John Field’s Nocturnes: A Timeless Legacy Rediscovered
The Irish composer John Field (1782-1837) is often credited with inventing the nocturne, a intimate and lyrical piano piece that later became iconic through Frédéric Chopin. Despite his significant influence, Field’s music sometimes fades into the shadows of history. However, his contributions remain undeniable, as even the great Franz Liszt recognized his genius, publishing an edition of nine nocturnes and marveling at their “perfection of incomparable naïveté.” Alice Sara Ott, one of the most celebrated pianists to record Field’s nocturnes, brings these works to life with extraordinary care and affection. Her playing is breathtakingly beautiful, combining subtlety, sensitivity, and shape, capturing the essence of Field’s delicate compositions. Unlike Chopin’s nocturnes, which often carry deeper emotional complexity, Field’s works are generally brighter, with a placid and genial quality. Ott’s interpretation of the “Noontide” Nocturne in E major, for instance, is infused with a Mozartean charm, while her rendition of the “Rêverie-Nocturne” is nothing short of magical. Her left-hand chords evoke evocative melodies, and her right-hand technique sparkles with dappled light, creating a sense of time standing still. Ott’s commitment to honoring the original spirit of these pieces ensures that Field’s music is not overshadowed by unnecessary dramatic flourishes, allowing listeners to experience the timeless beauty of his nocturnes.
Benjamin Appl’s->$lines of Life:< Schubert & Kurtag
Baritone Benjamin Appl defies the typical brooding intensity of lieder singers, instead offering a fresh, mild-mannered approach that skates gracefully over the surface of art songs. His gentle timbre and technical precision make him an ideal interpreter of the intricate works of Hungarian composer György Kurtág, whose music is notoriously challenging due to its tiny inflections and complex nuances. Appl worked closely with Kurtág himself to prepare the material, and his voice, with its elastic loveliness and technical security, brings Kurtág’s prickly yet captivating gems to life. In “Hölderlin-Gesänge,” a cycle of six songs based on esoteric texts, Appl’s singing is both nimble and expressive, shifting seamlessly between succulent tones, ghostly whispers, and bursts of intensity. His ability to maintain a youthful vitality while navigating the complexities of Kurtág’s music is remarkable. The album also features Schubert songs, which might have felt like a mere juxtaposition to Kurtág’s works. However, the laser-like concentration required for Kurtág’s style seems to deepen Appl’s connection to Schubert’s melodies, such as “Ganymed” and “Litanei auf das Fest Allerseelen.” Pianists James Baillieu and Pierre-Laurent Aimard provide sensitive accompaniment, with Baillieu offering warm, gracious playing in Schubert and Aimard delivering an acerbically precise interpretation of Kurtág. The album closes with Brahms’s “Sonntag,” played by Kurtág himself, whose patient, meditative approach brings a sense of contentment to the recording.
Stravinsky’s Neo-Classical Masterpieces and a Hidden Gem
At first glance, this album appears to be a straightforward recording of two works from Igor Stravinsky’s Neo-Classical period: Pulcinella and the Divertimento from Le Baiser de la Fée. Performed by the Toronto Symphony Orchestra under the baton of Gustavo Gimeno, these works are executed with elegance and vitality. The ensemble’s pungent winds and brass shine in the Divertimento, while the complete version of Pulcinella is rendered with airy rhythms and a sprightly charm that honors its 18th-century origins. Vocal soloists Isabel Leonard, Paul Appleby, and Derek Welton navigate Stravinsky’s demanding vocal lines with skill. However, the album holds a surprise: it also includes the world premiere recording of Canadian composer Kelly-Marie Murphy’s Curiosity, Genius and the Search for Petula Clark, a piece inspired by a radio documentary featuring Glenn Gould. Commissioned by the Toronto Symphony to celebrate Gould’s 85th birthday in 2017, Murphy’s score is ingeniously orchestrated, with shifting textures that pay homage to Gould’s eclectic curiosity. While it’s unclear what Gould would have thought of the piece, its inclusion adds a fascinating layer to the album. Despite its absence from the cover, this work deserved acknowledgment alongside Stravinsky’s masterpieces.
Brahms’s Ein Deutsches Requiem in Its Original Form
Johannes Brahms’s Ein Deutsches Requiem (A German Requiem) premiered on Good Friday in 1868 at Bremen Cathedral, conducted by the composer himself. The piece was a triumph, performed before an audience of 2,500 people. However, the version heard that day differs from the one familiar to modern audiences. Brahms had not yet composed the fifth movement, and to appease religious authorities who objected to his selection of texts, he wove in works by other composers, including Bach, Tartini, and Schumann. This original version was reconstructed in 2022 and recorded at the Elbphilharmonie in Hamburg, featuring 400 singers from eight community choirs and the Hamburg State Philharmonic Orchestra under Kent Nagano. The result is a deeply moving testament to the historical and communal traditions that shaped Brahms’s work. Instrumental interludes by other composers create meditative moments amidst Brah’s choral numbers, offering a glimpse into the influences that informed his composition. The album concludes with a stunning twist: Brahms incorporates Handel’s “Hallelujah” chorus, creating a radiant, if unconventional, ending to the Requiem. Mezzo-soprano Kate Lindsey, baritone Johann Kristinsson, violinist Veronika Eberle, and organist Thomas Cornelius contribute to thishistoric recording, which brings a fresh perspective to Brahms’s beloved masterpiece.
Shostakovich’s Enigmatic Symphony No. 15
Dmitri Shostakovich’s Symphony No. 15 is his most enigmatic orchestral work, a piece where death looms but never fully takes hold. Instead of the anguish typical of much of his music, this symphony is filled with innocence, quirky melodies, and cryptic quotations from Rossini and Wagner. Its conclusion, featuring a clattering percussion, remains open to interpretation—perhaps symbolizing the machinery of a dying patient’s hospital room or simply existing as a meaningless gesture. The Bavarian Radio Symphony Orchestra, conducted by the late Bernard Haitink, delivers a live performance of this symphony that is both deeply sensitive and objectively restrained. Haitink’s approach seems to honor the music’s emotional complexity by resisting the urge to impose his own interpretation, allowing the symphony’s enigmatic nature to shine through. The result is a performance of quiet intensity, with piercing dissonances and haunting references to Wagner’s Ring cycle. The orchestra’s incredible dynamic range and sensitivity bring out the full power of Shostakovich’s final symphony, creating a deeply moving experience.
Conclusion: A Celebration of Musical Heritage and Innovation
These albums collectively highlight the timeless beauty of classical music, bridging the past and present through both familiar masterpieces and unexpected surprises. From Alice Sara Ott’s luminous interpretations of John Field’s nocturnes to the Toronto Symphony’s Neo-Classical elegance, and from Benjamin Appl’s nuanced performances of Schubert and Kurtág to Brahms’s reconstructed Requiem, each recording offers a unique glimpse into the rich tapestry of musical history. The inclusion of Kelly-Marie Murphy’s Curiosity, Genius and the Search for Petula Clark and Bernard Haitink’s haunting rendition of Shostakovich’s Symphony No. 15 remind us that classical music is not just a preservation of the past but also a living, evolving art form. These recordings invite listeners to explore new perspectives, rediscover forgotten treasures, and experience the enduring power of music to move and inspire.