Yuri Honig

The viola is no longer the Cinderella of string instruments, thanks to such composers as Hindemith, Schnittke, Britten and Berio, but it was Walton who, in 1927, composed the first significant work for the viola since Berlioz’s Harold in Italy of 1834. Max Bruch also wrote for it; like Mozart’s Sinfonia concertante for violin/viola duo, he composed a concerto for viola and clarinet in 1911, with an alternative version substituting violin for clarinet. A short Romance had appeared in 1885, while Kol nidrei for cello also had a version for viola. All these works appear on this excellent disc and highlight the instrument’s strengths and weaknesses in the capable hands of Bashmet, currently one of its greatest exponents.

In the wake of the beloved Russian baritone Dmitri Hvorostovsky’s untimely passing in November 2017, tributes, memorials and musical event dedications have flowed non-stop. But none thus far has matched the sheer scope, power and sonic splendor of this all-Russian performance of Verdi’s blockbuster Requiem Mass…

'Heaven on my mind' is the fifth album by the Yuri Honing Acoustic Quartet and will be released in September 2023 for Challenge records. After the thematic albums 'True' (2012 inspired by Berlin and David Bowie). 'Desire' (2015, an instrumental opera about longing), 'Goldbrun' (2017 a homage to Europe and Honing's interest in European art music) and 'Bluebeard' (2020, a dark album mainly inspired by the 300-year-old fairy tale of the same name), there is now 'Heaven on my mind'.

Pianist Nikolay Rubinstein, for whom Tchaikovsky wrote his First Piano Concerto, initially remarked that the concerto was completely unplayable. How ironic that not only was he made to eat his words during his lifetime, but that the concerto has been one of the most widely performed and recorded works in the repertoire. Of course, with that kind of widespread attention, each subsequent recording has more and more difficulty distinguishing itself from its predecessors. Pianist Denis Matsuev, joined by the St. Petersburg Philharmonic Orchestra, manages to succeed in making this a memorable addition. Matsuev's playing is nothing short of Herculean; he plays with all the muscularity and bravura of Yefim Bronfman and then some. He is equally comfortable in delicate and nimble passagework, with the scherzo imbedded in the second movement even more dexterous and swift than Arcadi Volodos. The Shostakovich First Concerto is equally as enjoyable. Less a showpiece than its earlier cousin, Shostakovich affords Matsuev to show off his sensitive voicing, lush sound, and exceptional musicianship. Supporting Matsuev's authoritative playing is Yuri Temirkanov and the St. Petersburg Philharmonic Orchestra, which matches pacing, temperament, and color with aplomb.

A major strength of the Parma performances has been the contribution of the theatre’s chorus. So it proves here as well. Along with the choral contribution, and that of the four soloists, I always listen carefully to hear how the conductor controls the dynamics of the opening Requiem Eternam…the thrilling Tuba Mirum…and the Dies irae and its reprise. Yuri Temirkanov, Musical Director of the Teatro Regio, passes my tests with an ethereally quiet opening. Add to this a viscerally exciting lead into the Mors stupebit…