subscribe! - La Scena Musicale

REVIEWS
CDs
the dynamic markings are scrupulously rendered,
though in tempi generally slower than usual. But
it is a well-known fact that attention to detail,
laudable though it may be, does not ensure a
good rendering of a piece’s spirit. This is perhaps
the case here: the emphasis on detail bars spontaneity,
and the choice to emphasize effects in the
work of a composer beloved for the contrary
qualities is curious, at least. The quartet in D
minor, a heart-rending cry, suffers more from
this tendency than the “Dissonance.” Close miking
produces at times an almost orchestral sound
quality, with a huge cello. Let us return to the old
Italians: let fluid, natural, moving song be again
the order of the day! ALEXANDRE LAZARIDÈS
Musica Vaticana: Musique Polychorale
Studio de musique ancienne de Montréal/
Christopher Jackson
ATMA ACD2 2508 (57 min 5 s)
★★★★★✩
The works presented
were almost all composed
by Italian composers
who were at one
time directors of the
Cappella Giulia in Rome
between 1600 and 1743.
The other well-known
chapel in the eternal city was, of course, the
Sistina. We are not in Rome for this recording,
but happy in the church of Saint-Augustin in
Mirabel, whose warm, hushed acoustics have
been well captured. In this room, the rich
voices and gentle expression of the ensemble
lift the listener to heights of admiration and
contemplation. The vocal parts call, respond,
and circle each other in perpetual balance.
SMAM’s sixteen voices are distinct enough that
we can easily “visualize” each part and appreciate
the counterpoint. The soloists are
grouped in three or four distinct choirs, accompanied
sometimes by a basso continuo
(cello, harp, and organ). Two Benevoli motets
for three and four soprano soloists are a fine
contrast. They are brilliantly executed with joyful
ornaments and immense virtuosity. Of especial
note is the fugue which closes Pitoni’s
Dixit Dominus for sixteen voices in four choirs:
bravissimi!
RENÉ F. AUCLAIR
Schnittke: Quartets 1-4
Molinari Quartet
ATMA ACD22634 (2 CD; 103 min 20 s)
★★★★★✩
While the Molinari
Quartet might not reach
the dramatic heights of
the Kronos Quartet nor
attain the surgical precision
of the Arditti String
Quartet, they are more
than competitive when
it comes to timbre (and the competition is stiff
indeed!). The varied instrumental colours are
so perfectly fused that listening to the quartet
is like listening to one soloist. This imaginary
soloist isn’t immune to the occasional mistake
or affectation, but we barely even hear such
passing errors. The listener doesn’t linger on
imperfections, but rather hangs on the shimmering
tremolos of the first quartet, the melancholy
of the second, the enveloping unisons of
the third. If this imposing repertoire interests
you, dive in post-haste. RENÉ BRICAULT
Schumann: Piano Sonata No. 2 in G minor
Op. 22/Fantasie in C major Op. 17
Anton Kuerti, piano
DOREMI DDR-6608
★★★★★✩
Over the years, Kuerti
has recorded much of
Robert Schumann’s
piano music, including
the chamber music and
the Piano Concerto (CBC
SMCD-5218). In all of
these recordings, Kuerti
has shown great empathy with the bipolar
emotions expressed in the music. That is the
case again here too but coupled with a remarkable
command of subtleties of dynamics
and tone that are so much a part of Schumann’s
contribution to piano literature.
The performances are enhanced immeasurably
by a clear, rich piano sound. No doubt
Kuerti’s own attention to the voicing of his instrument
has something to do with it, but producers
Jacob Harnoy and Clive Allen must be
entitled to some of the credit. We can fairly assume
that the acoustics of Willowdale United
Church in Toronto made a contribution too.
An interesting feature of this recording is the
inclusion of the original Finale of Op. 22.
Kuerti has chosen to add it as what he calls “a
second scherzo.” I agree with him that the ending
is too abrupt for the movement to be satisfying
as a finale. The second finale has much
greater cumulative power. PAUL E. ROBINSON
Honens Laureate Series
1) Bach: Goldberg Variations BWV 988
Minsoo Sohn, piano
2) Debussy/Holliger/Honegger/Ravel
Gilles Vonsattel, piano
3) Hindemith/Schoenberg/Stravinsky/Szymanowski
Evgeny Starodubtsev, piano
4) Schubert: Sonata in A major D.664/Drei
Klavierstücke D.946/Fantasy in C major D.760/
Allegretto in C minor D.915
Georgy Tchaidze, piano
★★★★★✩
Given the space constraints and the vastly different
repertoires, one is loathe to compare—
let alone rank the discs, but suffice it to say
each pianist brings his uniquely personal gift
to the performance. Top on this reviewer’s
personal list is Minsoo Sohn’s Goldberg Variations.
After a stunning debut disc of Liszt
transcriptions, Sohn goes from strength to
strength with a recording that stands up to
comparisons with the best—yes, even Glenn
Gould’s “good standard” 1955 and 1981
recordings. Striking is Sohn’s felicitous mix of
singing tone, innate nobility of phrasing, and
above all his poetic
imagination. Having
played this monumental
work in live performances,
it’s good that he
has now committed it to
disc. Another standout
is the all-French program
of Gilles Vonsattel
who shows an uncommon
affinity for Debussy
and Ravel, played here
with unfailingly ravishing
tone, a wide spectrum
of colours, and an
altogether magical touch.
The recorded sound is
properly atmospheric if
a touch too distant. As
he explains in the liner
notes, 2009 First Laureate
Georgy Tchaidze is
particularly drawn to
Schubert and it shows.
He does full justice to
the joyous and elegant
opening movement of
the A major Sonata, his
brisk tempo making the
very familiar work
sound fresh. To my ears,
Tchaidze’s playing is most convincing in the
more lyrical and introspective pieces, while
the more dramatic and darker moments in
pieces like the Fantasy in C major tend to be a
touch overwrought. Starodubtsev’s “modern”
program is perhaps the least familiar, but he
plays it with great conviction and lyricism,
brilliantly underscoring the kinship of Szymanowski
and Hindemith with Debussy. It’s
to his credit that even the Schoenberg sounds
totally accessible to indifferent ears. The production
values are exemplary—great sound,
informative liner notes (particularly Eric
Friesen’s Q&A with each pianist), and beautiful
packaging—if only there were a photo or
two of the recording sessions. These four pianists
have already gained their rightful places
among the most promising artists of today,
and these releases are a testament to their ever
developing artistry.
JOSEPH K. SO
TRANSLATION: MIRIAM CLOUTIER,
NATALIE GAUTHIER, RONA NADLER,
KARINE POZNANSKI
DECEMBER 2011 / JANUARY 2012 45