This is the eagerly awaited final volume in our historic series of Vaughan Williams’s Symphonies, started about twenty-five years ago by the late Richard Hickox, and recently continued by that other expert in British repertoire, Sir Andrew Davis.
Naxos intend to record Vivaldi’s entire orchestral corpus, and Raphael Wallfisch’s integral four-disc survey of the 27 cello concertos inaugurates this visionary, though plainly Herculean undertaking. Soloist and orchestra employ modern instruments; director Nicholas Kraemer contends that authentic protocols can be ably met by contemporary ensembles and, in articulation, style and ornamentation, these pristine, engaging readings have little to fear from period practitioners. Wallfisch’s pointed, erudite and spirited playing is supported with enlightened restraint by the CLS, directed from either harpsichord or chamber organ by Kraemer, whose sensitive continuo team merits high praise throughout. Without exception, these Concertos adopt an orthodox fast-slow-fast three-movement format. Wallfisch, dutifully observant in matters of textual fidelity, plays outer movements with verve, energy and lucidity, such that high-register passagework, an omnipresent feature of these works, is enunciated with the pin-sharp focus of Canaletto’s images of 18th-century Venice, which adorn the covers of these issues.
Frank Peter Zimmermann demonstrates his love for the music of Wolfgang Amadeus Mozart in his second installment of the violin concertos on Hänssler Classic. The Violin Concerto No. 2 in D major, K. 211, the Turkish-flavored Violin Concerto No. 5 in A major, K. 219, and the Sinfonia Concertante in E flat major, K. 364 complete the series and make a satisfying program, while Zimmermann's polished and lively playing complements his fine work on the first volume.
Here's a Symphony of Psalms that successfully captures the spirit and letter of the work–reverence, jubilation, and celebration, as well as specifics of orchestral color and texture. Boys' voices–supposedly Stravinsky's original choice–contribute their share to the bright choral timbre, an effect that works very well. We also get first-rate performances of the Mass and the rarely recorded Canticum sacrum.
A high point of the Moroccan music festival is without doubt the Mawazine Festival in Rabat, Morocco. Al Di Meola’s fantastic appearance in 2009 also represented a summit of different cultures and religions – Al Di Meola (guitar), Peo Alfonsi (2nd guitar), Fausto Beccalossi (accordion), Gumbi Ortiz (percussion), Victor Miranda (bass), Peter Kaszas (drums), and with special guests from Morocco, Said Chraibi (oud), Abdellah Meri (violin) and Tarik Ben Ali (percussion). On his third trip to Morocco, the public gave this exceptional guitarist a rousing reception and showed ist openness towards Western music – and Al Di Meola wowed the audience with a special repertoire.