Russian Renaissance RUSSIAN RENAISSANCE

                                                        RUSSIAN RENAISSANCE

Yolanda Kondonassis / Rochester Philharmonic Orchestra / Ward Stare AMERICAN RAPTURE

"Yolanda Kondonassis’ enthusiasm for her instrument is infectious," says Jennifer Higdon when describing working with her to create a new harp concerto. This world premiere recording by Yolanda Kondonaiss with Ward Stare and the Rochester Philharmonic Orchestra is a showcase for the grandeur of the harp through this beautiful composition by Jennifer Higdon. The harp as well as the orchestra is challenged with virtuosic and beautiful moments. The recording continues with the triumphant First Symphony of Samuel Barber, and rounds out with "Rapture" by Patrick Harlin described as being similar to extreme emotional states, musical elements in this piece start subtly and are magnified to their extremes, echoing throughout as inspired by the incredible experience of ultra-caving.

On the world premiere recording of Jennifer Higdon's mercurial Harp Concerto, the crystalline precision of Yolanda Kondonassis's harp, the rhythmic buoyancy of Stare's conducting, and the cohesion of the orchestra achieve a kind of mystical alchemy. Barber's Symphony No. 1 receives a revelatory performance, uncovering a wild and unfettered side to the composer's lyrical neo-Romanticism. (Daniel J. Kushner) 

Neave Trio / Carla Jablonski CELEBRATING PIAZZOLLA

Arrangements of works by Astor Piazzolla for classical ensembles are common enough, but the ordinary piano trio is a rare medium -- even if the arrangements on Celebrating Piazzolla come from close associates of the great tango composer, José Bragato and Leonardo Suárez Paz (the latter represented by one of his own tango compositions at the end), both of whom were members of Piazzolla's ensembles. As it happens, the U.S.-based Neave Trio proves an ideal classical medium for Piazzolla's Las cuatros estaciones porteñas (The Buenos Aires Four Seasons): the music is neither softened by string groups or classical winds, nor simplified in its contrapuntal and harmonic complexity: the violin and cello, with double stops, pick up most of the detail and catch the variety of attacks created in the original by the combination of piano and Piazzolla's bandoneón. Another attraction here is the group of Piazzolla's songs, much less commonly played than his instrumental music. The trio works well here, too. Mezzo soprano Carla Jablonski has a bit of an American accent but the right slightly smoky tone for the material; she's at her best in Yo soy María, from Piazzolla's tango "operita," María de Buenos Aires. An offbeat Piazzolla release that's recommended for fans of the great tanguero.

Jessica Lee / Reiko Uchida COLORS

Themed recitals seem to be in fashion at the moment. Sales may support them, but it appears counter-intuitive in this computer age of digitised music where you can compile your own mix from different tracks in the twinkling of an eye. Then again, a ready-made recital of ‘related’ works that can be played now or uploaded to your favourite listening device may have its own attraction.
The other issue with these recitals, as I inferred in a recent review, is whether they should be judged just in their own right, or whether each work’s performance should stand comparison with the best on the market. That particularly applies when mainstream pieces are programmed; in the case of Vitali’s Chaconne which opens this recital, I counted a good dozen alternatives on this site alone, including those by the likes of Milstein, Heifetz, Oistrakh and Francescatti. There is a middle path, though, and that is whether the chosen programme, and its delivery, works well enough to exceed the sum of its parts.

Violinist Jessica Lee, according to the liner notes, has followed a dream path from child prodigy to fully mature artist, with the cream of America’s music institutions behind her. The same could be said of her associate, pianist Reiko Uchida. I must say I’ve seen so many bios like these that it all becomes noise, reminding me of countless job applicants I’ve assessed, with glowing CVs all alike. So let me cut to the chase then based on results: Jessica Lee’s musical heart is in the right place, her taste is impeccable, and her judgement spot-on.

Naturally, the ‘colors’ here are tonal. Lee and Uchida play the Vitali Chaconne that has been through several arrangers’ hands, with its polychromatic mix of Baroque and Romantic harmonies. From the outset, the parameters of their recital are established: a warm, wide and welcoming piano introduction to a radiantly lyrical violin line – the tone is smallish, delicate and slightly brittle, but always intensely musical. This impression may be partly through the recording, which places Lee in a more sharply defined focus. Her style is also well suited to the rhapsodic Janáček sonata that follows, empathising with the work’s emotive nature. This is typical Janáček, with its broad spectrum of effects tapping into his Czech homeland, with hints of French impressionism and early twentieth century Russia, in a patchwork of strongly contrasting episodes, violent outbursts alternating with sweetly lyrical fragments. Lee and Uchida deliver it persuasively, underscoring the tonal richness of the piece.

Prokofiev’s Five Melodies are transcriptions for violin of songs for voice, but for vocal lines quite different from the harsh and angular kind he wrote, say, for The Love for Three Oranges. There is now a soaring lyricism which transfers so naturally to the violin that Prokofiev felt they came out better as such. These miniatures fit closely with Lee’s aesthetic, as she gives ‘voice' to them through a wonderfully broad palette of tonal range and expression. With Uchida in deft support, this is Prokofiev at his most charming and whimsical. It’s then something of a shock to jump back in time to Beethoven’s sixth violin sonata, but Lee acclimatises us quickly to it, making her case that this is a ‘sleeper’ among these sonatas, as a work of great poise and classical grace, but with emerging awareness of a new musical age. In a way it is atypical Beethoven, for once at peace with his world, uncommon in its “tenderness and gentility, humour and compassion”, as the liner notes say. Lee and Uchida perform it with apt sensitivity and, where demanded, sonorous brilliance. To finish the recital, they caress the ear with a sumptuous Heifetz arrangement of Debussy’s Beau Soir.
You might have guessed by now I’ve taken this CD on its merits, avoiding any work-by-work comparisons. I was soon beguiled by the unanimity with which Lee and Uchida have approached and delivered their programme, deciding it was a rather superior job lot. So to answer my earlier implied question of whether this recital exceeds the sum of its parts – yes, I certainly believe it does. (Des Hutchinson)