Tianwa Yang Superb in Prokofiev Concertos

The Chinese violinist Tianwa Yang is a supremely elegant player, a quality that made her recordings of the complete works for violin of Sarasate, plus the six solo sonatas of Eugène Ysaÿe, so memorable. Her latest recorded venture is the two violin concertos of Sergei Prokofiev, plus Prokofiev's slender sonata for solo violin. Prokofiev's two concertos are very much written for violin and orchestra, with the various sections of the orchestra playing a major part. The two concertos do not have the emotional challenges of a Mozart, Beethoven, Elgar or Shostakovich but they do demand an expert soloist and a good orchestra; they get both here with Tianwa and the Vienna Radio Symphony Orchestra. Conductor is Jun Märkl.

The recorded balance is good. The all-important orchestral contribution is well featured. As reproduced on my equipment, the sound overall is good, though Tianwa's violin often sounds steely and harsh in the upper registers, especially when she is playing forte or fortissimo; hardly the fault of Tianwa or Guarneri del Gesù, one suspects. More likely the recording engineers. So: attractive music, a superb soloist, admirable orchestral support. But the harsh sound in the solo violin's upper register does niggle on occasions though, of course, different play-back equipment might modify this.

Three First-Rate Bach Cantatas from John Butt

Just as an alcoholic finds it difficult to resist yet another drink, so I find it difficult not to buy yet another CD of Bach cantatas. My latest fall from grace is a Linn production offering three of Bach's best cantatas: Ich habe genug (BWV 82), Liebster Jesu, mein Verlangen (BWV 32), and the Actus Tragicus (BWV 106). An impressive line-up. The Dunedin Consort is directed by John Butt; the recording is excellent with a clear line to Bach's often intricate ornaments for the accompanying band.

The “chorus” is econo-Bach, with just one to a part. Often this does not matter, but in Bach's elaborate writing in BWV 106 where he contrasts solo voices to the chorus, it's a bit of a pity. One feels that Bach, having put so much effort into the writing, probably hoped for less than an economy production. The bass, Matthew Brook, is to be highly commended for his exemplary diction; one can hear every word, and this is almost comical in the duets between bass and soprano in BWV 32 where the soprano, Joanne Lunn, could be singing in Mongolian for all we can hear. Why do so many sopranos find clear diction such a problem? Véronique Gens, and Maria Callas, were noticeable exceptions when it comes to clear articulation. I was not too enthralled with the alto, Katie Bray but, on the whole, singing and instrumental playing all come off well. A good addition to my 300 or so recordings of Bach cantatas.

Camille Saint-Saëns, Fanny Clamagirand, Vanya Cohen, Naxos

For many, many years now I have been an admirer and supporter of the Naxos recording company. Not for Naxos the fashion of the moment; no releases of music by black women composers of indeterminate sex. Naxos plods on with first-rate artists (who are not necessarily big names), recording music that ought to be recorded and made available. Its booklets are factual and eschew glamorous photos of glamorous artists. Brand managers may sniff, but Naxos has been around for decades where almost all its competitors have fallen by the wayside.

The latest Naxos release to cross my CD player is of the music for violin and piano of Camille Saint-Saëns whose long life (1835-1921) meant he composed reams and reams of tuneful music. The is Volume 3 of the Saint-Saëns works, recorded by Fanny Clamagirand and Vanya Cohen. The duo is hardly a household name but both artists are mightily impressive in this music that is arrangements for violin and piano -- almost all the arrangements by Saint-Saëns himself, except for one by Georges Bizet and the other by Eugène Ysaÿe. There is music to move the soul; there is music to move the spirits. And there is music simply to be listened to and enjoyed. I listened to the nine works on this CD and enjoyed them all, as I did the playing of Fanny Clamagirand and Vanya Cohen and the recording and balancing skills of Naxos. Thank goodness there is some quality left in this wicked world. Given my advancing years and my kilos of CDs on my shelves, I now buy few new CDs, but I always have room for CDs such as this.