Haydn: Double Concerto and Sinfonia Concertante in B-flat (Melkus, vln.; Atamacayan, vcl.; Piguet, ob.; Stiftner, bsn.; Schwartz, hpsi.; Capella Academica Wien; Muller-Bruhl, cond.). Schwann Musica Mundi VMS 1400 B.
This superb Hob. 11105 on original instruments is paired
with an equally fine Concerto for Violin, Harpsichord and Orchestra,
Hob. XVII/6. The interplay of four refined musical intellects
is managed by the Olympian baton of Helmut Muller-Bruhl, allowing
each soloist to shine and then submerge into the texture. Both
Michel Piguet and Walter Stiftner perform flawlessly, with beautiful
tones and a singing melodic line . The sheer elegance of this
performance evokes brilliantly the Concertante's 1792 London
debut. The program notes are thoughtful but a word about the instruments
would have been appreciated.
Rating: 3 CROWS
Telemann & Vivaldi: Concertos for Recorder, Baroque Bassoon & Strings (Pehrsson, rec.; McCraw, bsn.; Drottningholm Baroque Ensemble). BIS CD-271.
Michael McCraw is a Cologne-based American who has turned in three
strong performances on this Swedish CD. He and Clas Pehrsson perform
the Telemann Concerto in F (the Petri/ Thunemann version
on Philips was reviewed in this column last issue) and the Vivaldi
Concerto in . g ("La Notte") FXII/5, and McCraw
performs solo on the Vivaldi Concerto in F, FVIII/8. All
works are marked by technical skill, good ensemble playing in
the strings and virtually no ornamentation. The Vivaldi F Major
is relatively unknown, but a solid work. The CD digital process
shows off the sound of McCraw's de Koningh (after Wijne, Amsterdam,
ca. 1730) and the rest of the ensemble to best advantage. The
program booklet (for which McCraw wrote the notes) is full of
information and photos.
Rating: 2 1/2 CROWS
Vivaldi and Telemann: Konzertante Kammermusik (Ensemble "Messa di Voce"). Aulos FSM 53 520 AUL (D-4060 Viersen 11, W. Ger.)
This Hannover-based ensemble has included on their disc the Vivaldi
Sonata in a, RV86 (the Petri/Thunemann version on Philips
411 356 was reviewed here last month) and the Telemann Concerto
in F for Recorder, Bassoon and Continuo, which was also recorded
recently by Petri and Thunemann, and by Pehrsson and McCraw (see
above). The use of organ in the Vivaldi gives it an interesting
da chiesa feeling. Lutz Kohler plays an anonymous eighteenthcentury
French instrument and has an agreeably round sound. The record
seems to have been intended for home consumption as the liner
notes are in German only.
Rating: 2 1/2 CROWS
Beethoven Flötentrios (Graf, fl.; Gulli, vln.; Giuranna, vla.; Thunemann, bsn.; Canino, pno.). Claves D 8403 (CH-3600 Thun, Switzerland).
Mssrs. Graf, Thunemann and Canino perform a sprightly Trio
for Flute, Bassoon and Piano, WoO 37, on this Swiss disc.
An effervescent feeling and lightness of articulation is matched
by the three players as well as the recording engineer. Thunemann's
playing here is characterized by a warm, compact tone and a discreet
vibrato. This is an excellent version of the Trio (paired
with the Serenade for Flute, Violin and Viola, op. 25), and
marred only by rambling program notes.
Rating: 2 1/2 CROWS
De Philharmonie Prom Concert, Frans de Jonghe, bsn ., De Philharmonie, Avi Ostrovsky, cond. Phonic 1983 001.
This Belgian recording features Fucik's Der Alter Brummbär, creatively rendered here as "The Growler Grumbler, " as well as orchestral pieces by Brahms, Marischal, Bizet and Gould. Frans de Jonghe (the record includes no biographical information, alas) captures just the right mixture of tubby virtuosity and nineteenth-century bandmaster spirit inherent in this corny showpiece. However, Jiri Formacek's version (Quintessence PMC 7038) remains stylistically and aurally superior, due in large part, to the brilliance of the Czech Philharmonic.
Rating: 2 CROWS
Satie: Pieces for Piano Four Hands (Takahashi, Planès, pno.; Murai, cl.; Okazaki, bsn.). Denon CD 32C37-7487.
This is vol. 3 of Yuji Takahashi's Satie set, and features Parade, Cinema, Trois Morceaux en Forme de Poire and Apercus Desagreables played with fellow pianist Alain Planès. The duo also performs La Belle Excentrique which features Satie's own added unison clarinet and bassoon parts in the first movement. The clarinet and bassoon parts function as an ironic commentary on the pompous, Gottschalk-esque piano writing. Although Koji Okazaki (principal of the NHK Symphony) has a nice fat sound, it's not possible to say more, and it's too bad that Satie didn't contribute more to our chamber music repertoire.
NO RATING -
English Music for Bassoon and Piano. Daniel Smith, bassoon;
Roger Vignoles, piano. ASV DCA 535 (LP), ZC DCA 535 (cassette)
(115 Fulham Rd., London SW3 6RL).
Daniel Smith performs transcriptions of works by Vaughan Williams, Avison and Arne (anachronistically accompanied on piano), as well as original pieces by Elgar, Jacob, Hurlstone and Dunhill. With the exception of the Elgar Romance, the only real gem of the collection, the music heard here sounds remarkably alike. Mr. Smith's bright, edgy tone is somewhat alleviated by a good sense of lyricism, but a more varied selection would have been welcomed.
Rating: 1 CROW
Vivaldi, J. C. Bach, Graupner: Three Bassoon Concertos. Daniel Smith, bassoon; English Chamber Orchestra; Philip Ledger, cond. ASV DCA 545 (LP), ZC DCA 545 (cassette).
Daniel Smith here tackles the Vivaldi C Major (F. VIII/33),
the Graupner G Major and the J.C. Bach Bb Major, with
a bit more success. Mr. Smith deserves credit for recording these
oft-neglected works, but his rough tone detracts from the overall
performances. The English Chamber Orchestra accompanies beautifully.
Rating: 1 1/2 CROWS
RATINGS GUIDE
3 Crows = legendary
2 1/2 Crows = excellent
2 Crows = good
1 1/2 Crows = average