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The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
‘Can great music be inspired by the throw of the dice?’ asks Peter Phillips, director of The Tallis Scholars, in his liner notes to the ensemble’s new recording of Josquin’s Missa Di dadi (The Dice Mass). The fifteenth-century artist certainly had an abundant supply of devotional imagery. As one scholar has put it, during this age there was neither ‘an object nor an action, however trivial, that [was] not constantly correlated with Christ or salvation’.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Edouard Lalo (1823-92) is best known today for his instrumental works: the
Symphonie espagnole (which is, despite the title, a five-movement
violin concerto), the Symphony in G Minor, and perhaps some movements from his
ballet Namouna, a scintillating work that the young Debussy adored.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
It is not often that a major work by a forgotten composer gets rediscovered
and makes an enormously favorable impression on today’s listeners. That has
happened, unexpectedly, with Herculanum, a four-act grand opera by
Félicien David, which in 2014 was recorded for the first time.
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Félicien David’s intriguing Le désert, for vocal and orchestral forces plus narrator, was widely performed in its own day, then disappeared from the performing repertory for nearly a century.
This well-packed disc is a delight and a revelation. Until now, even the
most assiduous record collector had access to only a few of the nearly 100
songs published by Félicien David (1810-76), in recordings by such notable
artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan
Sutherland (the last-mentioned singing the duet “Les Hirondelles”
This new release of John Taverner’s virtuosic and florid Missa
Corona spinea (produced by Gimell Records) comes two years after The
Tallis Scholars’ critically esteemed recording of the composer’s
Missa Gloria tibi Trinitas, which topped the UK Specialist Classical
Album Chart for 6 weeks, and with which the ensemble celebrated their
40th anniversary. The recording also includes Taverner’s two
settings of Dum transisset Sabbatum.
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according
to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au
bûcher, an adaptation of the Trial of Joan of Arc
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
As the editor of Opera magazine, John Allison, notes in his editorial in the June issue, Donizetti fans are currently spoilt for choice, enjoying a ‘Donizetti revival’ with productions of several of the composer’s lesser known works cropping up in houses around the world.
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
24 Jul 2006
SHOSTAKOVICH: The Execution of Stepan Razin
This new Naxos recording offers a rare opportunity to hear three little-known works by one of the 20th century's greatest composers - The Execution of Stepan Razin op. 119, October op. 131, and Five Fragments for orchestra op. 42, by Dmitri Shostakovich (1906-75).
The works, recorded over the last decade, are performed by the Seattle Symphony conducted by Gerard Schwarz; Stepan Razin also utilizes the Seattle Symphony Chorale under the direction of Abraham Kaplan, with Charles Robert Austin as the soloist.
All three pieces seem to have suffered neglect over the years, not because of their unquestionable quality, but rather for the sake of ideological expediency. The Fragments, a series of aphoristic gems composed in 1935 as experimental sketches to the ill-fated 4th symphony, might have shared the symphony's fortunes then and are still rarely heard today. Which is unfortunate: this is a fabulously quirky little suite, and a wind lover's paradise. The opening moderato is written exclusively for the woodwinds, while the following andante combines their crisp, whimsical lines with an energetic double bass solo; no. 4, another moderato, is a contemplative fugue for a wind trio. The strings take the lead in a pensive, moody, lyrical Largo (no. 3) - a beauty even by the standards of a spoiled Shostakovich fan. The Allegretto finale opens with a tongue-in-cheek duet for a solo violin and a snare drum, followed by a violin-double bass duet - both combinations straight out of Histoire du soldat, although the violin sounds more like a Mahler scherzo than a Stravinsky "fiddle."
The other two pieces on the CD belong to a later period in Shostakovich's career - the 1960s. The 1967 symphonic poem October, dedicated to the 50th anniversary of the 1917 Revolution, is unlikely to be found on concert programs today, both Western and post-Soviet orchestras evidently embarrassed by the obvious ideological connotations. October is a high quality symphonic work, although perhaps lacking in either the biting irony or the gut-wrenching depth of its composer's greatest masterpieces. The main theme is an appropriate quotation of a so-called "partisan song" that Shostakovich appropriated from his own early film score, Volochayevskie Dni. Yet the overall mood of the piece is dark and somehow hollow - not at all appropriate for a laudatory offering the subject should have inspired and the reason for the composition's lack of popularity when it first appeared. It may not prove to be anyone's favorite, but it is an intriguing piece of a Shostakovich legacy, and the Seattle Symphony should be commended for resurrecting it.
The title track of the recording is the monumental 1964 Execution of Stepan Razin - an unusual and conceptually difficult work, billed by the composer himself as a "symphonic poem" for a baritone soloist, mixed chorus, and orchestra. Conceived as a sort of companion piece to the 13th symphony, it shares many characteristics of the earlier work: both set the edgy poetry of Yevgeni Yevtushenko; both include a solo male voice and a chorus; both confront the themes of victimization, indifference, and sacrifice. Yet the approach to those themes taken in Stepan Razin is arguably more complex than in the symphony, due to the ambiguous nature of the protagonist - for some, a terrorist, for others, a freedom fighter who kills for a just cause and sacrifices his life for the people who scorn him. Shostakovich himself reportedly struggled with his character's image, and repeatedly asked the poet if, in his opinion, Razin was a good man.
The composer's setting may best be described as, in his own words, "the Russian style" typical of several compositions of the early 1960s, in which elements of pseudo-folksiness (such as the use of plagal cadences and natural minor characteristic of the Russian folk tradition) combine with a more recognizable Shostakovich idiom - flat-degree scales, dark orchestral hues with much use of low register and sharp high/low contrasts. Frequently dry instrumentation with an emphasis on winds and percussion is reminiscent of Stravinsky (an open homage to Histoire is recognizable in an orchestral interlude that illustrates the text "even the skomorokhi fell silent"). More evidently perhaps, the treatment of vocal declamation, the powerful choral scenes, and the overall structure of this unstaged "folk drama" suggests a pervasive influence of Mussorgsky whose opera Khovanshchina and song cycle Songs and Dances of Death Shostakovich was studying and orchestrating in the years immediately prior to composing Stepan Razin.
The Execution of Stepan Razin is an emotionally compelling and intellectually complex work that ought to be much better known than it has been to date. Hopefully, this recording will help change that. The only drawback perhaps is a sorely inadequate booklet that provides next to no help to the listener. I therefore direct my readers wishing more information on the composer and the pieces to Laurel Fay's excellent biography and other examples of first-rate Shostakovich scholarship of recent years.
University of Maryland — College Park