Lisa Batiashvili ECHOES OF TIME

The sound of Shostakovich belongs to Lisa Batiashvili’s earliest memories. During her childhood, she often heard her father’s string quartet rehearse Shostakovich’s music, and at home and in concert his was the sound world which shaped her sense of cultural context. Lisa Batiashvili and her family left their Georgian homeland when she was eleven years old, but the music of Shostakovich travelled with them. Mark Lubotsky, her teacher in Hamburg, was a student of David Oistrakh, for whom Shostakovich wrote his violin concertos, and to the young Lisa Batiashvili, this felt like a direct line to the source. “When my teacher started telling stories about the First Violin Concerto, I completely fell in love with this piece. David Oistrakh had shared very emotional and precise information about every movement. Somehow the piece became symbolic of the time in the Soviet Union, which I had also experienced myself during the first ten years of my life. Musicians during Soviet times were also looking for the freedom that Shostakovich sought through his music. Music was an escape and a symbol of freedom at a time when it was so difficult to function in an incredibly brutal system. When I travelled to Moscow with my parents, we met many people, and I had a strong feeling that this music was a mirror of what they were going through.” So her debut recording for Deutsche Grammophon has Shostakovich’s First Violin Concerto at its core. Under the title Echoes of Time, Lisa Batiashvili has assembled a collection of works which all cast light on Soviet Russia.
Her native Georgia is represented through Giya Kancheli’s haunting V & V, a small taste of a sound world which is markedly different from, yet somehow connected to, that of its massive northern neighbour. “Georgian people are actually not at all related to Russians”, explains Lisa Batiashvili. “In terms of climate, Georgia is a southern country, and the people are more like southern Italians or Greeks by nature – very alive, incredibly emotional and spontaneous. You have the mountains and the sea and great weather for eight months of the year. Russia is vast and lonely and full of isolated places, whereas Georgia is compact and everything is kind of burning. Of course, I cannot avoid sounding Georgian when I play. I spent my childhood there, and when you are in Georgia, you feel something very intense. It’s in my genes and in my veins, even if I’ve spent more than 20 years now in Europe.”
In 1994, Lisa Batiashvili and her family moved to Munich, where she stayed for 15 years. Since then she and her oboist husband have moved to France with their children, but the Bavarian Radio Symphony Orchestra still feels like family. “It’s very special to record with them, because during my time in Munich I got to know three quarters of the orchestra personally”, she says. “I have friends in the orchestra and also colleagues with whom I play chamber orchestra. Recording with them was one of the most wonderful personal experiences – quite apart from the fact that this is one of the most fantastic orchestras in the world, with a tradition like few others.”
Through her spectacular win in the Sibelius Competition at the age of 16 and subsequent visits to Finland, Lisa Batiashvili also feels a cultural affinity with conductor Esa-Pekka Salonen. “When we began the first rehearsal of the Shostakovich, it already felt as if we had played together millions of times. With Esa-Pekka, everything seems so easy and natural. Everything falls immediately into place. He has amazing intuition.” And this recording also brought the long-awaited chance to work with pianist Hélène Grimaud, for Arvo Pärt’s Spiegel im Spiegel and Rachmaninov’s Vocalise. “We’ve been planning for years to play together. She loves this kind of repertoire. I admire her a lot, not only for her musicianship, but also as a person who is an incredibly serious musician.” While Pärt and Kancheli, like Shostakovich, both felt the weight of Soviet oppression, Rachmaninov’s music expresses a nostalgic yearning for his homeland that Lisa Batiashvili feels fits well with the other works on the recording. It balances the sweetness of Shostakovich’s Lyrical Waltz, written for the piano and arranged for violin and orchestra by her father, with echoes of another age, she says.
Germany, Finland, Georgia, Moscow, France – in the course of our conversation, Lisa Batiashvili has mentioned a surprising number of places which are almost, but not quite, home. “It has happened quite often over the past fifteen years that I was not really sure where I belonged”, she agrees. “Germany felt so different from my own country when I first arrived there. But when I went back to Georgia I found I didn’t understand anymore who I was or where I belonged. And at the same time I didn’t really integrate fully with the German way of life, I felt like a guest everywhere. On the other hand, for musicians it is a huge advantage to be able to make their home wherever they go. I have a French husband now, our children were born in Germany, and I no longer feel uncomfortable about this way of life. When you bring music to the whole world, it is important to have an easy connection to all kinds of people. And then, in the end, you are not really a stranger anywhere anymore.” (Shirley Apthorp)

Dmitri Shostakovich (1906 - 1975)
Violin Concerto No.1 in A minor, Op.99 (formerly Op.77)
1) 1. Nocturne (Moderato) [12:23]
2) 2. Scherzo (Allegro) [6:17]
3) 3. Passacaglia (Andante) [14:10]
4) 4. Burlesque (Allegro con brio - Presto) [4:42]
Giya Kancheli (1935 - )
5. V & V [10:51]
Dmitri Shostakovich (1906 - 1975)
Dance of the Dolls
6. Lyric Waltz (orchestrated by Tamas Batiashvili) [3:25]
Lisa Batiashvili
Symphonieorchester des Bayerischen Rundfunks
Esa-Pekka Salonen
Arvo Pärt (1935 - )
7. Spiegel im Spiegel [10:21]
Sergey Vasil'yevich Rachmaninov (1873 - 1943)
8. Vocalise, Op.34 No.14 [5:39]
Lisa Batiashvili
Hélène Grimaud

2011 Deutsche Grammophon GmbH, Hamburg
1 CD DDD
477 9299 4 GH

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Why Not Here: Music for Two Lyra Viols

Why Not Here is not the title of this disc, although from a casual glance it might look like it is so. The device "Why not here" is actually the name of the duo formed by gambists Hille Perl and Friederike Heumann; they are joined on many pieces by lutenists Lee Santana and Michael Freimuth, and the latter pair even have several pieces to themselves. The "lyra viol" is not a special instrument like a viola da braccio, but refers to a specific way of playing the viol, as an instrument capable of harmony and melody rather than melody only, or used in a purely basso context. This set of pieces reflects the usual fare that Perl and Heumann employ in their concert appearances in Europe. While weighted toward Thomas Ford, a key English exponent of lyra viol playing during the late Renaissance and early Baroque periods, the stated purpose of Music for Two Lyra Viols is to "celebrate and overcome melancholy … to change the chemistry in your brain by putting music into it rather than other drugs." Perl contributes an engaging and highly personal album note, which wanders into topics far from music, but is a refreshing change from the usual blah blah blah about the composer. The disc provides a responsible canvassing of the requisite literature, covering in addition to Ford the work of several of his English contemporaries and that of the younger Alfonso Ferrabosco. However, the repertoire is not the main event here so much as building an asylum of Renaissance melancholy into which post-modern, twenty first century types can escape. In this sense, Why not here's Music for two Lyra Viols is extremely successful in a way it might not have been had it been exclusively devoted to Ford or otherwise had taken its musicological mission with a more rigorous tack; maintaining a consistent sense of mood is the key organizing principal. The playing throughout, from all four musicians, is tight, scrupulously careful, artistic, and personable, and the recording will make it feel as if Why Not Here is playing right in your living room. Music for Two Lyra Viols was recorded in 2001 and originally released on the Carpe Diem label; this version was issued in 2008 by the German label Accent. (Uncle Dave Lewis , Rovi All Music Guide)

Thomas Ford (ca. 1580 - 1648)
1. A Paven, M. Maynes Choice [6:00]
2. The Galiard [2:53]
3. Forget Me Not [1:06]
4. The Baggepipes, Sir Charles Howards Delight [1:24]
5. Why not here, M. Crosse his choice [1:47]
6. Cate of Bardy, The Queenes Jig [1:49]
John Jenkins (1592 - 1678)
7. Fantasia [3:57]
John Danyel (1564 -ca. 1626)
8. Passymeasures [4:06]
9. A Fancy [1:12]
Alfonso Ferrabosco (II) (1578 - 1628)
10. Almaine [4:02]
11. Galliard [3:25]
12. Coranto [1:26]
Anthony Holborne (? - 1602)
13. Goe from my window [3:19]
Richard Alison (? - 1606)
14. Goe from my window [3:58]
Thomas Ford
15. A Paven, Sir Richard Westons Delight [6:34]
16. The Galiard [1:53]
17. An Almaine, M. Westovers Farewell [1:28]
18. Whipit and Tripit, M. Southcotes Jig [1:33]
Alfonso Ferrabosco
19. The Spanish Paven [3:47]
William Lawes (1602 - 1645)
20. Paven [8:00]
21. Aire [2:44]

Hille Perl, Viola da Gamba
Friederike Heumann, Viola da Gamba

2008 ACCENT RECORDS
1 CD DDD
ACC 24205

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Bach Cantatas Wachet auf, ruft uns die Stimme BWV 140 - Herz und Mund und Tat und Leben BWV 147

John Eliot Gardiner's ambitious Bach cantata survey has produced some unexpected delights. His recording of the cantatas for Pentecost (or Whitsun) showcased the vibrato-filled voices of Magdalena Kozená and Bernarda Fink, atypical but highly effective choices for this repertory. Their lush vocal quality aptly captured the ecstasy and divine rapture expressed in those works. By contrast, the cantatas on this recording celebrate a state of solemn expectation. In Wachet auf, ruft uns die Stimme, Christ is represented as a bridegroom and the Church as his bride. As that chaste and eager bride, Ruth Holton brings her vibratoless yet strangely intimate soprano to the beautiful duo "Wenn, kömmst du, mein Heil?" ("When comest Thou, my Savior?"). Hers is a most attractive voice that suffers from neither mannerism nor strain. Indeed, anyone who objected to the romantic vocal sound of Gardiner's Whitsun recording will take comfort in the entire vocal cast assembled here, from Michael Chance's warm and clear countertenor to Anthony Rolfe Johnson's malleable and unforced tenor. Johnson's musicianship shines in the recitatives, especially in his subtle reading of "Gebenedeiter Mund." The quiet joy of this recitative sets the tone for the cantata Herz und Mund und Tat und Leben, which includes perhaps the most famous of all Bach tunes: "Jesus bleibet meine Freude" ("Jesu, Joy of Man's Desiring"). As with everything he has touched in this marvelous cantata series, Gardiner's performance of this perennial favorite is anything but perfunctory. His interpretation conveys a sense of wide-eyed, serene exhilaration, like that of a child hearing this music for the first time. (David Kasunic)

Johann Sebastian Bach (1685 - 1750)
Wachet auf, ruft uns die Stimme Cantata, BWV 140
1. Chor: "Wachet auf, ruft uns die Stimme" [6:19]
2. Rezitativ: "Er kommt, er kommt, der Bräutigam kommt!" [0:51]
3. Arie (Duett): "Wann kommst du, mein Heil?" [5:32]
4. Choral: "Zion hört die Wächter singen" [3:49]
5. Rezitativ: "So geh' herein zu mir" [1:25]
6. Arie: "Mein Freund ist mein!" [5:05]
7. Choral: "Gloria sei dir gesungen" [1:37]
Herz und Mund und Tat und Leben, Cantata BWV 147
8. 1. Coro: "Herz und Mund und Tat und Leben" [4:08]
9. 2. Recitativo: "Gebenedeiter Mund!" [1:44]
10. 3. Aria: "Schäme dich, o Seele nicht" [3:14]
11. 4. Recitativo: "Verstockung kann Gewaltige verblenden" [1:34]
12. 5. Aria: "Bereite dir, Jesu" [4:29]
13. 6. Choral: "Wohl mir, dass ich Jesum habe" [2:29]
14. 7. Aria: "Hilf, Jesu, hilf" [3:16]
15. 8. Recitativo: "Der höchsten Allmacht Wunderhand" [2:16]
16. 9. Aria: "Ich will von Jesu Wundern singen" [2:33]
17. 10. Choral: "Jesus bleibet meine Freude" [2:31]

English Baroque Soloists

John Eliot Gardiner

The Monteverdi Choir

2000 Deutsche Grammophon GmbH, Hamburg

1 CD DDD

463 5872 6 AH

ARCHIV Produktion

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BACH Cantatas: Actus Tragicus • O Jesu Christ, Mein's Lebens Licht • Lass, Fürstin, Lass

Seventeenth-century philosopher Thomas Hobbes defined human life as "solitary, poor, nasty, brutish and short." Indeed, without being aware of the short life expectancies, high infant mortality rates, and ever-present threat of sickness and death during that period, it's impossible to fully understand the sacred music of J. S. Bach and his contemporaries. Functioning in tandem with religious faith, music was a comforting balm in the face of suffering. This volume of John Eliot Gardiner's cantata series, planned for the 250th anniversary year of Bach's own death, focuses specifically on mourning. "Gottes Zeit ist die allerbeste Zeit," BWV 106 (also known as the "Actus tragicus"), and "Lass, Fürstin, lass noch einen Strahl," are odes for funeral services. Both are deeply moving works; the "Actus tragicus" extols in universal terms the paradise to be reached after death, while BWV 198 specifically commemorates the Electress Christiane of Saxony. The soloists in these recordings -- soprano Nancy Argenta, countertenor Michael Chance, tenor Anthony Rolfe Johnson, and bass Stephen Varcoe -- are all distinguished, though Rolfe Johnson's contribution is the most hauntingly eloquent. The Monteverdi Choir's singing in the cantatas has profound spiritual resonance, and they contribute a warm performance of Bach's motet "O Jesu Christ, mein's Lebens Licht," BWV 118/231 -- yet another work that looks forward to the happy promise of the afterlife. While Bach's music grew out of the theology of a specific time and place, the consolation it offers is not the least bit out of date. (Scott Paulin, Barnes & Noble)


Gottes Zeit ist die allerbeste Zeit, BWV 106

1) Sonatina, Molto adagio [2:34]
2) Chorus & Soli: Gottes Zeit ist die allerbeste Zeit [7:56]
3) Ariosi & Choral: In deine Hände befehl ich meinen Geist [5:47]
4) Chorus "Glorie, Lob, Ehr und Herrlichkeit" [2:34]
5) Motet "O Jesu Christ, meins Lebens Licht" BWV 118/231 [9:11]
Lass, Fürstin, lass noch einen Strahl, BWV 198

6) Chorus "Lass, Fürstin, lass noch einen Strahl" [5:12]
7) Recitative (soprano) "Dein Sachsen, dein bestürztes Meissen" [1:01]
8) Aria (soprano) "Verstummt, verstummt, ihr holden Saiten" [3:35]
9) Recitative (countertenor) "Der Glocken bebendes Getön" [0:50]
10) Aria (countertenor) "Wie starb die Heldin so vergnügt!" [7:13]
11) Recitative (tenor) "Ihr Leben liess die Kunst zu sterben" [0:53]
12) Chorus "An dir, du Fürbild grosser Frauen" [1:42]
13) Aria (tenor) "Der Ewigkeit saphirnes Haus" [3:41]
14) Recitative - Arioso - Recitative (bass) "Was Wunder ists?" [2:05]
15) Chorus "Doch, Königin! du stirbest nicht" [4:25]

Nancy Argenta, soprano

Michael Chance, countertenor

Anthony Rolfe Johnson, tenor

Stephen Varcoe, bass

The Monteverdi Choir

The English Baroque Soloists

John Eliot Gardiner

1990 Deutsche Grammophon GmbH, Hamburg

1 CD DDD

463 581-2 AH

ARCHIV Produktion

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PHILIP GLASS violin concerto ALFRED SCHNITTKE concerto grosso no. 5 (reuploaded)

Philip Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, the Juilliard School and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble. The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops.

Alfred Schnittke was born on 24 November 1934 in Engels, on the Volga River, in the Soviet Union. Schnittke began his musical education in 1946 in Vienna where his father, a journalist and translator, had been posted. In 1948 the family moved to Moscow, where Schnittke studied piano and received a diploma in choral conducting.
From 1953 to 1958 he studied counterpoint and composition with Yevgeny Golubev and instrumentation with Nikolai Rakov at the Moscow Conservatory. Schnittke completed the postgraduate course in composition there in 1961 and joined the Union of Composers the same year. He was particularly encouraged by Phillip Herschkowitz, a Webern disciple, who resided in the Soviet capital.
In 1962, Schnittke was appointed instructor in instrumentation at the Moscow Conservatory, a post which he held until 1972. Thereafter he supported himself chiefly as a composer of film scores.

This CD is one of the major releases of the 1990s. It begins with Glass's Concerto of Violin and Orchestra, one of the best examples of Minimalism around. The genuine surprise here is Schnittke's Concerto Grosso No. 5 for Violin, an Invisible Piano and Orchestra. What it has in common with Glass's concerto is its overriding sense of play. Schnittke, for all his daring and his mastery of a wide range of writing styles, is one of the few composers with a sense of humor, or delight.

Philip Glass (1937 - )
Concerto for Violin and Orchestra
1) = 104 - = 120 [6:38]
2) = ca. 108 [8:46]
3) = ca. 150 - Coda: Poco meno = 104 [9:30]
Alfred Schnittke (1934 - 1998)
Concerto Grosso No.5
4) 1. Allegretto [7:46]
5) 2. Without tempo indication [5:19]
6) 3. Allegro vivace [6:02]
7) 4. Lento [8:28]

Gidon Kremer

Wiener Philharmoniker

Christoph von Dohnanyi

Rainer Keuschnig

1993 Deutsche Grammophon GmbH, Hamburg

1 CD DDD

437 0912 GH

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Kronos Quartet and Wu Man TERRY RILEY The Cusp of Magic

Nonesuch Records releases the latest Kronos Quartet album, comprising the debut recording of Terry Riley’s six-movement piece, The Cusp of Magic. Commissioned by Kronos on the occasion of their longtime friend and collaborator Riley’s 70th birthday, the piece features the Quartet joined by Wu Man on pipa (a Chinese plucked string instrument, similar to a lute) and vocals, with all musicians also playing a variety of percussion instruments, toys, and noisemakers. The Quartet premiered The Cusp of Magic in 2005, and the piece was performed at Carnegie Hall as part of Kronos’ 2006 Live Mix series.
Kronos Artistic Director and Violinist David Harrington says, “No composer has been as much a part of Kronos as Terry Riley. We first met at Mills College in 1978, and he has written 23 works for us so far. We knew Terry was turning 70 in 2005, and it seemed like a perfect time to commission another new piece from him. I was sure he would spend the time and take the care needed to bring his knowledge of the pipa up to the point where he could write an amazing work, and over a period of more than a year, he learned about the instrument from Wu Man.
“One day I was talking with him and he said he wanted this piece to be ‘magical.’ My granddaughter Emily was an infant at the time. We had little toys and noisemakers around the house, which we would play as I carried her around. Of all the experiences I’ve had, that is the most magical. ‘Why don’t you just come over, and we’ll play some of Emily’s toys?’ I said. So he brought over his computer and recording equipment, and we played all of her toys while she was taking a nap.”
Riley adds, “In this work, the different timbre and resonance of the Chinese pipa and the Western string quartet highlight the crossover regions of cultural reference, so that the Western musical themes might be projected with an Eastern accent and vice-versa. My plan was to make these regions seamless so that the listener is carried between worlds without an awareness of how he/she ends up there.”
Kronos dedicates this recording of The Cusp of Magic to the memory of Hamza El Din, who was introduced to them by Terry Riley. Hamza’s gentle, pioneering work connected music and musicians in countless ways.


Terry Riley (1935 - )
1) I. The Cusp of Magic [10:02]
2) II. Buddha's Bedroom [10:28]
3) III. The Nursery [5:03]
4) IV. Royal Wedding [6:07]
5) V. Emily and Alice [4:05]
6) VI. Prayer Circle [6:39]

Kronos Quartet:
David Harrington, violin
John Sherba, violin
Hank Dutt, viola
Jeffrey Zeigler, cello

Wu Man, pipa
Elisabeth Commanday, vocals

2008 Nonesuch

1 CD DDD

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The Kroumata Percussion Ensemble CAGE - COWELL - LUNDQUIST - TAÏRA

Kroumata is a Swedish percussion ensemble. "Kroumata" comes from a Greek word for percussion instruments. But if the term also leads one's thoughts to associations of colour and metallic surfaces this is all to the good.

Some 70 years have passed sine bruitisme (futurism's musical branch) announced that music could be created in other than pleasingly melodic tones. Noise consists also of sounds which can be arranged aesthetically. But the bruitistes were not alone in their revolt. Béla Bartók's composition "Allegro barbaro" (1911) had already launched the piano as a percussive instrument. Little more than 25 years later Bartók was to turn the accepted notions upside down: in the Sonata for 2 Pianos and Percussion (1937) he gave the percussion melodic and (very subtle) tonal tasks.

Bartók was not the first but certainly the most important of the new percussive music's pioneers. After his "double sonata" it was no longer possible to identify music for percussion merely with march rhythms on the drums or with brutal noise. It is here that we find the embryo to the musical culture represented by the Kroumata Ensemble.

John Cage (1912 - 1992)
1) Second Construction (1940) for four players [6:44]
Henry Cowell (1897 - 1965)
2) Pulse (1939) for five players [3:53]
Torbjörn Iwan Lundquist (1920 - 2000)
3) Sisu (1976) for six percussions [9:20]
Yoshihisa Taïra (1938 - 2005)
4) Hierophonie V pour six percussionnistes [19:32]

1983 Grammofon AB BIS
1 CD DDD
BIS-CD-232

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FRANZ SCHUBERT Piano Trios (Schiff - Shiokawa - Perényi)

These discs begin with an outstanding performance of the Arpeggione Sonata. The recording is clear and spacious, and the outer movements have an effortless sense of momentum that is not too inflexible to allow for some expressive rubato and pointing of the phrases. There's no hint in Perenyi's playing that, with its high tessitura, this is a difficult work for the cello, and he produces a most beautiful, warm, serene tone for the Adagio. Schiff, with his long experience as a Schubert song accompanist, gives real character to even the most subsidiary details of the piano part.
Where, in the two great trios and the Notturno, the piano has a more dominating role, Schiff's special feeling for Schubert is just as apparent. In movement after movement, these three wellmatched players find exactly the right tone and feeling. In the first Allegro of the B flat Trio the superior recording helps them to convey the music's grandeur better than the Beaux Arts can, with their drier sound. And in the following Andante, the beautifully sweet Beaux Arts playing doesn't, for me, quite match the flowing, evocative style of this new version. Shiokawa's clear-toned, elegant violin playing is a great asset here. In the Notturno, too, a more flowing tempo doesn't spoil the tranquillity of the opening melody, but allows the contrasting episode to emerge triumphantly, with sparklingly brilliant figuration from Schiff. At this point, the Beaux Arts seem, by contrast, quite ponderous.
In the monumental E flat Trio Schiff, Shiokawa and Perenyi seem sometimes a little polite and decorous, by the side of La Gaia Scienza, but their interpretation is certainly not lacking in vitality or variety. The finale in this performance lasts nearly 20 minutes, not because it is slow, but because the players have gone back to the original version of the movement— when preparing the trio for publication Schubert deleted the exposition repeat and made two extensive cuts. Some commentators have found this movement, even in its shortened state, long-winded and repetitious. If you agree, you'll hate this version, but if, like me, you're an admirer of Schubert's "heavenly length", you'll hear it as the true culmination of one of his greatest instrumental works. All in all, these are splendid recordings; a top recommendation. (DD, Gramophone, December 1997)

Franz Schubert (1797 - 1828)

CD 1:
Sonata In A Minor D 821 'Arpeggione'

1) Allegro Moderato
2) Adagio
3) Allegretto
Piano Trio In B Flat Major D 898 Op. 99

4) Allegro Moderato
5) Andante Un Poco Mosso
6) Scherzo: Allegro - Trio
7) Rondo: Allegro Vivace

Disc 2:
Piano Trio Movement In E Flat Major D 897 Op. 148 'Notturno'

1) Adagio
Piano Trio In E Flat Major D 929 Op. 100

2) Allegro
3) Andante Con Moto
4) Scherzando : Allegro Moderato
5) Allegro Moderato

Miklós Perényi (Cello)

András Schiff (Piano)

Yuko Shiokawa (Violin)

1997 Teldec

1 CD DDD

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