Yes Close op The Edge

The Lindsays offer strong, eloquent versions of the three Op. 55 quartets. Their playing is full of vigour yet alive to the nuances and felicities of a composer near the height of his powers – perhaps already there in the splendidly volatile F minor Quartet. The Kodály Quartet on Naxos provide an assured rival performance at bargain price, but the Lindsays’ attractive blend of exuberance and poise gives them the edge.

‘Muti can suggest a sensibility driven to the edge of sanity by its nightmare,’ wrote Gramophone of this intense interpretation of Berlioz’s visionary Symphonie fantastique, judging it among the finest recordings of the work and praising the conductor’s mastery at ‘holding the thread of argument together firmly, while never minimizing the incidental excitement’.

This set underlines various lessons. One of them is not to disdain the first three symphonies. They may not have the torrid solar flares of the last three but they certainly deserve as much attention as comes the way of Balakirev 1, the Borodins, the Glazunovs and the Lyapunovs. Pletnev is a most caring and thoughtful shaper of moods as the First Symphony shows. The playing is finely nuanced to match the strong balletic character. Indeed it made me think of Nutcracker more than once.

This compilation covers 20 years of live recordings made by conductor Yevgeny Mravinsky and the then-named Leningrad Philharmonic Orchestra for Erato. Mravinsky led that orchestra for nearly 50 years, from 1938 until his death. His last recording was that of Shostakovich's Symphony No. 12, made in 1984, found on Disc 3 here. His interpretations of Shostakovich and Tchaikovsky were highly regarded, so it's not surprising that several of their symphonies are here. There are also symphonies by Mozart and Beethoven in this set; tone poems by Tchaikovsky and Mussorgsky; and orchestral excerpts from operas by Wagner, Glinka, and Glazunov. The final disc contains a rare recording of a rehearsal led by Mravinsky, something few outsiders were ever allowed to witness. Even though he was an elder statesman of Russian music at the time of these recordings, there is still precision and energy in his interpretations.

The combination of Tchaikovsky's Piano Trio in A minor, Op. 50, with Anton Arensky's Piano Trio No. 1 in D minor, Op. 32, is a common one, for the two works were both written as memorials to instrumentalists. Good recordings in the stereo era go back to one recorded by Yefim Bronfman, Cho-Liang Lin, and Gary Hoffman on Sony some years ago, but the present release can stand with such classics. The two trios share an unusual mix of passionate virtuosity and elegiac quality, as if to remember the powers of the deceased player. Tchaikovsky's trio is a massive work, clocking in at well over 40 minutes even at the brisk tempos at which it is taken here.

Guitarist Steve Howe will always be best known for his monumental contribution to the band Yes, but that hasn't stopped him from continuing his music career into the solo artist realm. Now decades since the release of classics like 'Fragile' and 'Close To The Edge', Howe's music serves to entertain existing fans of his work, rather than create new ones. Nowadays, his music very much reflects his age; no longer are there the complex, bombastic observations he once did with Yes, but soft pieces that would likely best fit under the 'easy listening' category. All the same, Steve Howe's musical brilliance has never run out, and while 'Time' may not have the same longevity and depth of his life's greatest work, it is a perfect album to stay in and listen to throughout a cold winter's night.

The six string quartets of Béla Bartók mark a high point in the genre, and even though their myriad technical demands, rhythmic complexity, and bracing dissonances are no longer obstacles to frequent performance, they still present a major challenge for any string quartet. The Heath Quartet has been performing since 2002, and it has considerable experience with repertoire ranging from Beethoven to contemporary music, though this 2017 set on Harmonia Mundi shows that even after 15 years of music-making, these musicians can still be in awe of Bartók's achievement.

The Fourth Symphony was written at a particularly crucial point in Tchaikovsky’s life. 1877 was not only the year of his disastrous marriage but also the year in which he began his fifteen-year correspondence with his patroness Nadezhda von Meck. The F minor Symphony has always been a popular work with its muscular and melodic writing. Infused throughout the score is the sense of ‘fate’ which Tchaikovsky believed controlled his destiny as he described in a letter to Madame von Meck, “the fateful force which prevents the impulse to happiness from achieving its goal … which hangs above your head like the sword of Damocles.”

No matter how you cut it, this is terrific violin playing. And the best–somewhat ironically, considering the disc’s title–comes after the program’s opening Tartini (“Devil’s Trill”) sonata. Mela Tenenbaum is a staunchly confident violinist who projects assured technique and a thorough grasp of the exhibitionistic aspects of the works she presents here. Behind these sonatas, each of which is marked by formidable technical demands, is the work of a composer who was intimately acquainted with the violin (all were acknowledged virtuosos) and who knew how to structure a work for maximum dramatic impact.

The Reger concerto has a formidable reputation—dense, harmonically complex and with far too many notes for the average pianist. Who better then to decipher it than Marc-André Hamelin? In his hands this rarely recorded behemoth reveals both passion and a lyricism so often lost in lesser performances. He is wonderfully partnered by Ilan Volkov and the Rundfunk-Sinfonieorchester who share the pianist’s desire to elucidate an often misunderstood work.