Royal Academy of Music Soloists Ensemble / Trevor Pinnock BACH Goldberg Variations

GOLDBERG VARIATIONS

 

Trevor Pinnock J.S. BACH The Well-Tempered Clavier I

                                                THE WELL-TEMPERED CLAVIER I

Alison Balsom / The Englsih Concert / Trevor Pinnock SOUND THE TRUMPET

An interview in the booklet for this disc takes a long time telling us why Alison Balsom has picked up a Baroque trumpet for this disc but EMI could have saved their ink, for when the instrument is played as fluidly agreeably as it is here, nobody could doubt that it is the right tool for the job (and it’s not, by the way, the first time she has recorded on one – in 2002 she made an admired debut with the Parley of Instruments for Hyperion.

Balsom’s real point, however, is that it was the valveless trumpet’s vocal quality, its ‘human characteristic’ that informed its music and it is this above all that she demonstrates through her choice of music for this album. For it is not fanfares and tattoos that dominate, nor even concertos, but a smartly selected sequence of trumpet cameos from the theatre scores and elegant social music of Purcell and Handel. Some are real, including symphonies from Purcell’s semi-operas or Handel’s Eternal source of light divine; in some, such as Purcell’s ‘Plaint’ and Handel’s Oboe Concerto No 1, she borrows other instruments’ lines; and others see her literally slip into the singer’s place, most strikingly in Purcell’s ‘Fairest Isle’ and ‘Sound the trumpet’.

And it all works. This is rattling good music, and so easily does the trumpet fit into it that often it is hard to recall what the original scorings were anyway. Balsom, too, sounds utterly at home, whether intertwining coolly spun traceries with oboe and violin in the wondrous Symphony from King Arthur or merrily disporting in Handel’s Water Piece. She’s ably partnered by two of the finest young Baroque singers in the business (Lucy Crowe especially impressive in ‘The Plaint’) and wonderfully backed by the English Concert and the bright natural musicianship of Trevor Pinnock. Never mind the whys and wherefores – just sit back and enjoy! (Lindsay Kemp / Gramophone)

Emmanuel Pahud / Kammerakademie Potsdam / Trevor Pinnock C.P.E. BACH Flute Concertos

One of the more puzzling remarks about the music of Carl Philipp Emanuel Bach came from Mozart, who said that anyone who listened closely would realize his debt to the German composer. That seemed unlikely, given that Mozart only rarely availed himself of the Sturm und Drang ("storm and stress") style of C.P.E.'s keyboard music. But listen to this release by flutist Emmanuel Pahud and you'll get an idea of what Mozart was talking about. It's not just that the flute concertos are basically galant in style, not Sturm und Drang. It's a certain nervous energy that makes the flute bloom rapidly out of squarish themes and keeps you guessing as to what's coming next. Pahud has previously recorded music by C.P.E. and others in the orbit of the so-called "Flute King," Frederick the Great of Prussia, and he gives this music an immediacy that avoids cuteness, aided by sharp work from the Kammerakademie Potsdam under veteran historical-instrument conductor Trevor Pinnock. Pahud himself uses a modern flute, which works in this case: the athletic, but not showy, quality of C.P.E. Bach's flute writing in the outer movements lends itself well to the modern instrument. Sample the first movement of the Concerto in G major for flute and orchestra, Wq 169, whose writing has some similarities to Mozart's Flute Concerto No. 1 in G major, K. 313. This is a crackling, energetic recording of music that until now hasn't really received its due. (James Manheim)

Grigory Sokolov MOZART - RACHMANINOV Concertos

This release is a piece of history: it is a combination of unreleased and historic audio and visuals. It allows a unique view of the enigmatic maestro Grigory Sokolov's life because it offers an opportunity to hear authentic performances from over ten and even twenty years ago accompanied by a brand-new film by Nadya Zhdanova. 

On Sokolov's performance of Mozart's Piano Concerto K 488, the Salzburger Nachrichten noted: "Such is his intensity that Sokolov sweeps everything and everyone along with him". Similarly, The Times wrote that "Sokolov swept through the concerto like a hurricane" with Rachmaninov's Third Piano Concerto. 

These historic performances will be published in combination with a unique documentary, which looks back on both Sokolov's artistic and private biography. Whilst Sokolov is well known for being reclusive and rarely giving interviews, filmmaker Zhdanova achieved the impossible: she spoke with his friends and colleagues and eventually was allowed to use private material from Sokolov's archives. Ultimately, Zhdanova discovered rare and unreleased video footage which offers an intimate insight into the life of Sokolov.

Trevor Pinnock / Rachel Podger J.S. BACH The Complete Sonatas for Violin and Obbligato Harpsichord

This recording has it all: some of the most marvelous music ever written for the violin; beautiful, lively sound-take; refreshingly intimate program notes; but more important than any of that, two truly first-class performers. The double CD is a real treasure. Rachel Podger is that rare find, a violinist with the sweetest sound, a flawless intonation, technique so good that it just disappears in the background, a musical instinct that is always awake, and a sense of style that permeates every musical gesture. She can convey exuberant joy or thoughtful sadness, and it all sounds round and luscious and exciting. The first movement of BWV 1023, for example, with its startling beginning, full of cumulative tension leading to a lyrical reflection, is a feat of simultaneous intellectual understanding and concentrated emotion.
Trevor Pinnock proves here that he deserves the high reputation he enjoys. His accompaniment is always sensible and sensitive, providing a solid ground for Podger's imaginative castle-building. Jonathan Manson has the almost impossible task of adding to this duo. He not only survives but actually contributes to the final result, with some very refined and unobtrusive gamba-playing. This is chamber music at is best. The dynamic contrasts are surprisingly varied, and these performances are the greatest advocates not only for period instruments but also for a whole trend in performance, which calls for poignant leanings on harmonically important notes, freedom within a chosen tempo, carefully suspenseful cadences, more frequent rhythmic inflections, and ornamentation that sounds improvised. All of this is done with good taste and wisdom, and the result is that the music sounds moving where it should, energetic where it demands it, without the slightest hint of mustiness or restraint. If you are only going to buy one recording this year, this might be the place to spend your money. (Laura Ronai, FANFARE 5/2001)

Alison Balsom SOUND THE TRUMPET Royal music of PURCELL & HANDEL

It would seem that Alison Balsom has become about as popular as a classical trumpet player can be. She has a half dozen well-received recordings. She plays the Haydn with warmth and grace, with a clear, penetrating tone. Her cadenza in the first movement is ideal in demonstrating her virtuosity without distracting us from the (eventual) flow of the movement. In this new disc, expertly accompanied by Trevor Pinnock and the English Concert, she plays mostly transcriptions and all on natural, valveless trumpets. She calls such instruments “an adventure.”
One of her adventures, which does sound entirely natural, is taking the second countertenor part on Purcell’s Sound the Trumpet, playing alongside the countertenor Iestyn Davies. As the part was meant to have trumpet-like phrases as well as introduce a trumpet later, this transcription seems virtually to be taking Purcell at his word. Not so inevitable is Handel’s Oboe Concerto with the trumpet taking the solo part. It’s hard to hear this concerto without an oboe echoing in one’s head, but, according to Balsom, the performance is meant to extend our understanding of the emotional range of the trumpet. Davies is also heard to great effect on Handel’s Eternal source of light divine, where Balsom sounds virtually heavenly in her responses. Lucy Crowe is heard in “The Plaint” from The Fairy Queen. Again, Balsom is a sensitive second voice. Balsom and Pinnock have assembled suites of music from Purcell’s longer works, and made a somewhat new thing out of Handel’s Water Music. At times they make the trumpet sound like a plaintive voice: Mostly it is celebratory and outgoing, or dignified and martial, as in the Overture to Atalanta. The recorded sound is excellent; the playing superb. I am sure that these performances won’t replace the original settings, but they cast a fresh, charming light on music many of us already know.(Michael Ullman)