Daily Archives: 10 August, 2012

God’s Composer

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The Sixteen; Harry Christophers

Simon Russell Beale

CORO DVD6        60’

This DVD marks the 400th anniversary of the death of Tomas Luis de Victoria, often known as God’s Own Composer, in 1611. Introduced by Simon Russell Beale, it includes interviews with Harry Christophers who directs all the music from the Church of San Antonio de los Alemanes, Madrid. Christophers has an enormous regard for Victoria and speaks about individual works, and the composer himself, with passion and great enthusiasm.

The opulence of the baroque church acts as a suitable setting for the grandeur and spiritual intensity of the music performed within it.

Surprisingly, it is not possible simply to listen to the music by itself, and there are times when even the mellifluousness of Simon Russell Beale becomes intrusive and one just wants to hear the music.

This does not however deflect from the impact of the music itself which constantly enraptures the ear with its sublime intensity. BH

Debussy: String Quartet; Ravel: String Quartet

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Eroica Quartet

RESONUS RES10107        54’57”

This is a familiar combination but none the less welcome. The use of gut strings throughout, though again hardly a unique occurrence, does give an extra warmth and sensitivity to the playing.

The Ravel is marked by high levels of contrast, particularly the sense of attack in the final movement set against the gentle pizzicato of the second movement. The booklet has a very useful article on the background to the work, which includes the impact of the composer himself on early recording of the work. The influence is reflect in this recording but recognises that there were times when even the composer was unsure about dynamics and tempi. Both are convincing within the context of this new disc.

The Debussy is equally appealing and I particularly enjoyed the rather languorous approach to the Andantino.

That neither work was successful when first performed may seem strange to modern ears but this recording gives us some insight into the way they sounded when originally placed before the public. BH

Mendelssohn: Octet (1825 version)

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Eroica Quartet

RESONUS RES10101        36’15”

It may seem surprising that, for such a familiar work, this is the first time that the 1825 version has been recorded. Mendelssohn’s fair copy is dated 15 October 1825, when he was only sixteen,  but was not published until 1832 by which time the composer had made substantial changes, including deleting some of the most radical scoring. Though in once sense a more polished work, the revised score is also less challenging than its original.

As such it is well worth hearing, if only to compare with the more familiar version. However this is no academic recording. The playing is as fresh as the score implies, with brisk tempi and an open excitement to the playing in the extensive first movement.

The scherzo shows the most revision with a cut towards the end which excises the repeat of the first subject. While driving the music forward this effectively unbalances the movement but the composer obviously felt this was worth risking. Listeners can judge for themselves but I am glad to have both versions available. The following movements are close to those with which we are familiar in the revision.

Playing and recording throughout are of a very high quality, with the ensemble able to move with ease from a relaxed intimacy to near orchestral authority.

For those who have loved the work for years this is an essential addition. BH