Streaming Classical Music 21-1

Streaming Classical Music (21-1)

Change This post heralds a change in how I share what I stream in classical music, which is now only via Naxos Music Library (Spotify only available when I use my HK SIM card or do pseudo-VPN). The frames on the right, with cover art and links, take a lot of time to make, and I shall only do an occasional one from now on. Instead, I shall be writing articles like this one. No cover art and links, but you should easily be able to find the album with the info I give. One benefit of this format is that I may expound more on topics that I like. The style would emulate a little Rob Cowan's column in the Gramophone magazine, one of my favs. I will still post a link on the right when a new article appears, so as it is easier for those of you who don't regularly visit. Confluent with my audio beliefs, exploration of backwaters is as much prized as classic mainstream offerings.

This first post is mostly about orchestral music.

Elgar Violin Concerto This is an absolute beauty, undeservedly dwarfed by the composer's magnificent Cello Concerto. I have always loved this piece. The first one I bought was the Zuckerman (Sony), then the Menuhin (EMI/Angel). Since I started streaming NML, I have listened to other versions and all newcomers. NONE is finer than the new one by Renaud Capucon (LSO/Rattle; Erato). His tone is always lovely and the performance is highly nuanced, as is the idiomatic playing of the LSO, all in splendid sound. The Violin Sonata makes a great coupling. This is now my reference version. In terms of the general orchestral violin repertoire, Capucon has recorded extensively and while he is always quite good, there are few outright standouts in a crowded field; I am glad that changed with this one. His chamber music recordings with pianists Frank Baley and Nicholas Angelich, and cellist brother Gauthier, all excellent artists, are generally even finer, indeed exceptionally good, and I urge you to explore them.

Hilary Hahn She is another violinist I have followed with interest. Her recent recordings are not for those who crave tonal heft. So is this one, played with a light touch, which not all will find becoming in Prokofiev Violin Concerto No. 1 (OPRF/Mikko Franck, DG), but it is an interesting reading worth streaming. The Chausson Poeme I find wanting - I like it with more flesh and blood. Remember Barbarella? When Jane Fonda rewards the Bird Man with sex, she holds out her hand (the new way in a new age) but he asks for it the "old way". Damn right he is! Long after her debut Sony album, Hahn has also newly recorded the other half of Bach's Solo Music (Decca), and it is a winner. I cannot say it is better than all the new versions (which I have mostly surveyed, including the excellent Christian Tetzlaff), for standards are generally very high, but it is worth streaming for sure. While we are on Bach, I am somewhat disappointed by the recent recording by the generally excellent Augustin Hadelich (Warner).

All of these young violinists I have heard in concert and can attest they play even better live!

Vasily Petrenko The name came to me with his very well recorded RLPO Shostakovich series (Naxos), which ranks with the best. Together they also recorded a satisfying Rachmaninov series (Symphonies and Concertos; Avie). But things went up a good notch when Petrenko took over the Oslo Philharmonic. This now is among the world's best orchestra, as I can attest from hearing their concert in Hong Kong. They are much better now than many years ago, when they first made a name for themselves recording the Tchaikovsky Symphonies with Neeme Jarvi (Chandos); despite critical acclaim I have never warmed to those, nor the woolly Chandos sound. Things are very different now. The Prokofiev and Myakovsky Symphonies (LAWO) are simply outstanding in both performance and sound. In fact, LAWO has recorded them in a lot of Russian works (Rimsky, Tchaikovsky, Stravinsky) and all of them are worth hearing. Although clear eyed, Petrenko's readings flow naturally, never sound cold, and the playing is always first rate.

More Prokofiev Symphonies Given the quicksilver style of this composer, from the ancient, but by no means entirely dismissable Martinon (Vox) to now, no Prokofiev symphony cycle can ever be the best (though the worst is clear, Ozawa on DG). But recently we have three good cycles from less famous orchestras under American conductors. Marin Alsop (Naxos) is not a complete success, but I love the Sao Paolo Orchestra (they have also done great work for BIS). For me, even better are the cycle by Litton/Bergen Philharmonic (BIS) and Netherlands Radio Philharmonic under James Gaffigan (Challenge Classics). These two cycles enjoy the advantage of great sound (both BIS and Challenge are always audiophile grade, and issue SACDs too). Overall, I give the nod to Gaffigan, who has also done sterling work with his Lucerne orchestra for the same label. While I am at it, there are two neglected, but essential Prokofiev recordings. First is Symphony 1+7 by Philharmonia under Nicolai Malko (cfP/EMI). The sound still holds up well and the substantial filler of excerpts from Love for Three Oranges is just lovely. For me, all these performances have never been surpassed. The other one is even more obscure - Prokofiev's 5th with Jascha Horenstein and the Concerts Colonne Orchestra (Vox). I first heard it on a lousy Sine Qua Non LP (Americans, remember those, and Murray Hill?) and was immediately stunned by the direction and the bouncy and piquant style of the French Orchestra (not so much evident now in current French orchestras). The sound, though mono, is reasonably clear and solid (but that piano is ridiculously highlighted). BUT, the digital mastering by Vox used a flawed vinyl and may not pass muster with some audiophiles! The Vox set also includes and the 1st symphony, Chout and Lieutenant Kije, all wonderfully performed. Recently, Pristine Classical has remastered this more carefully but I'd think this boutique restoration label is unlikely available on any streaming platform. As with many significant Vox artists of the period (like pianist Guiomar Novaes and violinist Ivry Gitlis), certainly Horenstein's very good Vox recordings (Bruckner and Mahler included), the best way is to find a mono Vox LP (PL prefix; avoid the electrically re-channeled STPL); they are pretty easy to come by. Digital-only folks shall have to stream. If you are impressed by the music making, there are plenty of Horenstein discography online to guide you.

Yet another American excels in outlying repertoire. Antonio Pappano, especially with his awesomely characterful Santa Cecilia Orchestra, has always been a personal favorite. This recent outing with the LSO, in Vaughan Williams' angst-ridden Symphonies 4 and 6 (LSO Live), is exemplary, equal to any other imho, in good sound. More please.

More Rachmaninov Symphonic Works As mentioned before, Petrenko's recordings on Avie with the RLPO (including the difficult to get right Symphonic Dances) are quite good. But even better are the Tartarstan NSO under Sladovsky (Sony), recorded in the midst of the covid crisis. I have recommended this formidable combo's Shostakovich before, and one should gobble up any of their offerings. A new recording by the PO/Nezet-Sequin of Symphony No. 1 and Symphonic Dances (DG) is quite decent, whereas I find puzzling the praise heaped upon two Rach 2's from British conductors: TSO/Nott Rach 2 (Exton) and LSO/Rattle (LSO LIve), both lacking in passion. For classic recordings, the PO/Ormandy (Sony) I grew up with is still up there, in reasonably good sound. If sonic splendor (and good musicianship) is what you want, you can hardly go wrong with Concertgebouw/Ashkenazy (Decca). For Symphony No. 3, a favorite version of mine is a dark horse, the sonically awesome LPO/Boult (Decca). Still by far the best bass drum! Aside from the symphonies, one must at least dig into Isle of the Dead and, that masterpiece of masterpieces, Symphonic Dances (a symphony really). In a good performance, the latter always bring me to the brink of tearing. Even more than the symphonies, echt Russian it is. And, don't miss The Bells, another masterpiece.

Speaking of PO/Ormandy, NML just uploaded a mono recording of Sibelius Symphony No. 2 (Sony). It is more exciting than his stereo remakes (at least 2). Sound is very decent, a good mono remastering (as the Vox is not). NML is also uploading gradually all of the highly worthwhile Sony Szigeti recordings recorded late in his career, with lean tone and questionable intonation compensated by strong and singular musical vision.

Yutaka Sado In general, Japanese orchestras and conductors don't thrill me too much (more tidiness than spirit). Ozawa's extensive studio recordings, even with the estimable CSO and BSO, rarely excite, but his late works with the Saito Kinen and Mito Orchestras (Philips and various Japanese labels) can be very good indeed (a similar case to Abbado's Lucerne and Orchestra Mozart recordings). Audiophiles are familiar with the Minnesota Orchestra under Eiji Oue but I find neither the interpretations nor the recordings, for all the touting from audio press, to be outstanding. I'll take a Kenneth Wilkinson recording over a Professor Johnson one anytime. Imagine my surprise when I recently came across some very satisfying Bruckner conducted by Sado! With Vienna's third orchestra, the Tonkuntsler Orchestra (on their own label of the same name) he has recorded quite a few albums, and there is not a loser among them. The Bruckner is better than his more famous compatriot and predecessor, Asahino, but then his orchestra is much better than the latter's Japanese orchestras too. There is a rightness to everything, from Sibelius to French music, and the sound is uniformly excellent. I'll be eagerly following him and the label.

Another great Bruckner recording came from surprising source. A video of Barenboim's East-West Divan Orchestra playing Bruckner 9th (official DVD on Unitel) is surprisingly accomplished and moving. This young orchestra cannot be very familiar with this composer, yet they play with passion and pathos, which are unfortunately absent in many mainstream performances. The opener, Beethoven's Triple Concerto, with assists from Yo-Yo Ma and Mutter, is also excellent. Kudos to Barenboim as Brucknerian (his Berlin Staatskapelle cycle is the greatest of his three).

A Brahms No. 2 with the Dresden Staatskapelle under Blomstedt (Pentatone) is an eye (or ear) opener. The dark hue and subtle music-making harks from another age. It is not the most overtly exciting, but it is deep and makes you ponder about the composer's world. A better offering than their previous 1st, which did not so fully engage me. I look forward to future installments.

Organ To close up this post, four organ recordings that I have enjoyed immensely. Franck by Petur Sakari (BIS)(not to be confused with conductor Petri Sakari) is outstanding and, of course, sonically opulent. NML also just uploaded a Bach recital by Demessieux (Decca). It is highly atmospheric and enjoyable, and the very good mono remastering is no impediment. Incidentally, Demessieux' stereo Decca recordings of all of Franck's organ music has long been reference recordings. While we are on French organists and organ composers, I have always loved Widor's music, and Christian von Blohn is as fine an exponent as any; Volume 5 of his survey contains the famous Organ Symphony 5 and also 6 (Naxos) in great sound. In a lighter vein, Spielen in die orgel, a baroque organ recital by Pieter van Dijk, sometimes joined by violinist Annegret Seidel (Cantate), is well programmed and highly satisfying.

In case you wonder, my humble systems here are capable of giving a creditable facsimile of the King of Instruments. In audio terms, the organ is actually even harder to render correctly than the piano. In most hifi systems, particularly those with large and inefficient modern loudspeakers and solid state amplification, the high registers (flutes and piccolos) shriek and the bass line is fuzzy and woolly. None of that here - the pedal is beautiful and atmospheric, and the line is always moving. The sudden massive lurches just wash over me, as it should be. Unlike the piano, which can naturally produce a brittle note (important in Prokofiev), the organ in real life is never brittle (even when overloading the venue). Test your system with some organ music. Bach would be a good start!