If the production of recordings makes sense, then it is essential to make known what has been little played, what is completely new or what has been neglected so far, and thus encourage the transfer of what has hitherto been ignored to that place where music can arise in the unrepeatable here and now, in the concert hall. The seven part Cassette with French violin sonatas is a good example of this: it naturally contains the three most famous ones by Claude Debussy, Maurice Ravel and Cesar Franck. But who knows the two sonatas by the composer Louise Farrenc (1804-1875), who was successful in her day? The melodic lightness of this music allows Haydn and Mozart to shine through, but it is completely independent in its romantic amiability. The first sonata by Darius Milhaud from 1911 is still full of Franck and Fauré, the second, composed in 1918, already speaks its own language despite all the memories of Debussy or Ravel, it sounds light, ironic and also lost in a dream. On the other hand, André Jolivet’s sonata from 1932 is completely different, it appears graphically jagged, sometimes bony and sharp-edged. But one thing is striking about all the pieces, including those by Gabriel Fauré, Camille Saint-Saens, Guillaume Lekeu, Henri Vieuxtemps, Francis Poulenc and Rhéne-Emanuel Baton: It is the enormous sense of timbre in all this music that makes it extraordinary the composers are different too. (Brilliant Classics)
That the harp word has got around since the days of the great virtuoso Nicanor Zabaleta at the latest that it is not only good for roaring arpeggios in romantic operas and symphonic music, but also as a great solo instrument. He has inspired many composers of the 20th century and this CD contains excellent ones Anaelle Tourret, who studied with Grandmaster Xavier de Maistre, among others, and is a harpist with the NDR Elbphilharmonie Orchestra, works by André Caplet, Paul Hindemith, Benjamin Britten and Heinz Holliger composed between 1924 and 1988. Tourret knows how to impressively differentiate between caplets, sometimes French, sometimes Spanish colouring, Hindemith’s refreshing objectivity, Britten’s exploration of extremes and Holliger’s attacking conciseness. Hindemith’s straightforwardness ennobles her with rich colors, Britten’s brooding suite brightens her up, Holliger’s accents explode in her. Excellent. (E flat major)
The violinist of the century Fritz Kreisler was also a highly independent composer. And the composer Wolfgang Korngold was considered a child prodigy of Mozartian rank before he became one of the great creators of symphonic film music in Hollywood from 1934. The Hegel Quartet dedicated himself to Kreisler’s ravishingly elegant single string quartet, filled with melancholy, charm and wit, and to Korngold’s 3rd quartet. The result is captivating footage. Both pieces require brilliance as well as sentiment, fire as well as taste. Anyone who thinks they can exaggerate condescendingly here betrays this finely woven music, which inevitably manages to evade such access. The “Hegels” succeed in capturing Kreisler’s inimitable melodic lightness and his playful spirit. They also realize Korngold’s tense and intricate romanticism with bravura. (Ar’s production)
Attili Ariosti (1666-1729) was once famous as an opera and oratorio composer. But not a keyboard instrument, but the viola d’amore was his favorite. Johan Mattheson described their sound as follows in 1713: “Their sound is argentinian or silver / at the same time extremely pleasant and lovely”. Ariosti wrote six sonatas for the “viola in love” in London, which he called “Lessons”. This is elegant music, dedicated entirely to the gentle sound of this strange instrument. Strange, because in addition to the six or seven strings, there are just as many sympathetic strings that are not played, but give the sound that silvery reverberation that makes the instrument so appealing. Mauro Righini plays Ariosti’s music nobly and with sovereign skill. Also taking part are Ugo Nastrucci, theorbo, and Danilo Costantini, organ and harpsichord. Ariosti even wrote a three-part cantata in praise of his viola d’amore. Righini and his family, together with the soprano Elena Bertuzzi, give this eulogy for a special instrument with beauty of sound and brilliance. (Brilliant Classics)