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cd choice the pick of the latest classical music cds and sacds as reviewed by barry forshaw, graham williams and others main menu skip to primary content skip to secondary content home about barry forshaw news featured reviews classical reviews books featured reviews honeck’s beethoven & strauss posted on october 21, 2018 by graham williams graham williams writes: beethoven: symphony no.3, r. strauss: horn concerto no. 1, pittsburgh symphony orchestra, manfred honeck/reference recordings sacd fr-728 manfred honeck’s tenure at the helm of the pittsburgh symphony orchestra that began in 2008 has arguably transformed this orchestra from an already first class one into a great one. it is no surprise therefore that the orchestra has extended his contract until 2020. thanks to the reference recordings fresh! series this transformation can readily be experienced by listeners world wide, as some of their choicest performances have been, and continue to be, captured in superlative multi-channel sound and issued both on sacd and as high resolution downloads. this latest release, the eighth in the series, pairs beethoven’s symphony no. 3 op 55 (“eroica”) with the horn concerto no.1 of richard strauss. at a first glance this might appear an odd combination, but coupling a concerto written for the most heroic instrument of the orchestra with beethoven’s “heroic” symphony – both works incidentally sharing the key of e flat major – certainly makes sense. continue reading → book reviews -- i saw eternity the other night by timothy day; chopin’s piano by paul kildea -- posted on november 2, 2018 by barry forshaw -- i saw eternity the other night: king’s college, cambridge and an english singing style by timothy day allen lane, £25 when a german critic (not brahms, as often erroneously attributed) described england as ‘das land ohne music’ (‘the land without music’),’ it wasn’t true then, and it is even less true when the legacy of such composers as elgar, vaughan williams and britten began to be known throughout the world. and certainly one area in which the uk has excelled is in an indigenous choral singing style, best exemplified by the nonpareil work of king’s college, cambridge. timothy day’s fascinating study could not be more timely, as this year is the hundredth anniversary of the college’s festival of nine lessons and carols. in a style which is fastidiously intelligent but always accessible, day (for many years curator of western art music in the british library’s sound archive) traces the king’s college style from its victorian origin (noted initially for its rough and ready approach, with the singers only having the barest essentials of musical knowledge), to the high level of professional endeavour that is the norm today. day is also an authority on recorded music, and notes how the advent of the longplaying record in the 1950s and 1960s that disseminated the sound of the choir. under the direction of the much-respected david willcocks, the choir perfected the celebrated king’s sound which — with its clarity and feeling — quickly established itself as the status quo for english choral singing. i saw eternity the other night also addresses such issues as the background of the societies and communities that typified the approach described in the book – mostly, of course, middle-class, but stretching in appeal beyond what might be perceived as the natural fiefdom of such music. the author’s earlier books include a century of recorded music as well as a study of hereford choral society, which makes him the natural chronicler of this subject. such is the authority of the book that it’s hard to imagine another study doing the kind of justice to the king’s college sound that day accords it here.   chopin’s piano: a journey through romanticism by paul kildea allen lane, £20 when in november 1838 chopin and georges sand took a trip to majorca to escape from the rigours of the parisian winter, they stayed in an abandoned monastery in the palma mountains where the composer finished the creation of one of the key works of the piano repertoire: his 24 preludes. this fascinating document – quite unlike anything that chopin aficionados will have encountered before – looks at the history of the composer’s masterpiece and the various instruments on which it has been played, along with its many gifted interpreters. kildea’s unorthodox book makes for a fascinating study, and the subtitle, ‘a journey through romanticism’, shows that by concentrating on one particular topic, the author has — inter alia — opened a window on to a whole musical field. -- debussy: a painter in sound by stephen walsh, faber, £20 -- posted on april 21, 2018 by barry forshaw -- if you are an admirer of the greatest of all french impressionist composers (with ravel running him a close second), your library will probably sport several biographies of claude debussy. so why should stephen walsh’s new attempt to assess the life and achievement of the composer be worthy of your attention? the answer — quite simply – is that it is one of the most astute and sympathetic studies of the composer that you are likely to read. in fact, walsh’s own description, ‘a biography of sorts’, suggests the particularly astute balancing act he performs between celebrating the exquisite music and the turbulent life of this difficult, temperamental man. walsh’s study, couched in elegant prose, never falls into the simply sequential. with fresh insights into such masterpieces as la mer as well as little-known works such as debussy’s unfinished opera based on poe’s ‘fall of the house of usher’, this becomes at a stroke a definitive guide to the life and work of a great french composer. barry forshaw -- new from cpo, chandos, pentatone, tacet: graham williams reviews posted on november 19, 2018 by graham williams larsson: symphonic works, vol. 3, helsingborg symphony orchestra; andrew manze/cpo 777673-2 sacd this is the third and final release from andrew manze and the helsingborg symphony orchestra in cpo’s valuable survey of the orchestral works of lars-erik lassson (1908-1986). the first two volumes were reviewed by me in 2014 and 2015, but why collectors have had to wait almost three years for this latest release to appear is a mystery since the music on all three volumes was recorded in 2011! though not a prolific composer larsson’s compositions encompass most musical genres – orchestral, works for solo instrument, chamber and opera. his music spans late romanticism, neo-classicism and he even adapted aspects of serialism to his own needs. it is perplexing as to why this fine composer has not gained greater popularity outside his native sweden as his best music possesses the wide range of distinctive qualities that one associates with many of the greatest nordic composers, sibelius, nielsen, stenhammar et al. as with volumes 1 and 2 the pattern is the same here. a symphony (in this case no.3 from 1944-45) is coupled with compositions from a different period in the composer’s compositional career. larsson’s symphony no.3 in c minor op.34 the main work on this sacd is an arresting and dramatic work. as christoph schlüren, writer of the most informative liner notes suggests, the shade of beethoven’s 5th is evoked by the driving five note theme of the opening ‘allegro con brio’. contrast arrives with a wonderful romantic and expansive melody on the horns before both themes are satisfyingly developed with larsson’s customary skill before reaching a surprisingly curt ending. the deeply felt slow movement is full of yearning lyricism and warmth while the brief scherzo that follows possesses both a delicacy and urgency beautifully conveyed by the crisp articulation manze elicits from his helsingborg players. the finale begins with a brief solemn introduction that quotes the aforementioned horn theme from the first movement before the arrival of the scampering allegro molto. the

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