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Wolfgang Amadeus Mozart - Fantasia No. 3 in D minor, K. 397

Recorded at the Peabody Conservatory, December 2006.

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Mozart: Piano Sonata No. 16 in C Major, K. 545 "Sonata facile": I. Allegro

BACH, VIVALDI. CONCERTOS
Einar Steen-Nøkleberg, piano (1–3, 7–8, 13–15)
Alexander Zagorinsky, cello (4–6, 10–12)
The Chamber Orchestra of the Vologda Philharmonic Society
Conductor – Alexander Loskutov

Johann Sebastian Bach. Harpsichord Concerto No. 1 in D minor, BWV 1052
1 I. Allegro
2 II. Adagio
3 III. Allegro
Antonio Vivaldi. Cello Concerto in A minor, RV 422
4 I. Allegro
5 II. Largo cantabile
6 III. Allegro
Johann Sebastian Bach. Harpsichord Concerto No. 4 in A major, BWV 1055
7 I. Allegro
8 II. Larghetto
9 III. Allegro ma non tanto
Antonio Vivaldi. Cello Concerto in G major, RV 413
10 I. Allegro
11 II. Largo
12 III. Allegro
Johann Sebastian Bach. Harpsichord Concerto No. 5 in F minor, BWV 1056
13 I. [Allegro]
14 II. Largo
15 III. Presto

Recorded In 2018.
Sound engineer – Alexander Volkov
Editor – Dmitry Maslyakov
Design – Anna Kim
Cover photo – "Sky Of Vologda" By Tanya Sazansky
Translation – Nikolay Kuznetsov
Digital Release: Dmitry Maslyakov, Roman Tomlyankin

MEL CD 1002592

02. Bach: Harpsichord Concerto No. 1 in D minor, BWV 1052 - II. Adagio

Pianist Javier Negrín and conductor Thomas Rösner return to Odradek in the company of the Beethoven Philharmonie, soprano Chen Reiss, tenor Jan Petryka and baritone Paul Armin Edelmann, to celebrate Beethoven’s 250th anniversary year with a sumptuous album of rarely heard works. The collection opens with Beethoven’s ‘terzetto’, Tremate, empi, tremate, and ends with the Piano Concerto arrangement of Beethoven’s Violin Concerto. These frame Mozart’s concert aria for soprano, piano and orchestra, Ch’io mi scordi di te? K. 505. The album title, Voices, alludes not only to the vocal works featured on the album, but to the singing quality of Beethoven’s melodic lines in the Concerto.

Chen Reiss, who is at the heart of Mozart’s Ch’io mi scordi di te? as well as Beethoven’s terzetto, is a rising star of the opera world, praised by Opera News, USA for her “immaculately produced and enticing tone matched by superb musicianship”. Mozart wrote this concert aria for himself and the soprano Nancy Storace, who had played Susanna in his opera, The Marriage of Figaro. For this recording, Chen Reiss is paired with pianist Javier Negrín, who has enjoyed considerable acclaim for his solo Odradek releases, such as his Granados and Mompou album, Traces, “played with elegance, beauty and affection” (BBC Music Magazine). The release was also praised in Gramophone: “… pointed and sensitively shaped reading… Negrín assiduously weaves the numerous tempo shifts, dynamic outbursts and reiterations of earlier themes into a fluid, fulfilling whole”, and by The Arts Desk: “Negrín understands the need for understatement, for restraint. The eighth variation may induce tears, so beautifully does Negrín handle it.” Javier Negrín brings these qualities to this interpretation of Beethoven’s piano transcription of the Violin Concerto, a version he describes in the album booklet as “totally idiomatic”, adding: “To me, this music speaks about reconciliation and acceptance; it has a very serene beauty and purity of sentiment.”

Beethoven’s operatic output has been neglected compared with his instrumental and choral works, so it is a treat to hear the rare gem, Tremate, empi, tremate, written when he was being taught by Antonio Salieri. As Thomas Rösner explains in the album booklet: “To me, this terzetto seems like an anticipation of the trio between Leonore, Florestan and Pizarro in Fidelio... Beethoven was clearly aware of the high quality of this trio, since it is the only one of these study works that he has completely orchestrated and had performed in concerts at least twice during his lifetime. It seems all the more important to me to raise awareness of this wonderful work.” This recording features tenor Jan Petryka and baritone Paul Armin Edelmann alongside Chen Reiss and the Beethoven Philharmonie, an Austrian ensemble created for and specialising in performances of this repertoire.

Praise for Thomas Rösner’s direction of Couleurs (Poulenc and Koechlin) on Odradek: “Rösner’s focus on the phrase is inerrant and the musicians respond with gorgeously contoured shapes that never miss their mark” (Gramophone).

05 - Ludwig Van Beethoven - Piano Concerto In D Major, Op 61a - I Allegro Ma Non Troppo

Wolfgang Amadeus Mozart - Fantasia No. 3 in D minor, K. 397

Serena Chillemi

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