Gramophone February 2019

This February 2019 Gramophone feature presents a curated listening guide to six essential recordings of Hector Berlioz's works, spanning six decades from 1963 to 2017. The article celebrates Berlioz as 'the rule-breaker,' highlighting his revolutionary approach to orchestration, programme music, and dramatic expression that defied 19th-century musical conventions. The selections showcase his versatility across genres: from the intimate Les nuits d'été (featuring Régine Crespin's benchmark 1963 recording), to the orchestral showpiece Symphonie fantastique under Colin Davis (1974), and the spatially ambitious sacred work Te Deum conducted by Claudio Abbado (1981). The guide also includes John Eliot Gardiner's period-instrument Roméo et Juliette (1995), Colin Davis's final and finest Harold en Italie with Tabea Zimmermann (2003), and John Nelson's magnificent 2017 recording of Les Troyens—the first made in France, representing the work's symbolic homecoming. Each entry emphasizes why these recordings have become definitive, from Gardiner's scholarly incorporation of the original 1839 score to the 'ferociously intelligent, yet supremely beautiful' interpretations that make listeners 'rethink the work from scratch.' The feature serves both as an introduction for newcomers and a reference for collectors seeking the finest available performances of Berlioz's extraordinary body of work.

In February 2019 Warner Classics released the first-ever complete Berlioz edition, a luxurious 27‑disc box that gathers every known work by the French Romantic composer, including several pieces that have never been recorded before. The set is accompanied by a richly illustrated booklet featuring a compelling essay by leading Berlioz biographer David Cairns, who offers fresh insight into the composer’s creative process and the editorial decisions behind the edition. The cover CD distils the 27‑disc collection into twelve highlights that illustrate the breadth of Berlioz’s output, from the iconic ‘Un bal’ movement of the Symphonie fantastique, through the vivid programmatic scenes of Harold en Italie and Roméo et Juliette, to rarely heard vocal works such as the world‑premiere recording of Le detriment de la bergère and the grandeur of the Grande Messe des morts. Performers include top French ensembles—Orchestre National de l’ORTF, Orchestre National de France, Orchestre de l’Opéra de Lyon—alongside the Philadelphia Orchestra, City of Birmingham Symphony Orchestra and Orchestre philharmonique de Strasbourg, all under distinguished conductors like Martinon, Bernstein, Muti, Nagano and Nelson. The edition is hailed as a major milestone for Berlioz scholarship, bringing together newly discovered sketches, previously unavailable scores and a fresh commentary that illuminate both the familiar masterpieces and the lesser‑known corners of his catalogue. By offering a comprehensive, sonically up‑to‑date collection, Warner Classics makes it possible for modern audiences to explore the full spectrum of Berlioz’s dramatic, lyrical and experimental voice.

This feature article commemorates the 150th anniversary of Hector Berlioz's death, exploring why the French composer remained underappreciated in his homeland despite international acclaim. Writer Tim Ashley examines how Berlioz achieved recognition in Britain, Germany, and Russia through his innovative orchestration and conducting, yet faced rejection from the French musical establishment. The article highlights how Les Troyens, arguably his masterpiece and one of the greatest operas of the 19th century, was 'dismembered' and poorly received in France, with only three acts performed during his lifetime. Through interviews with four advocates—biographer David Cairns, Bärenreiter editor Hugh Macdonald, conductor Sir John Eliot Gardiner, and Grammy-winning conductor John Nelson—the piece celebrates Berlioz as a revolutionary 'free spirit' and 'musical brigand' who tore up the rule book, reimagined symphonic form through literary inspiration (Shakespeare and Virgil), and pioneered spatial architecture in works like the Grande messe des morts and Te Deum. The article traces the gradual rescue of Les Troyens from obscurity, culminating in Nelson's award-winning 2018 recording.

This February 2019 Gramophone feature by Mark Pullinger serves as a guide for listeners wanting to explore beyond Mascagni's ever-popular Cavalleria rusticana. The article explains how Mascagni dashed off Cav in just two months for the Sonzogno competition in 1888, winning instant acclaim with 40 curtain calls at its premiere. Since then, Cav has been inseparable from Leoncavallo's Pagliacci as the standard operatic double bill. Pullinger organizes his recommendations into four thematic sections: 'More Mascagni' suggests lesser-known works like the Japan-set Iris, the gothic Guglielmo Ratcliff, and the charming rom-com L'amico Fritz with its famous Cherry Duet; 'Opera composers in orchestral mode' highlights orchestral intermezzos and preludes from composers like Puccini (Capriccio sinfonico), Giordano, and Catalani; 'Set in Sicily' ventures into works by Verdi, Wagner, Meyerbeer, and Szymanowski all set on the island; and finally 'An offer you can't refuse' connects to Coppola's Godfather trilogy, where Cav itself appears in the film's climax at Palermo's Teatro Massimo. The feature concludes by noting availability on streaming platforms.

This feature article from Gramophone magazine reviews "Ginzburg: His Early Recordings, Volume 1," a collection released by APR (Appealing Pianos Register) documenting the solo piano performances of Russian pianist Yakov Ginzburg. The recordings primarily focus on the music of Franz Liszt, a composer whom Ginzburg championed throughout his entire career. The reviewer highlights Ginzburg's meticulous approach to even the most superficial works, noting that he 'makes every note count' despite the technical virtuosity and 'impossible demands' inherent in Liszt's piano literature. The article specifically praises Ginzburg's elegant execution of the three Paganini Etudes, which showcase his virtuosic technique and musical sensitivity. Additionally, his interpretation of the Liszt-Busoni Fantasia on themes from Mozart's 'The Marriage of Figaro' demonstrates his ability to navigate complex arrangements that blend different compositional styles. The recording also includes Ginzburg's own transcription of Rossini's 'Largo al factotum' from 'The Barber of Seville,' presented as a rollicking showcase for his pianistic abilities. Overall, the review positions these early recordings as testament to Ginzburg's dedication to the Romantic piano repertoire and his exceptional command of the instrument's capabilities.

Grigory Ginzburg (1904-1961) was a Soviet pianist of extraordinary talent who remains relatively unknown in the West due to political restrictions imposed by the Soviet regime after 1936, which forbade him from traveling abroad. Born in Nizhny Novgorod, he was a prodigy who began studying piano at age four and entered the Moscow Conservatoire at twelve, graduating with a Gold Medal in 1924. His development was profoundly shaped by Alexander Goldenweiser, who became a surrogate father figure after Ginzburg's father died. The article argues that despite his lack of Western recognition, his recordings reveal him to be one of the greatest pianists of the twentieth century, with exceptional technical mastery used always for musical purposes. His nonchalant ease in tackling technical challenges, combined with striking individuality in works such as Chopin's Op 25 Etudes, set him apart. Although he gained some international exposure after 1956 when restrictions eased, he tragically died of cancer in 1961 at age 57, just days after Goldenweiser's own death. His discography encompasses Mozart, Beethoven, Schubert, Schumann, Chopin, Liszt, Rachmaninov, Prokofiev, and Medtner, with particularly significant recordings of the complete Chopin works and collaborations with his mentor Goldenweiser on Rachmaninov's piano duet literature.

This Gramophone feature article profiles Dutch composer Michel van der Aa, born in 1970, examining his multimedia works that blend film, electronica, and live performance across a 25-year career. Beginning with early pieces from the 1990s like Above (1999), Attach (2000), and Just Before (2002) that combined live ensembles with pre-recorded soundtracks, the article traces van der Aa's development of what musicologist Mischa Spel describes as musical time-traveling between 'what is' and 'what was.' His acclaimed chamber opera One (2002) is highlighted as a Beckettian exploration of identity, featuring a live soprano interacting with her video-projected alter ego, creating what theorist Jelena Novak calls 'schizopera' – a disintegration of self through the separation of sound from its physical source. The article covers subsequent multimedia operas including After Life (2005–6), Sunken Garden (2011–12), and a series of five one-minute operas broadcast on Dutch television. Van der Aa's concerto works receive attention, including Up-close (2010) for cello, Hysteresis (2013) for clarinet, and a Violin Concerto premiered by Janine Jansen in 2014. The article concludes by praising van der Aa's powerful articulation of identity crisis in postmodernity.

This feature article is an interview with Gianandrea Noseda, Co-Principal Guest Conductor of the London Symphony Orchestra since 2016, discussing his interpretation of Tchaikovsky's Fourth Symphony. The symphony, composed in 1877-78 during Tchaikovsky's profound depression following his ill-fated marriage, is described as a 'fate-fuelled' work. Noseda emphasizes the opera influences in the piece, noting the connection to Verdi's La forza del destino rather than Beethoven's Fifth, and discusses how Tchaikovsky's awareness of contemporary opera—particularly Verdi—is more evident here than in any other of his symphonies. Regarding the famous pizzicato Scherzo, Noseda eschews the common approach of strings holding instruments like guitars; instead, he asks string players to imagine creating soap bubbles that then 'burst and fall.' For the fiery finale marked 'fuoco,' he prefers the heat of a candle flame to a conflagration. The conductor also highlights Tchaikovsky's formal ingenuity in treating themes canonically, in diminution, and in stretto, as if proving a Russian composer could master symphonic form. Noseda's recording was released on LSO Live on February 8, 2019.

Matthew Wadsworth, a leading lute virtuoso, is determined to establish the lute as a viable instrument for contemporary music. Over two decades, he has been exploring the instrument's potential beyond its traditional historical repertoire, earning three Editor's Choice awards from Gramophone magazine for his innovative recordings. His work includes commissioning the first ever concerto for theorbo from contemporary composer Stephen Goss, which he describes as the hardest piece he has ever learned due to unconventional chord shapes, progressions, and rhythmic elements including neo-soul funk bass. The concerto incorporates diverse musical styles ranging from pastoral orchestral passages to rock-style strumming and bluesy bass elements, pushing the theorbo far beyond its historical boundaries. Wadsworth addresses practical challenges facing the lute in the 21st century, including volume limitations and the lack of modern repertoire, by embracing amplification technology and collaborating across diverse musical contexts—from folk groups with Scottish fiddlers to full orchestral settings with the Scottish Chamber Orchestra.

This feature article from Gramophone's February 2019 issue spotlights Dutch composer Michel van der Aa, examining his diverse body of recorded work spanning multimedia opera to traditional concertos. The article highlights the acclaimed 'Here' trilogy, performed by soprano Claron McFadden with the Netherlands Radio Chamber Orchestra under Peter Eötvös, which critic Richard Whitehouse describes as 'a major achievement of recent European music.' Also reviewed is the striking DVD film 'One,' written specifically for soprano Barbara Hannigan, showcasing her extraordinary vocal agility and musicality in what is described as a must-see work. Additionally, the feature examines Van der Aa's Violin Concerto 'Hysteresis,' representing his shift into more standard orchestral territory, featuring commanding performances from violinist Janine Jansen and clarinettist Kari Kriikku with the Royal Concertgebouw Orchestra and Amsterdam Sinfonietta. All recordings are released on the Disquiet Media label.