PDF Version

CLASSICAL & BEYONDTchaikovsky; Nielsen – Violin ConcertosVilde Frang; Danish National SymphonyOrchestra; Elvind Gullberg JensenEMI 5099960257024!!When I was auditioningthe recordingof the Sibelius ViolinConcerto played byVilde Frang, who wasthen a new nameto me (reviewedOctober 2010), I foundher nothing short ofa sensational violinist and an outstandingmusic maker. Born in Norway in 1986, sheis well known and widely respected by herpeers. She tours extensively and plays a 19thcentury Jean-Baptiste Vuillaume violin lent toher by the Anne-Sophie Mutter Foundation.In 2011 she was heard in three violinsonatas accompanied by pianist Michael Lifts(EMI 9476392): the Grieg Sonata No.1 in FOp.8, the unaccompanied Bartok Sonata,and the Richard Strauss Sonata in E-Flat. Ineach work her absorption is deeply projected,producing performances of the very highestcalibre. Unfamiliar repertoire to some, theseare all splendid works but it is the charmingStrauss opus to which I find myself returning.The Tchaikovsky concerto has beenrecorded untold times over the last centuryby most of the greats and there are manybreathtaking renditions, making it extremelyimprobable that there could be any newideas, but Frang pulls it off. Her interpretationis fresh and original and seductively alluring.The first movement, for example, whilenecessarily virtuosic, unfolds like a narrative.In the great Nielsen concerto where thereare fewer competitors, she nevertheless offersa magical treat; similarly poetic, soul-searchingand heart-warming. Again the orchestrais superb and in harmony with the soloist.Thanks to the engineers, the recorded soundis natural, transparent and well balanced,with uninhibited tuttis.—Bruce SurteesBrahms 1; Dvořák 9; Sibelius 5; Nielsen 3Danish National Symphony Orchestra;Thomas DausgaardCmajor 710508!!This is an outstandingcollection of fourdeservedly famous andfavourite symphoniesenjoying superlativeperformances instate-of-the-art, highdefinition sight andsound. Toronto concert-goerswho werefortunate enough toattend some or all of Dausgaard’s Sibeliuscycle in 2010 with the TSO, or the recentconcert which included the Brahms SecondSymphony, have a good idea of his ability todeliver performances that alert even the mostjaded ears.For some years, performances of theBrahms First Symphony have been, to myears, tediously dutiful in maintaining that thisis an august work to be performed as a rite.The opening tempo and energy of Dausgaard’sBrahms promises that this will not be yetanother routine walk through ... and it isn’t.This is a sit up and take notice performancefrom the very beginning to the final movement,crowned with a radiant, jubilant finale,the like of which I’m unaware.There is an introspective talk about eachsymphony on individual bonus tracks inwhich Dausgaard walks us through the work,section by section, suggesting in idyllic termswhat the composer is feeling and attemptingto convey. His observations are friendly,articulate and most engaging.None of these performances is pedestrianand all four symphonies are approachedwith the same enthusiasm. The Dvořák hasa wonderful bloom; broad and spaciousand entirely as Dausgaard describes it. TheSibelius is an inspired performance. Thefermenting inner voices in the coda of thefirst movement are daringly breathtaking; inthe finale of the last movement, a valedictory,there is a sense of motionless resolutionunerringly judged by Dausgaard. If youare not a Nielsen fan than this Third, the“Expansiva,” would be an excellent placeto start.Dausgaard doesn’t pause to make pointsthat make themselves in the score. He has therare ability to imbue an orchestra with a spiritand purpose that goes far beyond giving themtempi and balances. Watch his face in theseperformances and see how.—Bruce SurteesRhapsody in Blue and other piano worksMauro BertoliCavalli MusicaFrom Mozart to KhachaturianMauro BertoliCavalli MusicaPiano Works by Scarlatti; Schumann;Granados; GinasteraMauro BertoliCavalli Musicawww.maurobertoli.com!!In the world of classical music, Italy haslong been known for producing famoussingers and conductors. For some reason,though, the list of renowned Italian pianistsis considerably shorter — Arturo BenedettiMichelangeli and Maurizio Pollini are amongthose who come to mind. However, with therelease of three CDs on the Cavalli Musicalabel featuring a young artist by the name ofMauro Bertoli, that list should be immediatelyaugmented! Born in Italy, Mr. Bertoli hasbeen the recipient of several internationalpiano prizes including the prestigiousGiuseppe SinopoliAward in 2006, andhe has appeared inmajor concert hallsthroughout Europe,North America, Israeland China. It’s ourgood fortune that hehas decided to settlein Canada, where he’scurrently on the pianoperformance facultyat Carleton Universityin Ottawa.At the outset,these discs areimpressive with theireclecticism. Whilecertain pianists tend toconcentrate on musicof certain periods,or by particularcomposers, Bertoli’srepertoire is wideand encompassing,spanning 300 yearsof piano literature.For example, the CD Rhapsody in Blue andOther Piano Works, focuses primarily onmusic from the romantic period, with piecesby Schumann, Brahms and Liszt, but alsoincluded is the brief and poignant Für Alinaby Arvo Pärt. The Brahms Intermezzo Op.188,No.2 and the Liszt Romance S169 are warmlyintrospective, while the Schumann ToccataOp.7 aptly demonstrates Bertoli’s flawlesscommand of the keyboard. In contrast,Gershwin’s Rhapsody in Blue provides arousing conclusion. Bertoli may hail fromthe land of olive trees, but his convincinginterpretation of this jazzy and syncopatedmusic from 1924 has ”Manhattan” written allover it.The disc From Mozart to Khachaturianis another study in contrasts. Openingwith Mozart’s poetic and gracious RondoK494, the disc also features two of Liszt’sHungarian Rhapsodies, Schumann’s Sonatafor the Young, Op.118, Granados’ Allegro deConcert and Shostakovich’s Three FantasticDances — a virtual United Nations ofpiano literature.Not many pianists today turn their attentionto keyboard music of the Italian Baroque,but three sonatas by Domenico Scarlatti leadoff the third disc, all of them demonstratingBertoli’s manual dexterity and acute sense oftiming. Also on this CD are the SchumannPaganini Etudes, Op.3 and Nachtstücke,Op.23. But for me, the highlight of thisrecording is surely the set of three DanzasArgentinas by Alberto Ginastera. Written in1937, this music dates from early in the composer’scareer and is challenging from allperspectives. With their complex rhythmsand chromatic harmonies, these dancesmight faze many pianists, but Bertoli handlesthe complexities with apparent ease, bringingthe disc to a spirited conclusion.My only quibble with all three discs is theSeptember 1 – October 7, 2012 thewholenote.com 63