György Ligeti

Why is it so difficult to create a memorable theme, tune, motive or melody? Give Franz Schubert a few notes and a few manuscript bars and he could create highly memorable themes at the drop of a hat (think of the simplicity of the opening theme of the Notturno in E flat for piano, violin & cello D 897). Or think of the opening theme of Beethoven's Eroica symphony; simple, but effective. Why do so many contemporary composers find themes such a difficult concept? Ever the determined explorer, I gave György Ligeti a second chance, and started to re-listen to his violin concerto. My two thoughts after around five minutes? The first was: “codswallop”. The second was from the old days of television, when the picture would temporarily go haywire and a message would appear on your screen: “Do not adjust your set. Normal service will be resumed as soon as possible”. Mr Ligeti is now filed on the furthest filing shelf I can find. Life is far too short, and attractive music far too plentiful, to persevere with this kind of stuff.

Tianwa Yang's penultimate Sarasate Volume

The postgirl brought the penultimate volume (the seventh) of the complete works of Sarasate played by the wonderful Tianwa Yang. This fourth volume of music for violin and orchestra joins the three volumes of violin and piano pieces. Of Ms Yang's playing, I cannot do better than quote a Gramophone reviewer who is quoted on the Naxos CD: “ ... Splendidly equipped as a Sarasate violinist, with her clear tone, pure intonation, impressive dexterity and light touch ... startingly beautiful”. Well, that's it, in a nutshell. If you like Sarasate's music -- and who couldn't? -- and like beautiful violin playing, this set of seven CDs is the set for you. The latest volume contains the same selection of enjoyable music; in the “Fantaisie sur Der Freischütz de Weber”, it is easy to understand why 19th century audiences loved Sarasate (and made him a very rich man from his earnings). Naxos, being a serious recording company, gives us a photo of a warm, smiling Chinese girl (Ms Yang) rather than some sultry bimbo. A warm thank you to Naxos, and a very warm thank you to Tianwa Yang for having brought eight hours of Sarasate's music very much to life. The final volume -- violin and piano -- is due out next year. I'll be waiting.

Decca, Walter, Ferrier, Mahler

The British publication The Gramophone published this month its annual awards for “the best” in various categories (excluding the all-important category of historical transfers). Improbable Artist of the Year was a blond, female trumpeter (British, of course). What raised my eyebrows was the accolade of Record Label of the Year going to ... Decca (British, in origin, of course).

There are myriad record labels out there, some doing great things in rare repertoire and with first-class artists. I was reflecting on this when, this evening, I made another small step in eliminating duplications in my collection: I have two transfers of the classic 1952 recording of Mahler's Das Lied von der Erde with Bruno Walter, Katheen Ferrier, Julius Patzak and the Vienna Philharmonic. One transfer is Naxos (Mark Obert-Thorn). The other is from the original company Decca (96KHz 24-bit Super Digital Transfer). I listened to a one minute sample of each. One minute was enough.

The Decca sounded like a hi-tech machine transfer; the Naxos sounded like an audio craftman's transfer. Naxos won hands down -- so much so that I had to stay and listen to every note of the final Abschied as rendered by Ferrier, Walter and the VPO. Very moving, and in quite acceptable (Naxos) sound. Record Label of the Year. My foot.

Clara Haskil in Mozart

I am not old enough to have heard Mozart play his piano concertos. But I think that Clara Haskil is a good substitute for Wolfgang Amadeus, particularly in the D minor concerto K 466 which she played at the Lucerne Festival in September 1959 with the Philharmonia conducted by Otto Klemperer. Despite the 1959 recording (and the poor balance, with the piano grossly favoured over the orchestra) one can see why Haskil regarded it (in a letter to a friend) as an exceptional concert. She and Klemperer work together as in a perfect musical marriage; the somewhat grim music of K 466 seems to suit both admirably. A performance in a thousand, happily recorded and issued for posterity by Audite. Clara Haskil, like Klemperer, favours clarity, balance and note values. Such a pity the partnership never survived the dictats of the recording companies of that era.

Josef Spacek

Along with neighbouring Hungary and Romania, the Czech-Slovakian lands have produced generation after generation of fine violinists. The latest one to come to my attention is Josef Spacek who first appeared when I heard his very fine CD of pieces by Ernst where he revealed himself as an extremely musical virtuoso. A new CD from him -- with Miroslav Sekera at the piano -- features two of my favourite violin and piano sonatas: the sonata by Janacek, and Prokofiev's first sonata. A lovely CD; Spacek has an immaculate technique and a breathtaking pianissimo. The Janacek sonata comes over as more melancholy and less passionate than usual, featuring a more leisurely approach to the first movement which Janacek marked simply con moto (whatever that may mean. How can music be senza moto?)

So yet another fine duo disc; in addition to the Janacek and Prokofiev works, there are Smetana's two Z Domoviny pieces, plus the Prokofiev solo violin sonata. A word of praise for the Supraphon engineers who have achieved the difficult feat of balancing violin and piano beautifully, with plenty of space round the sound so that even Spacek's examplary pianissimo playing can be enjoyed to the full. Three stars.

Finally, a plea from a friend to anyone who has, or who knows of, a video recording of Henryk Szeryng playing Paganini's third violin concerto (London, 1971, with Alexander Gibson conducting). Anyone able to locate this or offer a copy; please send me a message.

Two Georgian Girls

Thanks to an urgent recommendation from an American friend, I plugged into Lisa Batiashvili and Khatia Buniatishvili playing Schubert and César Franck at Verbier this year (22 July). In one word: truly magnificent, and thank you MediciTV for filming the concert and making it available. The film should be shown in every music conservatory as a prime example of true duo playing. Lisa and Khatia listened to each other, and responded to each other's music, creating a real musical dialogue. For over a decade now, Lisa Batiashvili has been my top favourite of the new wave (viz, tidal wave) of brilliant new violinists; not only does she make a beautiful sound, have a superb technique and have incredible poise; but she is also a real musician whose powers of concentration shape the forms of the music she plays.

Her dialogue with Khatia Buniatishvili was riveting in the Schubert Rondo Brilliant and the Duo Sonata, and in the César Franck sonata. The encore, Heifetz's arrangement of Debussy's Beau Soir, was deeply moving as played by the two Georgians. In true duo playing of violin and piano music, one hesitates between admiring the violinist or the pianist, trying to decide which to admire more. So it was with this concert. Khatia Buniatishvili is a real pleasure to listen to, as is always, Lisa Batiashvili. It is sad that since both Georgians are “exclusive artists” with different record companies, the chance of hearing them together outside the concert stage will probably be limited. Anyway, for this 65 minute concert: thank you Lisa and Khatia. And thank you Verbier Festival and MediciTV (as well as César Franck and Franz Schubert). Proof that in a world where so much art is now thoroughly commercialised, oases of civilisation still exist.

The Liverpool Philharmonic and Vasily Petrenko

The Liverpool Philharmonic is hardly the Vienna or Berlin Philharmonic, but in Shostakovich conducted by Vasily Petrenko the Liverpudlians sound first class. As I've remarked before, a second-echelon orchestra playing its heart out is often more enjoyable than a top orchestra going through the motions. Jascha Horenstein was another conductor who could draw first class results from second-echelon orchestras. My latest sampling of Petrenko is with Shostakovich's eighth symphony, a work of which I am becoming very fond. Easy to lose one's tracks amidst 15 symphonies that I have only recently discovered – but I do recall having a special spot for numbers 8, 10 and 15 (plus one other, that I cannot remember). An aspect of Shostakovich's music that greatly appeals to me is its frequent mood changes – from sombre to merry, from savage to tender, from soft to (very) loud indeed. In the symphonies, Petrenko and his Liverpudlians come away as excellent guides. And the Naxos prices (and recording quality) also appeal. Listening demands either good quality headphones, or a manor on a secluded estate; the music can become very loud.

Klemperer in Mozart

Listening to two very enjoyable symphonies by Friedrich Ernst Fesca written around 1815, highlighted for me the gulf between great talent, and genius. Fesca was an immensely talented composer (with an early death at 37 years old). But turn to Mozart, or Beethoven or Schubert from the same approximate period, and the contrast is stark; we are in a different musical league all together. Unfortunately for Fesca, I am in the middle of a “Mozart period”, having taken delivery of not only an 11 CD box of Mozart operas, but also an 8 CD box of Mozart symphonies and serenades. Highly enjoyable; I have neglected Mozart for quite a while to wander in the pastures of Bach, Wagner, Shostakovich, et al. But Wolfgang Amadeus is welcome back into my life.

Conductor of these mammoth boxes is ... Otto Klemperer, one of the side benefits of the EMI sale to Warner being the fire-sale of the great recordings from the EMI back catalogue. Klemperer lived a long time (dying at the ripe old age of 88 and active almost until the very end). Of him, the EMI liner note says: “ ... last of a generation of great conductors who had been nurtured within the late nineteenth century European culture where music was central to the intellectual and spiritual life of the civilisation it served”. I revel in Klemperer's Mozart conducting. All his many virtues are to the fore: care with note values; strict attention to balance and clarity; rhythmic integrity; balance between first and second violins; forward woodwind; avoidance of any suspicion of showmanship or playing to the gallery; attention to dynamics; complete integrity. Added to this, in these recordings, is the playing of the Philharmonia during the 1950s and 60s, plus the professionalism and care of detail by the EMI recording team nurtured by Walter Legge. All topped by the incredible fire-sale prices of the EMI back catalogue.

And tempi? In the main, I have few problems with Klemperer's tempi. For me, the secret of a “correct” tempo is that the interpreter must feel it, and believe in it. Thus slower tempi that can be found with artists such as Furtwängler or Klemperer can sound right, just as faster tempi with an artist such as Jascha Heifetz can sound right. Tempi sound wrong when they are chosen for extraneous reasons, such as “if I play it slowly, it will sound more profound” or “I will play it fast because that is what the composer's metronome specification says”. Tempi need to be generated internally, not from external factors.

There are -- for the moment -- Klemperer boxes of pretty well the whole Austro-German eighteenth and nineteenth century concert hall repertoire: Bach, Haydn, Mozart, Beethoven, Schubert, Brahms, Schumann, Wagner, Bruckner and Mahler. And, unlike his colleagues such as Bruno Walter, Toscanini, Furtwängler, Erich Kleiber, et al, Klemperer lived just long enough to be in pretty decent recorded sound. Anyone wanting core recordings of the Austro-German repertoire should invest in all these Klemperer boxes, immediately (the sale is unlikely to last too long).

Fanny Clamagirand, and Camille Saint-Saëns

A sunny Saturday afternoon, and a new CD of the French violinist Fanny Clamagirand (with Vanya Cohen) playing violin and piano music of Camille Saint-Saëns. This is the third CD I have of Clamagirand playing Saint-Saëns; probably almost no one plays it better, with her French elegance and good taste. Saint-Saëns's music does not need pumping up; it just needs a sense of style. A lovely way to pass an hour or so, listening to highly agreeable music beautifully played in an entirely appropriate style. Naxos, of course.

Ysaÿe - Murray, and Barati

The six sonatas for solo violin written by Eugène Ysaÿe nearly a hundred years ago are popular with violinists and with lovers of violin playing – much as the semi-contemporaneous pieces by Alexander Scriabin are popular with pianists. The music of both composers is probably less popular with audiences; although Ysaÿe was born in 1858, his six solo sonatas breathe a somewhat modernistic air, and extended works for a solo violin can become monotonous, unless the violinist has a full quiver of sophisticated sonic arrows.

I do not usually do head-to-head comparisons of different artists, but having the six Ysaÿe sonatas played by Kristof Barati and by Tai Murray out for listening, I decided to listen to each sonata twice, played alternately by the two artists. It was an interesting experience, and brought to mind the now-ancient rivalry between fans of the Sibelius violin concerto with Jascha Heifetz (1935) and Ginette Neveu (1945). Both Heifetz and Neveu gave great performances, albeit of a very different character, and this came to my mind listening to Barati and to Murray. Barati is Hungarian and Murray American; both, on their respective CDs, prove to be technically completely competent in these difficult sonatas that contain many chords and many passages in double stopping. Barati is the Heifetz in this instance, with slightly faster tempi than Murray and with an overall elegance that holds the attention. He has superb double stops, an excellent range of dynamics and a myriad of different colours in his palette, holding my attention fully through each sonata.

I did not think Murray would be able to compete with this: but she does. Equally impressive dynamics, and an equally rich palette of colours. She is the Neveu of the two, bringing a sense of affection and passion to what she is playing – one suspects the sonatas are even closer to her heart than they are to the heart of Barati.

Which interpretation will I keep, alongside a few others, including the excellent Thomas Zehetmair? As so often in these cases, I'll keep Heifetz and Neveu in the Sibelius; and Barati and Murray in the Ysaÿe sonatas. Both the newcomers are well recorded -- no easy task with a solo violin -- though perhaps Murray is a shade too close to the microphone. Both violins sound fine, though Barati's 1703 Strad sounds a whisker better in the higher reaches than does Murray's 1690 Tononi. Kristof Barati sounds more masculine; Tai Murray sounds more feminine, and you never lose track of which one you are listening to. We live in great times for lovers of fine violin playing.

Klemperer in Wagner

It was moving this evening listening to the 85 year old Otto Klemperer conducting the Philharmonia and Norman Bailey in Wotan's Farewell (to his daugher) from Act III of Die Walküre. It was almost the last music Klemperer recorded, and “Leb wohl, du kühness, herrliches Kind” has never sounded so sorrowful. It is slow (Klemperer, 1970) but in other words: it is authoritative, magisterial. Georg Solti, in the same passage, sounds almost as if he were in a hurry to get rid of his favourite daughter. Not Otto.

Wagner's music is music to bask in, and I am infinitely happy that amongst all the things I did as a teenager, absorbtion in Wagner's world of themes and motifs was one of the better activities. Composers come and composers go. And conductors come and conductors go. Among my preferred conductors of the German classics (Mozart, Beethoven, Schubert, Brahms, Wagner, Bruckner, Richard Strauss) are: Furtwängler, Knapperstbusch, Klemperer, Böhm, and a few others. In some ways, the art of classical conducting from the first decades of the 20th century died with them. Fortunately, there are recordings -- as in the case of Klemperer going on into the very early 1970s. Klemperer in Wagner is really something to hear. They don't play it like that, now.

Squid

Just so I remember: today's lunch with smoked salmon followed by squid was excellent. The squid were cooked in ginger and chives, with salt, pepper and olive oil. Truly superb. Followed by cheeses. Fish accompanied by white wine; cheeses with red wine -- both from Le Marche (Italy). Awaiting me this evening: two sea bream.

Isabelle Faust and Claudio Abbado

As I've commented before, Beethoven's violin concerto is a difficult work to bring off successfully – particularly the long first movement. It does require a top-class Beethoven conductor, which it certainly gets in the performance with Claudio Abbado conducting his Orchestra Mozart. Good to hear the orchestral part in good, firm hands. Soloist is the entirely admirable Isabelle Faust; the work does not need some supercharged star virtuoso, but it does need someone who is intensely musical – a quality Ms Faust has in abundance, along with some lovely violin playing (including some super-soft pianissimo playing). I like the zippy finale in this recording; rondos can never be too fast for me. An excellent modern classical recording. It cannot supplant for me Röhn, Kulenkampff, Schneiderhan or Busch, but those classics are now well over 60 years old, so a new classic is much to be welcomed.

Khachatryan, Faust and a Musical Flood

A few years ago I was at a concert (Bournemouth Symphony Orchestra, Marin Alsop) where the soloist was the teenage Sergey Khachatryan. I was very impressed with his playing (and also by the fact that the young Sergey had obviously grown since his jacket and trousers were bought for him, and both were too short on arms and legs; up and coming artists don't have money for constant new wardrobes). I bought Khachatryan's latest CD – the three Brahms sonatas – even though I really have no need whatsoever for yet another set of the three Brahms sonatas; this really has to be the last set. The performances, with his sister Lusine as the pianist, are expert and thoroughly musical. If only I didn't have so many competitors (including the superb set by Boris Goldstein).

At the same time, and for much the same reasons of loyalty, I bought Isabelle Faust playing the two Bartok concertos, though I am not fond of the two works, even if I find the second is marginally more interesting than the first. Both Bartok and Stravinsky seem to me to have written much de-humanised music (unlike their semi-contemporaries Rachmaninov or Shostakovich). But I really like Isabelle Faust's playing, just as I really like the playing of Kristof Barati and a few others. It is refreshing to listen to the more sober Central European style of artists such as Faust, Barati, Frank Peter Zimmermann and ChristianTetzlaff after the excesses of the Russian / American clones. Momentarily overwhelmed by a mammoth tide of things to listen to – I have just acquired Klemperer in four Mozart operas – I really must stop buying. Maybe there are Music Buyers Anonymous chapters?

Masaaki Suzuki

Masaaki Suzuki has been labouring long over Bach's vocal works but has never received too much mention in this blog. An oversight for which I apologise. Suzuki and his Swedish record company (BIS) and his mainly Japanese Bach forces have reached Volume 53 of their Bach cantata recordings, and very good they are, too. Choirs and instrumental forces are not too minimalist (thank you, BIS accountants). Volume 53 has the quartet of faithful regular singers -- Hana Blazikova, Robin Blaze, Gerd Türk and Peter Kooij -- plus the usual Bach Collegium Japan. Year after year, Masaaki Suzuki has been a "best buy" in the Bach cantata field. Many thanks, Mr Suzuki (and BIS). You are much appreciated.

Barati and Würz in Beethoven

Beethoven's ten sonatas for piano and violin do not demand a high level of virtuosity (at least as far as the violin parts are concerned; I can't speak for pianists). A set of the ten when recorded does however require a) an excellent pianist b) an excellent violinist and c) an excellent recording and balance engineer. Get all three together, and you have a classic set of the ten. The 33 sonata movements, in the main, are not “great” Beethoven as with some of his symphonies, piano sonatas or string quartets, but they are highly agreeable and well-crafted works that repay frequent playing and listening.

Balancing a violin and a piano – in performance, as well as in a recording – is tricky since the two instruments are not too compatible. The piano hammers its strings, can make a very loud noise indeed when required, and finds it difficult to play really pianissimo. The violin caresses its strings with a bow, cannot really play at a very high volume, and excels at pianissimo and cantabile passages. There are a fair number of excellent recordings of the Beethoven 10, among which I would list Renaud Capuçon and Frank Braley, Isabelle Faust and Alexander Melnikov, Christian Ferras and Pierre Barbizet, Arthur Grumiaux and Clara Haskil, Alina Ibragimova and Cédric Tiberghien, Fritz Kreisler and Franz Rupp, Josef Suk and Jan Panenka, Christian Tetzlaff and Alexander Lonquich. To these I have now added Kristof Barati with Klara Würz (I also have Leonidas Kavakos and Enrico Pace, but these await listening).

Barati and Würz are excellent; both are very high class instrumentalists, and they play as a true duo. Tempi are “spirited” -- no bad thing in these amiable and mainly agreeable works that do not set out to plumb vast emotional depths. [[So another potentially top-class set, let down as so often by the recording engineers. The piano is slightly too forward, the violin slightly too backward, meaning that when the violin is playing with the piano we often have to strain our ears. And the engineers have allowed an unpleasant over-bright sheen to many of the higher passages when played by Barati; a 1703 Stradivari does not sound like this on its higher strings! So only 7/10 for the recording technology, which is a great shame since Würz and Barati really deserve the best.]]

Post Scriptum: My opinions above concerning balance and violin sound were arrived at listening to the ten sonatas via my loudspeakers (Quad). Listening now to Op 96 through good quality wireless headphones (Sennheiser) suggests there is nothing wrong with the balance and the violin sound on these recordings. From 7/10, we should go at least to 9/10, if not a bit higher. It confirms my growing suspicion that my current loudspeakers over-favour the bass (and thus the piano) and neglect the treble (and thus the violin). Speaker change is called for. Meanwhile, my apologies to Brilliant Classics for underestimating its recorded sound here. And a chance to underline, once again, my admiration for Klara Würtz and Kristof Barati in these recordings; they may well end up as my favourite set of them all.

Leisurely Arabella

Arabella Steinbacher has an immaculate technique, and she makes a beautiful sound on her violin. For sound and technique she scores 10/10, but there are often little problems when it comes to tempos.

Tempo is a difficult concept. In one sense, it is objective: allegro molto vivace means fast. Adagio molto tranquillo means slow. In another sense, it is subjective; if a piece of music sounds as if it is being played too fast, or too slow, that is usually the case. The final element between composer and listener is the performer, who should be feeling the correct tempo for him or for her. In earlier entries on this blog, I recorded feeling that Adrian Boult in the Brahms symphonies, and Renaud Capuçon and Frank Braley in the Beethoven violin & piano sonatas, had found the “right” tempo for every movement. In other words, it would appear that composer, listener and performer all agreed.

I usually have no problems with the tempos chosen by Otto Klemperer, Wilhelm Furtwängler, Fritz Kreisler or Jascha Heifetz – to take four eminent examples. I often have problems with the tempos of equally eminent exponents such as Toscanini, Cantelli, Celidabache or Riccardo Chailly. And I often have problems with the tempos chosen by Arabella Steinbacher: she is often too damned slow! On her latest CD, she sounds so lovely in Chausson's Poème that the often languid tempos can be (almost) forgiven. Ditto the Bruch G minor concerto. But poor old Erich Korngold's attractive little concerto suffers greatly from languid tempos; in the lovely slow movement, one is almost tempted to go and make a cup of tea while waiting for something to happen and for the music to move on. Please can someone explain to the lovely Ms Steinbacher that andante does not mean “fall asleep and move only imperceptibly”? Slower and slower (in sentimental music) is a modern disease and is detrimental to the music.

Kristof Barati plays Bach

Technically, the six unaccompanied sonatas and partitas of J.S. Bach are not too difficult to play for the modern generation of professional players. Every violinist has a go at them – even I, in my youth, though missing out the fugues and the chaconne which are a bit hairy for amateur players. As usual with Bach performances, the music does not take kindly to layers of “interpretation”, added schmaltz or exaggerated swooning. The music needs technical accuracy, it needs rhythmic stability, it needs sensible tempi with no violent vivaces nor lachrymose andantes. It needs subtle variations in colour and dynamics to avoid monotony; it needs an appreciation of baroque style. Get all that together, and the sonatas and partitas are a pleasure to listen to.

Frequent stumbling blocks from players are lack of violinistic colour, sluggish tempi, lack of contrast. The music does not take kindly to what I term the “Juilliard / DeLay” sound with its emphasis on even tone production and seamless bow strokes. Eminent violinists such as Perlman, Julia Fischer and Johanna Martzy fall by the wayside through lack of tonal variety. The worst performance I ever heard was one Sunday in Blenheim Palace near Oxford where Alfredo Campoli took over from an indisposed Yehudi Menuhin. Beautiful playing, but stupifying after ten minutes.

Latest candidate on my turntable to tackle the six works is the youngish Hungarian, Kristof Barati, playing an attractive sounding Strad. Mr Barati gets my thumbs up. He may not be a well-known player (I had never heard of him until recently) but he is technically superb, stylistically aware, and plays with attractive variations of tone and dynamics and tempi that are fleet of foot (without being too fleet). And no pseudo-museum playing, just playing that is stylistically aware. A pleasure to listen to, and highly recommended.