Volume 20 Issue 1 - September 2014

of classicism. In only two movements, themusic bears more than a trace of galanterie,not dissimilar in style to Haydn’s divertimentifrom roughly the same period. Shelley’splaying is elegant and precise, perfectlycapturing the subtle nuances of the score. Theconcertos in C, Op.29 (c.1795) and in E flat,Op.70 (1810) are written on a much granderscale. In keeping with the early Romanticspirit of the music, the Ulster Orchestra’swarmly romantic sound is a fine complementto Shelley’s sensitive and skilful performance.These concertos are a splendid introductionto a series which I hope will prove to beas all-encompassing as the first – and bravo toHoward Shelley and the Ulster Orchestra fortaking the lead in such a masterful way.Richard HaskellPaganini – 24 CapricciMarina PiccininiAvie AV2284In his liner notesfor this two-CD set ofPaganini’s Capriccitranscribed for flute bythe performer, JulianHaycock writes: “In[Paganini’s] virtuosohands, music ofunprecedented technicalcomplexity was dispatched with a coolnonchalance that betrayed little of the effortbehind its execution.”Yes, the name Paganini is synonymous withvirtuosity, no end of which Piccinini brings– incredibly fast double tonguing in No.5,brilliant triple tonguing in No.13, admirablearticulation throughout, but particularlyin Nos.15 and 16, fluidity and even fingermovement, used to great effect in Nos.17 and24, the striking use of harmonics in No.18and the ability throughout to bring out amelody in the low register and accompanyit or comment on it with a soft sweet soundin the high.All of the above, however, are mere technicalfoundation for the artistry whichmakes these studies so much more thanjust fodder for developing chops. The musicappears nonchalant, as in the always tasteful,relaxed and never sentimental execution ofthe ubiquitous ornamentation in a way thatreveals unexpected depths of feeling, in theexquisite control of dynamics and the expressivepower that control brings.In the liner notes Piccinini refers to theCapricci as “inspired miniatures of extraordinary… intensity,” going on to say that shewas struck by their expressive range and by“Paganini’s mystic, dark side and … haunting,introspective, tender vulnerability.” In thisrecording she has succeeded in transmittingthis vision of the Capricci. All in all, it is anenormous accomplishment … brava!!Allan PulkerBeethoven – Piano Concertos 3 & 4Maria João Pires; Swedish RSO; DanielHardingOnyx 4125Certainly there is no paucity of finerecorded performances of these twoconcertos. However here we have anoutstandingnewcomer that, forthese ears, sweepsthe field. Over thepast four decades,Pires has establishedherself as a consummateand refinedMozart interpreter,demonstrating a profound musical approachwith playing that is articulate and sensitive.Applied to her Beethoven these qualitiesilluminate in a pure classical Mozartianapproach, particularly in the Third Concerto.In the Fourth the romantic Beethoven breaksout of the Mozartian boundaries. Pires playsthroughout with exceptional taste; it is as ifshe were “talking” the music to us. The resultsare so persuasive that I found myselfrehearing and re-hearing the two performancesand wondering if I would want to listento any other recording of this repertoire.Another of the joys of listening to theserecordings is the complete accord throughoutbetween conductor and soloist. It is a handin-glovepartnership. The style and balancesof the orchestra are very much in the mannerof the Deutsche Kammerphilharmonie,Bremen of which Harding was the conductorfrom 1999 to 2003. The performances are wellserved by the splendid production values.Bruce SurteesMozart & Brahms – Clarinet QuintetsAnthony McGill; Pacifica QuartetCedille CDR 90000 147Mozart and Brahms,more or less a centuryapart, wrote quintetsfor clarinet and stringquartet during theirmost mature creativeperiod. While linernotes for this latestrecording draw interestingparallels between them, the pieces arequite distinct. More interesting than materialsimilarities is that both works sprang fromthe composers’ admiration and affection forparticular clarinetists. It is left to the contemporaryperformer to step into the shoes ofAnton Stadler (Mozart) and Richard Muhlfeld(Brahms), to represent an aesthetic span of acentury in the manner of one’s performance.A greater challenge still is making thepieces sound new. Mozart’s K581 is perhapstoo well-known for that. McGill and companykeep tempi brisk, eschew vibrato, remainin tune; they even affect a Viennese waltz inthe second trio. The clarinet tone is clear andyet warm: crystal velvet. The string playing isassured, all gut strings and clear understatement.It is nice to hear a different cadenzain the finale, uttered with flair. Still, I’m leftfeeling that what we have here is another finerendition of a treasured yet worn part of therepertoire, even as I admire the heck out ofthe musicianship.Brahms’ longer and darker work is moredaunting for performer and listener alike.In Steppenwolf Hermann Hesse imaginesan encounter with these composers in theafterlife: Brahms is a Jacob Marley figure(burdened by notes instead of chains); Mozartis the perfect Buddha, free of overstatement.Never mind! The opening of Op.115 is such atremendous joy to hear in all its melancholicbeauty, I forgive the composer his excesses.What a totally ravishing performance is givenon this disc. Bittersweet romance blooms. Thepacing is vital and flexible. Inner voices sing,hemiolas rock. The finale leads to ineluctabletragedy, beautifully. McGill opts for restraintfor too much of the rhapsodic section of theadagio, but on the whole he and the quartetremain true to Brahms’ passionate expression.Buy this recording.Max ChristieSchubert – The Late Piano SonatasPaul LewisHarmonia Mundi HMC 902165.66For explicablereasons I have aspecial affinity forSchubert’s pianoworks, includingthe Impromptus,the MomentsMusicaux andothers, but especiallythe sonatas. Particularly the final threewhich were all composed in 1828, the yearfollowing his visit to the dying Beethoven.Schubert himself was deathly ill but in hislast months he also managed to completethe C Major Symphony, the song cycleSchwanengesang and give a concert onthe anniversary of the death of Beethoven.He died on November 19, 1828 aged 31 andwas buried, as he had wished, very closeto Beethoven in Wahring. In the 1860sboth bodies were disinterred and taken toVienna where they lie, side by side in theCentral Cemetery.Lewis is a front-rank interpreter ofBeethoven as his recordings of the fiveconcertos and the complete piano sonataswill attest, but his realizations of Schubertare no less commanding. He recorded theD784 and D958 in 2013 and the last twoin 2002. Lewis does far more than give usexactly what is written in the score, seemingto express the composer’s own thoughts.This is nowhere more evident than in theopening movement of the D960. A couple ofcomparisons: Clifford Curzon is smooth, fluidand melodic while Radu Lupu is somewhatthoughtful. Neither those nor others has theinnigkeit (sincerity, honesty, warmth, intensityand intimacy) displayed by Lewis. And soit is across the four sonatas. For Lewis thereare no throwaways; every note is significantand important and placed exactly right. Anthewholenote.com September 1, 2014 – October 7, 2014 | 71