Was [...] deutlich herauskommt, ist die Sorgfalt, mit der Kubelík die schillernden Klangfarben des Orchesters herausarbeitet. [...] Man spürt da auch heute noch die grosse Emotionalität, die Kubelík in seinen Live-Darbietungen immer wieder freisetzen konnte. Dietrich Fischer-Dieskau mimt den Psychopathen Blaubart facettenreich und noch ohne die Manieriertheit seiner späteren Jahre.

Zu den umschwärmtesten Publikumslieblingen im West-Berlin mindestens der 60er bis 80er Jahre gehörte die spanische Sopranistin Pilar Lorengar (1928 – 1996) – besonders als Mozart- und Puccini-Sängerin, aber auch mit Verdi und zuletzt in Meyerbeers „Hugenotten“.

Eine Entdeckung

In ihren frühen, jetzt erstmals auf CD erscheinenden und allesamt in Berlin entstandenen Aufnahmen der späten 50er und frühen 60er Jahre stellt man indes betroffen fest, dass es sich bei Lorengar bei weitem nicht nur um das Berliner Lokalgewächs handelte, als welches sie von der Schallplattenindustrie vielfach ignoriert wurde. Sondern – besonders in diesen frühen Aufnahmen – um eine der schönsten Stimmen auf Schallplatte überhaupt.

Dass ihr die Gratwanderung zwischen Lyrik und Dramatik, Verletzlichkeit und Emphase so unvergleichlich gelang, lag gewiss auch an dem spanischen Temperament, welchem im Klang nicht der geringste Anflug von Bittermandeln eigen war. Die Stimme flutete vielmehr überirdisch und scheinbar grenzenlos. Was sich live noch lange Jahre bestätigen ließ. (Lorengar verabschiedete sich an der Deutschen Oper erst 1991.)

Hinreißend

In Arien und Liedern von Bellini, Puccini, Händel, Granados, Verdi, Leoz, Scarlatti, Mozart, Guridi, Nin, Rodrigo, Toldrà u.a. lässt sich jetzt die gesamte Bandbreite dieser hinreißenden Sängerin nacherleben. Grund zum Schwärmen hat man nach diesen Aufnahmen mehr denn je.

The Belcea Quartet and Quartetto di Cremona are both comparatively youthful ensembles who have made fine reputations in a short time.

Let me get one complaint out of the way first: unlike the eclassical.com La Dolce Volta album, neither of the downloads of the Cremona Quartet from audite.de nor the one from eclassical.com comes with a booklet; only for Volume 1 of this series can a booklet be obtained from Naxos Music Library. The same holds true for the Zig-Zag download from 7digital.com – and, indeed, all downloads from this source. Download purchasers deserve to have all the apparatus that comes with the CD or SACD. Having said that, however, I must point out that the multi-lingual booklet which came with my press download of the Belcea Quartet is not very informative, with more photos of the quartet than analysis of the music.

The Quartetto di Cremona, formed in 2000, plunged in at the deep end in 2013 with quartets from Beethoven’s early, middle and late periods. So far they have recorded the three volumes listed above.

The Belcea Quartet have won awards in several quarters for their Beethoven and Stephen Greenbank thought this cycle an impressive achievement to which he planned to return often – review. Their recordings are also available on two 4-CD sets but the 8-CD set represents a considerable saving, unless you download from classicsonline.com, who haven’t realised that this is a bargain set and are asking £63.92 (mp3) or £71.92 (flac) for a set which you should be able to find on CD for about a third of that price – at least COL throw in the booklet.

Comparisons may be odious – or odorous as Dogberry would have it in Much Ado about Nothing – but I’m going to compare the two groups in one each of the early, middle and late quartets and both with Op.130 and Op.133 from the Talich Quartet.

Aline Nasif thought that the Belcea Quartet, live at the Wigmore Hall in 2004, gave a very fine performance of Op.18/3, though he wondered if they put quite enough feeling into the slow movement – review. That might have been a good place for a comparison, but the Audite series has not yet included Quarettto di Cremona in that work for comparison, so I’ve chosen Op.18/6 instead. Both ensembles choose tempi in all four movements very similar to each other and to those on my benchmark Takács Quartet recording (Decca). Both do all they can to stress the maturity of this early work and if the Belcea Quartet slightly lack the vigour of the Quartetto di Cremona in the opening work, that may be due to the lower quality of the outhere.com press download – concerning which, see below.

So far Audite have recorded two of the middle-period Razumovsky Quartets. Stephen Greenbank praised the Belcea recording of Op.59/1, so that’s the one that I shall compare. Here again tempi are very similar, with the Belcea very slightly slower overall, especially in the second movement, where their time of 9:13 compares with the Cremona players’ 8:45 and the Takács’ 8:18. As so often, timings can be deceptive: heard on its own terms, the Belcea performance is light and airy and it’s only by comparison that the Cremona performance seems to have greater energy, an impression again, perhaps, strengthened by the higher quality transfer. I liked both in their different ways but I suppose that the Belceas come closer to the allegretto vivace e sempre scherzando marking by a small margin.

The late quartets, usually defined as from Op.127 onwards, are among the most challenging chamber works for any group to perform. I first got to know most of them from the Budapest Quartet’s powerful stereo versions for CBS but the general consensus has been in favour of the Quartetto Italiano (Decca, two 2-for-1 sets, 4547112 and 4547122) and the Takács Quartet (Decca 4708492, 3 CDs). The latter remains my benchmark, as it was when I listened to the BIS recording of orchestral versions of the late quartets for DL News 2014/1.

The Talich Quartet’s recording has come up fresh-sounding in this transfer and their performances of Op.130 and Op.133 come very close to rivalling my Takács Quartet benchmark in conveying the beauty and power which are combined in these works in such a wayward manner as to puzzle their original hearers and most who have come freshly to them since.

The Belcea Quartet give the Andante and Cavatina movements of Op.130 a little more time to breathe and make them sound more heartfelt than the Talich or Takács players. Which approach you prefer will depend on personal taste. Their account of the Grosse Fuge comes a little incongruously after two of the early Op.18 quartets but otherwise there’s little to choose between their version and that of the Talich Quartet. Had I heard their performance of Op.130 and Op.133 live, I’m sure that I would have been as impressed as Peter Grahame Woolf was, hearing them live early in their performing career, in 2000 – review.

The press download of the Belcea Quartet to which I listened was at a barely adequate 192 kb/s – if Outhere really want reviewers to hear their recordings at their best, they should up their game to the full 320 kb/s or even to lossless quality – but it sounded good enough for me to think that the 320 kb/s version from 7digital.com should be fine and the lossless from classicsonline.com even better if they can get their pricing sorted out.

I listened to the Cremona Quartet’s Grosse Fuge in Audite’s 24/44.1 download – their set hasn’t yet reached Op.130. Of the versions under consideration it and the Dolce Volta Talich album are the only ones available as lossless downloads apart from the unreasonably-priced COL version of the Belcea set. With a more recent, digital, recording and the availability of 24-bit sound it has an audible advantage over the Dolce Volta, as good as that is. Though I’ve said that the late quartets are hard to bring off – and the Grosse Fuge perhaps the hardest of all; it’s a crazy, almost demented, fugue such as Bach could never have written or, probably, wanted to – there’s remarkable similarity of approach and tempo from all three quartets under consideration in this work.

I’ve already said that Talich would make a good introduction to late Beethoven, but if I were forced to make a Desert Island choice, the greater immediacy of the Audite recording would just win the day. Overall I could live happily with both the Cremona and Belcea quartets in Beethoven, especially given a better-quality transfer of the latter. If you would like to make your own comparison on a more level playing field and have access to Naxos Music Library, you can stream Volume 1 of the Zig-Zag set and all three of the volumes of the Audite to date there.

Like all the volumes in the series, the Audite recording features a ballerina on the cover – the same ballerina on each, making them hard to tell apart – but that’s the only aspect of this latest album that isn’t true to the quality of the music. Jens F. Laursen thought the previous, third, volume of the series a treasure – review – and that’s no less true of the recent release. These performances bring out the power of the music and also its more beautiful aspects – like the late Beethoven quartets, this is quirky and unpredictable music which places considerable demands on the performers to capture its restless temperament. The recording, especially in 24-bit format, albeit that it’s only 24/44.1, sounds very fine. I haven’t heard the surround-sound version.

I’m surprised to see that the identical coupling on Hyperion, highly and justly praised when first released, is now available only as a download and to special order on CD from the Archive Service. The Petersburg Quartet, too, capture the beauty and intensity of the music. I echoed Neil Horner’s praise of these performers in Nos. 11, 13 and 15 (CDA67157 – January 2011) and that holds good for this volume. With identical programmes, honours are about even between this and the Audite – the Hyperion comes with a pdf booklet and the lossless flac, usually £7.99, is discounted to £6 as I write, but the Audite is additionally available in 24-bit and surround sound.

There are six first-ever releases of works new to Katchen’s recorded repertoire in this Audite twofer. It documents recitals for RIAS Berlin in February 1962 and May 1964, the latter given only five years before his untimely death from leukaemia at the age of forty-two. The Liszt Sonata is the major work that he didn’t live to record commercially, and it receives a reading of visceral intensity. From an almost sullen start it gathers in power and superb technical address to generate a reading of leonine authority and considerable poetic refinement, the two held in near-perfect equipoise. Lyrical imperatives and digital accuracy combine with a flexible but never over-elastic pulse to create an experience engrossing and at times overwhelming. What remains most impressive about this performance, even beyond this, however, is Katchen’s narrative sense. This is one of those rare performances of the sonata where one feels, however naively, that we have been on a real journey that has carried us through successive emotive states and reached the only true and musically logical destination. In that respect alone it is a remarkable performance.

The rest of the first disc is given over to a composer whose music Katchen played with such insight, Brahms. The Seven Fantasies, Op.116 are played with real insight into their very particular sound world, sympathetically drawing out their expressive nuance and sense of melancholy and withdrawal. For all his virtuoso standing Katchen was a profoundly lyric performer and this set underscores the point. So do the two pieces from the Op.118 set, the Intermezzo and Romanze. Given that these are largely unedited performances one would expect a few finger slips, but they are – as in the Liszt sonata – of negligible significance. I freely admit I played these two pieces from the Op.118 set repeatedly and held up my reviewing responsibilities, so affecting were Katchen’s performances of them.

There is more Brahms on disc two, a stormy performance of the Scherzo in E flat minor, boldly argued and living dangerously. Both Beethoven performances are new to his discography. The Rondo, Op.129 (Rage over a Lost Penny) scintillates and the Variations in C minor finds Katchen in discerning form, marrying structural imperatives with digital drive. His Chopin is fluent and charismatic and there is the great advantage of pieces once more appearing for the first time in his discography, namely the two Nocturnes - Op.9 No.2 and Op.27 No.2. They receive properly rich readings, and there is no need to cite, say, Lortat, Cortot or Moiseiwitsch here, as Katchen stands at a remove from that lineage.

The 1962-64 tapes sound splendid and with a fine booklet note this production is an exceptionally fine addition to Audite’s already admirable sequence of RIAS releases.

These terrific new performances are full of so many fine things and should provide an ideal choice of recording for these works. The recordings made in the Philharmonie, Köln are absolutely first class and add so much to the clarity of detail.

With excellent booklet notes this new release must receive the strongest recommendation.

Arthur Campbell hat hörbar Freude an diesen Werken. Mit seinem sanglichen Spiel und seinem schmeichelnden Ton fügt er sich ein zwischen die Streicher Gregory Maytan, Violine, Paul Swantek, Viola und Pablo Mahave-Veglia, Violoncello. Er setzt auch Kontraste und Glanzpunkte, und der Zuhörer freut sich über die Eleganz dieser charmanten Musik. Unbedingt anhören – das ist Kammermusik, die rundum gute Laune bringt, in einer hinreißend gelungenen Einspielung.

Das hoch sensible, sehr ambitionierte Spiel des Ensembles begeistert von der ersten Note an [...]

Die vollständige Rezension ist zu lesen unter: http://www.swp.de

Eduard Franck (ditto his son Richard) is an ingenious chamber music composer whose output has been championed by the Audite label and Franck-veteran violinist Christiane Edinger. Now they turn their attention to Eduard’s orchestral output, including a rustic-operatic overture that is comically true to the clichés its title, Roman Carnival, promises. It’s followed by a gorgeous miniature violin concerto with a simple, memorably charming tune. Like the Orchestral Fantasy, this is music with a genial La-Z-Boy quality about it and, yes, a touch on the harmless side. But when it’s as well done as here, what’s wrong with musical sunshine and cotton candy?

Nach der erfolgreichen Veröffentlichung der Brahms-Klaviertrios legt audite nun eine weitere SACD mit dem Trio Testore vor. Sie beleuchtet eine besondere Seite russischer Kammermusik: Tschaikowskys und Rachmaninoffs Werke für Klaviertrio sind als Widmungs- und Gedenkstücke konzipiert.

Pjotr Tschaikowski komponierte sein einziges Klaviertrio im Gedenken an Nikolai Rubinstein, seinen Förderer und Freund. Mit dem anspruchsvollen Klavierpart erwies er dessen pianistischer Brillanz die Ehre, baute sie jedoch in den kommunikativen Zusammenhang mit zwei gleichberechtigten Partnern ein: Sinnbildlich erhält der Virtuose von ihnen Resonanz, Unterstützung und Anregung.

Wir lieben Musik... weil sie uns glücklich macht

Sergej Rachmaninow nahm sich das zweisätzige Werk und seinen elegischen Grundzug zum Vorbild, als er 17-jährig sein erstes Klaviertrio komponierte. Darin prägte er bereits wesentliche Elemente seines Stils, seiner Art der melodischen Erfindung und der Entfaltung weiter Zusammenhänge aus.

Die Widmungsgeschichte der Werke bestimmt ihre individuelle Form und ihren persönlichen, leidenschaftlichen Ton. Sie stehen damit beispielhaft für eine Tradition, die weit ins 20. Jahrhundert hinein wirkte.