with pianist Roger Vignols. BIS continves its advocacy of the ‘Australian composer and ex-Berlin Philharmonic viola player's ‘music with this captivating disc of works from the pas decade ors, DSCARLATTI Keyboard Sonatas, ol 4 PrerreHanta Mire “The gradual ‘continiation ofthis Scarlatti series serves up another deeply thought-out recording, both eloquent and entertaining and cstraordinarily skilled in exceuion SS awven music oF <== THERUSSIAN 4 = cHurc ‘Moscow Patriarchal Choir ya Tokachev Creistopnorus Truly heareele performances ofthis Russian repertoire, recorded in the atmospheric acoustic ofthe choits vast cathedral home. ae ‘The Parker Quartet = continue their ‘Mendelssohn exploration with a masterclass in ensemble collaboration, rich in ideas and tunity of vision. A wey ine dis from an impressive group. BEDNALL stabat mater ‘Ave Maria. Maran Suite ‘Benenden Chapel Chole/ Edward whiting fegent ‘The British composer already has a growing Aiscography; this new addition from Regent focuses on his substantial and imaginative setting ofthe deeply moving Marian hymn, GOLDMARK Die Keniginvon Saba Sols Freiburg Phitharmanic Orchestra / Fabrice Ballon once hugely popular work, now rarely heard (let alone reconed), Goldmark’s opera gets a superb performance in another exciting CPO set. muse textures (whose provisional quality is surely the strongest angument against performing the Adagio 2 a freestanding entity) sound more than wsualy finished, “The conductor's passionate temperament is yet more evident inthe second and fourth ‘movements, Some wil find im too loud, too pressurised and too fast in the fst Scherzo but he takes the players with him, transforming what ean sound awhvandly tentative into a proto-Hindemithian ‘whishvind of colour and noise with avirtwoxo dash to the finish. The second Scherco is just asracy, its mood-changes deftly handled with real Viennese charm inthe Trio section and a wonderflly clear and clean winding-down towards the finale. The transition involves the [kind of monumental, ear-ending bass drum thwacksthata young Simon Rate favoured in his early Bournemouth recording. In concer, Riceardo Chailly has lately tried prefaing the man bests with extra grace notes to simulate tatoo, Doll solitary’ thud remain the ‘ubiguitous solution on dis ramephonecouk “Those who have grown up with Ratle or Kure Sanderling will notice some additional testual departures. While excising one ofthe indicated drum strokes to pass seaaessly nto the finale has not become the norm, “unsaspectng listeners might nevertheless suspoct an editing fult when interpreters like Dausgaad stick hy what the composer actually drafted, There are no percusive reinforcements atthe return of the dag's piled-up breakdown chord. Nor will you find bass clarinet deployed in lew of basoon for Cooke’ pastiche counterpoint from bar 162 of the Adagio itself, Perhaps Dausgean’s Seattle ‘music-making canbe fractionally less emotive than was Rattles in Bournemouth but the sults are rarely less than supercharged. The Jugubrious tuba slo with which Cooke chose tonite the fifth movements as impressive ssany, I haven't mentioned the central, "Purgatoro’ hocause i's dificult imagine it better done, The team’s absolute commitment co tele prinpal bbe doubted, guest conductor can scarcely ‘To cap ital, the packaging is assy, with individualist annotations from the conector himself. Discussing the music in terms of biography and psychology doesnot give rise toa “sentimentalised performance, Heartel exclamations suddressed directly to Mahler's beloved Alma famously iter the manuscript ~ fe dich leben! fir dich sterben!" (to live for you! odie for you!) ~ yer the outcome here is properly cogent, ife-affirming and schmak- free, The recording per seis very vivid t00, bringing everything lide close in order toexclie audience nose, Inthe event one ‘an imagine the lucky patton of Seatle's state-of the-art Benaroy Hall stening in rapt silence. This exceptional issue from the Pacific Northwest ought toe a gate: changer forall eoncerned. @ Br SO, a (2) WARDS 563 Mast Maplin Os Nt Sign (GRAMOPHONE RECORDINGS OF THE YEAR 2016 23