Brahms: Piano Trio No. 1; Ravel:
Piano Trio. Beaux Arts Trio (Daniel Guilet, violin; Bernard Greenhouse,
cello; Menahem Pressler, piano). Hänssler
Classic. $18.99.
Schubert, Ravel, Richard Strauss
and Frank Martin: Lieder. Gérard
Souzay, baritone; Dalton Baldwin, piano. Hänssler Classic. $18.99.
Tchaikovsky: Symphony No. 5;
Sibelius: Finlandia. Orchestra di Torino della RAI conducted by Herbert von
Karajan. Dynamic. $14.99.
Music Is the Language of the
Heart and Soul: A Portrait of Mariss Jansons. A film by Robert Neumüller. Mahler: Symphony No. 2. Ricarda Merbeth, soprano; Bernarda Fink,
mezzo-soprano; Netherlands Radio Choir and Royal Concertgebouw Orchestra
conducted by Mariss Jansons. C Major (2 DVDs). $29.99.
Two new Hänssler Classic CDs of
50-plus-year-old performances, clearly aimed at a niche market of collectors of
the work of specific performers, show both the pluses and minuses of bringing
the sounds of a much earlier time to audiences of today. The composition of the Beaux Arts Trio
changed many times during the ensemble’s 53-year existence, from 1955 to
2008. Pianist Menahem Pressler, however,
was a constant and enduring presence, and it is mainly fans and collectors of
his work to whom the CD of Brahms and Ravel trios will appeal. Recorded in 1960 by SWR (Südwestrundfunk,
Germany’s Southwest Broadcasting organization), the performances are both
well-paced, nicely played and interesting in their contrast between the German
and French composers’ handling of the same chamber ensemble. The sound is perfectly adequate, although not
outstanding by modern standards. At 53
minutes, this is not a CD designed to bring a large amount of music to the
listener, nor would it be most people’s first choice for either composition –
it is clearly a worthy special-interest item, no more and no less. So is the SWR recording, from the same year,
of a mixed recital of German Lieder
and French mélodies by baritone
Gérard Souzay (1918-2004). Souzay had a 40-year recital career, beginning
in 1945, but a much shorter operatic one – the reason he never became as
well-known as other top singers of his time.
His longstanding collaboration with pianist Dalton Baldwin (born 1931)
began in 1954. Souzay was particularly
renowned for his excellent ear for language – he was said to be able to sing 13
languages idiomatically and convincingly.
The German and French repertoire remained his recital mainstay, however,
and at the time of this recording, he and Baldwin were at the height of their
collaborative success, with Souzay in excellent voice. The CD is nevertheless another limited-appeal
item, at least in part because of the selections offered. There are four unrelated Schubert songs here,
with Der Zwerg (“The Dwarf”), the
most interesting of them, being as long as the other three combined. There are also four unrelated Richard Strauss
songs, with Ruhe, meine Seele (“Rest,
My Soul”) being particularly affecting. Ravel’s
works on the CD are Cinq mélodies
populaires grecques (“Five Popular Greek Melodies”) and Deux mélodies hébraïques
(“Two Hebrew Melodies”), all sung and played with sensitivity. The greatest focus of this 56-minute CD,
however, is on the music of Frank Martin (1890-1974), specifically his Sechs Monologe aus “Jedermann” (“Six
Monologues from 'Everyman'”), which set the German language with understanding
and skill (although Martin’s first language was French) but which are
interesting rather than emotionally compelling – although Souzay certainly
sings them beautifully. Fans of this
baritone will welcome a chance to hear him in pretty much any mixture of
repertoire, but there is little here to attract listeners who are not already
familiar with Souzay’s considerable strengths.
The music is entirely
familiar on a CD entitled “Karajan in Italy, Vol. 3,” and Herbert von Karajan
(1908-1989) is certainly a household name – undoubtedly one of the great
conductors of the 20th century.
This new Dynamic CD is nevertheless a niche product, because the
performances on it date to 1953 and are not at Karajan’s highest level. They are certainly very fine – Karajan’s
interpretations are as intense and well-wrought as usual – but listeners
accustomed to the conductor’s 35-year leadership of the Berlin Philharmonic
will find the Orchestra di Torino della RAI lacking in comparison, and the
sound thinner and less convincing than in other Karajan recordings. Furthermore, Tchaikovsky was never one of
Karajan’s strong suits: the hyper-emotionalism of the composer tended to bring
out an overly studied and overly staid reaction from the conductor, resulting
in performances that, like this one, are technically expert but lacking in
conviction and, for want of a better word, soul. The Sibelius is another matter: Karajan was
always closely attuned to this composer’s work, and a later reading of Finlandia for Deutsche Grammophon
remains perhaps the most exciting performance ever recorded. This one is very fine, too, but the sonic compression
and tightness prevent the piece from sounding as expansive and exciting as in
later recordings by Karajan and others.
Fans of the conductor will find his work with the Italian orchestra
interesting, but the fact is that he did better in Germany and Austria.
One of Karajan’s conducting
students, Mariss Jansons, is the subject of a two-DVD set that features a
52-minute documentary portrait by Robert Neumüller. Jansons and Karajan
appear together in some of the historical material here, and Jansons himself
narrates the story of his early life and education. The documentary is put together neatly and
paced well, the historical footage fits nicely into the narrative, and the
scenes of Jansons rehearsing with the Vienna Philharmonic for its New Year’s
Concert provide some interesting views of the conductor’s techniques and
methods for extracting the sounds he wants from an orchestra. But there is nothing particularly unusual in
the way the documentary is made, and although there are some insights to be
gained here, there are no “aha!” moments to make Jansons (born 1943) stand out
from other conductors of his age – or from other musicians profiled elsewhere
in documentary films. Fans of Jansons
will find the documentary quite pleasant but scarcely revelatory; non-fans will
likely deem it of little interest. The
second DVD, though, should please just about everyone: this Mahler
“Resurrection” is a substantial one, with considerable intensity in the first
movement, suitable relaxation thereafter, and – in the finale – some really
impressive orchestral playing before the uplifting and very well-sung choral
passages. Jansons is music director of
the Royal Concertgebouw Orchestra, one of the world’s very best (he heads the
Bavarian Radio Symphony as well). The
Concertgebouw responds to him with sureness and strength, its particularly fine
brass providing all the warmth, excitement and burnished sounds that serve
Mahler best. There is, however, little
value to having this performance on DVD rather than CD (or, better, SACD): the
video direction by Joost Honselaar is perfectly competent (albeit occasionally
somewhat distracting), but seeing the performers does not add much to hearing playing
that is highly effective in sonic terms and is diminished rather than expanded
by its video component. For Jansons
fans, this two-DVD set will be a very fine keepsake; listeners in general will
certainly appreciate the Mahler Second, but may not find the price of the set
worth paying, since the video element is not a big selling point.
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