2012 Harmonia

Shostakovich - String Quartets - Jerusalem Quartet (2012) {2CD Harmonia Mundi HMG 508392.93}
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© 2012 Harmonia Mundi | HMG 508392.93
Classical / Chamber Music

A judicious coupling of Shostakovich recordings by the Jerusalem Quartet who have won BBC Music Magazine Awards no less than three times. “Vivid, profoundly intelligent accounts of six of Shostakovich's Quartets. The Jerusalems prove eloquent exponents of these works' tragic intensity and bittersweet lyricism.” - BBC Music Magazine, February 2013.

En este trabajo se presentan por primera vez, a nivel mundial, algunas de las composiciones de dos maestros del Siglo XVIII, el primero Francisco Hernández Illana que desarrolló los magisterios de la Catedral de Astorga, del Real Colegio del Corpus Christi de Valencia y de la Catedral de Burgos, y por otro lado de un italiano Francesco Corradini, que desempeñó su carrera musical en la península primero en Valencia y posteriormente en Madrid…

Following the success of his 2011 album Rose of Sharon a celebration of 18th Century American music that landed on Billboard s classical chart and critics year-end lists the latest project by Joel Frederiksen and the Ensemble Phoenix Munich takes them all the way back in time to… 1972. That was the year the late British troubadour and cult favorite Nick Drake released his third and final album, Pink Moon. Initially, the album garnered a small amount of critical attention, but it was not until decades after Drake s death that it received widespread public and critical acclaim. Today, the sparse and unadorned tracks of Pink Moon are regarded by many fans and music critics as the greatest efforts of a tragically short career.

I am not an automatic fan of composer-led recordings, even when the composer is as great a conductor as Leonard Bernstein. However, after living with this newcomer for a while, I have to confess that it doesn’t quite match that classic version, even though it does a few things even better. On the plus side, there’s Kent Nagano’s swift and perky direction of some of the music-theater numbers, such as “God Said”, “World Without End”, and in general all of the music in and around the Gloria. But this can be a two-edged sword: The mechanized Credo has less impact than it could; a very quick tempo at the opening of the Agnus Dei prevents the chorus from ever sounding really angry and demanding; and the calamitous Dona Nobis Pacem simply lacks the bluesy sleaze that Bernstein himself wrings out of it. A slower tempo also would have allowed the music’s many layers to register with greater clarity.

This internationally renowned early music group specializes in the powerfully gripping music of the Sephardic romances passed on by an oral tradition, as well as the court and sacred music of the early sixteenth century (Juan del Encina, Juan de Anchieta, Antonio de Cabezón, etc.) and the more complex polyphony belonging to the later part of that same period. The Accentus Ensemble itself was founded in Vienna in 1988.

Behind every Mozart solo piano composition is the human voice, and many interpreters understandably build their interpretations from the melody line down. By contrast, fortepianist Andreas Staier generates rhythmic and dramatic momentum by letting his left hand lead, so to speak. His firm, sharply delineated bass lines in the C minor sonata's outer movements and the E-flat sonata's Allegro finale evoke a symphonic rather than operatic aura that proves far more stimulating than Paul Badura-Skoda's equally rigorous yet less vibrant fortepiano traversals.

Vivaldi's Dixit Dominus, RV 807, was added to the Vivaldi canon only in 2005; it was long attributed to Baldassare Galuppi. That shows you how minor composers don't get their due; it's a marvelous work, but it's only getting recordings now that Vivaldi's name is attached to it. At any rate, it's well worth hearing in this excellent performance by the rising British group La Nuova Musica, which has both vocal and instrumental components. They move like a well-oiled machine, making possible the clear communication of such vivid details as the musical depiction of a stream in the strings in the countertenor aria De torrente in via bibet (track 8) and the unusually elaborate fugue that concludes the work.