Second in popularity only to the Ninth Symphony "From the New World," Dvorák's Twelfth String Quartet – which was dubbed the "American" Quartet by the public and media rather than the composer himself – is a work nearly synonymous with the composer's tenure in the United States. These were not the only two works inspired by his cross-sea voyage, however. The Thirteenth String Quartet in G major, Op. 106, though not imbued with the same folkloric characteristics, also came about following the composer's return from the States. The popularity of the "American" Quartet has resulted in a work that is arguably overplayed, making it difficult for new ensembles to find anything new or unique to say about it.
Classical music listeners resort to ethnic and national generalizations too often. Some of the most insightful Beethoven interpreters were French, and there are plenty of classic non-Czech recordings of Dvorák. Yet there's something uniquely satisfying about this version of the much-recorded Slavonic Dances (both sets, Op. 46 and Op. 72), and the satisfaction has something to do with the all-Czech origins. Take for example the match between the superb sound, recorded in Prague's Rudolfinium hall, and the texture of Jirí Belohlávek's Czech Philharmonic Orchestra, an ensemble he has molded into his own.
"…The whole disc is a great success. Recording quality is first rate, with the necessary clarity tempered by warmth and just the right amount of resonance. Excellent notes are by Dr. Christopher Hailey. Recommended, even if you still find Webern hard work." ~musicweb-international
A string quartet was among the very first works that Edvard Grieg presented after completing his studies in 1861, but the Quartet in G minor, Op. 27, was the only such work to be published in his lifetime. In 1878, while composing it, Grieg wrote that ‘it aims at breadth, to soar, and, above all, at vigorous sound’, and the amplitude of the sound is indeed striking: the generous use of double-stops creates an almost orchestral effect, unusual for the genre. This caused some reviewers to criticize the quartet as being unidiomatic, while others, including Liszt, greeted it with enthusiasm. Some thirty years later, when Jean Sibelius composed his D minor quartet Op. 56, he too had previous experience of writing for the medium, but Op. 56 is the only quartet among his mature works. The often used 'nickname' Voces intimae is often taken to refer to the intimate interchange between the four voices in a quartet, but is probably a more specific allusion to a brief passage in the third movement: Sibelius wrote the remark into a score some time after the work had been published.
Nicola Porpora, a contemporary of Bach, Handel, Vivaldi, and Haydn (and a very young Mozart) is best remembered today as a famous singing teacher and opera composer. During his long career (he lived to age 81) he suffered many employment-related difficulties and disappointments that caused him to move frequently. Naples (where he was born), Venice, Dresden, and Vienna (where he taught Haydn) all enjoyed Porpora's reputable presence, and he even spent a period in London at the behest of a group seeking to unseat Handel and his opera company from its preeminent position. In addition to his operas and vocal music, Porpora wrote instrumental works such as the six violin sonatas featured here, which are drawn from a set of 12. Although anyone familiar with Italian Baroque and early Classical-style solo violin music will discover nothing particularly original on this generally fine recording, if you enjoy that genre and period you'll find much here to indulge and satisfy your taste.
Pianist and composer Anton Batagov is one of the most influential Russian musicians of our time. As a performer Batagov introduced the music of John Cage, Morton Feldman, Steve Reich, and Philip Glass to Russian audiences. On this his debut recording with Glass s record label Orange Mountain Music, Batagov offers a recital of Glass s music which is personally important to him, music which has never been heard on solo piano. Three of the four tracks offered on Batagov s program are from Glass s epic opera Einstein on the Beach - Trial, Night Train, and Knee Play 5. These pieces capture the sound of a particularly expansive moment in Glass s career as he transitioned from hard core Minimalism to a more expressive medium. That artistic pivot is captures in Batagov s mystical reading of Prophecies from Koyaanisqatsi. In 2009, after a hiatus of 12 years from live performance Batagov returned to the stage presenting a series of unique solo programs including this program which was recorded in Moscow in November 2015.
The G major Anton Rubinstein violin concerto is a fine and powerful work, quite as good as many a lesser-known Russian example in the same genre, and easily as deserving of wider currency as, say, the Taneyev Suite de Concert, which is just as rarely heard these days. Nishizaki gives a committed and polished reading, though you often feel that this is music written by a pianist who had marginally less facility when writing for the violin. Still, here’s a well-schooled performance, full of agreeable touches of imagination (the Andante shows Nishizaki’s fine-spun tone to particularly good effect) delivered with crisply economical urgency that makes good musical sense even of the work’s plainer and less idiomatic passages.