Falla: La vida breve: First Spanish Dance

Along with his friend Caruso, Fritz Kreisler (1875–1962) was one of the superstars of the early gramophone era. He was “the master musician among the violinists of the day” (New York Times); he died 50 years ago (29 January 1962). As a composer, he is famous for his Viennese-style melodies, such as Liebesfreud and Liebesleid, for his notorious pieces “in the style of” various 18th-century masters (which he passed off as their original works, claiming to have rediscovered them in old manuscripts), and for his arrangements of well-known works by other composers.

We remember one of the world’s greatest violinists with an enticing 2CD set that includes a first time release on CD of a tribute LP from 1961, original Kreisler recordings, and an array of great modern violinists playing his works.

In describing ¡España!, Mischa Maisky has stated, “I’ve included Spanish music in my programmes for many years and have been waiting for a chance to record these pieces.” This is his first album with his daughter, the gifted pianist Lily Maisky. Mischa Maisky, “the genius of the cello” (Melómano, Madrid), says that “Emotionally speaking, I feel very close to this music. Wherever I play Granados, Falla and Albéniz onstage, the response is always hugely enthusiastic.”

Rovshan Mamedkuliev was first prize-winner at the prestigious Guitar Foundation of America Competition in 2012, and now stands as one of the world’s most exciting young instrumentalists. He has constructed a programme with several themes. Iberian music is represented by Falla, Albéniz and Turina, and by two of the titans of guitar playing, Miguel Llobet and Francisco Tárrega. He also includes music by his Azerbaijani compatriot, Fikret Amirov, whose folkloric-influenced music is another thematic link. The kaleidoscopic Just How Funky Are You by Andrew York and Leo Brouwer’s An Idea explore the guitar’s contemporary vitality. This recital disc demonstrates a number of facets at Mahmedkuliev’s disposal. He celebrates the Spanish lineage of the instrument with some canonic pieces, but also appeals more widely via contemporary music and by promoting the music of his compatriot. This disc will appeal both to admirers of this exciting new guitarist and to his repertoire choices.

Since their début as a piano duo in 2008, the twins Christina and Michelle Naughton have proved little short of sensational in concert halls all round the world. They both studied at the prestigious Curtis Institute of Music in Philadelphia as well as with a number of distinguished teachers, including Claude Frank, Gary Graffman and Seymour Lipkin, granting them an insight into the most disparate musical styles that goes far beyond a mere sovereign command of their instrument. This stylistic and technical mastery is abundantly clear from their début album on the ORFEO label, in which the Naughton sisters demonstrate supreme flexibility in affording listeners a varied glimpse of the repertory for piano four hands and two pianos. Their programme spans almost two centuries in the history of music, extending, as it does, from Mozart’s D major Sonata K 448 to Lutoslawski’s 'Variations on a Theme by Paganini' – a theme taken up and explored by many other composers. The Naughton sisters invest this work with a joviality that effortlessly communicates itself to the listener. Indeed, the 20th- and 21st-century repertory in general is one of their central, self-evident concerns.

Brahms’s Haydn Variations is another well-known work that belongs to the same genre, its climaxes demanding a tonal splendour that seems positively orchestral in character and that the Naughton sisters can produce when necessary. By contrast, their performances of Mendelssohn’s Allegro brillant and Schubert’s A minor Allegro (“Lebensstürme”) are distinguished by cantabile playing of simple beauty and by scales and chords which dynamically and agogically are subtly attuned to each other’s instrumentalism. Two 20th-century classics prove infectiously exciting with their vivid dotted rhythms: the First Spanish Dance from Falla’s 'La vida breve' and Ravel’s 'La valse' in the version for two pianos prepared by the composer himself. Listeners who enjoy this recording, which was made in the broadcasting studio of Radio Bremen, can look forward to Christina and Michelle Naughton’s forthcoming recitals at the start of the 2012/13 season, including appearances at the Herkulessaal in Munich and the Philharmonie in Berlin.

Following the success of Ben Breen’s first CD for Tall Poppies (Brahms Sonatas, TP172), he has teamed up again with veteran pianist Milton Kaye, for their second recording together. Sadly Milton Kaye has now passed away, so this CD is the last in his long legacy of contributions to the recording industry.

The music presented here is a selection of the salon music popular in the early 20th century. This music serves to present the personality and virtuosity of the performers, and each piece was often used as an encore after a strenuous recital. The works fitted well on the early twelve-inch 78 rpm discs, and these were often played on the radio. It is through these pieces that the musicians often gained a huge and devoted following.

As Milton Kaye has so often accompanied legendary violinists, such as Jascha Heifetz and Oscar Shumsky, that this music is in his blood. Australian violinist Ben Breen, a somewhat younger musician, has taken this style of music-making and made it his own. For this recording he has borrowed a gorgeous 1715 Guarneri violin which contributes significantly to the warmth of tone. His energy and virtuosity are partnered by Kaye’s understanding and experience.