Hausmusik’s performance of the Mendelssohn Octet comes with the advantage of a sensibly steady tempo for the famous scherzo, allowing for maximum transparency and lightness; and a dazzling finale in which for once the cello’s first scurrying fugal entry sounds crystal clear. The First String Quintet, and the Op. 13 Quartet – Mendelssohn’s homage to the late quartets of the recently deceased Beethoven – are also miraculous products of the composer’s teenage years. The Quintet is quite beautifully done here, but the Quartet, like the late Quintet, Op. 87, is rather lacking in tension and urgency. Woldemar Bargiel was Schumann’s brother-in-law. For all its obvious weaknesses, his Octet contains some attractive ideas, and Divertimenti’s performance makes a strong case for it. Divertimenti is impressive in the Mendelssohn, too – though its finale is not quite as exhilarating as Hausmusik’s; and in the last resort neither group can quite match the élan of the ASMF Chamber Ensemble.
These performances of three early and one "late" symphony of Schubert are both bracing and youthfully brisk, done on tart "period" instruments of Schubert's time. This produces what Schubert would have heard and expected to hear. Just listening to each performance convinces that these are "right." Sound is good. Warm and focused.(amazon.com)
London Early Opera continue their new series of Handel's works with the second volume of pieces composed in Italy. Both volumes of Handel in Italy explore the young composer's Italian years through his cantatas, sacred pieces, operatic works and instrumental compositions. Featuring performances from internationally acclaimed soloists, the sopranos Sophie Bevan and Mary Bevan with their uncle, baritone Benjamin Bevan, conducted and conceived by Bridget Cunningham.
In celebrating Vladimir Jurowski's first 10 years as Principal Conductor since 2007, this set of recordings embraces established orchestral classics as well as unearthing rarely heard masterpieces, certain to both challenge and reward the listener simultaneously. These 22 previously unreleased recordings showcase Jurowski’s typical flair for brilliant programming.
By nature shy and retiring, Klaus Tennstedt was a reluctant celebrity, and his international career in the last quarter of the twentieth century must have seemed utterly incredible to him. Yet as introverted and introspective as Tennstedt was, it doesn't seem at all obvious in this 1983 concert recording of Gustav Mahler's Symphony No. 6 in A minor, "Tragic," for this is one of the conductor's most extroverted, aggressive, and potent performances.