Uno Due Tres Quattro: Wicked Tales of Singles to Foursomes

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Simple, and brilliantly done. This makes bedtime so much more fun for parents and kids than it ever was before. The music is age-neutral and the whole album feels like a family affair, a marriage of lightness and lilt. Three Bach sets. His playing is quick and supple and the New York studio is appropriately resonant.

Among several sets this year, these suites have easily the best sound. Either way, the performances just fizz along with the Accademia Bizantina. You got it. But more, much more. The tempi are fiery and full of risk, all done without a named director. Thrilling performances from Stravinsky was merciless to conductors who attempted his signature work. Even Pierre Monteux, who conducted the riotous premiere, came in for muttered criticisms of his subsequent performances. Still, if the man who write the music declares a performance to be downright wrong, why should we bother to listen to it?

Because it can be downwrong right. It explodes out of nowhere like a thunderstorm at sea and keeps us gripping the sides for dear life. This account ticks all three boxes. No matter how many Rites you own, this one is not to be resisted. There are episodes of exquisite natural beauty and organic sounds.

These are two extremes of how the Rite can sound. Take your pick. Three contemporary CDs. The Swedish composer in residence at the New York Philharmonic presents three large works in shimmering, rich textures that remind me of an ocean liner seen from afar. The filling in this convoy is a big-boned piano concerto for Yefim Bronfman.

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Every orchestra should have a resident like Lindberg. Bulgarian-British, Tabakova creates hypnotic fusions in the manner of Gavin Bryars with an underlying ache of exile. It makes for very easy listening. The biggest and best piece is a cello concerto, sensationally played by Kristina Blaumane. Little known outside Spain, Nebra composed around 50 operas and stage works, as well as a large volume of church music in his capacity as Deputy Master of the Royal Chapel in Madrid.

What we hear on this album for the first time is his keyboard music, which has gathered dust in church and private archives, its originality unrecognised. The sonatas and toccatas reveal an intelligent musician who is searching for a language that is as far away as possible from Domenico Scarlatti, dominant in Spain at the time. Secure in his classical structures Nebra writes in a manner reminiscent of early Haydn or Mozart — frisky, entertaining and easy to absorb, or ignore.

One imagines these pieces were intended for ruling-class dinner parties; if so, they could serve the same purpose today. Where Nebra arrests the attention is in his slow pieces, marked Grave, some of which are so slow they stop the clock and ask big questions about life on earth. The music feels at once familiar and entirely fresh.

Moises Fernandez Via plays the set with great daring on a modern instrument in a Massachusetts banqueting hall, finishing off one of the incomplete Graves with his own improvisation. Try it for dessert.


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Four Mozart concertos. The touch is like no other. After a pedestrian introduction from the Stuttgart Radio orchestra conductor Antoine de Bavier , the pianist enters with the sound of a raindrop in a water barrel.

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Uncanny, inimitable, you must hear Michaelgeli in the K and K concertos, recorded in mono. No second thoughts. The Canadian pianist is recording the set in an Italian mountain resort, far from the studio pressures of the big city. The climactic K feels a tad too laid back for my taste.

Hannu Lintu conducts the Mantua chamber orchestra. The companions works are the bassoon and second flute concertos. The Chamber Orchestra of Europe and its principal clarinet play the concerto without benefit of conductor. Five orchestra members then add an admirably well-sprung account of the clarinet quintet. Vasily Petrenko, the conductor, is 36 years old. He grew up in the dying embers of Communism and addresses the symphonies with no ideological agenda.

He performs the Leningrad Symphony not as a relic of an historic event but as a work of music that demands objective interpretation in a different century. The ear is struck immediately by his refusal to overplay textural excesses.

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Flutes and clarinets are reduced to a whisper and strings to a hushed susurrus. When the climaxes explode, they do so with total shock and desperation. Between extremes, the conductor maintains an even emotional keel, avoiding the risk of melodrama that Bartok so wickedly caricatured in his Concerto for Orchestra. Petrenko puts his mind to saving the symphony from itself. Playing in another port-city at the western edge of a civilisation, the Royal Liverpool Philharmonic Orchestra deliver delicacy, empathy and, when required, astonishing power.

The recorded sound is a shade below pristine my only reservation but the performance is treasurable, a terrific affirmation of a towering masterpiece. Three Latino releases. Six CDs of music by a fascinating Cuban composer and pianist, who played the halls of Europe and won the envy of Ravel. Lecuona has a rhythm all his own and an inexhaustible reservoir of dance tunes. How Thomas Tirino manages to stay seated at his piano is a mystery. The Polish Radio orchestra accompanies. Cristiane Roncaglio sings the socks off a set by Jobim, Villa-Lobos and others less known.

Accompanied alternately on piano and guitar, she gives a semi-latte vocal flavour to these dark, romantic and insistently evocative ballads. The songs are by Astor Piazzolla and Valentina herself. They speak of the force of love, and its futility.


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The voice is sultry, bruised, undefeated. When the Soviet Union collapsed, a generation of fine composers vanished into the vortex. Bereft of a parent state that fed and restrained them, some embraced exile, others bewailed the loss. Valentin Silvestrov, a Ukrainian rebel in Soviet times, adopted a baby-faced musical innocence that is at once appealing and disturbing. Beyond that beats a heart that aches for the certainties of melody and a head that knows exactly how to steer a tune clear of sentimentality.

Elisaveta Blumina, an accomplshed Leningrad pianist exiled in Dublin, delivers marbled enigmatic serenity, much as Tatiana Nikolayeva did when she played the Bach-like preludes and fugues written by Dmitri Shostakovich in darker times.

There may be secrets in this neo-classical revival for John Le Carre to decode. Three Rachmaniov recordings. The German cellist Julian Steckel, 30, is more sentimental than most Russians in this ultra-romantic sonata. Paul Rivinius is the pianist. Alexei Grynyuk is the pianist and the sound is outstanding. Fabulous sound. Sometimes composers are best understood by what they do least. Neither Olivier Messiaen nor Kaija Saariaho wrote much for piano.

Both use large orchestras and unconventional instruments to describe the world they inhabit. Messiaen evokes wonderment at the idea of love and the glories of nature. Saariaho born explores human intimacies. For both composers, the piano was a working tool rather than a means of expression.

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Or so one is led to believe. But this remarkable cache of little-known piano music connects the two composers in unexpected ways, tracing their common heritage in the impressionistic pianism of Claude Debussy. Rather than mourning his loss, he seeks meaning in a kaleidoscope of colours.