Neville Chon

The Clarinotts

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Ernst Ottensamer, Daniel Ottensamer, Andreas Ottensamer (clarinets)

with Wiener Virtuosen

Mozart, Mendelssohn, Rossini, Ponchielli et al

DGG 481 19172

TPT: 56’ 50”

reviewed by Rosalind Appleby

“We know what our partners will do a millisecond before they do it”, says Andreas Ottensamer, the youngest member of The Clarinotts. “It’s a luxury you’ll rarely have with any other ensemble”.

The incredible cohesion between the three clarinetists is what struck me on a ‘blind’ listen to The Clarinotts album – that and their uncannily similar sound quality. It made sense when I had a closer look at the performers and realised it was Ernst Ottensamer in ensemble with his sons, the famous Viennese ‘Royal Family of the Clarinet’.

Ernst Ottensamer is being mourned around the world after dying tragically of a heart attack on 22 July. He was only 62. Ernst was principal clarinet in the Wiener Phiharmoniker from 1983 and founding member of the Wiener Blaserensemble and Wiener Virtuosen.

Ernst inspired a generation of clarinettists around the world, including his own children. His eldest son Daniel became co-principal clarinet in the Vienna Philharmonic alongside his father, and his youngest son Andreas is principal clarinet in the Berlin Philharmonic. Together, the three of them formed The Clarinotts, releasing their first album in 2009 and their second in 2016.

The 2016 self-titled album opens with Mendelssohn’s sparkling Concert Piece No 1 for clarinet, basset horn and orchestra. The brilliant duet was composed rather appropriately for the father-son duo of Heinrich and Carl Baermann. It is full of dazzling operatic writing and I was struck by the warm, full bodied sound of the basset horn and clarinet – and the driving energy of their playing.

The album’s repertoire traces Ernst’s career trajectory including his time in the pit of the Vienna State Opera with works like the trio Soave sia il vento from Mozart’s Cosi fan tutte and the Fantasy on themes from Verdi’s Rigoletto by Franz and Karl Doppler. Dance-style works also get a look in with Rossini’s La danza quoting from the overture to William Tell and the sentimental French-style waltz of Cantilene from Francaix’s Petit Quatuor.

Ponchielli’s Il Convegno has both sweetness and fire. Andreas and Daniel perform with extraordinary precision, their virtuosic runs, flourishes and dramatic rubato perfectly synchronised.

As you would expect, this is an album of great finesse and class, accompanied by none other than the Wiener Virtuosen, an ensemble made up of the section principals of the Wiener Philharmoniker. They are certainly some of the best players for the romantic/early 20th century repertoire that dominates the first half of the album.

Bela Koreny’s Cinema I is based on the plot of Paul Verhoeven’s film Basic Instinct and you can feel the intrigues and the tension in Ernst’s spooky bass clarinet and the wails of Andreas’ and Daniel’s clarinets over the top, accompanied by the Wiener Virtuosen with Christoph Traxler on piano. The bossa nova tune Morning of the Carnival by Luiz Bonfa was another contrast; slick and sultry.

A comment for clarinet nerds: check out the almost inaudible articulation from all three. It sounds like diaphragm articulation but it has the even attack of tonguing, generating sublimely clean playing.

The richness of this album is the synergy of three virtuosic clarinetists who really do seem to be of one mind:  it sounds like one person multi-tracking!  But what makes it really gripping listening are the energy and emotion the Ottensamer family bring to their music making. They really pull out all the stops in Olivier Truan’s unaccompanied trio The Chase and it’s an exhilarating conclusion to the album. Turns out, it is also a fitting final bow from Ernst Ottensamer; a testimony to a life spent sharing music with excellence and passion.

All-Mozart Compilation

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various concerto soloists

Symphonies 29, 33 & 35

Concertgebouworkest

Eduard van Beinum, conductor

Eloquence 482 5525  (2CD)

TPT: 147’ 11”

reviewed by Neville Cohn

 

Mozart CD CoverNot the least of the many good things flowing from this re-issue of Philips LP recordings in the compact disc format is making available to an entirely new constituency of listeners the work of musicians of considerable consequence whose recordings of decades ago, for a variety of reasons, have, as it were, fallen through the cracks. The tireless Cyrus Meher-Homji continues this important work with a 2CD re-issue of an all-Mozart compilation of recordings that thoroughly deserve being brought back to life.

As a young teenager, I was given an LP recording of Hubert Barwahser playing on the now defunct Philips label. I still have it. Here, Barwahser sounds at his eloquent, articulate best in ensemble with another almost-forgotten soloist: Phia Berghout on harp in the Concerto for flute and harp.  Yet another musician richly deserving this resurrection is the formidably gifted English pianist Kathleen Long who in the mid-20th century enjoyed a dazzling career.

This is vintage Long.  Listen to her playing Mozart’s C minor concerto; it’s a joy from start to finish, blissfully free of fuss or frills.

Presiding over events from the podium is Eduard van Beinum, a first rate musician to which the players of the Concertgebouw Orchestra would respond time and again to provide some of the most satisfying and meaningful recorded music in mid-century Europe and further abroad.

Bram de Wilde is a fine soloist in the Clarinet Concerto. Tone quality is particularly appealing in the chalumeau register. The work unfolds near-flawlessly.

Van Beinum recorded Symphony No 29 in 1957. Sixty years on, it’s as relevant and stylistically meaningful as it would have been when first made available on LP.

This CD is all the more to be treasured because these works are the ONLY Mozart works which van Beinum recorded with the Concertgebouworkest.

Unheard Mozart

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Anthony Goldstone (piano)

divine art dda25051

TPT: 71’ 44”

reviewed by Neville Cohn

 

Over the years, as I’ve listened to the recordings of Mozart by Anthony Goldstone, I almost invariably think of the biblical story of Ruth who, following in the wake of  those harvesting this or that grain, would find nourishment for herself and others from the scattered ears of corn or wheat. Ruth was a gleaner. So, too, in a very different context, was Goldstone.

Think of these snippets of musical thoughts, incomplete or abandoned ideas, scraps of paper with a scribble or two (meaningless to most but musicologically beyond price in some cases) –  which, in the minds of most, would be considered as so much rubbish to be thrown away.

In the biblical Ruth’s case, her gleanings sustained life – and in Goldstone’s case, tiny scraps of paper, sometimes a bigger piece left unfinished or unedited were re-animated. Here, Goldstone breathed life into what almost everyone else would have dismissed as inconsequential – to be thrown away with no thought given to the possibility it might be musical gold. What most others would regard with indifference, Goldstone saw as rich possibility.

And what fascinating miniatures these are: part, perhaps, say of a piece that would be carefully completed by Goldstone: a minuet perhaps – or a sarabande.

Mozart aficionados the world over owe an immense debt of gratitude to this remarkable man who with scrupulous care – and affection – brought to life what, in lesser hands (and minds), would simply have been left lying in the dust. His passing leaves us all the poorer.

Goldstone realised the potential of these snippets which others might unthinkingly have dismissed as worthless, ephemeral, expendable, barely worthy of attention. Wrong!

There is a delightful improvisatory quality to the opening Praeludium: the recorded sound quality is excellent in a piece which oscillates between slow introspection and virtuosic brilliance. It’s rather like an improvised cadenza. Glowing, golden tone and impeccably spun trills are fine features.  A number of pieces were found unfinished and – one senses a profound humility in this – lovingly, respectfully completed.

Sibelius Piano Trio

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Yarlung Records 52630

       reviewed by Neville Cohn

 

As a child working towards a Trinity College of Music piano exam, I particularly liked a short piece – Arabesque – by Sibelius. It is a charm-laden, miniature delight and my first encounter with the Finnish master. It’s one of a considerable number of short pieces that poured from Sibelius’ pen. But how many of Sibelius’ little pieces come to mind as you read this?

Sibelius_YAR52638_FrontcoverDuring the interval at a recent orchestral concert, I asked a number of concertgoers at random which works of Sibelius they could call to mind other than the symphonies, the Violin Concerto, the vast works inspired by Finnish legends and Finlandia? No one – and these were folk who were regular and enthusiastic concertgoers – could call any to mind. Certainly, there’s work to be done to make people more aware of at least some of Sibelius’ neglected works.

Sibelius’ output as a child (his first piece is said to have been written at the age of ten!) and as a young man is astonishing. At least part of the reason is that he grew up in a home where music was an inextricable – and very important – part of daily life. His siblings played piano and cello. Jean was the violinist of the family. His hopes of becoming a violin virtuoso were never realised. He’d have had to commence fiddle study much earlier to have had a hope of succeeding in that field. As was the case of Schumann, Sibelius’ having to forgo a life as a virtuoso was a personal tragedy – but his work as a composer brought an enduring fame that could never have been equalled as a concert soloist, no matter how gifted.

In addition to this, this intriguing compilation encompasses music written by contemporary  Finnish composers whose names could well be new to most listeners living beyond the borders of Scandinavia.

Diego Schissi’s Nene, for instance, opens with a terrific, offbeat dance. It radiates gusto, with tricky rhythms and much pizzicato.  Listen to a background of quiet pizzicato across which runs a dream-like cello line. Later, the attention is drawn to the piano with its stab-like utterances. The movements are intriguingly titled: Jumping on the Walls, Dozing on a Hanger; Riding a Mosquito!

David Lefkowitz’s Ruminations calls up images of Middle East dances and what might be a folksy Yiddish extemporisation, desperately melancholy and introverted.

There’s charm aplenty in Sibelius’ Korppoo Trio. True, it’s not recognisably by the Finnish master: the work is too early for that. But its jejune melodies are beautifully played. The finale. is a jovial, three-in-a-bar knees-up with an obeisance to Brahms and much tinkling from the piano near the top of its range. One could think of it as a trial run for an ascent to greatness.

Consider this: at a similar age, Shostakovich was already well ahead in the originality stakes. Mendelssohn’s overture to A Midsummer Night’s Dream was written as a teenager:  his style was already fully formed. But with Sibelius, it was a case of good things being well worth waiting for.

Recordings like this don’t just happen. And those who have pooled their resources to this excellent end deserve real praise.The focussed work of many has been called upon to bring this CD into being: executive producer Ann Mulally, 100th Anniversary sponsors Randy and Linda Bellous and, crucially, the Sibelius Trio (Petteri Iivonen, Juho Pohjonen and Samuli Peltonen). This initiative is to mark the100th anniversary of an independent Finland.

Silver Sands Guitar Trio

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Perth Town Hall

reviewed by Neville Cohn

 

Outside, it may have been raining with a teeth-chattering-chilly wind as well – but Perth Town Hall provided a cosy, pleasantly warm environment as we listened to a charm-laden program featuring three classical guitarists of high accomplishment, collectively known as Silver Sands Guitar Trio: Jonathan Paget, Craig Lake and Nathan Fischer.

Each of the Silver Sands players is a guitarist of high (and deserved) reputation in a solo capacity. But collectively, they have submerged their individuality to create a new multi-person identity – and it was in this latter capacity that we listened to a fascinating and intriguing compilation.

Azariah Felton’s Tintinyungu was given its world premiere performance. Its gently flowing, charm-laden measures give way to more assertive moments. I’d like to listen to it again.

The composer points out that the title means ‘‘to challenge or compete with” and the piece shows this by pitting the players against one another “through different time signatures and rhythmic groupings”. It’s fascinating fare.

I liked Francis Kleyjans’ Imagerie, Hommage a Debussy, a charming obeisance and clever allusion to Debussy’s unique style. Another delight – Gnatalli’s Toada from Brazilian Popular Suite in an arrangement by Laurindo Almeida – has an engagingly danceable  quality.

Two movements from Suite Retratos provided intriguing listening, too. First movement, entitled Ernesto Nazareth, came across as stylish with a first class blend of tone. Chiquinha Gonzaga is a busy miniature, a bustling delight.

Nigel Westlake’s Shards of Jaisalmer was exquisitely presented, a most attractive composition but needing some judicious pruning; it seemed too long for its material.

A delightfully laidback Rio Rhapsody by Gnatalli arr.Almeida was the afternoon’s curtain raiser: a splendid introduction to the afternoon.

Earlier, we listened to the W.A.Guitar Society Orchestra conducted by Jane Darcey.

Millenium Rag was a pleasant, charmingly lazy, tango-like offering and Darcey’s own River Rocks made for most appealing listening as well.

Pacifica Quartet

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reviewed by Neville Cohn

 

In its original and accurate sense, chamber music, by definition, is intended for performance in a small space – perhaps, say, in the lounge room of a suburban home or the entrance hall of a mansion or, at most, in a small commercial space. Intimacy is its crucial requirement. As a critic who has long since lost count of performances devoted to such music, I can say that during those many years, the number of times I’ve listened to high-end chamber music in the sort of space which the composers might have had in mind for this or that work, is very, very low indeed. Commercial considerations demand continuation of the status quo. It’s virtually non-negotiable.

I dare say that box office takings at concerts featuring musicians who are paid very high fees are a necessary requirement.

Photographer Matt Landy

But there was a delightful departure from this state of affairs at a concert given in a suburban Perth residence in a conventionally-sized room. The Pacifica Quartet, US-based, was to give a performance at the Concert Hall on the night following. But to raise funds for bringing music and musical instruments to young people living miles from cities and so far away in some cases that even radio reception is uneven or non-existent, the Pacifica ensemble agreed to participate in a re-creation of an old-style chamber music environment..

Bringing the musical action so close to the listener can be an extraordinary experience, not the least of it being the strikingly different sound that reaches the ear, for instance, the unmistakable but only-very-rarely encountered grainy quality as bows bite strings. A first encounter can – and often is – a startling and even off-putting experience. I have known some listeners who find the experience so grating and unpleasant that they find it necessary to leave the room. In larger performing spaces such as purpose-built auditoriums, this is a non-issue.

Some liken close listening to bow on string to the sound of a finger nail scraping down a blackboard. Its metallic, ratcheting sound can be offputting.

So it was a fascinating experience to listen to Beethoven’s late quartet – opus 135 – under these conditions. Of all Beethoven’s chamber music produced in the twilight of his life, opus 135 would be one of the most accessible. To be frank, I’d have preferred to listen to it in a larger space. Although this was a rare opportunity to listen to a music masterpiece under conditions similar to those in Beethoven’s time, I found the nearness of the instruments eventually oppressive. But it was a rare experience and I’m so glad I had that opportunity to experience chamber music as it might have sounded in the composer’s day. I think every enthusiastic chamber music follower might benefit from an insight of this sort if only on a one-off  basis.

There was more than Beethoven on offer. We listened, too, to utterly different music in the form of  Astor Piazzolla’s Four for Tango. This, too, came across as a sonic gem to cherish.

My there be more of these events, fascinating in their own right – and beneficial in a very real and important way for young musicians in remote places. Bravissimo!

Black Swan – State Theatre Company

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Endgame (Samuel Beckett)

State Theatre

reviewed by Neville Cohn

 

Photographer – Daniel James Grant

He’s like the spirit of malevolence and bitterness: blind, marooned in a chair from which he almost never moves as he dispenses – generously –  bile and self-hatred.

He’s not the sort of person anyone would willingly want to befriend. But Clov – played with masterly skill by Kelton Pell – has reserves of patience and compassion that are wildly out of proportion to the constant stream of unpleasantness that issues from Hamm.

Pell is star of the production; his characterisation is wonderfully, and satisfyingly, complete. There’s understated artistry in his every gesture, the slightest semi-sentence. He makes of Clov a man of angelic patience, never for a moment – not even a second – gruff, abrasive, dismissive. His every word and gesture are informed by a quietness – a calmness – that make him the very antithesis of Hamm.

Clov climbs a ladder.(He never sits – anywhere, any time.) He places a foot on the first rung – and waits a while before bringing his other foot to the same rung – and so on. In a sense this typifies Clov – quiet, unhurried, gentle with a near-angelic forbearance.

Despite given every reason to,  he NEVER raises his voice. There’s quiet understatement to his every word – the absolute antithesis of the monstrous Hamm., – but although viscerally unpleasant, one cannot help feeling pity for this dreadfully stricken being.

Hamm’s handicaps are awful;  his abrasiveness, his virtually complete lack of empathy add to the sheer unpleasantness of the man.  But – and this is the crucial question – how many others would act differently to awful Hamm in his dreadful predicament.

Who would uncomplainingly accept blindness and additional incapacity? How many would accept being weighed down by such hideous handicaps? It is so easy to be judgemental – but how many in a similarly awful  situation would act differently?

Then there are Nell (Caroline McKenzie) and Nagg (George Shevtsov), both legless, each living in a bin. Although on a much smaller scale, their parts require consistent skill – and on this score, they both deliver wholesale.

This is a five-star offering, much due to first rate direction by Andrew Ross.. I hope it’s seen by thousands. It deserves to be.

Songs without Words

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Slava Grigoryan & Leonard Grigoryan (guitars)

ABC Classics CD 481 5101

TPT: 53’ 34”

reviewed by Neville Cohn

 

Grigoryan Brothers - Songs Without WordsIf ever you’ve come home after a really tough day at the office, perhaps an accidental wiping of a crucial report that cannot be retrieved and/or encountering a maddening traffic jam on the way home – what might one do?.

A few soothing gins and tonic or something a bit stronger might be just what’s needed to soothe frazzled nerves – but there’s another, frankly better,  way to chill out (without any risk at all of a hangover): put the Grigoryan brothers’ newest CD on – and relax to a joint effort that’ll work its magic in mere moments.

Seventeen tracks enshrine some of the world’s most loved melodies.

Take your pick: Rachmaninov’s Vocalise, Elgar’s Chanson de matin (a charmladen delight) and a Seguidilla, the bracing urgency of which rivets the attention. It’s from an arrangement for two guitars of the full set of de Falla’s Seven Spanish Folk Songs.

I particularly like the gently lulling quality of Nana which, Falla has pointed out, was a song his mother used to sing to him when very young.  These delights are given near-flawless treatment, not least the first of the set: The Moorish Cloth. It’s beautifully negotiated with its crisp rhythmic underpinning. There’s a lively, lovely account of the Jota, its rhythms irresistible – and the Cancion is finely considered.  The very challenging Polo needs a greater sense of urgency, though.

The brothers’ account of Tchaikowsky’s None but the Lonely Heart would surely charm even the grumpiest bird from a twig – and there’s an exquisitely languid account of Ponce’s Little Star.

There are sure to be tracks which listeners will happily play over and over  – and over – again. Don’t take my word for it. Get yourself a copy – and feel those nerve knots relaxing.

Beethoven – Piano Sonatas Andor Foldes (piano)

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Andor Foldes (piano)

Beethoven: Piano Sonatas

Op 13 (Pathetique); opus 28 (Pastorale); opus 31 No 2 (Tempest); opus 53 (Waldstein); opus 57 (Appassionata);opus 81a (Les Adieux); opus 101; opus 109

DGG Eloquence 482 5854 (2CDs)

TPP: 79’26” & 74’09”

reviewed by Neville Cohn

 

BEETHOVEN_Sonatas_Foldes_masterBeethoven’s Les Adieux sonata is not for faint-hearted pianists. Some of it is the sound-equivalent of finest petit point embroidery done at top speed. Few can do so without, as it were, pricking a finger or two. But Foldes is up there with the best, traversing the finale’s measures without a stumble or three. Foldes is certainly no slouch here.

It’s sonatas such as these that Foldes would frequently include in recital programs together with music of Bartok – a painless way to introduce new audiences to what at the time would for many have sounded astonishing, unexpected or even bizarre to listeners in, say, Kenya or Bloemfontein.

Foldes also gave recitals in Bulawayo and Harare (then known as Salisbury) in Southern Rhodesia (now Zimbabwe), then thought of as the bread basket of Africa but now a hobbled wreck of a country – a basket case –  due to the arrogant, brutal and possibly mentally unbalanced incumbency of Robert Mugabe who, when he finally shuffles off to the oblivion that he so richly deserves, leaves a country laid waste due entirely to his hideous misrule. But even now, as the country sinks ever deeper into ruin, there are still other African leaders who extol the excellence and wisdom of Mugabe’s ‘vision’!

There’s first rate treatment of opus 101, its immensely challenging measures making it a closed book to most pianists. I’m listening to the fugue as I write this. With what effervescence, clarity and momentum Foldes imbues the notes. It is like a paean of joy. In opus109, its quasi-extemporisation quality is conveyed to memorable effect. It often borders on the ecstatic.  And it is so refreshingly free of exaggerations that lesser players offer too often in the name of  ‘interpretation”.

Some of the sonatas were originally recorded by Foldes on LP as far back as 1959. Their transfer to CD is timely. It will enable a new constituency of listeners to experience Foldes’ artistry. And for those coming to Beethoven for the first time, this fine compilation might well be an ideal first foray into the Bonn master’s wondrous creative territory.

Bartok: Piano Works

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Andor Foldes (piano)

Eloquence DGG 480 7100 (4CDs)

TPT: 212’ 06”

reviewed by Neville Cohn

 

In the 1950s, South Africa was very far from the main highways of the international concert circuit. So, when Andor Foldes arrived to give concerts in Johannesburg and Cape Town, it was a visit of considerable consequence. His African itinerary began as far north as Kenya and then, travelling ever southwards, there were concerts as well in Southern Rhodesia (now Zimbabwe) – in Bulawayo and then-Salisbury – and then the Union of South Africa (as it was then known).

Bartok CDFoldes played concertos with orchestras in Johannesburg and Cape Town – and the works he performed were mainstream – Mozart and Beethoven.  But there was another, very significant, arrow to Foldes’ bow.

He’d studied with Bartok and was a passionate advocate for his compatriot’s music, specially that written for piano.

 

In Cape Town, apart from his work with orchestra, Foldes met, and played for, members of the South African Society of Music Teachers (SASMT). Much of Foldes’ repertoire was by Bartok which in those days was considered ultra-modern – and its performers very daring. Those piano teachers who’d attended that meeting and listened to Foldes at the keyboard were agog; it was a startling, completely new sound- and mood-world which Foldes revealed.

Its complex rhythmic patterns – and unusual and sometimes grating dissonances –  triggered gasps of astonishment (I was told  later). The sonic and stylistic Bartokian world that Foldes revealed at that long-ago performance was so unexpected, so startling, even shocking, that it made an indelible impression on those present.

If Foldes’ intention was to carry the flag for his compatriot, it was an immensely effective way to do so.

Within weeks of his visit, a shipment of some of Bartok’s piano scores (brought by Union Castle Line steamers which plied weekly between Cape Town and Southampton) arrived. Far and away the most popular of these works was Bartok’s Five Rumanian Dances.  To this day in South Africa, it’s very often heard in local eisteddfodau.

Foldes’ keyboard wizardry is abundantly present in an Eloquence 4-CD pack. It’s on compact discs for the first time. It is one of most significant and worthwhile re-issues of earlier recordings in the Eloquence series.

He does wonders with the material; his recordings have the stamp of the highest authority, a magnificent tribute to the composer’s genius – and one of his chief interpreter’s most significant offerings.

Foldes plays Bartok’s Out of Doors suite with an understanding of style and mood which totally engages the listener. (This was a particular favourite of the composer who frequently played it when stressed by health or financial problems. It brought him an inner peace.)

Much the same can be said of just about everything in this collection. Fifteen Hungarian Peasant Songs is pure delight as is a confrontingly muscular account of Allegro barbaro.

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