Orchestral
CD and Other Review

Review: Rachmaninov Variations (Daniil Trifonov)

First, it’s exciting to hear the great Philadelphia Orchestra in such fine form. It augurs well for Yannick Nézet-Séguin’s tenure. And second, Daniil Trifonov seems headed towards the “for once the hype is real” stratosphere on the strength of his first studio recording for DG. This ‘concept’ album showcases Rachmaninov works for variations, one orchestral, two for keyboard only, in which the young pianist pays homage to his musical idol. The Rhapsody on a Theme of Paganini is truly sensational. This recording was made exactly 80 years after the legendary recording with the composer himself and Stokowski conducting this same orchestra. The pizzicati double bases in Variation 7 are beautifully captured but, for me, the most magical moments are Variations 11 and 12 where Trifonov’s aristocratic poise reminded me of Michelangeli (in very different repertoire) without the latter’s cold perfection. The Chopin Variations (based on the C Minor Prelude) are rarely performed and not even Trifonov’s brilliance and insight can prevent them from outstaying their welcome. The Corelli Variations are another matter. The high points here are Variation 15, (Lullaby) which Trifonov manages to suffuse with an air… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

January 14, 2016
Orchestral
CD and Other Review

Review: Saariaho: Quatre Instants, Terra Memoria & Émilie Suite (Strasbourg PO/Letonja)

If a three-and-a-half star rating feels miserly for a record that promises much, you should know that the last time I reviewed music by Finnish composer Kaija Saariaho, I feared for the continued well-being of my computer as I punched my displeasure into my keyboard. Saariaho’s early music – especially gems like Verblendungen and Lichtbogen – were packed with raw-boned harmonic and timbral intrigue; but then, during the 1990s, her music drifts towards generic notions of lyricism and line, leaving those of us who admired the early work to wonder what happened to her incisive, bold spirit. The great British comedian Les Dawson once claimed that “beauty fades, while ugliness endures” and although Saariaho’s music from the 1980s was never exactly ugly – the beauty was elemental, bracing and absolutely revitalising – the ambient, soft-focus leanings of more recent pieces can sit too comfortably inside emotional inverted commas. But then I play this disc and Quatre Instants, her 2002 song cycle for soprano and orchestra, and Terra Memoria, a realisation of her 2007 Second String Quartet for full strings, win me over in a way I wasn’t expecting. The… Continue reading Get unlimited digital access from $4 per month Subscribe Already…

January 5, 2016