Violinist Benjamin Beilman makes his debut as an exclusive Warner Classics artist with Spectrum, an album uniting works by Schubert, Janáček, Stravinsky and Kreisler. With his regular duo partner, pianist Yekwon Sunwoo – a fellow alumnus of Philadelphia’s prestigious Curtis Institute – Beilman explores a multitude of colours and expressive possibilities, evoking them with the finest technical nuances.
Three 20th-century orchestral scores, Bartók’s Two Pictures, Debussy’s Jeux and Stravinsky’s The Rite of Spring, all dating from 1910-13 and all linked (as the detailed CD booklet explains), are brought to life in the hands of two exceptional French pianists. The central interest is the ballet Jeux. One of the world’s outstanding Debussy interpreters, Jean-Efflam Bavouzet has added to his complete Chandos recordings with his own transcription for two pianos. Written late in Debussy’s life for Nijinsky, Jeux involves an emotionally erotic and harmonically daring game of tennis. Bavouzet and his well-matched partner, François-Fréderic Guy, play with nimble grace, capturing the works wit and mystery. This gripping album is dedicated to Pierre Boulez, guru and enabler, for his 90th birthday.
Rosanne Philippens is considered one of the most promising violin talents in the Netherlands. Her open and communicative style of performance won her first prizes at competitions including the Dutch National Violin Competition in 2009 and the Freiburg International Violin Competition in 2014. This release from Channel Classics focuses on Polish and Russian works inspired by myths and legends. Philippens is joined by pianist Julien Quentin as well as the Nationaal Jeugd Orkest led by Xian Zhang in performances of Szymanowski's Mythes and Violin Concerto and Stravinsky's Chanson Russe and L'Oiseau de Feu.
Catherine Anahid Berberian (July 4, 1925 – March 6, 1983) was an American soprano and composer. She interpreted contemporary avant-garde music composed, among others, by Luciano Berio, Bruno Maderna, John Cage, Henri Pousseur, Sylvano Bussotti, Darius Milhaud, Roman Haubenstock-Ramati, and Igor Stravinsky. She also interpreted works by Claudio Monteverdi, Heitor Villa-Lobos, Kurt Weill, Philipp Zu Eulenburg, arrangements of songs by The Beatles, and folk songs from several countries and cultures. As a composer, she wrote Stripsody (1966), in which she exploits her vocal technique using comic book sounds (onomatopoeia), and Morsicat(h)y (1969), a composition for the keyboard (with the right hand only) based on Morse code.
Les Noces is a screaming, shrieking, flat-out masterpiece. Leonard Bernstein himself has referred to it as Stravinsky's greatest work, and listening to this incendiary performance, it's awfully hard to disagree. Scored for voices, four pianos, and percussion, the work provided the inspiration for the entire career of Orff (of Carmina Burana fame), but it's so much better as sheer music than anything Orff wrote. And what a cast! The pianists for this performance include Martha Argerich, Krystian Zimerman, Cyprien Katsaris, and Homero Francesch, four certified virtuoso performers, while the singers of the English Bach Festival Chorus really cover themselves with glory in both works. A stunner.
A year before Cocteau passed away, he still had the full strength of his famous actor's voice, and he and the other voice artists strike the perfect tone of tragicomic cabaret effect. Musically superb, sounding fresh and vigorous, and benefitting from left-right separation and depth in stereo even though dating back to 1962.
Marios Papadopoulos plays Janacek's sonata with a gentle, romanticizing melancholy that is nature can well encompass, even if such an approach can diminish the work's sense of tragedy. It is a work with a tougher core than is here suggested. However, this is not an unattractive performance, and Papadopoulos seems more attuned to its manner than to the crisp assertions of the Capriccio or of Stravinsky's Concerto. It does not seem a good idea to attempt the Capriccio without a conductor. The admirable RPO players sound less than wholly comfortable, and their ensemble is a trifle precarious at times; moreover, the work's odd, sharp character does not emerge with sufficient definition.