EDITOR’S CORNER continued from previous pageOrchestra and the TSO might respectivelygive our local journeyman low-riders ScottIrvine (tuba) and Fraser Jackson(contrabassoon) the opportunity to rattleour sphincters. I know that Scott hasrecently acquired (for the COC’s RingCycle performances) just the rightinstrument for the task, but the liner notestell us that the contrabassoon concertorequires a very recently designedinstrument that I’m not sure even exists in Canada yet. It would beworth while to beg, borrow or steal one to hear this piece live!On a slightly different scale, but still not in the same league as themajors like Sony/BMG or Universal Music, Supraphon (distributed byGillmore Music in Canada) is the only former Eastern Bloc musicpublisher to have maintained a number one position in its domesticmarket since the Fall of the Wall, and has continued to measure upsuccessfully in the ever more competitive international environment.Interestingly, former CBC Records executive Jana Gonda now headsthis national label in her native Czech Republic, which she had originallyfled after the Soviet invasion in 1968. Supraphon’s extensive catalogueincludes a wealth of archival material, but also features many newrecordings by outstanding Czech artists, such as the Panocha Quartet.Founded in 1968, the ensemble came to international attention as thelaureates of the 1975 Prague Spring International String QuartetCompetition. Since that time they have been frequent visitors toCanada and the USA and have performedextensively throughout Europe and theMiddle East. <strong>The</strong>ir discography forSupraphon comprises eight CDs whichinclude the complete chamber works ofDvorak, works by Smetana, Fibich andSchubert, and most recently, stringquartets by Josef Suk and MauriceRavel (SU-3955-2). <strong>The</strong> lesser-knownwork by Suk holds its own in theillustrious company of Ravel’s gem and is given a loving performanceby the Panocha. Composed a few years before the Ravel in 1896,Suk’s quartet shows some of the same sensibilities – late Romanticbordering on Impressionism – while acknowledging the influence ofmentors Dvorak (his father-in-law) and Brahms. <strong>The</strong> disc offers theoption of selecting an alternate finale movement composed in 1915,and the Meditation on an Old Czech Hymn “St. Wenceslas”. For methe Ravel is always like visiting an old friend and the Panocha give usas fine a performance as we would hope for. Of particular note is thesprightly tempo in the Assez vif second movement and the emotionaltension of the Très lent third. All in all this is a welcome addition tothe catalogue. Concert note: <strong>The</strong> Kitchener-Waterloo ChamberMusic Society presents Quebec City’s Cartier Quartet performing theRavel as part of QuartetFest on June 4.We welcome your feedback and invite submissions. Catalogues, reviewcopies of CDs and comments should be sent to: <strong>The</strong> <strong>WholeNote</strong>, 503 –720 Bathurst St. Toronto ON M5S 2R4. We also welcome your inputvia our website, www.thewholenote.com.David OldsEditor, <strong>DISCoveries</strong>discoveries@thewholenote.comDISCS REVIEWEDPLEASE NOTE:Here following are the full length reviews of the CDs covered inbrief in the <strong>May</strong> <strong>2007</strong> issue of the magazineVOCAL AND OPERAWe apologize for any inconvenience.<strong>The</strong> art of pasticcio, a sophisticated form ofcompiling music, reached its peak in theeighteenth century. That is why we canenjoy this oratorio, created probably in 1764, even though Handelhimself died in 1759. <strong>The</strong> “compiler”, one John Christopher Smith,came by this occupation honestly – his father, J.C. Smith the elder,was Handel’s contemporary and they had met at the University inHalle. Almost twenty years later, Handel invited Smith senior towork for him in London – a position which necessitated anglicizingthe name of Johann Christoph Schmidt. As Handel’s principal copyistand assistant until the composer’s death, Smith inherited all themanuscripts of scores, published and unpublished alike. His son, whoalso worked for Handel, started his pasticcios of Handel oratoriosaround 1764 with Rebecca. Working with one of Handel’s preferredlibrettists, Thomas Morell, Smith proceeded to assemble Nabal, <strong>The</strong>Triumph of Time and Truth, Gideon and Tobit. In all cases the wordswere fitted to existing music, resulting in many memorable airs,including “<strong>The</strong> Lord sends his Thunders” from Tobit. <strong>The</strong> Tobit of thetitle is the biblical Tobias the elder. As in most Handel oratorios, thebiblical themes are followed closely, though not to the letter.This recording features exquisite playing and uniformly good singing,with a special mention to Stephan MacLeod as Raguel and Toronto’sown Barbara Hannigan as Azarias (the archangel Raphael in disguise).Yet another superb recording from Naxos and a most welcome changeafter a season filled with multiple performances of Messiah. Tobitprobably won’t replace it in the public’s affections, but it deserves agood – and repeated – listening.Robert TomasHandel – TobitVarious Soloists; Junge Kantorei;Frankfurt Baroque Orchestra; JoachimCarlos MartiniNaxos 8.570112-14Concert note: Tafelmusik performs Handel’s oratorio Solomon <strong>May</strong>10-13 with Michael Chance and Karina Gauvin.Verdi - OtelloGran Teatre del Liceu; Antoni Ros-Marba;Willy DeckerOpusArte OA 0963DBecause of Wagner’s increasing influence andpopularity, in 1871 Verdi, at the pinnacle of hiscareer, lost his self-confidence, regarded hisown operas of melodic set pieces outmoded andstopped writing any new work for 15 years.During this time, however he subconsciouslyabsorbed some of the essence of WagnerianM AY 1 - JUNE 7 <strong>2007</strong> WWW. THEWHOLENOTE.COM3
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