Are these the best classical albums of 2020?

Probably not. But out of the ones I’ve heard, I’ve enjoyed these the most:

10. The Leipzig Circle, Vol 2. (London Bridge Trio)

The Leipzig Circle record sleeve

If I were making a list of silliest sentences in CD booklets, this one would take the top spot: “[the first movement of the featured Felix Mendelssohn trio] has both firmness and determination that immediately declare it to be a strong and masculine conception.”

Luckily, the performance is a lot better than the commentary. It demonstrates that Clara Schumann’s feminine conceptions didn’t stop her from writing music that was on a par with Mendelssohn’s. And that Robert Schumann surpassed them both. In imagination, not testosterone.

9. Miroir (Alexandre Collard, Jean Daufresne and Mathilde Nguyen)

Miroir record sleeve

If I were making a list of understatements in CD booklets, this one would take the top spot: “Rarely, in the history of music, have composers written for horn, saxhorn and piano.”

In fact, only one work on this album was originally written for that combination – after a special request from the performers. In any case, it sounds amazing. Moreover, this record brings to light some unfamiliar and underrated repertoire from Belgian and French composers from the 19th through 21st centuries.

8. Debussy – Rameau (Vikingur Ólafsson)

Debussy - Rameau record sleeve

This one will feature on many ‘best of 2020’ lists. And if the Icelandic pianist releases another record in 2021, it will probably end up on that year’s lists as well. Because he’s as good as the hype that surrounds him.

This record would have ended up higher on my list if Ólafsson wouldn’t have made the misguided decision of combining Rameau with Debussy. Not because they make a bad couple. But because I don’t like Debussy’s piano music. Or the unacceptable way he wears a hat.

7. Anna Clyne: DANCE – Edward Elgar: Cello Concerto (Inbal Segev, London Philharmonic Orchestra & Marin Alsop)

Clyne-Elgar record sleeve

Now here’s someone who knows how to wear a hat:

Anna Clyne
Perfect!

No melodies moved me more last year than the sentimental, folk-influenced themes that form the basis of the four dances – excuse me, DANCES – by Anna Clyne.

The expressive style of cellist Inbal Segev serves them well. Although it steals too much of the spotlight from the orchestra. That’s especially true in the Elgar concerto. If you’re a fan of that work – and who isn’t? – the 2020 recording by Sheku Kanneh-Mason is probably a better choice.

6. Blessed Art Thou Among Women (PaTRAM Institute Singers)

Blessed Art Thou Among Women record sleeve

One of the greatest pleasures in life is listening to the sound of oktavists, the ultra-low bass singers that feature in Russian music. They’re abundantly present on this record, rumbling their way through four centuries of enchanting orthodox choral music.

If, God forbid, 2021 turns out to be another year in which we need extra comfort, this album is guaranteed to provide it. Just let the sounds of those amazing human didgeridoos gently vibrate your worries away.

5. Bohemian Tales (Augustin Hadelich)

Bohemian Tales record sleeve

Some stuff that you know, some stuff that you don’t. That remains the perfect mix for a classical concert or album. Often, the unfamiliar work that you dreaded makes more of an impression than the well-known piece that you came for.

That was certainly the case with this recording of Bohemian violin music. I was lured in by Dvořák and Janáček, but it was the Op. 17 by Josef Suk that blew me away – less ‘romantic’ than Dvořák, more ‘popular’ than Janáček and with a unique approach to musical form.

Intrigued, I decided to seek out more music by Suk, especially his orchestral works. And I quickly decided that it wasn’t worth another second of my time. But it could have been the beginning of an exciting journey of musical discovery, is what I’m saying.

4. Beethoven: Songs & Folksongs (Ian Bostridge, Antonio Pappano)

Beethoven songs and folksongs record sleeve

For obvious reasons, 2020 will not be remembered as ‘the year we celebrated the 250th birthday of Beethoven’. But it was an excellent year to explore Beethoven with a small b. Confined to my home, an album full of ‘domestic’ compositions was exactly what the doctor ordered.

Apart from the visionary An die ferne Geliebte cycle, the Beethoven songs are generally considered of little importance. And that’s even more true of his settings of Irish, British, Scottish and Welsh folk songs that he purely made – gasp! – for money. It’s to Bostridge’s credit that he applies his otherworldly talent to these supposedly mundane compositions – and reveals that they are anything but that.

3. Proving Up (Missy Mazzoli)

Proving Up record sleeve

2020 was also the year in which we witnessed how the American democracy nearly drove itself off a cliff.

There are a lot of reasons for what happened during the last four years. One of them is the destructive idea behind the American dream. Missy Mazzoli and her librettist Royce Vavrek turned that into a wonderful opera. And I’m not going to repeat what I already wrote about it.

2. Not Our First Goat Rodeo (Yo-Yo Ma, Stuart Duncan, Edgar Meyer & Chris Thile)

Not Our First Goat Rodeo record sleeve

Wait, is this a classical album?

Well, on the one hand, it’s labelled by the record company as such. It includes Yo-Yo Ma and Edgar Meyer. And in what other category would you put a track like Not For Lack of Trying?

On the other hand, who cares? I don’t trust jazz or bluegrass fans enough to feel confident that they will include this record in their end-of-year lists. And this joyous display of musicianship and collaboration cannot get enough praise from every corner.

1. Adès Conducts Adès (Boston Symphony Orchestra)

Adès conducts Adès record sleeve

Of the contemporary composers on this list, Thomas Adès is probably the most ‘difficult’ one. And yet, if you listen to some connoisseurs, you’d think he’s one cowbell removed from becoming André Rieu.

That’s probably because Adès’ music packs an emotional punch that resonates with a lot of people. Which makes it suspect in the ears of some.

Yet you only need to listen to the second movement of his piano concerto to realize that this guy is something special. There are echoes from many traditions, but the language is unique. And underneath is a musical progression that you don’t need to fully understand to be overwhelmed by it. That’s something that only comes around, well, every 250 years or so.

Did I just imply that Adès is the new Beethoven? Must be the champagne talking. All I wanted to say is: some things that came out of 2020, are worth remembering. Happy New Year!

Review: Dag Wirén String Quartets

Apparently, Punxsutawney Phil predicts an early spring this year. That means you only have a few weeks left to enjoy the winter with its perfect soundtrack: the Dag Wirén string quartets by the Wirén Quartet.

Dag Wirén string quartets

Dag Wirén: not a man of words

Never heard of Dag Wirén? Neither did I before this record caught my attention. Some quick facts:

Wirén already stopped composing in 1970, stating: “One should stop in time, while one still has time to stop in time.”

Dag Wirén

Luckily, his music is more memorable than his aphorisms.

Timeless craftmanship

Wirén’s style, especially in his early years, can only be described as neoclassical. To my ears: very neoclassical. Actually, he sounds like Brahms with a pair of warm woolen mittens.

But who cares that he was not hip with the times? Especially if he managed to come up with compositions such as his third string quartet, my favorite one on this record.

Its first movement starts off with a softly rocking accompaniment. Like a flower from under a snow bed, the first violin rises to the surface with the basic melody. Gradually, the other instruments join in to start a fascinating dialogue based on that motif. And just when their disagreement reaches its climax, the conversation abruptly halts and begins anew.

The second, slow movement is a romantic piece based on a pining melody that I’m sure I’ve heard before but can’t quite place. Drop me a note in the comments if you can help me out.

After the short but stirring minuet, the quartet closes with a finale where Wirén waves a tapestry out of the basic melodies of the previous three movements.

None of this would have sounded innovative in 1941. And it sounds even less so today. But the way Wirén develops and combines his musical themes bears witness to a timeless craftmanship that engages your attention while still being easy on the ears. And sometimes that’s all you need during those darkest days of the year.

Pizzicati and … er … stuff

What’s left for a composer after writing a neoclassical masterpiece such as that third string quartet? Judging from his fourth and fifth quartets, also included on this record, Wirén chose to adopt a more modern style. Not Stockhausen or Ligeti modern though, more like Sibelius and Shostakovich modern.

One thing that remains constant is Wirén’s wonderful talent for string arranging. All the quartets are overflowing with plinky plonks and zings and fiiiieuws – or whatever the technical terms may be.

It’s all immaculately performed by the Wirén Quartet. A bit too immaculately, perhaps. I get the feeling that, if they would tone down their reverence towards the composer a bit – he’s in their name after all – and let their own musical personalities shine through, this music would sound even better.

But what do I know? Do make up your own mind by listening to Dag Wirén string quartets by the Wirén Quartet on CD, Spotify or Apple Music. You won’t regret it.

 

Mozart for Managers

Imagine this nightmare scenario: seconds before an important meeting you find out that you brought the wrong presentation with you. A similar thing – only a million times worse – happened to star pianist Maria João Pires. The orchestra was already playing when she realized that she prepared for the wrong Mozart concerto.

 

Leading by example

One of the things I like about this video is the reaction of conductor Riccardo Chailly. You could use it to illustrate a management seminar: instead of getting mad or acting disappointed, he keeps his cool and affirms his trust in her. The result? Pires gives a flawless performance. All thanks to Chailly’s excellent management skills. And because Pires has the memory of an elephant, of course.

“Unlike business companies, orchestras are simple.”

An even better example is this wonderful performance of another Mozart concerto.

Do you see how conductor and pianist David Greilsammer is ‘a part of his team’ and how he ‘leads by example’? With a bit of creativity, you can match just about every business cliché to classical music. There’s even no ‘I’ in ‘orchestra’! I can’t believe http://www.mozartformanagers.com is still available – it’s a goldmine.

Mozart for Managers: the inspiration

‘Harmonious tunes for mergers & acquisitions’

Of course …

Imagine my total lack of surprise when I found out that this sort of thing is already being done. At Music & Management they “invite the corporate world to explore new ways of thinking about business practice” and “provide extraordinary insights into leadership, collaboration, creativity and personal development.”

The lucky participants of the Orchestra Experience are seated within an orchestra to:

  • “see and hear music being played from inside the orchestra, observe the role of the conductor and orchestral players.” Which sounds like fun.
  • “engage in an interactive discussion with the conductor and musicians about how playing in an orchestra mirrors the culture of a business organization.” Which sounds horrible.

Money well spent

Will this experience enhance the participants’ management skills? Probably not. You see, unlike business companies – especially the ones who can afford the Orchestra Experience – orchestras are simple. Everybody knows who the boss is and believes in the common goal. Each member has a recognizable skill and clear task, so nobody needs to hide the fact that he secretly feels unnecessary. That’s what managers should learn from musicians, not “the importance of creative freedom within the constraints of a large organization.”

But that doesn’t mean those seminars are a waste of time. Some of those people will surely walk out with a new or renewed love for music – never a bad thing. Because when the next financial crisis comes along, it’s good to have Mozart’s shoulder to cry on.