I listen to so much string quartet music, I've been taking occasional breaks from it by exploring some wonderful woodwind quintet music. This new disc from Avi caught my eye, not only from a repertoire perspective, but from the cover art. I instantly recognized 2 members of the quintet, Marc Gruber (horn) and Theo Plath (bassoon), as being principals in the Frankfurt Radio Symphony, whose wonderful concerts I watch on YouTube all the time.

The Monet Quintett was established in 2014, comprised of former members of the German National Youth Orchestra. I'll start off saying right up front they play with an unanimity of approach and uniform musical purpose which make them unique. And extraordinary. It is apparent they know each other, musically, very well. And based upon this fabulous recording, they simply redefine the art of woodwind quintet playing.

There is a glowing, golden blend to their sound which is simply gorgeous. At the same time, there is an individuality of color and character to soloistic passages which brings endless variety and life to their music-making. As a group, they play as one - very much like a superb string quartet. They vary their tonal color, dynamics and vibrato as a unified unit (as the music dictates) in a way which is remarkable. A good example of this is exemplified in the exceptional flute playing of Anissa Baniahmad, who varies her tone (and vibrato) from sparkling and vibrant in soloistic passages to a more rounded sound to blend perfectly with the clarinet and horn.

This group ushers in a new generation of woodwind quintet playing. Their playing is, quite simply, dazzling.

On this wonderful CD - their debut album - we are treated to 4 of the best works in the genre. Ranging from the Romantic to the Contemporary, this intelligently chosen program provides endless variety, interest and musical enrichment for the listener. And offers a real opportunity to showcase this group's abilities.  

The concert opens with a terrific contemporary piece (1997), Frenglish Suite by Richard Dubugnon. I was not familiar with this Swiss composer, but a glance at my recent orders reminded me a disc of his orchestral music (on BIS) is on the way. So I am thrilled I will be hearing more of his music! His woodwind quintet is a delight from beginning to end. Laid out in a single movement lasting nearly 15 minutes, it contains several distinct sections, including a central Theme and Variations followed by a Lullaby. Its endless variety is captivating and extremely entertaining, with some jazzy elements alternating with the lyrical and whimsical, along with plenty of memorable tunes. There are even hints of Stravinsky here and there, which made me smile. It's a fantastic work, superbly written (and orchestrated) for the genre, and the Monet Quintett plays it with sparkling vitality and charm.

Next comes the piece widely considered to be the granddaddy of modern woodwind quintet music - Paul Taffanel's well-known Wind Quintet. It is instantly more richly Romantic (and slightly old-fashioned) after the more modern Dubugnon. But with its imaginative scoring and originality for its time, its place in the repertoire is assured and well deserved. This reading of it is positively delightful; the Monet's endless variety of tonal and dynamic shadings brings much freshness to the piece. It's as enjoyable here as I've ever heard it played.

A rarity follows - although this is my second encounter with it in recent months: the Woodwind Quintet by Gustav Holst, notable for its surprising, distinctive hints of Richard Strauss. It's more than just a curiosity; I have recently discovered a whole other side of Holst via a wonderful disc of his chamber music played by Ensemble Arabesques on the FARAO label. (Please see my review elsewhere on this blog.) Comparing the two recordings of his Quintet was interesting. While both are terrific, there are a few minor observations to be made. There is no denying the golden blend and perfection of ensemble of the Monet Quintett are most impressive. They also excel at vivid characterization of each varied section, along with a sweetly singing lyricism which is most winning. The Ensemble Arabesques are just a touch more lively and energetic, but surprisingly slightly less refined overall. (The clarinet, for example, has moments of insecurity in the high range.) Both are equally treasurable and I wouldn't want to be without either.

Closing out the concert is the enormously pleasing 1st Wind Quintet of Jean Francaix. This piece is so spectacular I regret it isn't recorded more often. However, the reason why is clear - it is fiendishly difficult to play and I suspect not many groups can conquer it. As a matter of fact, Francaix said he "set out with a goal of attaining a 'high level of difficulty'". Indeed; it was not performed for several years due to the extreme amount of practice required to surmount its "unplayable" virtuosity for all 5 instruments. But you'd never know any of that while listening to the Monet Quintett play it. It rolls off the fingers with effortless bravura. The Berlin Phil Quintet (on BIS) does an excellent job as well, although theirs is a bit more extrovert and sounds more obviously "difficult" to play. But there is no denying their reading is positively thrilling. However, the extra refinement and effortlessness of the Monet, combined with the atmospheric beauty of it, are breathtaking - and certainly no less exciting.

I've been listening to a lot of this music lately, most in collections and box sets played by the somewhat tepid Les Vents Francais (Warner) and the excellent Berlin Philharmonic Woodwind Quintet (BIS). The Les Vents Francais is let down somewhat by Warner's lackluster recorded sound - variable from session to session, ranging in severity, of a mostly forward and slightly edgy, rather 2-dimensional presentation. Their playing is certainly good but refined and lacking a bit of characterization and sheer involvement. BIS provides the Berlin Quintet excellent recorded sound, consistent from disc to disc. And their playing is more crisply articulated and engaging. It's amazing the difference a good recording engineer makes.

But neither group can match the Monet Quintett for all the characteristics noted above. As good as the Berlin Phil group is, there is a polish to the Monet which sets them apart, above and beyond any group of its type that I have encountered. And Avi, in coproduction with SWR2, provides them the best recorded sound of all. Daringly, they are recorded in a large acoustic, affording them an almost symphonic grandeur with regard to color, blend and atmosphere. But there is also a 3-dimensional presence which virtually transports the listener to the recording location with the best seat in the house. The horn is naturally balanced, never overpowering the rest (as is often the case), and each individual instrument is tangibly placed in space. Overall, the sound is open, dynamic, lively and colorful, naturally distanced within a gorgeously atmospheric acoustic. It just doesn't get any better than this.

Avi's production is absolutely first class in every way, and not just with the excellent recorded sound. There is also a lavish booklet, complete with glossy photos of the group in amusing, staged poses, plus useful information about the quintet and its members. There is also extensive information about the composers and the music. Overall, this is one of the most exciting new releases I've encountered in quite some time. I enjoyed it immensely.

Here is an enticing - and attractive - pair of discs, marking Mark Bebbington's debut with the Resonus label. The back inserts announce this is the start of a new French music series.

Mark Bebbington made a series of interesting discs for Somm Classics during the past decade, of solo music and concertos. I have the concerto discs (comprised largely of 20th-Century British composers) and found them to be quite excellent, with innovative repertoire and involving performances - the exception being the Vaughan-Williams Concerto, which simply was not well-played. A single disc of Mozart Concertos (#11, 12 & 13) also was not very good (due in large part to his partnering conductor), and fortunately no more Mozart was undertaken.

Bebbington now turns to French repertoire. And his Poulenc enterprise starts promisingly.

Beginning with the first disc, recorded in 2020, this is overall rather relaxed, smiling music-making, aided by lovely, atmospheric recorded sound and sweet orchestral strings. The opening Concerto is cheerful, if perhaps a bit underpowered compared to the best. All through, Bebbington goes for atmosphere first and foremost, sometimes at the expense of crowd-pleasing vitality. But his characterization of the many moods provides much variety and this is quite enjoyable in a pleasant way.

I actually enjoyed the Concert Champetre more, even though it is played here on piano rather than harpsichord. It springs to life with a touch more dynamic power than heard in the Concerto. And while I still prefer the original version, I can't begrudge him playing it on piano, as Poulenc himself sometimes did. And with excellent conducting from Jan Latham-Koenig, it works surprisingly well.

Bebbington is joined by a splendid oboist, John Roberts, for the Oboe Sonata and bassoonist Jonathan Davies in the Trio for Oboe, Bassoon and Piano. These are certainly the chamber music highlights to be heard on either disc.

Unfortunately, the second disc is much less successful. Immediately in Aubade, we hear a significant decline in recorded sound quality. Even though the Royal Philharmonic is utilized for both discs, a glance in the booklet reveals that Disc 1 was recorded in St John's Smith Square, while Disc 2 was in Cadogan Hall. That alone likely accounts for the difference. The chamber music sounds fine, but Aubade (a concerto in all but name) sounds stuffy and rather 2-dimensional compared to the open, airy, 3-dimensional spaciousness of the acoustic heard on the first disc. I was also alarmed to hear rather mediocre piano playing, especially in the opening section. Is he sight-reading this?

I'm not a fan of solo vocal music, so I'll skip over the Bal Masque for baritone. Why a vocal piece was chosen for this collection over all the other instrumental chamber music Poulenc penned is inconceivable to me. (And the booklet doesn't even bother to include a printed translation of the sung text.) But whatever.

The Flute Sonata is nicely done, with radiant, vibrant tone from flutist Emer McDonough. It is a lighthearted (and lightweight) reading; but no matter, I can listen to her flute sound all day long. 

The closing Sextet is a let-down for sure. It is rather bland and curiously uninvolving. With slowish tempos, it sounds careful and under-rehearsed. 

In sum, these discs are enjoyable but not particularly memorable. When one returns to the magnificent complete survey from Eric Le Sage on RCA (reissued on a SONY budget box set), or the excellent 3-disc summary of chamber works on Brilliant Classics, or the splendid single-disc selection from Ensemble Arabesques on FARAO Classics, one encounters a much more extrovert, involving, and most certainly rewarding music experience. The piano playing is superior across the board as well. Not that Bebbington is inferior; far from it. He just lacks a certain flare and commanding presence in this music. And in the second disc, more rehearsal time was surely in order. Still, the excellent recorded sound and pleasing French atmosphere created on Disc 1 are enjoyable, as is the beautiful flute playing on Disc 2. 

This is an attractive pair of releases from a group called United Strings of Europe. It is a small string orchestra (4/3/3/2/1) whose members, according to the booklet, are "bound by friendship and years of experience playing together". They're enterprising and extremely ambitious too: "determined to reach beyond the concert hall, the ensemble has developed an innovative education program..." 

They play very well indeed. It is immediately apparent their ensemble playing is founded upon rich experience and accomplishment. And BIS provides them superb SACD recorded sound. 

I was not familiar with much of this music; a lot of it is comprised of arrangements for string orchestra by the group's leader, Julian Azkoul, rather than original compositions specifically for such an ensemble. On the face of it, all of this music appears to be, at minimum, interesting. But listening, much of it is obstinately unmemorable.

Disc 1, in motion (2020), opens promisingly - an adaptation (by Azkoul) of Schubert's sketch of a movement intended for a 12th string quartet, which was never completed. It's wonderful music lasting just 8 minutes, which is so good one laments that Schubert never got around to finishing it. 

Another highlight of this disc is a contemporary work which concludes the concert, Gareth Farr's Mondo Rondo. Originally for string quartet, it works splendidly for string orchestra - cast in three clever, contrasting movements: Mondo Rondo, Mumbo Jumbo and Mambo Rambo! I laughed out loud just at the titles but was thrilled to hear the music living up to them so perfectly, with compositional creativity and enormous entertainment value. Farr, a New Zealand composer, is a percussionist and his music reflects that in its driving, rhythmic energy. Yet there is an attractive lyrical element as well. The piece reminds me very much of my two all-time favorite contemporary works for string orchestra: Paul Patterson's Sinfonia for Strings (RPO Records, Geoffrey Simon, conducting) and David Diamond's Rounds for String Orchestra (Elektra/Nonesuch, Gerard Schwarz, conducting). Farr establishes his own unique character, especially with effective orchestration, highlighted by pizzicato in the 2nd movement and the imaginative (and prolific) use of glissandi in the finale. It is spectacularly played here by this fantastic group. Great stuff!

Elsewhere, however, the arrangement (again by Azkoul) of Boccherini's Street Music of Madrid isn't all that interesting, and the short piece by Corrales, with its constant use of glissandi slipping and sliding throughout the orchestra left me feeling a little queasy. And then there's Hindson's Maralinga, for solo violin and strings, which is decidedly the most overtly "modern" piece on the program. Its opening glissando screech from the solo violin in the highest register (very closely mic'd for maximum shock value) comes as an unpleasant jolt after the richly Romantic Schubert. It is dissonant and almost angry music, softening at times, reminding one of the gypsy flavors of Ravel's Tzigane. It's a rather interesting piece which I might have appreciated a lot more if only it had been programmed in a more appropriate spot. It's quite out of place and so very unexpected coming immediately after the Schubert. Annoying from the very first note, committing to its 13-minute length was simply too much.

Moving on to the second volume, renewal (2021), it's a pity 22 minutes of it is taken up with music for soprano. Yes, the strings accompany her, but a vocal song-cycle does not really belong in a program of string music. I don't usually enjoy this type of thing in the best of circumstances and I found it particularly unwelcomed here. The same can be said for Mendelssohn's 6th Quartet in this unnecessary adaptation for full string orchestra. It becomes pretty intense with the extra weight and loses some of its intimacy and communicative ability. Surely more appropriate music could have been chosen than either of these.

However, not all is lost. I enjoyed the two Caroline Shaw pieces, one of which is her ubiquitous Entr'acte, which is showing up everywhere these days. And rightfully so; it's a pleasing work, instantly soothing and peaceful. The highlight of this disc, however, is undoubtedly the piece which comes first on the program: Joanna Marsh's In Winter's House. It sounds rather similar to those by Shaw, and also vaguely reminiscent of the film composer, Thomas Newman's music. It is richly scored and possesses a heartfelt melancholy within its gloriously singing outpouring of musical expression. It is sheer loveliness, and at only 4'30, ends much too soon. 

I enjoyed the superb playing and recorded sound heard on both of these discs. However, I must ultimately judge them on the likelihood I will ever listen to them again. I suppose time will tell. But as good as they are, in all honesty I can't help but proclaim them curiously unmemorable. 

I've been asking myself why I haven't yet reviewed the Dover Quartet's second set of Beethoven String Quartets. (And I wrote only a cursory review of the first set a year or so ago.) I don't have a good answer. I absolutely love them - both sets. So why am I not writing about them?

To try to answer that, I decided to listen to them again today and commit to putting some words together. Listening to the Opus 59s (Razumovsky #1-3), I think I know why I haven't yet reviewed them. I'm so moved by the Dover Quartet's playing of these Quartets, I am literally left speechless. This is simply some of the most heartfelt, joyous and life-affirming Beethoven I have ever experienced; thus it is difficult to describe in words.

So let's start with the basics. All the hallmarks of the Dover Quartet which make them so incredibly special are in evidence - primarily a unified approach which many quartets simply cannot begin to equal. 1) Their ability to play with crisp, clean, incisive precision of articulation, unified as if just one player, is not only phenomenal, it is simply thrilling; 2) their unified command of dynamics; 3) a musical expression which is at once involving and vigorous, and at all times imbued with a marvelous sweetness of tone; and 4) a unified blend and uniform tonality.

Getting into more detail, the Dovers can vary their tone and vibrato intensity as musically appropriate. There is a lightness of tone here, followed by a vigorous fortissimo there, and the contrasts are stunning. Further, in those passages when they play with minimal vibrato, the sound does not result in a bright, wiry, unpleasant thinness of tone which is so often heard. (And there is no reason or musical justification for that to ever be the case.) Even without vibrato, their tone remains sweet and expressive. And it is lovely.

There is a pervading naturalness to their musical expression which is simply overwhelming. Many groups try so hard, to sound larger than life, or go out of their way to make a musical point. The Dover never stoops to such nonsense. Their playing is so very accomplished, and their musicianship so finely tuned, that the music is always the priority.

Combining all these elements in Beethoven brings a musical immersion that I simply have never before experienced in these works. After all the superlative playing qualities are identified, it's the music-making which counts. And in Beethoven, the Dover is indeed superlative.

Tempos, always such an important ingredient, are perfectly chosen - alive, involving and invigorating. Slow movements are kept moving with momentum and sweeping lines, never weighted down unnecessarily with excess emoting. Fervent musical expression permeates every phrase. All the drama of Beethoven is there, but there's also an intimacy which makes this music, as played by the Dovers, go straight to the heart. 

As to the individual playing and the blend into the whole, this is a group of equals, rather than being "led" by the 1st violin. That being said, there is no denying the playing of 1st violinist, Joel Link, is marvelous. His sweet tone and singing lines are the heart of these performances. But it's the precision of articulation in the inner voices (2nd violin/viola) that really drives these readings, with propulsion and energy. And I love how second violinist Bryan Lee's rich, textured sound blends seamlessly with that of the viola, solidifying the critical mid-range. And, last but certainly not least, it is the cellist, Camden Shaw, who provides the foundation which ultimately makes all the sonic superlatives possible. His wooden tone is expressive and naturally full-bodied, but never gruff or overblown. He plays with the same lightness of touch (when necessary) and precision of articulation as the smaller instruments, but then can also produces a fortissimo which remains completely realistic and never overbearing. He's simply one more important contributor to the musical fabric - not more than that.

That these 4 musicians can so successfully and consistently play as one is absolutely remarkable. Their music-making is simply breathtaking.

Lastly, there's one more person involved here who is equally responsible for the superlatives described above. Enormous credit must be given to the recording engineer, the late Bruce Egre, for providing sound which supports and exemplifies these musical characteristics so magnificently. The recorded sound afforded this quartet is simply second to none when it comes to revealing all the qualities I cherish in their playing. There is an immediacy and presence, with a realistically wide dynamic range without ever being at all forward or gruff, along with a 3-dimensional realism, which bring the performances into one's listening room as if hearing them in a live performance. I read with great interest the biography of Mr. Egre (within his obituary) and learned he was also the founder of Cleveland-based Azica Records. This is fascinating because I find that label to consistently exhibit the same spectacular recorded sound I hear from Cedille Records. And now I know why. A seriously gifted man was involved with both labels. And the world has lost a true master of the art of recorded acoustic sound.

I listen to a lot of string quartet music. And I've listened to several complete Beethoven sets just over the past couple of years. So comparisons are inevitable. I have enjoyed recordings from the likes of the Belcea Quartet on Zig-Zag/Alpha Classics, Miro Quartet on Pentatone, Artemis Quartet on Virgin, Quatuor Ebene on Warner/Erato, and the Tokyo Quartet on Harmonia Mundi. (Even the Tokyo's earlier set for RCA is excellent.) However, as good as they are, I seem to always have a nit to pick along the way - occasionally with the interpretations, often with the recorded sound, only rarely with the actual playing itself (which was certainly the case with the Lindsay String Quartet's ASV reissue on Eloquence, which was nearly impossible to endure). But not with the Dover Quartet. Their Beethoven is, simply, perfection. As is the recorded sound. I cannot wait for the next installment.

In my view, 3 recordings effectively redefine the art of string quartet playing today: the Escher Quartet's Mendelssohn (BIS), the Quatuor Hanson's Dutilluex & Ligeti (Aparte), and the Dover Quartet's Beethoven (Cedille). 

​I have enjoyed two previous BIS recordings from Pascal Rophe, but those were both in less familiar repertoire than this Debussy collection. His 2015 recording of Dutilleux's ballet, Le Loup, is very fine - even more colorfully illuminating than John Wilson's for Chandos. And his 2019 recording of Roussel's The Spider's Feast is a musical and sonic feast indeed, bringing this relatively rare ballet to new life. It is coupled, though, with a completely routine and utterly "Bb" Sorcerer's Apprentice (Dukas).  

It is, then, in more familiar territory where Rophe disappoints. Just as in his earlier Dukas, these Debussy ballets fail to come to life as they should. They're earthbound and steadfastly refuse to dance, predominated by lethargic tempos.  

The orchestral playing is very good, as is the recorded sound. The woodwind playing in particular is glowing. However there is an occasional lack of sumptuousness from the strings. I don't believe this is the fault of the BIS engineers. It sounds as if Rophe is going for transparency at all costs. And I'm not sure why he would do that in Debussy. 

More serious, though, is a certain blandness which permeates these readings, robbing them of the imagination and wonderment of good storytelling. Characterization of the various sections is curiously minimized, leading to a lack of involvement. Only in the final track, Golliwogg's Cakewalk, does the orchestra suddenly awaken, aided by a subtle (and completely unnecessary) boost of the volume knob from the engineers. The newfound energy comes way too late to compensate for everything which precedes it. All it accomplished was to startle me enough to turn it off and move on to something more interesting.

In sum, I was really looking forward to this release, but alas, it proved to be thoroughly disappointing.

I've been on a CD buying spree lately. (Watch this space for lots of reviews coming soon!) Not because I suddenly became rich, but because I'm beginning to experience some minor difficulties obtaining the discs I want to purchase lately - particularly new releases. A title might be available here, but not in the UK - and vice-versa. And if I wait for a better price, I might find it's nowhere to be found a week or two down the road. So I've adopted a "get it while you can" approach and am making more on-the-spot purchases, even if it ends up costing a little more. And I've been buying lots of back-catalog titles on the used market before they are gone forever.

I usually shop Amazon.com (utilizing their many terrific MarketPlace sellers) and Presto Classical in the UK, searching for the best prices and most reliable availability and shipping. But problems are beginning to appear.

Take ArkivMusic, for example, which is sometimes a good source for Classical CDs. Or ... it used to be. Their online site has been down for months. Their website comes up as "Store Closed", but there is a brief disclaimer stating they're "working on system updates" but trying to fulfill outstanding orders. Oh, and: "Be Back Soon!" Riiiight ... this status has continued for months. And I'm not particularly surprised by this, as I have never considered Arkiv to be a viable source for frequent, quantity buying - as regards to availability ("out of stock" appears predominantly) or pricing (their insistence upon listing everything at full retail price, plus shipping costs). But, still, I hate to see yet another resource go away.  In addition, I've noticed the Amazon MarketPlace seller "ClassicalMusicSuperstore" seems to have disappeared.

Even more troubling, though, is what I'm beginning to see from some of the labels. We've been witnessing dwindling numbers of new releases each month for quite some time (and SACDs are becoming rare). But now I'm finding some of them discontinuing back catalog titles and either reissuing them solely via Download or simply eliminating them altogether. For example, many back-catalog titles from Pentatone have been discontinued, only to reappear as Download only. Worse, at least one label has eliminated its entire CD catalog altogether, making the switch to 100% download only, and even removed its online store from the internet with only a brief statement that they're "restructuring". This makes me sad.

Further, I've even witnessed a few new releases from the likes of BIS and Chandos inexplicably delayed this year, which has me very worried. Is this simply the result of production and/or supply chain issues, or is something else going on we don't know about yet? 

And of course we've been witnessing for years entire labels disappearing - hostile takeovers by the big boys buying up other labels (think Warner and SONY), eliminating the competition. Remember the good ol' days when new releases consisted of real diversity - titles from Virgin and EMI, RCA and CBS, Philips, Conifer, et al? And to a lesser degree, Erato and Teldec. Today, it's all Warner - who can't even give credit to those legacy labels, slapping the "Erato" logo on everything (AS IF Erato has anything to do with it) - and SONY. And all those much-lamented classic labels which have simply ceased to exist over the years (Telarc, Delos, Dorian, ASV, Collins, MCA, CALA, Koss, ProArte, Vox, etc., not to mention the real classics like Mercury, Westminster, etc.).

Thankfully we have a fantastic group of small, independent specialty labels which still produce a wealth of wonderful Classical CD releases. At least for now. And to be fair, some bigger labels have demonstrated a continued commitment to Classical music, though definitely "star-power" and profit driven rather than a focus on distinction or innovation - with endless reissues being their mainstay. (SONY and DG are prime examples.) 

I'm old-fashioned; I'm a CD guy. I've been an avid collector of Classical compact discs (an obsession, really) for nearly 40 years and have amassed close to 9,000 of them. I like the cover art. I like reading the booklets. I like the ability to load the disc and play with the remote control and listen in any way I want to. But I'm also an audiophile. So, most of all, I like the excellent sound quality I achieve from playing CDs on my high-quality stereo system, which I have been assembling and fine-tuning with quality components and cables for decades. I simply do not want to do downloads. Period.

But I'm no dummy. I'm seeing the writing on the wall. I'm already witnessing a substantial decrease in Classical SACD releases. They simply are not cost-effective to produce (apparently). But now, CDs are becoming harder and harder to find too, with back-catalog titles disappearing forever. I realize I may have no choice and will one day have to give the downloading thing a whirl. But I'm not there yet. 

I can rest easy knowing I have enough CDs in my collection to listen to for the rest of my life, probably without ever listening to the same one twice. So as long as CD players can still be purchased when mine finally breaks down, I'm set. (That's another matter altogether, though; SACD players are becoming very rare and good CD players are not exactly plentiful these days.) But how disappointing would it be to one day be denied the pleasure of perusing the new release lists and deciding which new CDs to buy? 

After being so thoroughly bowled over by the Quatuor Hanson's new CD (2021, "Not All Cats Are Grey", Aparte Records - please see my full review elsewhere on this blog), I decided to get to know the Ligeti Metamorphoses a little better. I have a couple recordings of it on my shelves, neither of which is in any way memorable, so I ordered two recordings I thought I'd like: the Arditti String Quartet on SONY (1996) and the Artemis Quartet on Virgin (2000). I purposely chose recordings which offer both of Ligeti's Quartets, as I am not familiar at all with his Second, and the Hansons only offer the First.

In a nutshell, compared to the Hansons, Metamorphoses hardly sounds like the same piece as played by these other two string quartets.

The Arditti on SONY smooth over the rough edges, bringing a polished touch of romanticism to this music - with refined dynamics and articulation. And SONY solidifies the approach with sound that is lush, smooth and beautiful - and most certainly too relaxed. And not nearly as interesting or involving as it should be. I don't even hear much of the Bartok element in the piece here. So this one simply won't do. This recording is for those who don't think they like Ligeti but might be persuaded otherwise because it's so affable.  

The Artemis are much better, helped by Virgin's excellent recorded sound, which is colorful, crisply detailed and impressively 3-dimensional. There is a remarkable sense of realism here that the SONY, as richly upholstered as it is, manages to stifle for the Arditti. Also, here is Bartok on full display. As a matter of fact, it sounds more like Bartok than Ligeti! So it's still not quite right. But certainly very close - and really quite excellent by any measure.
​
But going back to the Hansons, I am once again bowled over by how they infuse life into the piece, immersing the listener into the experience as never before. And it is positively gripping. How do they do it? With a propulsive energy and incredible dynamic range. And with muscular bowed articulation. Plus unimagined variety of tonal color and vivid characterization of each sharply contrasted section of the piece. And, yet, with all these elements firmly in place, what makes this performance so completely mesmerizing is how utterly musical it is. It's not just notes on the page; it's not just random sounds. It's music. And once again I declare their playing of it absolutely, positively stunning. The Hansons really understand this piece, and with it, a dazzling sense of new discovery emerges - inviting the listener to experience it anew. And Aparte's recorded sound is simply some of the best ever afforded a string quartet.

This is string quartet playing which is simply unmatched. And never before experienced. It is absolutely incredible.

The glory of the alternative recordings, of course, is the inclusion of Ligeti's 2nd Quartet as well. (The Hansons give us Dutilleux and Bartok instead). And the Artemis on Virgin are splendid in it. Their dynamic range, in particular, is very impressive here, without ever turning ugly in those more difficult passages. While I can hope that the Hansons will one day record it as well, for now I'm completely happy with it on this Virgin CD, especially given its excellent recorded sound.

As I continue my exploration of today's (younger) string quartets, I came across a group new to me - the Armida Quartett playing Mozart. I was instantly intrigued because I recognize their handsome cellist as being a principal in the Frankfurt Radio Symphony, whose wonderful YouTube concerts I watch all the time. 

At first, their Mozart is interesting in a way that makes one wonder, 'Well, is this really the way it was played in Mozart's day?' But as it continues, and becomes more and more irritating, I just can't believe Mozart would approve.

It's not just the icy violin sound, sans vibrato; nor is it the limited fullness and commanding presence from the viola and cello. Lots of groups adopt a playing style like this in an attempt at "period performance practice". But the Armida Quartett takes it even further down that path which affects the lyrical passages the most. Their playing takes on a rather limp and deadpan sound which results in an overall lack of warmth and expression. While I appreciate the crisp articulation, alert tempos and dynamic range, I am left completely unmoved by the chilliness. This simply cannot be "authentic". I will never buy into the suggestion that this is "right". It's not "revelatory". It's not a "new way to hear it". It's not even all that musically pleasing. 

I had high hopes for this quartet, and one cannot criticize their technical abilities. There is a notable perfection to their playing, along with a unified ensemble. Perhaps in contemporary repertoire I would be more impressed. But I can say in all honesty I'm glad I started with just one of their Mozart recordings before buying all the rest. This one is a 2-disc set from 2020 and appears to be Volume 3 in a series from BR Klassik, whose recorded sound mirrors the playing: clear, crisp and somewhat lacking in warmth. 

​Any group which manages to make Mozart irritating is simply unacceptable in my book. I won't be buying any more of these.  

I've been on Pentatone's case lately for their seemingly misguided decision to cut back on multi-channel SACD productions and releasing more on good old-fashioned stereo CD. ​So when I saw this marvelous program on the new-release lists, being offered on SACD, I ordered it immediately. And it simultaneously celebrates Pentatone and illustrates my complaints about the label's new direction. In one fell swoop, this release positively confirms the sonic superiority of the SACD format - and, most importantly, Pentatone's mastery of it - with stunning recorded sound; while at the same time confounds logic as to any reasons why Pentatone would abandon it.

This review is most certainly an advocacy for SACD. But it is also intended to give praise when praise is due - and Pentatone absolutely deserves it here.

This program combines two works of the same title/theme, written around the same time (1902 & 1905, respectively), by two different composers. It is just too long to fit onto one disc (although at 89 minutes total, Chandos might have managed it). Thus we have two discs of rather short measure at (roughly) full price. But I'm not complaining. Not this time. 

The Debussy, on Disc 1, is a world premier recording of conductor Jonathan Nott's arrangement of a symphonic suite from the opera, Pelleas et Melisande. The booklet explains it is different from the more common suite(s) in that Nott remains closer to the context of the score, retaining sections with vocal lines intact, played by various instruments, rather than concentrating on the purely orchestral interludes. Thus we hear more of the actual opera than ever before. And it is, in a word, exquisite. And it is captured in some of the most glorious, realistic and lavish orchestral sound ever recorded. The strings, in particular, are the very definition of sumptuous. And opulent. That this orchestra possesses a string section capable of producing such a ravishing body of sound is extraordinary in and of itself; but that the recording engineers capture it so magnificently is quite another matter altogether.

This is music to sit back and just wallow in the beauty of it. Debussy proves himself an undisputed supreme master of orchestration in this work, aided by Nott's skillful preparation - in both text and execution, and by what I believe to be Pentatone's very best recorded sound.

The Schoenberg, on Disc 2, is not as transcendent. Nor can it be. This is completely different music and is not crafted from the same mold of compositional perfection as that of Debussy. Nor is it scored with the same mastery of colorful orchestration. The orchestra plays it just as rapturously, though; but in the end, despite its high drama and histrionics, it is chillier, more detached, than the Debussy - both as music and as a performance. 

But that's actually not a bad thing here. It is less wayward and heavy-going than is usually the case, and just a little less Richard Strauss-infused, thus giving it a more unique voice. Nott really is an excellent conductor (every time I encounter him) and coaxes a sweeping, forward-flowing momentum and sense of direction, along with transparent textures from his orchestra - all of which are entirely beneficial and musically informative. Pentatone's airy, spacious sound compliments it perfectly and I enjoyed the piece as much as ever.

In closing, this is a must-have for all collectors. Not only to hear this orchestra playing Debussy so magnificently (which really is a glory to behold), but to experience stunning recorded sound, which absolutely defines the state-of-the-art. And, frankly, we must support Pentatone for producing it, sending the message that we will buy their SACDs when they're as good as this one. 

​Here's another new release from Reference Recordings which is on CD only. It is becoming obvious they've thrown in the towel on multi-channel SACD releases and have gone back to good old fashioned stereo CD. And perhaps that's not a bad thing, as some of this label's recordings in recent years have not been particularly stellar. Going back to basics is probably the best path forward for this little label.

That being said, this attractively-priced 2-CD release is quite wonderful. The score is glorious in a big, Romantic way - richly scored for large orchestra, full of color and atmosphere with rhapsodic, sweeping lines. (Roussel came to mind frequently.) It is perhaps a tad over-long as purely orchestral music (much of Act II, in particular, is a bit lacking in compositional interest). But taken as a whole, it is nonetheless quite enjoyable.

The orchestra plays very well and the recorded sound is very good, considering the source and origins - it's a "live" performance by a pit orchestra. And with it we hear occasional stomping sounds from the dancers overhead, particularly in the more energetic/rambunctious passages, along with stage sound-effects. And audience applause is retained - which is really annoying at the end, as it isn't abbreviated, but is allowed to continue on and on, complete with all the hooting-n-hollering and cheering as each principal takes a bow. (Good grief, RR. SMH.) However other than that, the extraneous noise is not too obtrusive; and if you can ignore it, the spontaneity of the performance is actually heightened.

Even with the less than ideal recording conditions involved, this CD sounds more natural than some other recent offerings from this label, many of which have grown grotesquely bass-heavy and with obvious knob-twiddling from the control room. So Reference Recordings finally seems to be back on the right track.

This is not meant to be a full review, just a heads-up for all lovers of ballet music. This is a captivating score, lovingly played and naturally recorded here, and is thus a delightful CD release from a label I've highly criticized in the past. I have to give credit where credit is due. This one from RR can be recommended to all lovers of ballet music.