Liszt for Cello and Piano, Francesco Dillon and Emanuele Torquati

Liszt: Complete works for cello and piano

Francesco Dillon cello

Emanuele Torquati piano

Brilliant Classics 94150

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Liszt's original works for cello and piano are few, but all are well worth hearing. The five pieces date from 1874 to 1883, towards the end of the composer's life, when he had long given up his soloist career and had turned instead to more spiritual pursuits in his adopted home of Weimar.

As a result the music has a profound spiritual quality. Much of it sounds difficult, although it is rarely overtly virtuosic. Structurally and harmonically, each of these short pieces is very adventurous. There is little in the way of traditional form, and they rely instead on a kind of Tristanesque stream of continuous melody. And none of them ends conclusively, with Liszt opting instead to drift off into infinity by one means or another each time.

The longest and most significant of these works is the fourth, La lugubre gondola. This is one of those frustrating cases in musical history when the chronology doesn't quite fit the mythology. Both the title and the musical style suggest the piece was written as a memorial to Wagner, who died in Venice. But in fact the work was written shortly before Wagner's death, leading to some poetic suggestions from Liszt himself about the work being a premonition. That apart, the piece is classic Liszt. It is the longest piece on the disc, but despite its fairly slim musical materiel it doesn't outstay its welcome. And it is the ideal vehicle for Francesco Dillon's expressive but precise technique.

In fact, all the performances here are excellent. The two players coordinate the music skilfully, with ideal balance and ensemble. Francesco Dillon has a tone that veers between the woody and the lyrical as the music requires. He is generous with the dynamics, although not to a fault, and Emanuele Torquati balances him well in both the quiet and the loud passages. The recording quality is also good, giving a real sense of proximity to the players but also managing some space in the acoustical environment too.

The other works on the disc are all arrangements by other hands of piano pieces, but all remain thoroughly Lisztian. It turns out that two of the original works for cello and piano are arrangements by Liszt of his songs anyway. Stylistically, the common thread is Liszt's long, flowing melodies, all of which work beautifully on the cello.

We hear five of the Consolations, which do sound a little lighter of texture for having the melody removed from the piano part. It would be difficult to imagine Liszt himself endorsing piano parts with so few notes. But the cello remains the focus of attention, and the sheer beauty of the solo playing is more than enough to keep the listener engaged.

Angelus from the third book of Annees de Plerinages continues the meditative tone of the previous works. The long phrases and note values here make greater demands on Dillon's bowing technique, but it is never found wanting. Liebestraum No.3 seems like a bit of a populist lollipop to fill the programme up at the end. But it too is very much in the spirit and the mood of the previous works, so why not?

Miklós Perényi plays Britten, Bach and Ligeti

Britten: Third Suite

Bach: Suite No.6

Ligeti: Sonata for solo cello

Miklós Perényi cello

ECM 476 4166

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This new solo disc from Miklós Perényi comes hard on the heels of a very similar offering on the Wigmore Live label. In both cases, Perényi bases his programme on works by Britten and Bach, composers with whom he clearly has a deep affinity. They also invoke the spirits of two the previous generation's greatest cellists, Rostopovich in the Britten and Casals, Perényi's teacher, in the Bach. In fact Perényi shares many of their qualities. He has the spirited, energetic sound of Casals, but he also has the dark tone and disciplined approach of Rostropovich.

Britten's Third Suite often sounds as if the composer is thinking about the Bach Suites and trying, but failing, to avoid their rhetoric. Perényi makes all the stylistic connections clear, especially the passages where the music breaks into wide arpeggios across the strings, and we are constantly reminded where those sorts of textures originated. But Perényi treats the Suite as a masterwork, giving a committed and focussed account of every single phrase. This is particularly valuable when Britten writes simple but strident melodies, which have little to offer beyond the beauty of the player's tone. We get that in spades, allowing Perényi to maintain the musical interest even when the composer's inspiration flags.

Given that Perényi studied under Casals, the cellist who rediscovered the Bach Suites, comparisons between their performances seem inevitable. Like Casals, Perényi has a very tactile approach to the music, and the excellent recording quality allows us to hear up-close the minute variations in the sound of the bow against the string. On the other hand, he never indulges in the extremes of rubato for which Casals was known. Not that his playing is rigid either, but it is certainly more conventional as far as tempos go.

Like the Britten, this is a very serious and deeply-felt performance. That helps to make the listening experience all the more involving and also adds to the drama in the louder passages. But many of the movements here cry out for a lighter approach. Bach expects the bow to bounce between the strings, and the fast tempi to be articulated with shorter and more detached notes. But that's just not the way Perényi does things. His interpretation is wonderfully coherent and personal, but at times his sheer seriousness can drag it down.

Ligeti's early Sonata for solo cello might also benefit from a slightly lighter approach. But again, Perényi delivers an interpretation of such conviction that you can't help but appreciate it on its own terms. Stylistically, there is nothing to scare the horses here; it is very much Ligeti in Bartók mode, with some Hungarian folk music inflections and a few glissandos thrown in for good measure. It is a substantial piece though, and far more than just a novelty encore.

The recording quality is of the high standard you'd expect from ECM. The acoustic is resonant and warm, but all the details are there too. The packaging is elegant, of course, but the thick liner is mostly given over to a rambling and abstract essay from Paul Griffiths, who can usually be relied on to produce something more readable.

That apart, this is an excellent release, equal in quality to Perényi's Wigmore recital disc, but recorded in an environment that gives it a completely different atmosphere. Even in his advancing years he remains one of the greatest living cellists, so any more solo discs he might care to record would certainly be most welcome.

Superbrass: Under the Spell of Spain

Music for brass and percussion inspired by the vibrant country and people of Spain.

Musicians: Mike Allen, Philip Cobb, Toby Coles, Mike Lovatt, Jim Lynch, Paul Mayes, Brian Thomson, Adam Wright, Chris Parkes, Matthew Gee, Mike Hext, Phil White, Andy Wood, Roger Argente, Kevin Morgan, Andy Barclay, Paul Clarvis, Michael Doran, Matt Perry, Frank Riccott, Mike Smith

SBCD1 

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London's orchestral and session brass players well deserve their reputation as among the best in the world, but the chances they get to show off their skills are all too rare. Roger Argente, bass trombonist with the Royal Philharmonic, is putting this to rights with his new group – Superbrass. "Under the Spell of Spain" is their debut album, featuring an impressively diverse programme of new works and arrangements inspired by the country.

The project is similar in spirit to the London Trumpet Sound and London Trombone Sound albums of yesteryear. They too were designed to show off the skills of London's session brass players. The big difference though is the originality of the material here. There are no songs from the shows and no jazz standards. Instead, the programme moves between arrangements of renaissance Spanish music and jazzy numbers written for the occasion.

Renaissance ensembles and big bands are, of course, familiar territories for most brass players, and the stylistic sympathy that these players bring to every number is ideal. And don't worry if you think the early music might be a bit dry for your taste, the arrangers always add in thoroughly modern twists to keep both listeners and players on their toes.

The more modern music often looks to Latin America, expanding the Spanish theme to include salsa and tango. Given the quality of the results, it seems churlish to complain on a geographical technicality. And, as if to anticipate such concerns, at least one of the composers writing on a South American theme, Steve Waterman with "Fugatango", adds in some castanets for Spanish colour.

Fortunately though, none of the arrangers go overboard on the castanets, and on the few occasions they do appear, they are admirably restrained. That said, the brass players are accompanied by a considerable percussion section. Listening to the opening track "Como poden per sas Culpas" arranged by Jock McKenzie, which is a kind of Spanish "Fanfare for the Common Man", you could be forgiven for expecting a percussion-heavy programme, but the focus soon moves to the brass and stays there.

Although all the playing is to the highest standard, one or two performers really stand out. There's a kind of battle of the soprano trumpets between Brian Thompson in "Dindirindin" and Philip Cobb in "Air des Espagnoles". If the latter comes off best, that's probably just because he has more notes. Then there is some fabulously understated trombone playing from Andy Wood in Mark Bassey's "Donde el Mar Saluda el Cielo". A mention should also go to Kevin Morgan, the ensemble's only tubist, who for some reason is denied a solo, but who underpins all the textures admirably.

Given many orchestras' preference these days to record live, the studio album is becoming more of a rarity. But this disc is very much a celebration of what can be achieved under studio conditions. So we have ideal balance (for which the players themselves deserve a share of the credit) and an ideal stereo array. There is no sense of the atmosphere of a live event of course, and the reverb that many of the textures rely on is clearly digital.

There are a couple of curiosities in the liner. The fact that the disc was recorded in London is repeatedly stated, in at least three places under a union jack. Perhaps there is an identity problem going on here – a disc focussing on the skills of London musicians, but all based on the music of a different country. Programme notes are given for each of the works, but the numbering in the liner does not correspond with that on the back of the box, making cross-referencing a confusing business. The disparity stems from the second work, "Tientos y Danzas" by Gareth Wood, which has four movements. (Incidentally, this sounds a lot like a brass band test piece, and if it hasn't been used as such, someone is missing a trick.)

But bar some small grumbles about the track listings, this is an excellent disc. The Spanish theme is a great way to keep the diverse programme coherent, the arrangements all sound fresh, and the playing is beyond reproach. Roger Argente says in his introduction that the project has been influenced by the late, great Philip Jones Brass Ensemble. Well, Superbrass have shown themselves to be worthy successors to that group. Here's hoping their future recording output will be similarly extensive.

Bruckner 6 Ivor Bolton Mozarteumorchester Salzburg

Anton BRUCKNER (1824-1896)

Symphony No.6 in A major

Mozarteumorchester Salzburg

Ivor Bolton conductor

recorded live at the Large Hall of the Salzburg Festspielhuas 23 and 25 October 2010 Stereo DDD

Oehms OC404 [54:36]

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Ivor Bolton's approach doesn't suit every Bruckner symphony, but he has some valuable and rare insights to offer on the Sixth. Previous instalments in this cycle have lacked weight and dramatic integrity. This Sixth is clearly in the same mould, but the benefits outweigh the losses, especially in the details he brings out from the score, which dozens of conductors before him have either overlooked or sacrificed for the unity of the whole.

The Mozarteumorchester Salzburg lives up its their name. If it weren't for the photograph of what is clearly a full size orchestra in the liner, I would have sworn that this was a chamber ensemble, albeit a large-ish one. The strings in particular seem to be lacking a few desks in each section. But if that is an illusion, it is a result of the chamber-like playing from the strings. They never go for big full-bow sounds, opting instead for clear and precise textures, and creating contrast though variety of articulation rather than extreme dynamic contrasts. And the Austrian character of the string playing is evident throughout, especially in the earthy, rustic sounds of the slow movement and scherzo.

The woodwind and brass follow suit. There is some wonderfully distinctive playing from the woodwind soloists, especially the oboe, who is heavy on the vibrato, but not to a fault. And the brass playing is just excellent. Bolton never asks them to go overboard on the climaxes, enabling them to maintain a fine tone throughout. The ensemble within the trumpet and horn sections is ideal. And as with the strings, the range of articulations, especially from the horn and trumpet soloists is a revelation.

The more modest dynamics from the strings allow a good number of wind counterpoints to come through that you may never have heard before. Bolton makes a point of faithfully reproducing all the articulations in the score. That often means that phases are shaped more through the variety of attack on the various notes than through dynamics or rubato. The rubato is perhaps a little too literal; tempo changes are given as specified in the score, but rubato for phrasing is much more subtle.

Bolton compensates for the lack of weight in the orchestra's sound with some expansive tempos, especially in the first two movements. That is a risky strategy but it pays off, returning a sense of grandeur to the music. And he is not afraid to drive the finale on when required. The last five minutes succeed primarily because of the increase in tempo and energy he injects.

But for all that, the lack of weight in the orchestral sound remains a problem. There are a number of places were the music comes to a halt and after the brief caesura the full string section enters with a large, warm chord. Bolton tries to make the coming entry more spectacular by drawing out the pause, but the thin sound from the strings, when it comes, is usually a disappointment.

Otherwise this is an excellent recording. The focus on detail really justifies many of Bruckner's compositional decisions. More grandiose recordings make the work out to be more like the monumental Eighth or Ninth. It is always going to suffer by comparison to them, so in many ways Bolton's approach – to treat the often delicate textures with more care and attention – better represents its more modest aspirations.

This review first appeared at MusicWeb International:
http://www.musicweb-international.com/classrev/2012/Jan12/Bruckner_sy6_OC404.htm
 

Josquin Missa De beata virgine Tallis Scholars

Josquin des Pres (c.1440-1521)

Missa De beata virgine [38:03]

Credo quarti toni (Cambrai Credo) [9:23]

Plainchant: Ave maris stella [0:36]

Missa Ave maris stella [27:56]

The Tallis Scholars

Peter Phillips director

Gimell CDGIM 044 [75:58]

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The Tallis Scholars' ongoing, if sporadic, series of Josquin Masses has been a treat for fans of both the ensemble and the composer. Like Tallis, Josquin is a composer prone to dryness in performance. There are elegant textures and harmonies, but there is always a risk that by concentrating on the complexities of the counterpoint these moments of beauty will be passed by. Not so here. The elegance of the sound is second to none. Yet the choir is small and the performance practice - tempos, rubato, tone etc. - is as strict as any.

The two masses are very different works. Missa De beata virgine was apparently the most popular of Josquin's masses during his lifetime, which comes as a surprise, not so much for a lack of quality as for a lack of coherence and identity. The separate movements are each based on different, and musically unrelated, Marian chants, and while the Kyrie and Gloria are in four parts, the rest of the mass is in five. The contrapuntal techniques are also unusually complex, even for Josquin.

Missa Ave maris stella is more typical of the composer. It is based on a single chant, and its textures are both simpler and more varied in their density. If anything, the contrast between the two works has the effect of highlighting the unusual construction and sound of the former. But both are mature Josquin. Stylistic features suggest Ave maris stella is the earlier of the two, but both are up to the high standards of contrapuntal flow and ingenuity for which he was rightly famous. Between the two masses is the so-called Cambrai Credo. This is quite an extrovert setting, with often dense contrapuntal textures. But it bridges the stylistic gap between the two masses well, as complex as the former, yet as accessible as the latter.

The Tallis Scholars sing two to a part, which sounds just about ideal for this music. The alto lines are taken by one female and one male singer, which if anything adds richness to the sound rather making it seem like a compromise. The long-running debate about singing this music at the written pitch or a fourth higher seems to have been settled conclusively in the case of De beata virgine by the low tessitura of the music, especially in the Credo, which requires transposition to be performable by anybody.

The acoustic of Merton College Chapel is surprisingly dry, but not detrimentally so. The singers are able to generate sufficient warmth through their combined tone colour not to require further atmosphere from a resonant acoustic.

Josquin's music is well served on this recording, which is at least as interesting and satisfying as any of the previous releases in the series. De beata virgine is particularly interesting, given its stylistic distance from the rest of the cycle, and the curious fact that it was so popular in its day, despite (or perhaps because of) its musical complexities.

Anybody with the technology and inclination to download this or any of the Tallis Scholars' other recent releases may be interested to know that they are available on the group's website (www.gimell.com) in a wide range of formats and file sizes. The largest is 24 bit, 96 kHz 5.1 surround. If the sound quality on this CD is anything to go by, that high res version promises to be a very satisfying listening experience indeed.

This review first appeared at MusicWeb International:
http://www.musicweb-international.com/classrev/2012/Jan12/Josquin_Tallis_CDGIM044.htm
 

Der Fliegende Holländer Janowski

Richard WAGNER (1813-1883)

Der Fliegende Holländer

Matti Salminen - Daland
Ricarda Merbeth - Senta
Robert Dean Smith - Erik
Silvia Hablowetz - Mary
Steve Davislim - Steuermann
Albert Dohmen – Der Holländer
Rundfunk-Sinfonieorchester Berlin
Rundfunkchor Berlin
Marek Janowski (conductor)

Recorded live at the Berlin Philharmonie 13 November 2010 DDD/DSD Stereo/Surround

Pentatone PTC 5186 400 [78:35+47:54]

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Marek Janowski's Wagner cycle on PentaTone gets off to an excellent start with this Flying Dutchman. All ten of Wagner's mature operas and musicdramas will be appearing between now and 2013, the composer's bicentenary, and if they're all as good as this, it promises to be an exceptional recording project.

Janowski has said that he now conducts Wagner exclusively in the concert hall, having abandoned staged opera in protest at the excesses of his erstwhile regietheater colleagues. His view that Wagner's vision for his music can be preserved through concert performance is endorsed in the liner (or rather hardback book format packaging) by no less a figure than Norman Larmmert, president of the Bundestag. He even goes as far as to say that Wagner would have approved.

I'm sceptical of that. Extracting the music from the other dimensions of a staged production is hardly in the spirit of gesamtkunstwerk. Nevertheless, it is increasingly becoming the norm in the record industry, and this Dutchman is just the latest in a string of Wagner operas on CD/SACD taken from live concert performances. In general the quality bears out the approach. Elder's continuing Ring cycle with the Halle, and the two recent Parsifals from Gergiev and Zweden have demonstrated that a good live concert performance can be an ideal subject for a high quality recording, and this PentaTone release is at least to the standard of any of those.

Part of Janowski's justification seems to be that the music itself contains enough of the drama to compensate for the lack of staging. He practises what he preaches, and delivers a wonderfully dramatic reading. But that is only one of the many qualities of this performance, and the drama is always matched and balanced by control of the textures and immaculate preparation. The main difference between this reading and most of its competitors on the market is that Janowski never lets the music, and the storm music in particular, overwhelm. There is always detail and balance to the sound, and the separate sections of the orchestra are always clearly defined.

The sheer quality of the SACD audio is enough to recommend the release. The recording team do, of course, have the benefit of the excellent acoustic at the Philharmonie in Berlin. Not only is this clear and vibrant, but it is also impressively unobtrusive. van Zwedens Parsifal, in comparison, excellent as the audio is there, is obviously a concert performance because of the distinctively resonant acoustic of the Concertgebouw. The Philharmonie, in contrast, could pass for a good opera house acoustic, adding credibility to the results.

The casting is excellent, and most of the names are familiar from Wagner performances at the world's top house, so probably don't need much introduction. Matti Salminen is the Daland of today, and gives a reading that has both weight and humanity. Albert Dohmen is similarly weighty, but more ethereal and emotionally distant. This has the valuable effect of distinguishing the two low voices in their various scenes together. Ricarda Merbeth puts on quite a lot of vibrato as Senta, but it is always carefully controlled and works to the benefit of her tone. She has a valuable alto-like richness to her lower register that Wagner occasionally employs. Robert Dean Smith, although rapidly becoming the Heldentenor of his generation, gives a more bel canto performance as Erik. His tone is surprisingly light and floating, which contrasts well with the predominantly heavier voices in the rest of the cast. The only slightly weak link is Steve Davislim as the Steuermann. His is the only voice that risks being subsumed by the orchestra, and his tone is occasionally unstable. But the recording team ensure that he is always at the front of the sound, so nothing is lost.

The delicacy and detail of much of this music-making is the greatest surprise on this recording. Janowski locates the music decisively in the early 1840s, and makes all those connections with Weber explicit, especially the often delicate woodwind writing and the brass interjections, which are effective because of their rarity and brevity rather than their sheer force. But there are plenty of recordings out there that demonstrate that this orchestra can do force as well. In fact, the impressive track record of everybody involved here, the orchestra, choir, soloists, conductor and label, mean that the artistic success of this release should come as no surprise. It also means that future releases in the cycle are more or less guaranteed to be among the best of the many offerings in Wagner's anniversary year.

This review first appeared at MusicWeb International:
http://www.musicweb-international.com/classrev/2012/Jan12/Wagner_Dutchman_PTC5186400.htm
 

Khovanshchina, Sofia National Opera, Atanas Margaritov

Modest MUSSORGSKY (1839-1881)

Khovanshchina (Rimsky-Korsakov edition)

Dimiter Petkov (Prince Ivan Khovansky), Todor Kostov (Prince Andrey Khovansky), Nicola Ghiuselev (Dosifey), Alexandra Milcheva (Marfa), Maria Dimchevska (Emma), Madya Dobriyanova (Susanna), Lyoubomis Bodourov (Prince Vasily Golitsin)

Bulgarian National Choir ‘Svetoslav Orbetenov” & Sofia National Opera Orchestra

Atanas Margaritov conductor

Recorded in the Bulgaria Concert Hall, Sofia, 1978

Brilliant Classics 94255 [39:10+61:27+62:21]

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At first appearances, this Khovanshchina isn't too bad. There are a number impressive voices in the cast. Everyone involved sounds very Russian, although in fact they are all Bulgarian. And the recording sounds clean and true, even 'modern' despite dating from 1978.

But first appearances can be deceptive, and it soon becomes clear that this isn't an ideal Khovanshchina by any standards. It is a product of cold war politics in many respects. Western record companies, unable to work in Russia but still on the lookout for Russian sounding voices, saw countries like Bulgaria as the best compromise they were going to manage.

What they found there were very old-fashioned performing traditions, competent and dependable, but nowhere near as exciting as what was then happening in the Western opera houses. This is probably the last ever recording of Khovanshchina to use the Rimsky-Korsakov version rather than the more dynamic Shostakovich or Stravinsky versions. The conductor Atanas Margaritov seems comfortable with Rimsky's civilising influence, and gives a sweeping lush performance that is more in keeping with the editor's cosmopolitan view of the work than it is with the Mussorgsky's more brutal original conception.

This, of all operas, should make you sit up. So a performance like this that you can easily put on as background music is obviously doing it little justice. But that said, the quality of the singing is one of the reasons why it is so easy on the ear. The three bass leads, Dimiter Petkov, Todor Kostov and Nicola Ghiuselev, all have the power, clarity and low notes required for their respective parts. Ghiuslev is the most profundo of them, and his passages in the lower register are a real treat. Good too is Alexandrina Milcheva as Marfa. She has a rich, lustrous tone and puts in plenty of vibrato. Comparisons with Ferrier are fitting, and demonstrate both the quality of her voice, and the old-fashioned style of her performance. The orchestra is impressively precise, but there is rarely much excitement or drama from them. Again, both Rimsky and Margaritov should share some of the blame for that.

The distribution of the singers across the stereo array in this concert hall recording is impressive, perhaps a little more emphatic than in a modern recording, but not excessive. The balance between the singers and the orchestra is also finely judged. The cleanliness and roundness of the sound suggest that invasive noise reduction process were applied during the digital mastering. More annoyingly, there is a considerable amount of crackily interference in the right channel for much of the first CD. This was evidently already present on the recording's previous CD release, on Capriccio in 1996, so for once Brilliant Classics aren't to blame.


This review first appeared at MusicWeb International:
http://www.musicweb-international.com/classrev/2012/Jan12/Mussorgsky_Khovanshchina_94225.htm
 

Dubois Lalo Frédéric Pelassy

Théodore Dubois: Violin Concerto

Edouard Lalo: Symphonie Espagnole

Frédéric Pelassy violin

Slovak State Philharmonic Kosice

Zbyněk Müller conductor

BNL 112964

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Dubois' Concerto and Lalo's Symphony make an excellent pairing. Despite the greater fame the latter has achieved, the two works are of almost equal stature and are aesthetically very similar. Both are richly melodic, yet neither has tunes that are so memorable as to dominate the listening experience. And the balance of orchestra and soloist in the two works makes one almost the mirror image of the other, Dubois relegating the orchestra to a decidedly subservient position, while Lalo entitles his work a symphony, demonstrating that the ensemble is at least the equal of the soloist.

Théodore Dubois' seems to have achieved too much in his lifetime for his posthumous reputation ever to catch up. He was a recipient of the Prix de Rome, organist at the Church of the Madeleine, director of the Paris Conservatoire and a member of the Institut de France. In an age that valued composers who were outsiders over those of the establishment, his official standing weighed against his many compositions, which continue to bear the brunt of his rival's petty jealousies. If this Violin Concerto is anything to go by, then modern audiences have been missing out on a great deal. The Concerto is traditionally structured, as may befit the work of an 'academic' composer, but the music it contains is anything but staid or conventional. Every corner of the violin's timbre and range are exploited, and the soloist is given a string of endlessly inventive melodies, which are supported by sumptuous and ever-changing textures from the orchestra. Most listeners are likely to come to this disc for the Lalo, but I suspect that most will enjoy the Dubois just as much.

Frédéric Pelassy brings an ideally Gallic sensibility to both works. His tone is assertive, an important quality in both works, but always elegant. He is able to make the solo lines float while also giving a strong sense of rhythm through his definite articulations and controlled rubato. He has a fabulous viola-like richness to his lower register, which both composers exploit, and a focussed, precise sound in the upper reaches.

The Slovak State Philharmonic Kosice are competent accompanists, although the orchestra rarely shines the way that Lalo in particular expects. Conductor Zbyněk Müller is more interested in precision than excitement, and so some of the orchestra's climaxes in the symphony don't quite reach the tumult you'll find on other recordings. But, barring a few ensemble problems between the woodwind soloists and the violin, the accuracy is commendable, and the balance between the orchestra and soloist, a tricky issue in both works, is finely judged.

The sound quality does the soloist more favours than the orchestra. The violin always sounds immediate and clear, but the orchestral sound is more generalised and distant. It's not a big problem though, and even though Lalo calls his work a symphony, the soloist commands the listener's attention throughout both works.

An interesting release then, and one that will hopefully introduce many new listeners to the work of Théodore Dubois. His concerto is what makes this CD worth buying. So too does the playing of Frédéric Pelassy, although the reserved playing from the orchestra prevents this version of the Symphony competing with the best versions on the market.

Röntgen Piano Concertos Kirschnereit Porcelijn

Röntgen Piano Concertos Kirschnereit Porcelijn

Julius Röntgen: Piano Concertos nos.2 (Op.18) and 4

Matthias Kirschnereit piano

NDR Radiophilharmonie Hannover

David Porcelijn conductor

CPO 777 398-2

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These two concertos both have much to commend them, but they also have one very big problem – a complete lack of originality. Julius Röntgen was obviously very keen on Beethoven, Schumann, Bruckner, Wagner, Verdi, and above all Brahms. Given the premium status afforded to originality in the Romantic era, Röntgen's willingness to just rip off these composers for tunes and harmonic progressions is surprising, and it is tempting to listen to this disc as just a string of homages/ripoffs of the great German composers of the 19^th century.

But that's only fun for a couple of minutes, and a much better way to approach this music is to listen in for its own considerable merits. Röntgen's loyalty to Brahms wasn't unusual among composers of his generation, and like them he added something of himself to his thinly veiled imitations. If, like me, you find Brahms' piano concertos a bit heavy, the levity of Röntgen's versions is very welcome. His music isn't based on the same sense of tight symphonic argument. Instead, it usually takes a more laid back and free flowing melodic approach. That often brings him closer to Schumann's concerto, another work that he comes dangerously close to plagiarising wholesale.

And the technical skill in Röntgen's writing, both for the piano and the orchestra, is undeniable. In the 2^nd Concerto he often gives melodies or obbligatos to solo woodwind instruments, and the way that these lines match the timbres of the instruments is very finely judged.

I find the slow movements of the two concertos the most satisfying, especially that of the Fourth. Ok, so the movement starts off sounding just like the second movement of Bruckner 7, but it then evolves into something surprisingly individual and heartfelt. And emotion is something all of this music has in spades. The piano writing in particular is always in the grand heart-on-sleeve Romantic tradition.

Like all of Röntgen's works, these concertos have suffered more neglect than they deserve. The derivative nature of the musical prose may be partly to blame, but the sheer difficulties of the solo part must also be a factor. The outer movements of the Fourth Concerto in particular make the kind of demands that you will only find in the most complex of Romantic concertos. Credit then to Matthias Kirschnereit, who plays everything with grace and panache. He puts in quite a lot of rubato, but no more than the music itself suggests. The clarity of his touch is a real asset. Röntgen's piano writing, difficult as it is, doesn't really need help in terms of clarity from the player. Even so, this expressive yet clear sighted reading is exactly what is needed to do the music justice.

The NDR Radiophilharmonie Hannover are sympathetic accompanists, and conductor David Porcelijn follows the contours of Kirschnereit's phrasing with pinpoint precision. The recording quality is excellent, with a lively sound from the piano, clearly delineated sections in the orchestra and a perfectly judged balance between the two.

An interesting addition then to the CPO's Röntgen Edition, but one that highlights his failings as much as his qualities. It's well worth hearing, just as long as you're not expecting anything radical or new.

Johannes Passion Cantus Cölln Konrad Junghänel

Bach: Johannes Passion (1749 version)

Cantus Cölln

Konrad Junghänel conductor

Accent ACC 24251(2CDs)

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Bach wasn't in the habit of making major changes to his completed liturgical works, even when he was dusting them down for a repeat performance. The St John Passion is therefore unusual in having been through four separate versions. Tracing the progress from one to another is no simple task, as revisions in one version tend to be reversed in the next. But the 1749 edition is, to all intents and purposes, the original 1724 version with slightly different orchestration. The biggest difference between the various versions is the opening chorus, and here we get the glorious Herr, unser Herrscher, in place of the equally glorious O Mensch, bewein dein Sunde gross, which also makes an appearance in the Matthew Passion.

But more significant than the version in use are the performing conventions and the size of the ensemble. Cantus Cölln fields a choir of eight, so that's two to a part. The sopranos are female, as is one of the altos. The orchestra numbers 11, and includes a viola da gamba, although no contra-bassoon. That's a shame, but the continuo manages well enough without it, providing rich, early bass textures. I'm sure that Bach's intentions for the size of the forces in this work are open to question, but I suspect that most scholars would expect to hear more musicians than perform here.

Yet the sound never feels constrained, and this isn't the sort of chamber music Bach that you'd normally expect from such a small group. The recording was made at the church of St Osdag, Mandelsloh, which is a modestly sized venue, although it doesn't sound it on this recording. The microphones have been set at some distance to pick up the resonance and meld the textures. The chorales come across best in this approach, with each phrase a continuous wave of sound. The solo numbers have all the clarity they need, and some valuable ecclesiastical atmosphere as well. But the choruses loose valuable detail in their counterpoint. It's not a big problem, and all the notes are audible, its just that contrapuntal clarity is the big gain of small ensemble Bach, so its a shame not to exploit it to the full.

Konrad Junghänel chooses lively tempos, but he's not going for any world records. His speeds work well with the resonant sounding acoustic, although again don't really exploit the flexibility offered by the small ensemble.

Among the singers, the most famous name, at least for British audiences, will be Amaryllis Dieltiens, a regular with the Netherlands Bach Society as well as many others. She sings well here, with some vibrato but not enough to upset the purists. The soloists are all good, and are well matched in terms of both style and quality. Tenor Hans Jörg Mammel offers friendly and reassuring guidance through the story as the evangelist. He has an impressive ability to reduce the colour of his tone for the plaintive recitatives. He also has a seductive baritonal quality in his lower register.

As far as period performance goes, this is a very round and warm sounding Bach recording. It achieves a sense of atmosphere that you'd scarcely think possible from just 19 musicians. Yet there is intimacy too, and many of the qualities that period instruments have latterly restored to the piece are in evidence. The only problem is the resonance, and the efforts the engineers have gone to to assure us that we are in a church. It is hard to imagine hearing this piece without the halo of a church acoustic round its angelic harmonies, but you can easily have too much of a good thing.

Die Walküre Weigle Frankfurt Opera

Wagner:  Die Walküre

Siegmund: Frank van Aken, Hunding: Ain Anger, Wotan: Terje Stensvold, Sieglinde: Eva-Maria Westbroek, Brünnhilde: Susan Bullock, Fricka: Martina Dike, Gerhilde: Anja Fidelia Ulrich, Ortlinde: Mona Somm, Waltraute: Eve-Maud Hubeaux, Schwertleite: Bernadett Fodor, Helmwige: Christiane Kohl, Siegrune: Lisa Wedekind, Grimgerde: Tanja Ariane Baumgartner, Rossweiße: Monika Bohinec
Frankfurter Opern- und Museumsorchester
Sebastian Weigle

Oehms Classics OC 936 (4 CDs)

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This second instalment in Frankfurt Opera's new Ring Cycle has some high expectations to meet. The Rhinegold that was released earlier this year is a very fine recording indeed, with excellent sound engineering, uniformly fine singing and a really distinctive interpretive approach from Sebastian Weigle (read my review here). Die Walküre poses different, and in many respects, greater challenges, at least from a musical point of view. Ensemble is the key in Rhinegold, but Walküre relies on exceptional solo singing from the leads. This it gets, although while all the singers are good, one or two of them really stand out.

But, as with the previous Rhinegold recording, what really makes this Walküre distinctive is the contribution of conductor Sebastian Weigle. His patience with this music is wonderful. He knows that Wagner doesn't need any help in building up his climaxes or creating the drama that the story needs. So tempos are usually steady, and build-ups are achieved through dynamics and orchestral colour rather than accelerando. At the start, the storm is raging in the orchestra, but it is not an all-out assault from the orchestral forces, instead it is menacing, with a steady pace and moderate dynamics. Weigle gets all the drama he needs from the tone of the orchestra and the carefully graded articulations. Similarly, The Ride of the Valkyries achieves a continuous sense of ecstatic power, but without excesses of tempo or dynamics.

Weigle never seems to exert too much control over the proceedings. He keeps the orchestra tightly synchronised, but the singers do occasionally enter ahead or behind his beat. The music doesn't suffer, in fact it adds to the sense of theatre. In a time when audio recordings of staged Wagner operas are rapidly losing ground to those of concert performances, the feeling of actually being in the theatre is a valuable asset, and this recording really gives you that sense.

The sound recording plays an important part in this effect. Somehow, the team manages to give the singers a sense of placement on the stage, but without any of them actually sounding distant. A subtle use of the stereo array is a key to this I suspect. Almost every new recording of Wagner these days, be it audio or video, has both a surround and stereo mix, and the stereo usually comes out as a second best. But here it is used to ideal effect. The balance between the pit and the stage is ideal. The tone of the string section can sometimes sound a little dull, but the woodwind and brass are crisp and vibrant throughout. Weigle often gets a real bite out of the brass, a tone that has volume but also has edge. That is a real strength of this orchestra, and comes over well in the recording.

Among the singers, the real standout performance is from Eva-Maria Westbroek as Sieglinde. She has got everything this part needs: warmth, passion, humanity – and of course precision and stamina. Over the last couple of years, Westbroek has been singing the role in houses around Europe, and receiving acclaim for it everywhere. She has already recorded it twice, at Bayreuth and with the Berlin Philharmonic, but even so, her performance here alone is worth buying the set for.

And Frank van Aken is the ideal partner for her as Siegmund. The two are in fact husband and wife, and their musical interaction is spectacular. Westbroek has an open, powerful sound, which she mediates with controlled but never excessive vibrato. van Aken gives pretty much exactly the same sound but an octave lower. And he too has the power, control and stamina to ensure that every phrase is ideally presented.

Terje Stensvold is an effective Wotan, but not a particularly loud one. He brings gravitas to the role, mainly through the richness of his tone. He sings the lower notes like a true bass, but brings that bass richness to the upper notes as well. Martina Dike is appropriately stern and disciplined as Fricka. Her singing has an almost Baroque sensibility, and you could almost imagine her singing Bach cantatas in this style, albeit under 1950s performance conventions. But again, chemistry is the secret to her success, and she provides an excellent complement of Stensvold, with a similar sense of drama in her voice but a similar moderation to her dynamics.

The one voice in the cast that I have reservations about is Susan Bullock as Brünnhilde. She too is a seasoned Wagnerian, and is much acclaimed around the world for her interpretation of the role. Some of her singing here is very good. The Annunciation of Death scene is emotive but steely of tone, an ideal combination. But the louder and higher passages, of which there are many, often grate, and there is little continuity between the these and the quieter passages. She has a kind of vibrato where the volume fluctuates rather than the pitch, and that can get wearing on the ear. Its a tough part, of course, and there are certainly inferior performances to this available elsewhere, but in a cast that is otherwise excellent, she is the one slightly weak link.

Otherwise, this is a very fine Walküre. There is no shortage of competition, and even the Oehms label is currently engaged in another Ring Cycle project with Hamburg Opera. But like the Rhinegold before it, this Walküre has the particular advantage of having Sebastian Weigle at the podium. His measured approach isn't going to be to everybody's taste, but he is one of the few Wagner conductors working today who does something distinctive with the music. His control of the orchestra is ideal, but so too is his intuition for giving the singers the freedom they need. There are plenty of musical challenges ahead in the last two instalments, but Frankfurt Opera should be feeling confident that their conductor has what it takes.

Bach Passions Koopman

Johann Sebastian BACH (1685-1750)

Matthew Passion, John Passion, B Minor Mass

Guy de Mey tenor

Peter Kooy bass

Christoph Prégardien tenor

Gerd Türk tenor

Barbara Schlick soprano

Kai Wessel alto

Klaus Mertens bass

De Nederlandse Bachvereniging (Passions)

Amsterdam Baroque Choir (Mass)

Amsterdam Baroque Orchestra

Ton Koopman director

recorded Nederlands Hervormde Kerk, Oudkarspel, June 1992 (Matthew), Waalse Kerk, Amsterdam, March 1993 (John), Waalse Kerk, Amsterdam, March and May 1994 (Mass). Stereo DDD

Erato 2564 67361-6 [70:21+41:50+52:32+59:33+49:06+53:54+53:35]

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You either love or hate Ton Koopman's Bach, which is ironic as he is pretty middle of the road. His detractors will point out that he has a very rigid approach to tempo, especially in the string accompaniments to wind and vocal solos. But there is plenty to like about his performances, the grandeur of the choruses, the interpretive coherence, even the sheer quality of the musicians he works with. But what he offers you have to except on his terms. If you like a single aria in one of these recordings but don't like the choruses that surround it, that's unlikely to be enough for you.

Despite his undeniable pedantry with tempos, many aspects of Koopman's readings of these three great works hark back to the pre-period-performance days, to Richter, Karajan et al. Many of the choruses (the opening movements of the Matthew and the B Minor Mass are great examples) are taken at a stately pace, perhaps not quite as slow as Richter, but certainly in his spirit. To Koopman's credit, he is able to maintain the immediacy and the excitement of this music at these relatively slow speeds. He also keeps the choral counterpoint (his use of large choirs will also be considered as a throwback in some circles) nice and clear, despite the fact that the recorded sound tends to emphasise atmosphere over detail, at least where the choirs are concerned. Personally, I'm in favour of these slower speeds. What I don't like is the sudden gear changes in the lead up to cadences. Considering the strait-jacket tempos these movements have been held under until their final bars, these closing gestures seem extreme to say the least.

Recitatives and arias are also kept at fairly strict speeds, but don't seem quite as constrained because all the vocal and instrumental soloists know how to make their music sing. Special mentions should go to Guy de Mey, an Evangelist as good as any, Peter Kooy, recorded here when he was still at the height of his powers, violin soloist Andrew Manze (it is nice to see his name cropping up in this surprising context), and oboist Marcel Ponseele, who could do with a little more space from Koopman, but who otherwise demonstrates just why he is held in such high regard.

The choirs, The Netherlands Bach Society in the Passions and the Amsterdam Baroque in the mass, are both on fabulous form. As I mentioned, the sound engineering isn't geared to giving the choirs clarity or presence, but the singers more than make up for this with punchy consonants, clear vowels, and most importantly, exact ensemble. It is interesting to see that the choir master listed for The Netherlands Bach Society is Jos van Veldhoven. These recording were made in the early 1990s, but van Veldhoven is now the choir's principle conductor, and is releasing various Bach works on the Channel Classics label. No doubt he has learnt much from Koopman over the years, but to my ear he has also surpassed him in the subtly and sophistication of his Bach readings.

But then, fifteen years is a long time in Bach interpretation, so comparing recordings of today with those of the early 90s does seem anachronistic. Even though Koopman continues to perform Bach like this, it is worth bearing in mind that this box set is a reissue. That's not entirely clear from the packaging, although anybody who has even a vague familiarity with the industry will have worked it out simply from the box-set format. Things have moved on, and in a sense this is a historical document. That's not to say that all change is good, and this look back to Bach of yesteryear demonstrates some of the ways in which recent performances could improve. I'm particularly taken by the sense of breadth that Koopman achieves in the choruses, especially in the Matthew. With the fast tempos and small ensembles of today, you just don't get that any more, which is a real shame. Then there are Koopman's collaborators, all of whom do him proud. Tastes may change in matters of instrumentation, ornamentation, tempo or dynamics, but world-class performance standards are never going out of fashion.

This review first appeared at MusicWeb International:
http://www.musicweb-international.com/classrev/2011/Nov11/Bach_passions_2564673616.htm

Schumann String Quartets Doric Quartet

Robert SCHUMANN (1810-1856)

String Quartets Op.41

Quartet No.1 [24:29]

Quartet No.2 [20:56]

Quartet No.3 [28:31]

Doric String Quartet

recorded Potton Hall 9-11 February 2011 stereo DDD

Chandos CHAN 10692 [74:15]

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After a very impressive disc of Walton, the Doric Quartet have now moved into the core repertoire, with an equally assured reading of Schumann's Op.41 set. Everything comes together on this disc. The ensemble of the quartet is beyond reproach, the sensitivity of the playing makes every phrase seductive, and the quality of the audio recording is up to the high standards that we have come to expect from Chandos.

Given the number of recordings that already exist of these works, it is to the Doric Quartet's credit that they are able to do something new and individual with them. Attention to detail is the basis of their approach. They are also careful to keep an eye on the bigger picture, although the structure of these works is fairly conventional, so there isn't much new to say about the way that they progress and cohere. And the details, which are picked out as much by the high quality audio as by the playing, are presented as ingredients in the emotive structure of the works. Schumann has a natural gift for scoring for string quartet, but the interplay between the individual instruments is always put to resolutely expressive purposes. The stereo array of the recording really separates out the players, and it is as if the listener is sitting in among them. That makes the bouncing around of musical ideas within the ensemble all the more fascinating.

The atmosphere of each of the movements is beautifully rendered. Quartet no.1, by the far the finest of the three, is made all the more symphonic through the contrast between the serene third movement and the energised fourth. And again in this finale, indeed all three finales, the energy of the music seems all the more vital for being passed around the players to the left and right of the listener. The audio quality is so good that you can hear which of the players is leading the ensemble at any given point, and Schumann's regular inversion of the textures to give the viola or cello the melody means that the music is not always led from the top.

The quartet's adherence to Schumann's tempo and dynamic markings is laudable, although some might feel it tends towards pedantry. This is mainly an issue in outer movements, where Schumann often sets up a catchy, propulsive rhythm, but then opposes that momentum with rubato markings or sudden dynamic contrasts. It is a tricky circle for any players to square, and the Doric Quartet are, I think, right to present the dichotomy to their listeners rather than just pushing through.

To me, this is close to ideal Schumann interpretation, and it augers well for the future recording career of the Doric Quartet, especially as Chandos now seem confident to let them loose on the core repertoire. I just wonder if they are going to get labelled as 'intellectual' players, in the way that Brendel was. Again, whatever is said about Brendel's 'thoughtful' interpretations, I really struggle to see that as a problem. In fact I think it is the very quality that distinguished him from most other pianists of his generation. But many others disagree, and they are probably the listeners who are going to have problems with this considered and elegant Schumann disc. The answer, I suspect, is to head straight for the repertoire in which profoundly thoughtful interpretation is an undisputed virtue – the late Beethoven quartets. The Dorics will have to get round to them one day, and as far as I'm concerned the sooner the better.

This review first appeared at MusicWeb International:
http://www.musicweb-international.com/classrev/2011/Nov11/Schumann_CHAN10692.htm

Bach Well Tempered Steinway Findlay Cockrell

The Well Tempered Clavier (Book 1 Preludes)

Two Part Inventions (selections)

Four Duets

Ricercar a Tre (The Musical Offering No.1)

Findlay Cockrell – piano

Findlay Recordings FC-02

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Findlay Cockrell offers familiar favourites but with a twist on this fascinating Bach recording. He is one of many Bach interpreters to mix the modern with the historically informed, but his configuration of those two poles is probably unique. The piano he plays is a modernish (1916) Steinway concert grand. There is plenty of debate about what sort of keyboard instruments Bach would have known, but he certainly would not have been familiar with anything like this.

However, Cockrell opts for so-called 'well temperament' in the tuning of the instrument. The history of keyboard tuning is a long and convoluted one, usually best left to the specialists, but is of relevance here. Bach's aim in writing the Well Tempered Clavier was to demonstrate the flexibility of the new tuning system, which for the first time allowed music to be performed in every major and minor key. But this has led to a misunderstanding that the tuning system he was using was exactly the same as the equal temperament of today. It wasn't, it was a little less equal and favoured the key signatures with more white notes than those with more black notes. Cockrell uses the temperament that Bach's instrument (which was probably a harpsichord) was tuned to.

This gives the sequence an interesting narrative, but in a sense it is the reverse of what Bach had in mind. The composer starts out in C major, on just the white notes, then gradually moves towards the predominantly black notes keys. For Bach, this was a progression into more and more daring territory, and perhaps it is for Cockrell too. For modern listeners the effect is to move further and further from familiar tunings: the C major prelude sounds as you'd expect, but by the time we get to the B major, things are starting to get strange.

That said, the differences are subtle. Certainly each of the preludes has a more distinct identity as a result of the temperament, but the deviation in tuning from today's norms really is quite small. It is most apparent in keys that have a black note in the tonic chord. Approaching the final cadence, you expect the last chord to resolve the apparent dissonances that have been set up, but when it arrives, it is just as dissonant, leaving an uneasy lack of resolution.

Aware that the tuning may be unsettling for his listeners, Cockrell makes sure that every other aspect of the recording is familiar. His interpretations are lively, and they're often fast, but he has a very clear touch, and a very clean approach to phrasing and articulation. Ornamentation is kept to a minimum, as is rubato. On the other hand, there are plenty of dynamic swells and contrasts to impart drama and structure to the individual works.

The relationship with the Steinway company clearly goes further than the pun in the album title. On the cover, Cockrell is pictured sitting in front of a framed image of the company's logo, and the same logo also appears on the back. It is surprising then that the instrument used is almost 100 years old. It has a rounder, more friendly sound that a modern grand. In fact, it is in excellent condition and sounds beautiful, a great advocate for Steinway craftsmanship.

Cockrell only gives us the preludes, not the fugues, and only from the first of the two books. That accelerates his progress into the unknown territory of well temperament, but does mean that it is over quicker. As compensation, he continues with some of the Two Part Inventions, the Four Duets and the opening Ricercar of The Musical Offering, bringing the running time up to a respectable 70 minutes. These extras are all well played, and are certainly welcome. After the effort, pleasurable as it is, to attune the ear to the temperament, it is good to stay in the zone for as long as possible, so well tempered Inventions and Duets seem like an excellent way to round the programme off.

Schnittke Violin Sonatas Huebl Wait

Alfred Schnittke: Violin Sonatas Nos.1,2,3 and 0

Carolyn Huebl violin

Mark Wait piano

Naxos 8.570978

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Like so much of the 20^th century repertoire, the Schnittke Violin Sonatas are ideal for the Naxos approach. There are already a good number of recordings of these works (although the 1955 Sonata is a rarity), but the quality of what is on the market is variable, and until now none has been available at budget price.

The fout Sonatas neatly précis Schnittke's career. The 1955 Sonata, usually called No.0 although not here, is a student work in an early 20^th century social realist style. No.1 is more adventurous, mixing some serial technique into still relatively consonant but harmonically adventurous textures. No.2 was Schnittke's route into polystylism, and while it isn't as eclectic as the later polystylistic works that made his name, it is certainly in a similar spirit. And finally No.3, which is typical of his late style, with simpler textures, white note harmonies, and a transcendent quality that makes the reduced musical resources always seem sufficient.

It is an open question whether Schnittke's music requires a Russian approach in performance. He doesn't rely on heavy, muscular bowing in the same that Shostakovich does. But he does expect a real sense of interpretive focus, not serious as such, but committed in every phrase.

Carolyn Huebl and Mark Wait are audibly distant from Soviet Russian performance traditions, but that's no bad thing. There is as much commitment here as you could want, and the structuring and atmosphere in most of the movements is really convincing. But both players, and Huebl in particular, have a lighter approach to much of the music, almost dancing with the rhythms at times. This works to the greatest advantage of the 0 and First Sonata. The First in particular is given an energised and propulsive reading. It is a surprise listening to the first movement how rhythmically inventive the music is. The two players never make the music sound trivial, but they do make it sound natural in a way that few others achieve. The violin's intonation is spot on, which given some of the technical demands, like the passages of double stopping and artificial harmonics, is no mean feat.

Sonata No.2 is less convincing. It isn't bad, not by any means, but this is music that really needs that guttural, physical (Russian?) approach to bowing and articulation. The interpretation is still impressively coherent, and Schnittke's graphic notation is convincingly rendered, but there isn't the shock factor that the music needs to make its impact. Perhaps the performers were taking the structural issues too seriously, the build-up to the final climax is excellent, but by saving it all up for the end, much of the preceding music just seems too casual. Sonata No.3 works better. Again, this is a thoughtful and carefully planned reading. Schnittke was never one to put more performance directions into his scores than he had to, often leaving the performers, not so much to interpret, as to decipher what he has in mind. And in this Third Sonata their decisions certainly convince. No.0, which is sensibly put at the end of the programme, also benefits from some imaginative interpretation. Quite significant dynamic and tempo changes are often added, but they all seem to make sense.

As usual from Naxos, the sound is good but not of the highest quality. The recording was made in a concert hall, and the resonance suits the violin better than the piano, which has a curiously boxy sound. It's still worth hearing though, and it is great that these fine works have made it onto the Naxos catalogue. Sonata No.2 will always be the most famous for its heralding of Schnittke's polystylistic phase. But No.1 is a better work, and it is No.1 that comes over best in this recording. The performance of that piece alone is enough to recommend the CD.