BIBER: Mystery (Rosary) Sonatas and other violin works

Pics: My favorite. DG/Eduard Melkus (LP original cover)

In this age of the free internet, many dispense with books/magazines and just read about things on the net. Can what's free be better?

One thing is for certain. Since much on the net lack a professional editorial hand, what we read require strong digestive juices, which many gullible people, beginners and even those beyond, unfortunately just plainly lack. This is as true in classical music as in hifi.

People interested in classical music should sample some of these magazines to see how people write about music and to learn about comparative reviews. Although like many I ridicule The Gramophone sometimes for its pro-UK stance, it's an undeniable source of quality information, and has never stopped to give me pleasure. Carefully navigate the page, read the current picks even if the choice may surprise you, and don't forget that after you register you can search for reviews for free. What is seven better is to hold it in hand. What I do is sometimes buy a few past issues at substantial discount. You can get 3 past-issues at Shun Cheong for $50. Try that, it may enrich your life more than sitting at the computer reading this or other Blogs.

It sounds like a "truism" that since reviewers get their stuff free their opinions must be discounted. But you shall be surprised how many submissions, from all labels, are summarily dismissed, and how many damned with faint praise. As usual with any magazine, there are writers that you like and those that you don't, so take your pick. Needless to say, the level of writing and criticism is several levels above those in HK magazines or newspapers. Keep in mind another "truism": people frequently praise what they have and disparage what they don't have, which makes independent opinions equally biased sometimes.

The reason I mentioned all this is that it's The Gramophone that introduced me to the world of Biber. A few years ago, I became interested after reading many of their reviews on Biber. I especially wanted to hear the Mystery Sonatas. One day, I was re-organizing my CDs and was shocked to discover a DG version (original CD edition) by Eduard Melkus that I have bought in a second-hand store years ago and never played (still wrapped). I played it and was dumbfounded by the beauty of the pieces. Where have they been all my life? Were it not for the magazine, my CDs would have just languished there for longer! Since then I have tried quite a bit of other Biber. As someone said, the real mystery is why Biber is not better known. Here is useful info on Biber and on his masterpiece, the Mystery (Rosary/Rosenkranz) Sonatas in particular. Pay attention to the scodatura technique for violin writing.

The other reason I am writing is that yesterday I found in the library the Brilliant Classics account by Walter Reiter, originally a Signum recording. This morning I have been listening to the 2 CDs. It is good but perhaps not the most inspiring, nonetheless a good starter at the superbudget price. However, there's no denial that the fiddling does not have the fanciful flight, spirituality and better continuo support (including organ by Lionel Rogg) of DG/Eduard Melkus. Unfortunately, the historic 1967 DG recording is out of print (and fetching good second-hand prices) though fortunately you can download it on DG's website.

I haven't heard many of the other versions of the Mystery Sonatas, but I have heard some of the major players in other comparable violin works by Biber. Based on my copies of Biber's Violin Sonatas played by Monica Huggett/Sonnerie and Andrew Manze/Romanesca, much as I adore those artists in other Baroque music I'd like to actually hear their Mystery Sonatas before investing (2 expensive CDs). You might want to read this user site for some excellent reviews. The one I really want to get is the (again) out-of-print DG/Reinhardt Goebel , though you can download it on DG's website. Maybe I'll do that if I cannot find a real copy soon.

In Biber I have less reservation about yet another prominent Baroque violinist from England. For me, John Holloway's ECM releases, which I cherish, have the depth missing from some others. Depth means flair as well as spitituality; none is complete without the duality. Perhaps one reason I like them is because of the deployment of organ as continuo (as in DG/Melkus). These works are enhanced by a contemplative element, and the organ can provide that in abundance. His work for ECM makes me most curious about Holloway's earlier Virgin issue of the Mystery Sonatas.

To me Biber's violin music is every bit as exciting as Bach's solo and accompanied violin works, and equally rewarding for their spirituality. I am sure I shall continue to add to my Biber library. Thanks to the magazines, it was not too late a discovery for me, and I hope that would be the case for you too.

Some interesting videos:

Mystery Sonata/Passacaglia (Andrew Manze)
Mystery Sonata/Passacaglia (Helene Schmidt)
Mystery Sonata (unknown performer)

SHOSTAKOVICH: Symphony N0. 8

Shostakovich's Symphony No. 8 is my favorite of the cycle. Like a Mahler symphony, it tries to represent and succeeds in covering large stretches of the human canvas. It plumbs greater depth of terror than the over-played 5th, and is engrossing in its enigma.

I have several complete box sets of Shostakovich symphonies, like Barshai, Haitink, Jansons and Ashkenazy, but my favorites in this symphony lie outside those boxes.

The benchmark is of course the legendary Mravinsky's 1982 live version with the Leningrad (click here for interesting review), now issued as a budget CD on Regis. The old Philips was long out of print, and controversial for pitching (said to be a semitone off; meaning the engineering, not the orchestra). Aside from terrifying power when appropriate, this is incomparably characterful playing with an urgent, acerbic, even acidic quality to the sonority that just IS the music.

But the Previn/LSO is the one I grew up with and still play the most. It has recently been re-issued on budget EMI Encore (while you're at it, grab also its companion issue, Previn's Shostakovich No.4, very good though the piece is a harder nut to crack). Not only is it shattering in its power, it has by far the most stunning sonics (who else, by the 2 Chistophers) to merit the designation "Desrt Island Disc". Believe me, sonics is important in this symphony!!!

BOTH these issues are available at budget price now. Grab them ASAP.

Here's a related video that I think you shall enjoy:

Mravinsky conducts Shostakovich 8th (Brilliant! Sound not bad!)

PROKOFIEV: Romeo and Juliet

Pics: Great interpretations by Previn and Maazel.

The first question for someone who knows a little about this music is to ask himself whether he wants to have the whole ballet or excerpts of it in the form of suites.

For me the answer is simple. The music is top-drawer Prokofiev and as timeless as Shakespeare's play that so inspired the ballet impressarios. Prokofiev is one of the greatest composers for me, with a color palette second to none, not even Ravel. However, he doesn't sell well, and much of his music is available on the cheap, which benefits us. So, why not get the complete ballet, now on 2 CDs rather than the old 3 LPs. With a complete set, you get the action in sequence and can follow the drama. This you cannot do with the suites, which jumble up the sequences for "musical" purposes. Of course, the best way is to watch the ballet in the theater. I shall never forget the magnificent effort in March 2007 by the HK Ballet in Shatin Town Hall, accompanied beautifully by the HKPO and conducted con amore by Richard Bernas (I went twice).

Andre Previn and the LSO have been criticized for all kinds of things but, one thing is for sure, they know how to "make" love together. Previn knows how to conduct ballets (you can safely get his equally distinguished Tchaikovsky ballets while you're at it) and deliver the important atmosphere to you in your sitting room, while the LSO play with passion, if not always precision. Fortunately, their great music making were more often than not captured in great recordings by the "Two Christophers". Released almost at the same time was another complete version, equally distinguished in both performance and recording, the Cleveland/Maazel. Now, Lorin Maazel is not a conductor that I usually like, but here he plumbs great depth in the tragedy. There is an inexorability in the prceedings, razor sharp in presentation and recording. I'd get both versions, classics of the gramophone, as they are on budget 2fers.

That said, come digital age, 2 versions stand out. Ashkenazy is a vastly under-rated conductor, especially in Sibelius and the Russian works of Rachmaninov, Shostakovich and Prokofiev. Many of his RPO (like here) and Philharmonia recordings (like Sibelius) are excellent performances in resplendent Decca sound. Of course, Kirov/Gergiev brings a special urgency to this music and the characterful Russian sonority makes this a version one should listen to; next to it the "better" Western orchestras may start to seem bland to you!

Now to the suites. There are many good versions, but the justly famous (for hifi buff especially) Mercury issue of Skrowazewski is a good place to start. And, last but not the least, since we talked about Russian performances, how can one neglect the Legendary Lenningrad/Mravinsky? I think there's only Suite 2, and I am not sure where you can get it, but you can certainly hear Mravinsky's interpretation on the internet, and I recommend that you do that (and while you're at it, grab their legendary and harrowing Shostakovich 8th, now budget on Regis!)

This is not meant to be exhaustive. Check out some selected related Music/Video that I think you shall enjoy:

Montagues and Capulets (Mravinsky)
Death of Tybalt (Abbado)
Mravinsky conducts Shostakovich 8th (Brilliant! Sound not bad!)

VIVALDI: Four Seasons 四季

My favorites: (1)Academy of Ancient Music/Hogwood; (2) Drottingham Baroque/Nils-Erik Sparf

Scholars, writers and listeners shall forever debate on the accusation that Vivaldi has written the same music over and over. No matter, the famous Four Seasons show plenty of contrast within the four violin concerti to deserve status as the most beloved classical music of all times, one that even has a wikipedia entry.

The Four Seasons have been played for a long time. While I admire some aspects of the old fashioned way, overall in Baroque music I without second-thought have to give the edge to more recent, Historically Informed Performances. Here I just briefly mention a few of my favorites.

I recently played the Sony version by Giuliano Carmignola to a violinist friend who has steadfastly held on to the "classic" I Musici/Felix Ayo (note that there are other I Musici versions by Carmirelli and Michelucci etc; the Felix Ayo is embedded almost anonymously in the Philips DUO issue) and the (Argo) Academy of St Martins in the Fields/Marriner account. He was immediately taken and, after going through all his holdings, called me in the night, totally excited, and told me this is now champ. The playing of Carmignola is impeccably stylish and the support by the Venice Baroque Orchestra under Andrea Marcon cannot be faulted. The only problem is SONY is sometimes difficult to get. Please note that ANYTHING by this team in Italian Baroque music (not Mozart though, where they are outclassed) is excellent. You can safely acquire all of their Sony issues (Locatelli, Tartini etc) and not regret it. No wonder the entire team is signed up by DG now, and although their CDs shall be more widely available I have to say sonically I much prefer the beautiful recordings of Sony.

Another heavyweight is the stylish modern rendition is by Fabio Biondi, though for me in the long run Carmignola/Sony has just a little more tonal beauty and sophistication. In terms of flamboyance the cracking account on Divox reigns supreme. Many ill-informed audiophiles in HK love to use this somewhat exaggerated recording (and orchestral support) to stupid purpose, but that's the nature of audiophiles! That is unfortunate, as the fine violinst is none other than Carmignola himself! You can safely say he owns this piece!

However, for me, all these are now topped by a recent LP acquisition, an old performance by the Academy of Ancient Music under Hogwood, pictured on the very top. One of the most interesting things about this account is that each concerto is played by a different violinist. The subtle differences in the way they play shall delight connoisseurs as well as scholars. Suffice to say, there's not a bad performance in the lot. Sound is demonstration quality. And, while you are at it, do investigate the same team's excellent Mozart violin concerti (with the excellent Simon Standage).

For those who don't want overdone period style, or hate acerbic/acidic sonority, the BIS account by the Drottingham Baroque Ensemble under Nils-Erik Sparf is well nigh ideal. It is informed, supremely stylish and humane. The recording is exemplary. This is a hughly enjoyable account deserving of wider fame and circulation. This is possibly the version I actually play the most.

One day I shall add more here.