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Serge PROKOFIEV (1891-1953)
Sonata for cello and piano in C major, op.119 (1949) [23:11]
Sergei RACHMANINOFF (1873-1943)
Sonata for cello and piano in G minor, op.19 (1901) [33:57]
Gert von Bűlow (cello)
Merete Westergaard (piano)
Original release on LP DACO 205, 1982
DANACORD DACOCD843 [57:17]

J.P.E. HARTMANN (1805-1900)
Character Pieces nos. 1-3 op.81 for string orchestra (1884) [15:17]
Carl NIELSEN (1865-1931)
Quintet for strings in G major (1888) [28:17]
J.P.E. HARTMANN
Suite in A minor, op.66 for violin and piano (1864) [20:18]; Fantasie-Allegro for violin and piano (1889)
String Orchestra/Emil Telmányi (violin)
Ilona Telmányi (violin, viola)
Annette Telmányi (piano)
Anika Telmányi (violin), Annete Telmányi (viola), Mihalyka Telmányi (cello)
Original release on LP DACO 209 1983
DANACORD DACOCD853 [74:39]

Leif KAYSER (1919-2001)
Concerto for horn and string orchestra, (1941-51) [23:02]
Trio for oboe, horn and bassoon (1961) [13:39]
Three Nordic Piano Pieces: Icelandic Song (1968) [5:14]
Danish Dream (1979-80) [14:47]
Sando Dance (1979) [4:39]
Bagatelle (1957) [16:41]
Albert Linder (horn)
Wincent Lindgren (oboe), Viva Holmstrand (bassoon), Leif Kayser (piano)
Gothenburg Symphony Orchestra/Doron Salomon
Original release on LP DACO 223 & 224, 1983
DANACORD DACOCD857 [78:39]

Anton Grigorevich RUBINSTEIN (1829-1894)
Sonata for cello and piano no.1 in D major, op.18 (1852) [29:03]
Sonata for cello and piano no.2 in G major, op.39 (1857) [32:17]
Piano Trio no.5 in C minor, op.108 (1883) [38:43]
Gert von Bülow (cello), José Ribera (piano), Péter Csaba (violin)
Original release on LP DACO 229 1984
DANACORD DACOCD858 [61:20+38:43]

These four CDs are part of an imaginative repristination of several vinyl LPs issued in the early 1980s, around the time when the highly respected Danacord label was founded. The liner notes explain that the ground covered by this project ranges far and wide: releases planned and published include harpsichord music by Buxtehude, early recordings by the pianist Ignaz Friedman and several contemporary Danish composers.

Looking at the above track listings for this first tranche, I found that I was unfamiliar with virtually every track except the Rachmaninov and Prokofiev, and the composer Leif Kayser was a closed book to me. The artists too, featured many new names.

The first CD explores two well-known cello sonatas: Rachmaninoff in G minor and Prokofiev in C major. Both works are the only examples of the genre in each composer’s catalogue.

Prokofiev’s Sonata was written at a time when he had been castigated by the Russian authorities for writing music that was ‘formalist’, ‘dissonant’ and ‘hostile to the spirit of the people.’  It is certainly dark-hued, but never downhearted; lyricism and relative simplicity predominate. The premiere was given by Mstislav Rostropovich and Sviatoslav Richter on 1 March 1950.

Little need be said about Rachmaninov’s Cello Sonata which was written at the beginning of the 20th century. There is always a danger that a performance of this work will allow the piano to predominate, with the cello becoming little more than a ‘continuo’ part. Certainly, the listener will often feel that the piano part seems to echo the great Piano Concerto no.2 in C minor. I was delighted to find that Gert von Bülow, cello and Merete Westergaard, piano have managed to avoid this trap. It is a wonderfully moving account.

I agree with the promotional notes that these 1982 recordings have withstood the test of time and ‘that even with strong competition [currently 74 versions in the Arkiv catalogue] …[they] stand as one of the finest versions.’

The CD featuring music by two great Danish composers J.P.E. Hartmann and Carl Nielsen is an important addition to the repertoire. Despite Nielsen’s relative popularity, his Quintet for strings in G major (1888) is rarely heard or recorded. I think that there are four or five CDs of this work in the current catalogue. It may not be the composer’s greatest triumph, but it is an early forerunner of his later achievement.

The music of J.P.E Hartmann is immediately approachable. The Three Character Pieces for string orchestra are played here by a ‘scratch’ orchestra assembled by Emil Telmányi, including family and friends. The work is remarkable for its splendid string technique and invention. It presents music that is just as impressive as Grieg’s ‘Holberg’ Suite, written some four years previously. Other works by Hartmann on this CD include his enjoyable Suite in A minor for violin and piano with its nods to Schumann, and an imaginative Fantasie-Allegro for violin and piano composed in 1889. I felt that the remastering of this LP was less than successful. The playing by the Telmányi family comes across as quite harsh at times.

As noted above, I have never consciously heard any music by Leif Kayser. Certainly, there are precious few CDs in the catalogue devoted to his work. The honourable exception would seem to be his four symphonies issued on the DaCapo label. Volume 1 of this set is reviewed in these pages by Rob Barnett.  Born in 1919, Kayser studied with composer Hilding Rosenberg and the conductor Tor Mann. Besides the symphonies, he wrote a Christmas Oratorio, several orchestral suites, concertos for horn and tuba and a Requiem. He was also one of the most significant organ music composers in Denmark. In 1949 Kayser became a Roman Catholic priest in his home city, but fifteen years later was released from his vows and began his musical career once more. The present CD serves as a good introduction to his music.

The disc opens with the Concerto for horn and string orchestra, completed over a ten-year period (1941-51). This is music that seems to be inspired by Paul Hindemith and Dmitri Shostakovich. It has been categorised as being written in a largely tonal language with romantic styling. Certainly, the middle ‘andante’ is a delight.  This Concerto ought to be in the repertoire of all horn players. It is splendidly played here by the Albert Linder, horn and the Gothenburg Symphony Orchestra conducted by Doron Salomon.

The Trio for oboe, horn and bassoon, composed in 1961, looks back to the Paris of ‘Les Six’. Maybe it is not quite as playful as Poulenc but it is certainly a satisfying work that exploits this relatively rare instrumental combination.

The Three Nordic Pieces are based on Nordic melodies, but do not attempt to present any Scandinavian programme as such. They generate interest rather than inspire. The relatively long ‘Bagatelle’ was composed for two aspiring pianists (not as a duet!), and reflects some cute exploration of rhythms, scales and chords, as well as introducing echoes of a polka, waltz and saraband. It is in places neo-classically desiccated, but nonetheless quite enjoyable. All the piano pieces are played by the composer, so presumably we have here definitive performances.

The last of these four re-releases features three remarkable chamber works by the Russian composer Anton Rubinstein. The two cello sonatas were composed some five years apart. No.1 in D major owes much to Mendelssohn and possibly Schumann, whilst No.2 looks forward to Johannes Brahms. They tend to eschew any kind of Russian nationalism. These Sonatas are always resourceful: they are well written for each soloist with an often-challenging piano part and include some innovative writing for the cello. As a dividend to purchasers of this CD, Danacord have included a bonus disc featuring the large-scale Piano Trio no.5 in C minor, op.108. It was recorded at the original session but was not included in the LP record release. This is a deeply felt, Romantic work that is both dynamic and thoughtful by turn. The playing by Gert von Bülow, cello, José Ribera, piano, and Péter Csaba, violin, captures the imagination and invention of these beautiful but neglected works by the Russian master.

Little more need be said, save to point out that the liner notes appear to have been culled from the original LP release. There is a new introduction provided outlining the project as well as what I imagine to be revised performer biographical details.  Typically, the recordings themselves have held up well, but see my comment about the Hartmann CD.

I look forward to reviewing other CDs in this imaginative series of re-releases by Danacord. It is a project that could be echoed by other record companies.

John France

Previous review (Hartmann/Nielsen): Jonathan Woolf



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