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CLASSICAL NOTES BY NICK BOSTON
REVIEWS
) Adriana González & Iñaki Encina Oyón Isaac Albéniz Complete Songs (Audax ADX13784). From the opening notes of Adriana González (soprano) and Iñaki Encina Oyón’s disc of the complete songs of Isaac Albéniz (1860-1909), I could tell this would be a treat. Only the opening set, Rimas de Bécquer, is in Spanish, but the themes are familiar - lost love, the fragility of love, life and death, and visions in
CONCERTS ) The Maxwell Quartet perform Haydn, Dvorák and Prokofiev (Sun 23, 11am, ACCA).
) The London Philharmonic Orchestra, conducted by Kazushi Ono, perform Stormclouds and Spring Flowers, including Debussy, Dvorak, and Copland’s Clarinet Concerto, with Andreas Ottensamer (clarinet) (Sat 29, 7.30pm, www. brightondome.org). ANDREAS OTTENSAMER
dreams and sleep, etc. It is perhaps only in the later songs, such as Art thou gone forever, Elaine? and The gifts of the Gods, and then the lush expressionism of the Deux morceaux de prose, that the piano has a more virtuosic role. Yet Oyón makes the most of the subtlety of interest in earlier songs too, particularly the lilting rhythm of the Barcarola and increasingly expressive accompaniment to Il tuo sguardo. González moves effortlessly between simple romanticism (Una rosa in dono) to extremes of despair (De dónde vengo...?) and tender expression (To Nellie). She even gives us ever so slightly schmaltzy Victoriana in Will you be mine?. But the final four songs are the most evocative, full of Spanish-infused shifting harmonies and crying piano grace notes in the incredibly moving In sickness and health. Oyón’s virtuosic pianism comes to the fore here, and throughout González is a master of communicating the texts with wonderful dynamic control and variety of tone. Highly recommended. ) Emily Baines The Ghost in the Machine (First Hand Records FHR113). Now
more virtuosic piano parts, such as in the passionate and watery Dedication, the playfully chirruping Spring and the highly virtuosic, rippling Consider, her playing shines through, making her restraint elsewhere all the more impressive. Highlights of the collection include the darkly sombre A Sad Song, with its lilting but shifting harmonies and ranging melodic line, and the mysterious Autumn Twilight’s winding accompaniment, with some captivating quiet singing from Briginshaw, also showing impressive control when Warlock challenges with final high sustained notes. A great showcase of another side to Warlock, as well this talented duo.
MAXWELL QUARTET
but also her deep knowledge and her success in rescuing that ‘ghost’ from the machine. ) Luci Briginshaw & Eleanor Meynell Peter Warlock Songbook (Convivium CR062). Peter Warlock (1894-1930) is probably best known for his Capriol Suite, The Curlew song cycle, or perhaps some of his boisterous drinking songs, but he wrote over 120 songs, as well as numerous choral pieces and works for voice for some reverse engineering. and chamber ensembles. Warlock’s In 18th century Europe, there real name was Philip Heseltine, was a fascination with all things and he had a reasonably successful mechanical, and musical instruments career as a writer and music critic. such as barrel organs and organ The pseudonym was perhaps to clocks were highly popular. Before distance himself from his critical the gramophone, they were a way writings and save his own music to hear again the popular works of from the acidic scrutiny he gave the day. But what is also fascinating to others. Not formally trained is how they reveal 18th century as a musician, Delius became a tastes for performance, particularly mentor, although his own music ornamentation and decoration. moved away from his mentor’s Recorder player Emily Baines, impressionistic style, towards a mix also director and co-founder with of folk and Elizabethan influences. lutenist Arngeir Hauksson of the Soprano Luci Briginshaw and ensemble Amyas, has transcribed pianist Eleanor Meynell have got music from such instruments, and it together to record a significant turns out that more is more. Some of selection of his songs - 28 in all the renditions here of Handel, Arne, and even God Save the King, seem to have decoration on virtually every note. Baines plays on a range of recorders, as well as the ‘voice flute’, a recorder that sits in range between the tenor and treble. The transcribed works are drawn from a clock organ made in London by Charles Clay, and a barrel organ made by Henry Holland. Clay’s incredible clocks, containing works of art, and functioning organs could be seen for this new CD. Briginshaw’s bright and heard in his workshop for a tone is well suited to the direct shilling. The disc here opens with communication of many of the a ‘suite’ of three popular pieces by songs, yet she can also conjure up Handel, including the Overture to his the frequent moments of wistful Water Music, and See the Conquering melancholy. Warlock is fond of Hero Comes. The repertoire is lively lilting triple times (in more than and full of birdlike trills, twiddles half the songs here), from the and turns throughout. There’s even tender My little sweet darling, with a smattering of the 18th century its nod back to Byrd, to Rest, sweet fashion for ‘Scots’ music, with The nymphs, where the simple melody is Lass of Patie’s Mill, and Francesco disturbed by a mildly crunchy piano Geminiani’s (1687-1762) Auld Bob accompaniment. The early music Morrice, with Baines demonstrating influences are there in Lullaby, with particularly impressive virtuosity its steady walking accompaniment, when the variation takes off. Her and the Dowland-esque Sleep, effortless ornamentation throughout despite its unexpected sliding is also testament to her virtuosity, harmonies. Briginshaw delivers the expressive melodies with soft tones, yet she gives occasional more passionate outbursts full weight. Often, Warlock’s piano parts provide chromatic edge but remain in the background, allowing the simple melodic lines to take centre stage. Meynell understands this and doesn’t force the dark undertones through the texture. Yet when Warlock writes
) The London Philharmonic Orchestra also perform an allBeethoven programme - the Symphony No. 6 (Pastoral), and the Piano Concerto No. 4 with Joanna McGregor (piano). Matthew Coorey conducts (Sun 16, 3pm, Congress Theatre, www.eastbournetheatres. co.uk).
More info Reviews, comment and events, visit: D www.nicks-classical-notes. blogspot.co.uk T @nickb86uk E nbclassical@hotmail.co.uk
