…There is no doubt in my mind that this Kullervo from Segerstam and his team is exceptionally fine and in the first rank of the ever-growing list of recordings. Spano's deeply thought and excellently performed account would also merit a first ranking. But I find Segerstam to have produced the most psychologically realistic Kullervo performance, thanks to the depth of characterisation uncovered by Hakala and Isokoski in the seemingly unpromising and dificult texts of the Kalevala verses. Segerstam comes close to Berglund's powerful first recording from 1970, which allowed many of us to encounter this unforgettable work. The state-of-the art fidelity of Ondine's engineering is a great advantage in itself. While quintessentially Finnish, Ondine's production nevertheless fulfils Sibelius' intent to make this music universal in appeal. Warmly recommended.
Marc-André presents a fascinating juxtaposition of two composers who are not obviously musically related, but who are proved on this album to be a felicitous combination. Schumann’s well-loved Kinderszenen (‘Scenes from childhood’) cycle is a masterpiece: each piece is as deftly and exquisitely crafted as anything in his more outwardly sophisticated mode. From the haunting beauty of the opening ‘From foreign lands and people’ (‘Von fremden Ländern und Menschen’), via the spare eloquence of the central ‘Dreaming’ (‘Träumerei’), to the quiet rhetoric of ‘The poet speaks’ (‘Der Dichter spricht’), the listener is taken through nuances of emotion whose effects are heartrendingly poignant.
Back when the Rolling Stones were proud to be the voice of revolt and Mick Jagger was as far away from his knighthood as Zayn Malik is from a seat in the House of Lords, they were, very occasionally, modest, not to say humble. A couple years after cutting their eponymous first album in 1964, chock full of covers of blues and rhythm and blues songs by black artists including a buzz-toned slice of anthropomorphism about our favourite honey-making insect, Jagger told Rolling Stone magazine: “You could say that we did blues to turn people on, but why they would be turned on by us is unbelievably stupid. I mean what's the point in listening to us doing ‘I’m a King Bee’ when you can hear Slim Harpo do it?”
The highly anticipated new recording from the Gramophone Recording of the Year winners in 2011. Two years on from their award winning Dvorak album, the Pavel Haas Quartet turn their attention to Schubert’s two late masterpiece. The String Quartet in D minor has a sort of dark cipher encoded within. The title “Death and the Maiden” reflects the quotation from Schubert’s eponymous song in the second movement. The theme of death is also underlined by other quotations and the choice of the key of D minor, which according to the period definition is characterised by “heavy-hearted womanliness, spleen and foreboding”.