Classical CD reviews

Rachmaninov: Opera highlights from Aleko, The Miserly Knight and Francesca da Rimini. Several soloists’ Sofia National Opera Chorus and Orchestra conducted by Nayden Todorov – Naxos 8.557817 (76 minutes).

Sergei Rachmaninov (1873-1943) may not be renowned for his operas. As this genre was never central to his artistic ambitions, but at the beginning of his career, he wrote three one-acters that deserve closer scrutiny, especially in the West, where, with the exception of a handful of works, Russian opera is still crying out to be discovered.

The most substantial excerpts on this issue are those from Aleko. Composed in 1892 to a libretto based on a Pushkin story, the work won Rachmaninov a gold medal, and a still higher accolade in having it published and performed.

The story is one of passion, jealousy and murder in a gypsy camp, and the exuberance of the young composer is all too evident in music of immense dramatic power and brooding colours.

The Miserly Knight of 1905 is also derived from a Pushkin story, and without doubt, it is the most psychological of the three. The score, describing an avaricious father obsessed with the idea that his profligate son wants to kill him to inherit his wealth, is extremely disturbing, and its dark-hued harmonies have a strong inevitability of a tragedy in the making. Indeed, the father dies calling for the keys of his treasure-chest.

The Dante-inspired Francesca da Rimini also dates from 1905, and finds Rachmaninov in a highly romantic vein. Maybe the torrid and tempestuous love story of Francesca and Paolo propelled the composer to write music of great sensuality, and the ending, where Giovanni Malatesta, Francesca’s husband, kills the two lovers as they embrace while a storm rages outside, followed by the lovers’ desperation in Hell, is, maybe, the most imaginative of the three.

Todorov and his Bulgarian forces perform with marvellous expressiveness and commitment, and all three excerpts have an electrifying intensity throughout. If you want to explore the many surprising delights of this still neglected genre, then this disc is the right place to start.

Bruch: Symphonies Nos. 1 and 2. Weimar Staatskapelle conducted by Michael Halasz – Naxos 8.570994 (61 minutes).

Max Bruch (1838-1920) was born in Cologne in the same year as Bizet, and both seem to share the same fate. Both composers wrote a considerable amount of works, but for many, Bizet is invariably associated with the opera Carmen, and Bruch’s reputation rests mainly on hisScottish Fantasy and the first two violin concertos. Indeed, Bruch was famous for the many large-scale choral works he wrote between 1870 and 1900, and this part of his oeuvre earned the composer an admiration that momentarily even outshone that of Brahms.

During his lifetime Bruch occupied several prestigious posts such as that of Kapellmeister at Koblenz in 1865, conductor of the Liverpool Philharmonic Orchestra in 1880 and director of the Breslau Orchestra in 1891. He studied with such influential figures as Ferdinand Hiller and Carl Reinecke, and in his heyday, he taught such 20th century greats as Ottorino Respighi and Ralph Vaughan Williams.

Among Bruch’s many orchestral pieces are three symphonies, the first two of which are included in this recording. The First dates from 1867, and was written at the suggestion of the great conductor Hermann Levi. Dedicated to Brahms, but indebted to Mendelssohn and Schumann, the symphony has many beautiful moments that alternate between the dramatic and the lyrical, and the orchestration is masterly throughout. The symphony was well received, and this encouraged Bruch to write a second soon after. It was completed in 1870 and is dedicated to the legendary violinist/composer Joseph Joachim. More weighty than the first, the work echoes the music of Beethoven and Brahms, and its unconventional three movements include a dramatic and passionate opening and a tranquil end. Sandwiched between is a lovely and lyrical Adagio full of impressive solos for several instruments. Halasz and the Weimar Staatskapelle giveconvincing performances, bringing out the music’s colourful textures in all their brilliance. Not mainstream repertoire, but these two symphonies are perfect specimens of the romantic era.

Reger: Clarinet Sonatas Nos. 1 and 2, Op. 49 and in B Flat, Op. 107. Janet Hilton, clarinet, Jakob Fichert, piano – Naxos 8.572173 (79 minutes).

Max Reger (1873-1916) was one of those German composers who bridged the romantic era with the modern one, although most historians and critics regard him as a purely 20th century composer. Undoubtedly he is of paramount importance as a writer of organ music, because his output in this genre is second only to J.S. Bach’s, of whom he was a passionate admirer. But Reger also wrote a considerable amount of orchestral and chamber pieces, the latter forming the benchmark of German chamber music during the first half of the last century.

His three clarinet sonatas recorded here are of particular interest. Although inspired by Brahms, whose clarinet works, particularly the Quintet, Op. 115, are absolutely sublime, Reger’s pieces are stamped with a highly original touch that makes them wholly innovative. The two Sonatas Op. 49 were composed in the spring of 1900, and although their structure is rather traditional, the composer successfully managed to create his own individual language. The thematic material, the invention of unknown and original harmonic progressions, the expressive dynamics as well as the intricate style of phrasing give him an unmistakable 20th century stamp

The sonatas’ pairing under the same opus number does not mean they have the same emotional character. Compared to the high-spirited first, the second is elegant and introvert, and these contrasting elements make them so compelling to listen to.

The Op. 107 is described by Reger himself as “light and friendly and not at all long”, but at 34 minutes it is certainly not short. Although at this stage his musical development had reached a very mature stage, this 1909 sonata is more relaxed and suggests the domestic happiness that Reger was experiencing at the time. A fine issue that should please clarinet buffs in particular.

These CDs were made available for review by D’Amato Record Shop of 98/99, St John Street, Valletta.