Concert Review: Piotr Anderszewski

Concert Review: Piotr Anderszewski

June 27, 2010, CH
Piotr Anderszewski recital 彼得.安德塞斯基
Bach-Schumann-Szymanowski-Beethoven

Hard on the heels of Zimerman came his compatriot Piotr Anderszewski, another serious Polish pianist who has garnered accolades everywhere.

Although Anderszewski is not as well known in HK, and ticket prices were a lot cheaper than Zimerman's, many in the know regard him as a pianist's pianist. The recital took place Sunday evening and the hall was mostly full, in an austere program typical of the pianist.

The pianist is an interesting fellow. Make sure you visit his Official website. His hero is Richter and make sure you read that link. Indeed Bruno Monsaigeon, who made a film on Richter, thought highly enough of him to have made one on Anderszewski too. The website also contains many concert reviews, where you shall find many of the same pieces played at this concert. I shall cite just two:

Carnegie Hall concert 2008 (Beethoven Op110)
London 2005 (Szymanowski Metopes)

Anderszewski took a while to settle into Bach's English Suite No. 5. Although the voicing was perfect and one could hear every strand, I missed a certain joie de vivre that others, say, Perahia, can convey. This music should dance more. Then came Schumann's Six Etudes in Canonic Form, where the pianist came to his elements, finding plenty of poetry and color even in the austerity. This rare work is a curiosity, written for the pedal piano (read more in this link) (apparently, a piano fitted with extra pedal keys like organ, to be played with the feet). I have no idea how it is adapted/transcribed to be played with just 2 hands. I found it of grave beauty, deserving to be heard more often.

The second half began with Szymanowski's Metopes. This atmospheric score by the Polish composer is one of his calling cards and needless to say it was wonderful. With this pianist, every strand is in place, and even the more lurid and perfumed episodes sounded colorful but not vulgar, more impressionistic than sensual.

Beethoven's Sonata No. 31, Op 110 received an immaculate reading. With superb composure, voicing was lucid and much detail was revealed over its span. However, I missed a sense of struggle and would have preferred more pointing in some of Beethoven's more jagged, even jazz-like, rhythms. This interpretation revealed more the ethereal elements and repose.

The first encore, Bartok's Three Hungarian Folksongs, was spectacularly energized and singing, with all the dance elements and rhythmic pointing I did not find in the concert elsewhere (let's not forget the pianist has a Hungarian parent). The second was an atmospheric piece, perhaps something from Masques?

Comparison with his compatriot Zimerman is inevitable. Anderszewski sometimes reminds me of the senior pianist for his superb concentration, tendency towards austerity and a fastidious, near-perfect balance of voices. Comparison of the two pianist was quite fascinating and not at all always to the senior pianist's flavor.

Who is Kornel Zempleni?
I have to confess that when he played the first encore, I knew I had heard it before, and not only once, but could not place it. It was when searching some of the other reviews that I found the piece. What a lovely piece that one would never guess it is from Bartok. While researching I came across this mesmerizing youtube:

Kornel Zempleni plays Bartok Three Hungarian Folksongs

I was mesmerized by Zempleni's ethereal reading, which is completely different from Anderszewski's more unexpectedly earthy account. Aside from some youtube fragments, I found little info on that pianist:

Kornel Zempleni

I shall be on the lookout for his recordings on Hungaroton. If you have more info on him, let me know.

Concert Review: HKPO-Wang Yujia-Tang Muhai

Concert Review: HKPO-Wang Yuja-Tang Muhai

June 26, 2010, CCCH 香港文化中心
香港管弦樂團-湯沐海-王羽佳
Prokofiev - Rimsky-Korsakov

I was unfortunately out-of-town for Wang Yuja's last recital. My friend's words of mouth became my envy. Finally I was able to catch up with this young talent, who had seemingly come out of nowhere to shake the piano world, and she largely did not disappoint.

The Prokofiev Piano Concerto No. 3 deploys a huge orchestra and is a definite challenge for any soloist. Conductor Tang Muhai made no concession to his soloist with a blazing accompaniment. Rather than fighting against the orchestra, as a lesser soloist is wont to do, Wang Yuja was an equal partner. Her phenomenal storming ability in the percussive passages and unusually strong bass ensured that she could be heard in tutti. Even more satisfying was the sense of partnership; soloist and orchestra showed interplay, as well as integration in the many concertante moments. A mature fluidity belied her age. If there is anything that I had reservation about, it is that in the notes beneath the mezzo level her piano tone was curiously not as strong and full-bodied, even vacuous. This made her indistinctive in the softer passages. Here her sforzando's were also not pointed enough. Indeed, despite her percussive prowess, her Prokofiev was remarkably smooth, perhaps a bit too much so for me. The first encore happened to be one of Stravinsky's Three Movements from Petroushka, her CD of which we had played earlier in the afternoon at a friend's house. Her performance was much like the recording, and I agree with Andrew Clement's review in the Guardian, that it was "...lightweight and never remotely dramatic...". The second encore, Chopin, on the other hand, was quite beautiful, if just a little too manicured and short of haunting.

The conductor deserves great credit for the coherence of the concerto. Tang Muhai had a thorough grasp of the Prokofiev style. His rhythmic exactitude, precise dynamic gradation and fastidious balance of voices similarly brought forth an uncommonly involving Prokofiev Symphony No. 1. The "Haydnesque" elements were very much in evidence. There were slashing accents, a singing line and bouts of high drama, indeed sturm und drang.

The conductor's virtues were also very much in evidence in Rimsky-Korsakov's Scherherazade. He brought out much precision and fine details, and the orchestra played with great virtuosity. Yet I agree with an acquaintance that a little something was lacking. He said the four sections of the score seemed rather unrelated and an overall coherence was lacking. I personally would not dwell on that but did think a little more 陰 to balance out the 陽 would be beneficial. I also think rhythmically the percussive and stormy passages were too four-square, and despite the power too careful by half. I would prefer a little more abandon even at the cost of a little precision. But then this is a rather common failing of the HKPO (and EdW). John Harding was an interesting soloist but his portrait of the protagonist was not necessarily feminine. All in all, a very fine concert.

The HKPO played very well. The horns and brass were splendid. Andrew Simon has been away but for this and the last concert I greatly enjoyed (I always do) the tasteful clarinet playing of John Schertle. This was also one of the very few times that I liked the playing of oboist Michael Wilson (in the Scheherazade).

Hong Kong Philharmonic Orchestra

Concert Review: Krystian Zimerman

Concert Review: Krystian Zimerman 齊墨曼

June 22, 2010, CCCH 香港文化中心
Krystian Zimerman Recital 齊墨曼
All Chopin

I am going to be brief here. Going to a Krystian Zimerman concert is like going to a Pollini concert. You know exactly what you are going to get and you have accepted the terms long before the first note. That said, Zimerman's return visit after 4 years left me a little cold. A feeling of deja-vu led me to dig out my notes on his 2006 concert and not surprisingly I found my feelings duplicated.

The piano sound itself, one of the best reasons to hear this pianist, seemed to me not quite as chiseled as in the 2006 concert. I remember his pristine tone on that occasion quite well. The change may possibly be related to: (1) the pianist; (2) my seat, a little different from last time, but still a good one; (3) the humidity; and (4) Zimerman's positioning of his piano, unusually deep into the stage. The program mentions Zimerman's interest in "...hall acoustics, the latest sound technology and instrument construction..." I am sure he tinkers with the position of his piano on stage.

This being the Chopin year, Zimerman naturally played nothing else. For those who had attended the 2006 concert (my notes below) this unfortunately involved duplication of the Sonata in B minor, the largo of which felt just the same. The same can be said of the funeral march of the Sonata in B flat minor, of grave beauty. As before, I liked his slow playing better. As a whole, for my taste, the most coherent piece was the Scherzo No. 2. The opening Nocturne in F sharp Op 15/2 was rather mild to me. The concluding Barcarolle just a shade detached, despite its myriad beauties and rare evocation of water. I was not bothered by the absence of encores.

Friend and fellow concertgoer cfh mentioned the same program were played on his world tour. Here are some reviews of his London "Birthday Concert" and more:

The Guardian
MusicalCriticism.com
Daily Telegraph 1
Daily Telegraph 2
A Blog

Hamburg Concert

Would I go hear Zimerman again? Yes, I would (I have stopped going to Pollini concerts).

Appendix

My Review of Zimmerman's 2006 concert

02/07/2006, CCCH
Mozart K330; Ravel Valses nobles et sentimentales; Gershwin 3 Preludes; Chopin Mazurkas, Op. 24, Sonata in B Minor
lcsd 2006 press release (I am sure "early July" for the concert is wrong)

"...Vincent Mak gave a review in the SCMP, which I mostly agree with. A few notes:

He is a known entity, a man who had very carefully built up a relatively narrow repertoire, who knows exactly what he wants at every moment. This is a musician who demands we hear him on his terms, a musician not for the literal-minded (none of those generic “the notes speak for themselves” remark). I think I’ve listened to most of his DG recordings and have liked most of them. But they also tell of an almost dangerous fastidiousness. The Chopin concerti were touted for their scholarship, and much was made of his endless study and preparation for them. Yet something was missing in them for me. That, however, did not prepare me for the stunningly affected Brahms with Rattle.

Given his fastidious weighing of notes, many slow and soft, I personally think the location of the seat is very important. I was lucky with my last minute seat, facing him directly on the balcony. The sound of his own piano outstanding though a bit soft and truncated in the bass. Overall I found him more captivating in slow music than fast.

The Mozart was affected. The outer movements did not quite move along and neither did I find his playing as clean as I imagined his should be. I did like the slow movement. I almost always like him in slow movements. He has this neither truly classical, nor romantic, certainly not sentimental quality. Gymnopedie- or Gnossienne-like?

The Ravel was nice but my more critical friend said it was missing some “haze”!

I did not quite take to the Chopin in general, as I did to Pogorelich’s many years ago. But I did find breathtaking the largo of the sonata, played with the qualities noted in the Mozart. To me it was almost like piety and felt like a prayer..."

Concert Review: HKPO-Suzuki-Kelemen

Concert Review: HKPO-Suzuki-Kelemen

June 18, 201o, CH
Hong Kong Philharmonic - Masaaki Suzuki - Barnabas Kelemen
Haydn-Mozart-Mendelssohn

Masaaki Suzuki is well known for his work in the baroque repertoire, especially for Bach. He is near completion in his recordings of Bach's choral works. It is a surprise to find him here conducting Mendelssohn, but then nearly all conductors of period instrument bands ultimately gravitate to later and romantic repertoire. Norrington even dabbled in Bruckner!

For the entire concert Suzuki employed reduced strings, 11, 10, 8, 6, 4, huddled close together for critical mass. Vibrato was perhaps attenuated but certainly not completely absent, and I'd guess by the bright sonority tuning was as usual.

Haydn Symphony 44 "Trauer" received a stylish treatment. The so-called "mourning" aspect was not emphasized, yet this did not mean the interpretation lacked gravitas. I liked the long lines and sensitive phrasing which subtly illuminated the finer sentiments. This was countered by bouts of fury and drama, completing the picture of Sturm und Drang. Overall, this was dramatic Haydn, well played, but less spontaneous than last year's Haydn under McGegan.

Mozart's Violin Concerto No. 3 fared a little less well. Even if the results were uneven I appreciated soloist Barnabas Kelemen's effort at pointing his phrases. Distinctiveness sometimes is just a hair removed from idiosyncrasy. He grimaced very often, as if playing to kids, and no doubt many in the audience found it annoying. The orchestral contribution was average, the whole lacking somewhat in fluency.

Mendelssohn comprised the second half. The rarely heard Fair Musulina fared better, beautifully executed and atmospheric. The Italian Symphony was meticulously worked out, full of details, long on vigor and drama but short of a mellifluous quality, which this symphony, of all pieces, should have in abundance. Here, I'd certainly prefer a larger string body. The reduced strings often imparted a degree of grittiness to the proceedings. Although the winds were thus heard to better advantage, here they failed to capitalize. The clarinets were the best and oboes the weakest. As a whole the interplay of winds and strings so vital in this symphony lacked rhythmic resiliency and felt earthbound.

Concert Review: SZO-Shostakovich -張國勇

Concert Review: SZSO-Shostakovich -張國勇

June 12, 2010, 深圳大劇院音樂廳
深圳交響樂團 - 張國勇 - 賈然
Saint Saens-Shostakovich

六四 HKPO-Lazarev 激昂的音樂會還在腦中回蕩， 沒幾天後卻是深圳交響樂團的蕭氏第十五號。 我本想難免會有點“反高潮“的感覺，但事實證明剛好相反, 我的憂慮是多餘的。

我去聼的原因之一當然是因爲曲目吸引， 但更大的是我想聼 張國勇 的表現。我在 2007 年聼了他伴奏的音樂會後（見下面的附錄），就覺得他是個非凡的指揮 。這天，看了場刊裏 張國勇的資料 後，就有了期待。不單因爲他在俄羅斯受過教育，對蕭氏肯定有深刻的了解， 更因爲他原來是 Rozhdestvensky 的學生！Rozhdestvensky 從蘇俄時代到現在都是俄國音樂圈裏擧足輕重的人物， 對蕭氏的了解更是第一手而非一般的。 老師對學生的評價極高：“...I am awarding Zhang Guoyong the highest mark in the history of the conducting department in the Moscow Conservatory. He can most assuredly take his place in any orchestra throughout the world!...”

第十五號是蕭氏最後一首交響曲，寫的時候蕭氏是知道自己快死了。 曲子的風格奇特，可説是蕭氏在他生命中又一次的“反高潮“。曲子肯定是言之有物，但隱晦中説的到底是什麽就備受爭議。我們先看 國立臺 灣交響樂團 對此曲的描述：

"...《A大調第十五號交響曲，Op.141》寫於1971年蕭斯塔可維奇健康日益惡化之時。第一樂章帶著些許孩童的天真氣息，另外也嘲諷成人在共產體制下被矮 化成傀儡；曲中所引用羅西尼《威廉泰爾序曲》的片段，則暗示著召喚革命的浪漫理想，而玩具化的配器也有意突顯俄羅斯中央監獄的對面竟然是中央玩具店。第2 樂章的長號主題係取自一首囚犯歌曲，整個樂章的基調則為嘲弄與憤怒。第3樂章挖苦與諷刺的調子亦十分明顯。第四樂章引用華格納《指環》裡的命運動機、《齊 格飛》葬禮音樂的反覆節奏和《崔斯坦與伊索德》的開頭音符，以及蕭氏自己《第七號交響曲》裡的進行曲，最後則迂迴到嘎嘎響的死亡骸骨。基本上，此曲可謂蕭 斯塔可維奇向現實、過去的影子和音樂美麗世界的告別之作。指揮大師蕭提1997年3月所錄下的版本，係他跟芝加哥交響樂團的最後錄音，整體演出室內樂般透 明紋理和合奏完成度，節奏活潑，表情洋溢華格納式神祕。結尾打擊樂器的聲音漸去漸遠，大師也彷彿就此消失於人間，很虛無，卻令行家熱烈感動。..."

張國勇向觀衆對此曲做出了幾乎 10 分鐘的講解， 重覆強調：（1）藝術家在暴政下表面的妥協和骨子裏的反抗； （2）快死的蕭氏覺得自己一輩子都在不安和憂傷下過日子，但不能死的時候都是這樣, 故此採取了抽離的風格。張國勇的解説平實自然， 像對話一樣；希望多些指揮可以這樣做。

今年深交的音樂會有異往年的是回歸了大劇院。 大劇院的設計酷似我們的大會堂，音效也是粒粒皆清楚， 唯一的遺憾是小了點，臺上顯得擁擠, 而強聲時不免有點超載的感覺 。

張國勇指揮的風格跟他的講解一樣樸實，可說是毫不起眼，但在他的指揮下樂隊的表現近乎完美，無論在深度或技術層面上都超越了樂團去年的第十號。先前用來形容蕭氏第十一號/Lazarev 的文字，只用改一點點同樣可用在這裡：

“蕭氏很多作品，包括第十五號， 演繹最難的是對連貫性的要求。各種的微弱聲音滿佈此曲， 平庸點的演繹會令人在刺激過後容易產生乏味的感覺。在這些地方張國勇沒少費周章， 在一個緊接一個隊員或聲部身上張羅到豐富的色彩， 描繪了萬生態的哀樂， 扣人心弦。“

在這曲子的表現上，深交的木管及敲擊樂的出色程度甚至超越了上一場的港樂。各種的敲擊片斷演出了時鐘的踢踏，敲響的警鐘， 心悸後的恐懼， 在不規則裏對平安的緬懷。越聼下去越覺得時光漸在流逝，心頭更浮出不安及唏噓交錯的感覺。那是先前在臺北聼同一曲目 (Michael Sanderling 指揮臺北市立交響樂團) 時沒有感受到的。

在我的心靈上，兩場的蕭氏是分不開的聯體，第十五號明顯地延續了第十一號的意義，共同替我帶來了對蕭氏更深的認知， 也是我聼過最令我感動的蕭氏。心裏面有感恩的感覺：活著的人怎能忘記無辜地死去的人？也覺得安慰：在這浮華的年代，有心人還是有的； 在這廖化當先鋒， 肉麻地叫大師前大師後的年代， 非凡的指揮和音樂家， 也就是默默耕耘的有心人，還是有的。

上半場是 Saint Saens。 Danse Macabre 後演出了第二號鋼琴協奏曲。鋼琴新秀賈然的技術非常扎實，伴奏也到位。整體來説，這法國音樂缺了一點輕鬆的感覺。你也可以在港樂來季聽到賈然。

坐在旁邊的是一位很漂亮大方的女士 。 我問她在替誰錄像， 才知道她是俄羅斯大號首席 Anton 的妻子， 也是一位鋼琴家。 聊天時她也說張國勇是很棒的指揮。在香港張國勇通常會指揮中樂團或替歌唱家伴奏， 希望未來他能有機會指揮點交響曲目。

附錄 1：廣州日报的訪問提及蕭氏及老師 Rozhdestvensky（全文）：

“...广州日报：在中国指挥界，你被公认是肖斯塔科维奇交响曲的最佳诠释者，能不能谈谈你的心得和体会？

　　张国勇：我偏爱肖斯塔科维奇，原因是我不仅喜欢他独特的音乐语言以及高超的作曲技巧，更重要的是，我很敬重他的人格，他是一位讲真话的音乐 家。要更真切地感受一个作曲家及其作品，就一定要到他生活的环境、地域里去寻根。我在俄罗斯的学习生活经历对我指挥俄罗斯作曲家的作品帮助很大，而且我与 一般较年轻的留学生不同的是，我在俄罗斯学习时年龄相对稍长，有一定的工作和实践经验，也有一定的文化经历。我就不只是纯粹地学习技术，而是在感悟文化， 感悟人生，感悟历史。这可能也是我的演绎带给听众的比较特别的一点吧。

　　广州日报：您的恩师国际著名指挥大师罗日杰斯特文斯基也是一位演绎肖斯塔科维奇作品的权威，能跟我们谈一下他对您的影响吗？

　　张国勇：我的老师罗日杰斯特文斯基是一个充满睿智和文化的人。他和肖斯塔科维奇生活在同一个时代，也有很好的私交。我的老师对肖氏作品的理解 是第一手的也是最真实的，很多肖斯塔科维奇的作品还是他首演。我认为，我的老师在对音乐结构的宏观把握方面做得尤为出色，非常有逻辑性和合理性。..."

附錄 2：24/03/2007 上海歌劇院交響樂團-陽光-張國勇 （我寫於 2007）

"...The hall was packed with an enthusiastic audience (frequently the case with mainland artists). I was really surprised when the orchestra came out, so young!...The real surprise is the orchestra。 They played with concentration and verve under Zhang Guoyong, who conducted with concision and incisiveness. The opening Rossini Barber overture was dramatic. The strings were excellent and had big, dramatic, penetrating power. Most surprising was the lack of “Chinese sound” and the orchestra’s grasp of all the musical styles. Even the Mozart pieces were delivered with élan (that cannot even be said of the HKPO); the beautiful clarinet playing of ?Li Cong almost took my concentration completely away from Yang Guang. The winds were in general very good, except for the sound of the oboe (instrument?). The brass was surprisingly secure and warm. I think this is already a better orchestra than the Sinfonietta and the Macau. And it played the various styles in a more versatile way than the HKPO. For an orchestra so young it is an amazing accomplishment. I look forward to hearing them again. .."

Shenzhen Symphony Orchestra

Concert Review: HKPO-Shostakovich -Lazarev

Concert Review: HKPO-Shostakovich-Lazarev 音樂的祭拜

June 4, 2010, CCCH
HKPO-Alexander Lazarev
Mozart-Shostakovich

作爲一個中國人，六四不單是一個畢生難忘的日子，更是一個揮之不去的符號加問號。這一天，連政治冷感的大衆都會想起歷史。當天，我選擇了去聼音樂會。要知道原因的話，看看國立臺灣交響樂團對此曲的描述就知道了：

"...標題《1905年》的《G小調第十一號交響曲，Op.103》首演於1957年，內容描寫一樁重大歷史事件：1905年俄羅斯東正教教士加朋錯估沙皇尼古 拉二世的仁慈，率眾赴皇宮請願，沒想到沙皇全家避居冬宮別墅，警察及哥薩克騎兵向群眾開火，廣場血流成河，埋下俄國大革命的火種。全曲四個樂章均附標題： （一）宮殿廣場（二）元月9日（三）永恆追憶（四）警報，有學者認為其精神內涵似乎隱喻譴責蘇聯當時入侵匈牙利的不當。無論如何，此曲動態巨大，配器多彩多姿，是一首備受音響發燒友喜愛的里程碑格局曲目。..."

蕭氏從來都是港樂的強項。在這之前， 港樂有三次超凡的蕭氏演繹：幾年前 Jaap Van Zweden 指揮的第八號 那霹靂感至今仍然在耳（可惜那時未建 Blog, 也沒留檔案； 如你有資料，敬請告知）；還有 2008 年 Mark Elder 極具深度的第六號 及 2009 年 Rozhdestventsky 的第十號。可是這一次更不一般。

在大嚎中也能聽到細細的哭泣
在 Alexander Lazarev 的指揮下，HKPO 蕭氏第十一號的演繹，絕對稱得上“ 鬼哭神嚎“。 描述屠殺的時候，我及朋友們的眼淚滾滾而下。 從來沒聼過港樂能夠那麽從容地放送源源不絕的力量。就算在音樂最歇斯底里的時候，每聲部仍然清晰； 就這一環，水準已經超越了以前任何蕭氏和馬勒的演出。更可貴的是，在大嚎中也能聽到細細的哭泣。這不只是樂隊在音樂澎湃時的出色表現，也是指揮 Lazarev 對樂曲整體的理解和描述。 聼這場音樂會赫然就是一個祭拜的經歷。

蕭氏很多作品，包括第十一號， 演繹最難的是對連貫性的要求。各種的微弱聲音滿佈此曲， 平庸點的演繹會令人在刺激過後容易產生乏味的感覺。在這些地方 Lazarev 沒少費周章， 在一個緊接一個隊員或聲部身上張羅到豐富的色彩， 描繪了萬生態的哀樂， 扣人心弦。

令人遺憾的是，可能日子特別之故，當日上座率我想四成不到。更糟糕的是，最後一個音符還沒完全過去就有一位先生大叫 Bravo, 破壞了一個完美的音樂會。 幸好之後 Bravo 之聲仍然不絕。

差點忘記了，上半場是 Mozart Clarinet Concerto。 Andrew Simon 的表演 (Basset horn) 缺點味道，樂隊雖不錯， 整體沒有以前 McGegan 指揮那次的水準。

Alexander Lazarev
久違了的 Lazarev 是一個非凡的指揮。自我聼了他在 2005 年指揮港樂後，就非常仰慕他。那次全俄國作品， 其實比這次難度更高。上半場 Rimsky-Korsakov 的 Russian Easter Overture 及Prokofiev 的 Violin Concerto 2 (Takezawa 拉) 對大家來説比較耳熟能詳；真正令人驚嘆的是下半場兩個冷門曲目。 Liadov 的 Nenie 色彩豐富多變；Borodin 的 Symphony No. 2 氣勢如虹。

友人聼了 RTHK 的訪問，說 Lazarev 很謙卑，強調“指揮”最重要的是跟樂隊的溝通。其謙卑從謝幕也可看到；他不停地用手勢把掌聲推向樂隊。

這才是個真正的“大師”，一個注重令音樂打動人心而不是令樂隊服從的音樂家！希望他不用我們再等五年， 很快重臨香江。

P.S.
1. 有沒有留意到海報的詭(鬼)異色彩？
2. 在網上瀏覽的時候，看到一篇有同感的文章：香港管弦樂團政治不正確??

CD Recommendations (3)

CD Recommendations (3)

Universal HK is having a "Masters of the Strings" promotion right now. Full-priced String albums are offered at mid-price.

Daniel Hope is a young violinist that I like very much, but he's obviously not a box-office draw. His new CD, Air - A Baroque Journey, is available at promotion price! Much of the music is unfamiliar, but it's worth your time to explore. Make sure you sample the tracks at the website link above.

I'm not a fan of Mullova, but I'm certainly one of Carmignola (previously on Sony) in the baroque repertoire. Their Vivaldi Double Violin Concerto CD is refreshing, one of the best Vivaldi CDs recently (aside from Carmignola's own solo CDs, also available in this promotion).

The Grimiaux-Haskil Mozart CD is a classic, but has been difficult to get, perhaps even out of print. It's now available again as part of the promotion. Of course, the cover is a little different. It says DECCA rather than Philips on the cover! Grab it while you can.

The promotion has all the familiar faces, but I'd urge you to explore new talents, like Nicola Benedetti, who not only has a beautiful face.

Pseudonyms on Obscure Labels

Pseudonyms on Obscure Labels

This is an issue that has fascinated collectors forever. Long time LP collectors often come across obscure labels that were once sold by alternative methods, such as in department stores, supermarkets, or through subscription etc. For contractural and other reasons, the real name of the orchestras and conductors were often changed to almost funny names, caricatures with intent. Even larger "second-labels" such as Everest did this kind of thing.

These LPs were also notable for their covert "art". Many are so campy that they are great! I like the one pictured.

The ReDiscovery Label
While researching the violinist Janine Andrade I came across this small "label" that sells CD-R's at reasonable price (one man's work of love). It has put out a huge series of worthwhile perfromances (some of which I have) and identified the real musicians. That's a real service to collectors!

Here is the Discovery Catalogue (Musical Mysteries series). Please note the "thumbs up, thumbs down" icons contain reviews that offer much more information. Here's a review of the pictured Can Can in Stereo album. The orchestra were certainly not "The French Orchestra" and the conductor not "Suzanne Auber". The real performers were the Hamburg Radio Orchestra directed by Hans-Jurgen Walther.

Make sure you play the ReDiscovery Gallery (wonderful LP covers).

Concert Review: The MET Orchestra and Boulez

Concert Review: The MET Orchestra and Boulez

May 16, 2010, Carnegie Hall
The MET Orchestra-Pierre Boulez-Deborah Polaski
Bartok-Schoenberg

In the opera house, the MET Orchestra under the long reign of Levine has always been an excellent orchestra. In non-opera repertoire they seem too to have maintained a small foothold and a high standard, though I have not been overly enamored of their recordings. This marked the first time I heard them outside the MET pit.

It was not surprising at all that the orchestra played with fine nuance and great attention to color and mood. One can say the musicians were almost vocal in their outpouring. However, despite the very fine playing I could not be as enthusiastic as the NYT review. Boulez, though frail, conducted just as he always did, with superb concentration over the considerable span of the Bartok Wooden Prince but, as one is unreasonably to expect from him, underplayed the score's more visceral and elemental aspects. I found the same to be true of Deborah Polaski in Schoenberg's Erwartung: she sang well but I felt she had not injected enough passion into the proceedings; lack of hysteria is a reservation in this of all pieces.

But I was glad for an oppoptunity to hear 2 pieces not commonly encountered in the concert hall.

Concert Review: NYPO-Masur

Concert Review: NYPO-Masur May 12, 2010, Avery Fisher Hall NYPO-Kurt Masur Beethoven-Bruckner
Somehow I had not managed to catch Kurt Masur during his reign at the NYPO. Ever since I heard him live in a complete Beethoven cycle with the miraculous Leipzig Gewandhaus Orchestra at Carnegie Hall in the late 70's I have become one of his fans. The NYPO audience, post-Maazel and entering the Alan Gilbert era, gave him a great welcome even before the first down-beat.

The concert opened with Beethoven Symphony No.1. Coming right after Orpheus' performance of No. 2, the difference could not have been greater. Masur's superbly virile performance, with only slightly reduced strings, had a sonorous bass line and prominent balance of winds, reminiscent of the so-called "Central European" style. It revealed many more details and a sophisticated rhythmic sense infused the performance. The "Haydnesque" element was clearly heard. It goes without saying too that the brass and woodwinds far outstripped their Orpheus conterparts. This was a performance by a master who had lived with the piece all his life. Indeed Masur had recorded at least 2 complete cycles on Philips, both with his incomparable Leipzig orchestra. The first, scattered now on several pairs of Philips Duo, is IMHO one of the best ever, and even offers superior sonics to the remake. It is now also available conveniently in a multichannel SACD/CD set issued by the reliable Pentatone.

Of the magnificent Bruckner Symphony No. 7, little need to be said (finally). From the first bar, it completely outclassed a previous performance by the same orchestra conducted by Zubin Mehta. The same sophisticated rhythmic sense also pervaded the breathing performance; subtle rather than forceful, it gave passages, such as the scherzo, a "Schubertian" lilt entirely appropriate for the music. The perfect balance and chording of grand themes could only have come from decades of experience. Diverging a little into HiFi, I shall quote Robert Harley's conclusion on the dCS Puccini/U-Clock: "...simply presents more musical information to the listener without calling attention to the fact that it's presenting more information..." If you read the NYT review, it basically says the same. That is what separates a master from lesser "maestro's". The NYPO played magnificently for Masur. In case you wonder, Masur's also has a solid Bruckner cycle on RCA.

Concert Review: Stravinsky-Gergiev II

Concert Review: Stravinsky-Gergiev II

The Russian Stravinsky: A Philharmonic Festival, Avery Fisher Hall
New York Philharmonic-Valery Gergiev, Conductor Chorus of the Mariinsky Theater-Andrei Petrenko, Principal Chorus Master

May 5, 2010 Symphony in C-Capriccio for Piano and Orchestra-Petrushka (1911)
I have increasingly become fond of Petrushka, and it's wonderful to have heard the complete score performed so magnificently. As previously, the orchestra played with high voltage and great flair under Gergiev.

No more need to be said except that the soloist Dennis Matsuev almost stole the limelight. This is one BIG-toned pianist, infallible, with a great rhythmic sense and swagger. Despite its jazz inflection, Cappricio can sound rather tame on records but this team brought it to life. I first took note of this pianist in his famous "Unknown Rachmaninov" CD, played on the composer's own piano, and available in the HKPL. It's worth searching for.

For more info, read the NYT review. For other concerts in the series, see Part I of my review.

It's too bad I could not get tickets for the last program in this series, as much for the Rite as for a chance to hear another star, pianist Alexei Volodin.

Concert Review: Orpheus with Ryu Goto

Concert Review: Orpheus with Ryu Goto

May 4, 2010
Orpheus Chamber Orchestra Ryu Goto, Violin
Stravinsky-Bruch-Beethoven

I was quite happy to discover this under-publicized concert by the famed conductorless Orpheus Chamber Orchestra, sponsored by Korean Daiwo Bank. The hall was about 80% full, with many Asian faces that greeted Violinist Ryu Goto's entry with screaming passion fit for pop-stars.

Ryu Goto is familiar to HK concertgoers for his stunning rendition of Paganini No. 1 with the HK Sinfonietta, one of the most perfect concerti I have ever heard live (reviewed in this Blog previously). Although I was very eager to hear him in the Bruch Violin Concerto No. 1, I have to admit a certain disappointment created by overly high expectation. While he played beautifully, with an exquisite tone, I had one major reservation not mentioned in the NYT review. Volume. His tone was just a shade small for this large hall; bigger than Cho-Ang Lin's, but just enough, lacking the power of some other (maybe lesser) soloists. The perfect solo Paganini encore fared much better and brought back memory of his previous performance in HK. This points up one thing: Paganini is easier to project than many romantic pieces.

I have not been that impressed by Orpheus on record, and so I was surprised by the big sound Orpheus made in this romantic repertoire. The small string body played wonderfully. One did not much miss the big sweep in the Bruch, and gained insight into the part-writing. Again, the strings shone in the Beethoven Symphony No. 2, but I found the woodwinds and brass to be only good and not up to the standard of the strings. Their solo's were relatively bland and their blend was not sophisticated compared to their counterparts in the better orchestras. It follows that I found the opener, Stravinsky's wind and brass-dominated Octet tidy but without flair, which the music sorely needs.

Concert Review: American String Quartet

Concert Review: American String Quartet

May 1, 2010, Merkin Concert Hall
American String Quartet
Schubert/Webern/Berg

I have been attending more and more chamber music concerts. I am not familiar with the American String Quartet, which enjoy longevity (rare in the world of quartets) and apparently, have a fine reputation. At least 3 members are on the faculty of the Manhattan School of Music. This challenging program centers on the Viennese School.

The foursome surprised me. While notably American in their bold playing, their ensemble was of a very high caliber. Blending of the voices was seamless, attacks in unison and solo's delivered with flair. The tightly controlled Webern's Five Movements was a cornucopia of sound, from explosive outbursts to the merest of whispers. The Berg String Quartet, Op 3 that followed was big and splashy. Leader Peter Winograd, steady and infallible, really dug in, not afraid to let in a trace of coarseness.

The lengthy Schubert's Quratet in G, D887 is a challenge for any ensemble. The performance was technically impeccable and although I admired their sheer stamina, I was somehow unmoved, unlike the works from the Second Viennese School that went before. I attribute this to a lack of rhythmic subtlety. The Schubertian lilt was in short supply. Despite bold playing, there was a curious lack of inevitablity, of the inexorable progression, of the "tragic" that one feels in Schubert's late works. In contrast, the Quarttetsatz that opened the program was more suited to their iron-clad approach. All in all, this is a quartet that I shall hear again.

The concert was held at the renovated Merkin Hall. The hall was famed for its acoustics, but I'm not so sure this is true now. For the opener I sat up front (lower than stage level) and the sound lacked fullness. After I moved to further back in the hall the sound improved significantly.

Concert Review: Stravinsky-Gergiev I

Concert Review: Stravinsky-Gergiev

The Russian Stravinsky: A Philharmonic Festival, Avery Fisher Hall
New York Philharmonic-Valery Gergiev, Conductor Chorus of the Mariinsky Theater-Andrei Petrenko, Principal Chorus Master

This most amazing series spans several weeks, pairing the familiar and the rare Stravinsky in concerts, all conducted by the amazing Gergiev. Even more remarkably, the series emphasizes choral works that are usually shunned by the general audience, sung by the superb Russian chorus. Plus the star soloists, the incredible programing in this case has translated so far to resounding box office successes, rare for Stravinsky.

More than once I wondered why Stravinksy (beyond the Firebird and Rite) is not more popular with audiophiles. The sophisticated percussive writing and the sheer animal nature of some of the more explosive moments easily put the rather monochromatic Carmina Burana (not a favorite piece of mine) in the shade.

The NYPO have been playing splendidly, with more panache (almost "Russian") and involvment than usual (this orchestra can easily seem aloof), no doubt under the spell of Gergiev. Compared to his own orchestra (heard previously in the same hall in Prokofiev) the difference is relatively small. NY is a little more refined and precise but the Russians had more nuance. The brass of the NYPO has always been superb. They were super-human here, sometimes sounding like one instrument, with unmatched precision in attack and always warm sound.

As mentioned, the chorus is remarkable. Each section sang in unison, the blend seamless, and their dynamic precision is breath-taking, just the vehicle for Stravinsky.

April 23, 2010 Les Noces/Symphony of Psalms/Firebird (1910)
I struck gold with this concert, the second program of the series. Due to the volcanic disruption of European flights, the chrous could not arrive in time for the first program, for which Les Noces was originally scheduled. For this concert Les Noces replaced Jeu de Cartes, and I was delighted. Just the sight of the orchestra was worth the ticket of admission: no upper strings, and 4 pianos! For details reald the NYT review.

Les Noces is not an easy work to listen to at home, but it's spectacularly entertaining in the concert hall. The gloriously rich percussion sound rendered the best of our hifi reproduction a joke. This was followed by the austere Symphony of Psalms, given a precise reading. The complete 1910 Firebird was immaculately paced and subtle, though those more attuned to the showy elements in the suites would have been a little lost.

Read the NYT review for full details.

April 28, 2010 Zvezdolikiy/Violin Concerto/Oedipus Rex
The Violin Concerto was given a strong account by Leonidas Kavakos. The orchestra was excellent, but I felt the last degree of give-and-take between the soloist and orchestra was amiss. A little Bach served as an encore, tidy but not particularly involving.

I am at a lost for word for the dramatic Oedipus Rex. Even more than Les Noces, this is a stunner in terms of sonic spectacular. What a cast, though I thought Waltraud Meier was long past her prime. The male chorus sang with zest. Thanks to the super-titles I enjoyed it immensely.

For details read the NYT Review

Concert Review: The Flying Dutchman

Concert Review: The Flying Dutchman

April 26, Metropolitan Opera
Wagner: the Flying Dutchamn

The Flying Dutchman has always been a favorite of mine. Although the plot and libretto are rather absurd and a challenge for any production, the music is headstrong and full of romantic ardor. It is also not overly long. :-)

I attended the second performance on the day the NYT review came out, with general praise of the singers but a severe thumbing down of the conductor, Kazushi Ono. As my interest in the opera lies more in the sweeping orchestral score rather than the vocal writing, I attended with some apprehension.

The family circle audience looked quite different from usual, many younger people, blacks and Hispanics that we don't often see in such numbers. Judging by the way they acted, many were in the venue for the first time. When the light dimmed there were a few yells of "Bravo". This, at the start of the performance! Defenders of Ono? I suspect tickets were distributed through "alternative" channels, at least for this performance.

The first few minutes of the overture was indeed quite rough, the solo's unfeeling, and I prepared for the worst. Slowly, the orchestra warmed up and throughout the evening played with beauty and sureness. Although lacking in the utmost grandeur and atmosphere, Ono paced the opera well and my attention never sagged. Except for the opening bit, I didn't detect the problems noted in the NYT review.

I'd not dwell on the vocals too much. Deborah Voigt was powerful, but I found her German ennuciation too studied and her high notes rather metallic to be completely satisfactory. I was pleasantly surprised by the lyrical singing of Stephen Gould, which he held steady to the end. As the Dutchman, Uusitalo certainly did not match up to Jose Van Dam (who does these days), whom I heard in the awful Jean-Pierre Ponnelle production decades ago. I must say this production is a lot better than that pretentious one.

Concert Review: Belcea Quartet

Concert Review: Belcea Quartet

April 24, 2010, Washington Irving High School
Belcea Quartet
Beethoven/Szymanowski/Bartok

The marvelous Belcea Quartet were playing 2 programs in NYC, one in Lincoln Center, at a premium, and this one, at a price anyone can afford, with a definite early twentieth century tilt.

The Szymanowski No. 2 alone was more than worth the price of admission. If you are attuned to this composer's shimmering coloristic, and chromatic, world, you would have been in bliss, as I most definitely were. The impressionistic elements were conveyed with a deft and subtle touch, while the more rhythmic outbursts were delivered with a dynamism that was startling. Most importantly, juxtaposition of the shifting worlds was natural, unusally idomatic. The same applied to Bartok's No. 1, its length and polyglot stylistic elements negotiated with unfailing sureness. Opening the program was Beethoven's OP 18/6, played perhaps a little too seriously to align it with the twentieth century, not that the piece cannot withstand it. An equally serious Britten movement served as an encore.

The ensemble was stunning. Leader Corina Belcea-Fisher led with an iron-grip, her phrasing unfailingly musical, her tone varied and always beautiful, and her rhythmic sureness confident. There was not a weak link in ensemble. Second violin Laura Samuel miraculously blended seamlessly with both Belcea and violist Krzysztof Chorzelski, lending the inner voices a solid foundation. And the lower voices also blended seamlessly; sometimes I could not tell the viola from the cellist Antoine Lederlin. What astonishing accomplishment for such a young quartet.

The global level of string quartet playing in some ways has improved significantly. This quartet are at a very high level, almost approaching that of my favorite, the Artemis Quartet. England must be doing something right in chamber music. What a wonderful evening.

There's no yet a NYT review, but I came across coverage from an excellent Blog that I have cited before. It's good to know there are fellow souls who care!

I recommend their cheap and stunning Bartok cycle on EMI (pictured).

Concert Review: Augustin Hadelich

Concert Review: Augustin Hadelich

April 18, Town Hall
Augustin Hadelich/Akiro Eguchi

I first learnt of Augustin Hadelich from a HKPL Naxos CD of Haydn. I was instantly captivated by his fluidity and the sheer joy and carefree nature. It was not until I read the New York Times Profile before the concert that I realized he had recovered from what would be debilitating for mere mortals.

New York is amazing. I have been attending concerts for almost four decades now, and yet for some reason I had never set foot in Town Hall. This is a concert sponsored by the People's Symphony Concerts, with its amazingly low ticket price, one of the best kept secrets of NYC. I had been attending its Saturday series at the Washington Irving High School, but had never attended any Town Hall concerts.

The hall has amazing acoustics. Here is a list of who's who that have appeared on this stage, and the stage still looks like it always did, Wow! At the end of this post I attach vintage programs proudly displayed in the corridors. Isn't it sad only old halls have good acoustics? What happened to the "science" of acoustics?

In a challenging program, the tone of Hadelich was exquisite, and he was partnered well by Eguchi. Stravinsky's Suite Italienne was elegant, though some would like it more acerbic. After a Takemitsu piece, the Debussy Sonata was out of this world, the best I have ever heard, live or on records, and it certainly eclipsed the Repin live account I heard some time ago (reviewed previously). It had incredible finesse, finely nuanced, and besides perfect balance of dynamics and a natural sense of rhythm, a fludity that's missing in most performances of this elusive piece. The Ysaye Solo Sonata No. 5 almost sounded too fluent, though not enough to dispell notions of a certain cerebral quality of the music. Yet it bested all of the accounts I have heard, including Shumsky's. Schumann's Sonata No. 1 concluded the evening on a more romantic note.

Most amazing were the Sarasate encores. First up was the perennial Ziguenerweisen, played fastidiously that it was like a new piece. The laments were rich toned, just as the virtuosic passages were dazzling. And I had never heard so many notes! Another shorter Sarasate piece concluded the perfect afternoon.

A trademark of this violinist is his absolute sureness of attack, right on the note, with no overhang whatsoever. This quality made his phrasing distinctive, and natural, without the effort of consciously pointing.

One of the best recitals I have ever attended.

Below are the old programs, who's who in music (the little girl is my heroine, Ruth Slenzynska), as well as some album covers that feature the stage:

Concert Review: Rokia Traore

Concert Review: Rokia Traore

April 17, 2010, Highline Ballroom
Rokia Traore

Highline Ballroom, a place full of surprises
My happiness on finding out the Daniel Hope concert at the Highline Ballroom (previous post) was nothing compared to the near-ecstasy I felt when I browsed the Highline Ballroom website and found out Rokia Traore was giving a concert later in the week!!!!

Rokia Traore
I have to thank J.C. for getting to know this wonderful singer. We heard JC play tracks from her album Bomboi, and we were hooked. What a fine voice full of emotion, and we didn't even know what she was singing about! I now have several of her CDs and my audiophile friends in NYC took to her like we did too.

Although on her albums she was singing in a Mali dialect, Rokia Traore was well bred (see wikipedia entry) and apparently multilingual.

It is a MUST you visit her Official Website. It's in French, but right on the front page there is a Live Dec 2009 video (click ">Voir Le Video") of superior quality to the youtube I am embedding below. There's a lot more clips when you click on Videos.

The Concert
There were a lot fewer seats and no sit-down dining downstairs. About half the people, including myself, were standing and swinging to the music. The band appeared to be the same as in her official video, and they came out high. The grooves did not feel particularly African; after all, this is world music, though happily amongst the best in this admittedly uneven genre. Some of the numbers were familiar, and Traore paid tribute to Miriam Makeba, surely the icon of the female African singer. She sang mostly in her native tongue, but there were a few in French (likely her second language), delivered in style. One English song I did not enjoy too much; it's her weakest language. Her voice was a little hoarse; no doubt the tour (four months) has taked its toll.

Traore is a very stylish presence, a beautiful lady. Her gesticulations during the slower numbers were fluid, imbued with elements of the dance, and elegant.

The long African songs I am sure contained improvised elements, full of taunts and cries, sometimes a little like our own 山歌. These were mesmerizing in their powers, and the repetitions were ritual and hypnotic at once. A bit surprising, the blast and energy, since on her albums her numbers are not so frankly groovy. This is understandable for a concert, as the musicians need to work a crowd. The energy level steadily increased as the concert progressed, and for the last forty minutes Rokia Traore was dancing vehemently, her elegance increasingly yielding to the sensual, even erotic. And that was the greatest surprise of the evening - this lady is as much dancer as singer!

As is the case with many African singers, or American Black singers, Traore took some time to speak to the crowd on the misery of her people, the tragedy that is Africa, and the need to cling onto hope. Yes, she is a good speaker too. At the very end, several people popped in for a brief while and danced with her; one of them I suspect was Cesaria Evora. None of that prepared us for the finale, when the background vocal lady went into paroxysmal spasms of some high-jitter African dance moves, effectively ending the great concert.

I saw people taking videos during the performance. Sure enough, after a bit of searching I found some footage of the concert loaded on youtube. That was efficient! I embedded these for your pleasure, and hope you enjoy them as much as I did.

Concert Review: Daniel Hope and Friends

Click on pic to enlarge Concert Review: Daniel Hope and Friends 5/4/2010, Highline Ballroom

British violinist Daniel Hope is a rising star. Several of his CDs (most with the Chamber orchestra of Europe) are available from the HK library and I have liked them all. So I was very pleased to find out that he would be giving a concert in promotion of his new baroque album.

The most unusual thing about the concert is where it took place, at the Highline Ballroom, a place not normally associated with the classical world. I found out accidentally by reading the listing in Friday's New York Times.

As its name implies, the Ballroom is close to the New York Highline, a park that runs along a long-abandoned elevated old railway stretch, a testimony to the city's cutting edge in design. It's a great place to walk around and view the downtown skyline and the water to the west.

The Highline Ballroom is a medium sized venue/club that usually caters to hipper stuff. Popular pop artists with high appeal give shows of standing room only. You can buy drinks from the bar. Artists of less popular appeal (jazz, classical) may have seated shows. This one of course was a seated show, with full dinner menu available and a $10 minimum (in addition to the admission ticket). I am not sure you can see from the dim picture that the gents and ladies sitting, many British naturally, were having drinks and food. My friend had a hamburger and I a glass of wine. hey, that's nice for a change.

The program, a mixture of the familiar with the obscure, is the first from Hope's new recording label, DG (which seems to be snapping up all young firebrand violinists in sight; Nicola Benendetti is another example), titled Air, a baroque journey (also click here). Hope introduced every piece, quite charmingly. His playing was HIP-informed and fluent. Ensemble was tight and the baroque instruments were a real sight. Oh, yes, it was amplified, but modestly, so Hope's tone was quite natural. There was no program and Hope introduced his friends by mouth, so I cannot be sure whether they are the same ones (mostly from the COE) on the DG album.

I am almost tempted to get the album, but I'm sure the library shall have it in due time. Meanwhile I noticed the album is available as FLAC file. Now, I'd love to hear that.

Concert Review: Borodin String Quartet

Concert Review: Borodin String Quartet

March 24, 2010, Alice Tully Hall
Borodin String Quartet
Brahms-Rachmaninov-Tchaikovsky

I was very happy for the priviledge to hear one of my favorite quartets (two others would be the Artemis and the Shanghai), the Borodin Quartet, for the fourth time, and in Alice Tully Hall, which I have not visited after its re-opening.

The group has remained the same since death of the great Berlinsky. They still play with peerless unainimity and a golden blend ( see my review in 2008). The great surprise is that in the new Alice Tully Hall two aspects of their sound have changed: first, first violin Aharonian's tone is less white than before, still penetrating but without glare; second, the tone of cellist Balshin, previously smallish, has firmed up considerably. The balance is more generous. This could be due to change of the quartet's sound (not unusual) but could also at least partly be attributable to the much praised acoustics of the completely rebuilt new hall, which is a little larger than life, and warmish.

The program was surprisingly challenging. Neither the Brahms Second nor the Tchaikovsky Second are often encountered. Both were played perfectly, the thorny knots of the Brahms untying themselves with ease, and the Tchaikovsky scaled new heights of sophistication. In between came the early Rachmaninov's Romance from Two Movements for String Quartet.