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Janacek: Orchestral Works Vol 1 / Bavouzet, Gardner, Bergen Philharmonic
First some housekeeping. This version of the suite from The Cunning LIttle Vixen is allegedly the āfinalā edition prepared by Charles Mackerras, consisting largely of the Talich score (that is, most of Act 1) but with JanĆ”cekās original orchestration restored. According to JanĆ”cek scholar John Tyrrell, who wrote the otherwise comprehensive notes, Mackerras planned to conduct the āfinalā version of his edition, but his death intervened and it was only premiered at his memorial concert in 2010. What Tyrrell does not make clear is that Mackerras played and recorded his āalmost finalā version of the suite with the Czech Philharmonic for Supraphon. It differs in no major way from that offered here. So if you think that this recording features something new, it doesnāt, for the most part.
That said, this release represents an auspicious beginning to a new series of JanĆ”cek orchestral works. Gardner really is a good conductor. He plays the Sinfonietta swiftly and, happily, without an inappropriate effort to polish the musicās rough edges. There are a couple of quirky touches. The second movement starts quickly and then settles down to a marginally slower tempo for the rest. The fourth movement, too, after those two sudden eruptions towards the end, is taken very slowly for the last appearances of the main theme. Iām not sure that I like it because it sits oddly with the overall spunky tenor of the performance, but itās not wrong, and it may improve on repetition.
Jean-Efflam Bavouzet plays a mean Capriccio, another swift performance, especially in the third movement, which the brass handle with aplomb. This is such a weird piece that you can do almost anything with it (or to it) and have it come out successfully, but Bavouzetās fluidity in the spiky solo part, and the excellence of the ensemble generally, disarm criticism. Finally, Mackerrasā version of the Vixen suite is surely the way to play it, and Gardner doesnāt put a foot wrong. The SACD sonics are quite goodāoccasionally a touch low level, perhaps, but thatās easily remedied.
-- David Hurwitz, ClassicsToday.com
That said, this release represents an auspicious beginning to a new series of JanĆ”cek orchestral works. Gardner really is a good conductor. He plays the Sinfonietta swiftly and, happily, without an inappropriate effort to polish the musicās rough edges. There are a couple of quirky touches. The second movement starts quickly and then settles down to a marginally slower tempo for the rest. The fourth movement, too, after those two sudden eruptions towards the end, is taken very slowly for the last appearances of the main theme. Iām not sure that I like it because it sits oddly with the overall spunky tenor of the performance, but itās not wrong, and it may improve on repetition.
Jean-Efflam Bavouzet plays a mean Capriccio, another swift performance, especially in the third movement, which the brass handle with aplomb. This is such a weird piece that you can do almost anything with it (or to it) and have it come out successfully, but Bavouzetās fluidity in the spiky solo part, and the excellence of the ensemble generally, disarm criticism. Finally, Mackerrasā version of the Vixen suite is surely the way to play it, and Gardner doesnāt put a foot wrong. The SACD sonics are quite goodāoccasionally a touch low level, perhaps, but thatās easily remedied.
-- David Hurwitz, ClassicsToday.com
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Janacek: Orchestral Works Vol 1 / Bavouzet, Gardner, Bergen Philharmonic
Janacek: Orchestral Works Vol 1 / Bavouzet, Gardner, Bergen Philharmonic
First some housekeeping. This version of the suite from The Cunning LIttle Vixen is allegedly the āfinalā edition prepared by Charles Mackerras, consisting largely of the Talich score (that is, most of Act 1) but with JanĆ”cekās original orchestration restored. According to JanĆ”cek scholar John Tyrrell, who wrote the otherwise comprehensive notes, Mackerras planned to conduct the āfinalā version of his edition, but his death intervened and it was only premiered at his memorial concert in 2010. What Tyrrell does not make clear is that Mackerras played and recorded his āalmost finalā version of the suite with the Czech Philharmonic for Supraphon. It differs in no major way from that offered here. So if you think that this recording features something new, it doesnāt, for the most part.
That said, this release represents an auspicious beginning to a new series of JanĆ”cek orchestral works. Gardner really is a good conductor. He plays the Sinfonietta swiftly and, happily, without an inappropriate effort to polish the musicās rough edges. There are a couple of quirky touches. The second movement starts quickly and then settles down to a marginally slower tempo for the rest. The fourth movement, too, after those two sudden eruptions towards the end, is taken very slowly for the last appearances of the main theme. Iām not sure that I like it because it sits oddly with the overall spunky tenor of the performance, but itās not wrong, and it may improve on repetition.
Jean-Efflam Bavouzet plays a mean Capriccio, another swift performance, especially in the third movement, which the brass handle with aplomb. This is such a weird piece that you can do almost anything with it (or to it) and have it come out successfully, but Bavouzetās fluidity in the spiky solo part, and the excellence of the ensemble generally, disarm criticism. Finally, Mackerrasā version of the Vixen suite is surely the way to play it, and Gardner doesnāt put a foot wrong. The SACD sonics are quite goodāoccasionally a touch low level, perhaps, but thatās easily remedied.
-- David Hurwitz, ClassicsToday.com
That said, this release represents an auspicious beginning to a new series of JanĆ”cek orchestral works. Gardner really is a good conductor. He plays the Sinfonietta swiftly and, happily, without an inappropriate effort to polish the musicās rough edges. There are a couple of quirky touches. The second movement starts quickly and then settles down to a marginally slower tempo for the rest. The fourth movement, too, after those two sudden eruptions towards the end, is taken very slowly for the last appearances of the main theme. Iām not sure that I like it because it sits oddly with the overall spunky tenor of the performance, but itās not wrong, and it may improve on repetition.
Jean-Efflam Bavouzet plays a mean Capriccio, another swift performance, especially in the third movement, which the brass handle with aplomb. This is such a weird piece that you can do almost anything with it (or to it) and have it come out successfully, but Bavouzetās fluidity in the spiky solo part, and the excellence of the ensemble generally, disarm criticism. Finally, Mackerrasā version of the Vixen suite is surely the way to play it, and Gardner doesnāt put a foot wrong. The SACD sonics are quite goodāoccasionally a touch low level, perhaps, but thatās easily remedied.
-- David Hurwitz, ClassicsToday.com
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Description
First some housekeeping. This version of the suite from The Cunning LIttle Vixen is allegedly the āfinalā edition prepared by Charles Mackerras, consisting largely of the Talich score (that is, most of Act 1) but with JanĆ”cekās original orchestration restored. According to JanĆ”cek scholar John Tyrrell, who wrote the otherwise comprehensive notes, Mackerras planned to conduct the āfinalā version of his edition, but his death intervened and it was only premiered at his memorial concert in 2010. What Tyrrell does not make clear is that Mackerras played and recorded his āalmost finalā version of the suite with the Czech Philharmonic for Supraphon. It differs in no major way from that offered here. So if you think that this recording features something new, it doesnāt, for the most part.
That said, this release represents an auspicious beginning to a new series of JanĆ”cek orchestral works. Gardner really is a good conductor. He plays the Sinfonietta swiftly and, happily, without an inappropriate effort to polish the musicās rough edges. There are a couple of quirky touches. The second movement starts quickly and then settles down to a marginally slower tempo for the rest. The fourth movement, too, after those two sudden eruptions towards the end, is taken very slowly for the last appearances of the main theme. Iām not sure that I like it because it sits oddly with the overall spunky tenor of the performance, but itās not wrong, and it may improve on repetition.
Jean-Efflam Bavouzet plays a mean Capriccio, another swift performance, especially in the third movement, which the brass handle with aplomb. This is such a weird piece that you can do almost anything with it (or to it) and have it come out successfully, but Bavouzetās fluidity in the spiky solo part, and the excellence of the ensemble generally, disarm criticism. Finally, Mackerrasā version of the Vixen suite is surely the way to play it, and Gardner doesnāt put a foot wrong. The SACD sonics are quite goodāoccasionally a touch low level, perhaps, but thatās easily remedied.
-- David Hurwitz, ClassicsToday.com
That said, this release represents an auspicious beginning to a new series of JanĆ”cek orchestral works. Gardner really is a good conductor. He plays the Sinfonietta swiftly and, happily, without an inappropriate effort to polish the musicās rough edges. There are a couple of quirky touches. The second movement starts quickly and then settles down to a marginally slower tempo for the rest. The fourth movement, too, after those two sudden eruptions towards the end, is taken very slowly for the last appearances of the main theme. Iām not sure that I like it because it sits oddly with the overall spunky tenor of the performance, but itās not wrong, and it may improve on repetition.
Jean-Efflam Bavouzet plays a mean Capriccio, another swift performance, especially in the third movement, which the brass handle with aplomb. This is such a weird piece that you can do almost anything with it (or to it) and have it come out successfully, but Bavouzetās fluidity in the spiky solo part, and the excellence of the ensemble generally, disarm criticism. Finally, Mackerrasā version of the Vixen suite is surely the way to play it, and Gardner doesnāt put a foot wrong. The SACD sonics are quite goodāoccasionally a touch low level, perhaps, but thatās easily remedied.
-- David Hurwitz, ClassicsToday.com
