The Irish Times - Friday - The Ticket - - MUSICREVIEWS -


Lat­vian Ra­dio Choir, Vox Cla­man­tis, Sin­foni­etta Riga, Es­to­nian Philharmonic Cham­ber Choir, Tallinn Cham­ber Or­ches­tra/Tõnu Kaljuste ECM New Se­ries 476 4825 ★★★ Arvo Pärt has long had a fond­ness for re­ar­rang­ing his work. Eight of the nine pieces

here ( Bea­tus Petro­n­ius, Salve Regina, Sta­tuit ei Dominus, Al­leluia-Tro­pus, L’Abbé Agathon, Es­to­nian Lul­laby and Christ­mas Lul­laby) are per­formed in en­riched ver­sions, all sound­ing soft-tex­tured and al­lur­ing as their sounds linger in the gen­tle haze of the acous­tic of Tallinn’s Niguliste Church. The long­est, most re­cent work, Adam’s La­ment (2009), sets words by the early 20th-cen­tury Ortho­dox monk Silouan of Mount Athos. Its typ­i­cally rapt man­ner em­braces, in a way un­usual for Pärt, some mo­ments that might have come from the 19th cen­tury. The two lul­la­bies are real ear­worms. See MICHAEL DERVAN MY BELOVED IS MINE

James Gilchrist (tenor), Anna Til­brook (pi­ano) Linn Records CKD 404 ★★★★ The songs of Ben­jamin Brit­ten are for­ever linked with the dis­tinc­tive voice that in­spired most of them: that of his part­ner, the tenor Peter Pears. James Gilchrist and Anna Til­brook show a clear aware­ness of the style not only of Pears, a quintessen­tially English singer, but also of Brit­ten, an al­ways in­de­pen­dent, char­ac­ter­ful pi­anist. Pears-like de­liv­ery, with its some­times beaty vi­brato, has never been to ev­ery­body’s taste. But the cool pas­sion, pen­e­trat­ing clar­ity, and im­me­di­acy of these new per­for­mances is im­pres­sive. You can hang on ev­ery ver­bal, vo­cal and tim­bral de­tail, from the early Au­den set­tings of On This Is­land, through The Holy Son­nets of John Donne and the Ital­ian­lan­guage Seven Son­nets of Michelan­gelo to the ten­der­est mo­ments of Can­ti­cle I, My Beloved Is Mine.


Svi­atoslav Richter (pi­ano) ICA Clas­sics ICAC 5084 ★★★★ Svi­atoslav Richter’s June 1975 recital at Lon­don’s Royal Fes­ti­val Hall pre­sented Beethoven early and late – the Sonatas in C, Op 2 No 3, and the Ham­merklavier, with three Ba­gatelles from the even later Op 126 as a bridge be­tween them. The play­ing is mighty, as un­com­pro­mis­ing as the mu­sic it­self, which re­flects a visionary Beethoven at his most self-con­scious­lly vir­tu­osic, and also, in the slow move­ment of the Ham­merklavier, at his most pro­found. As much as any­thing that’s on disc, these per­for­mances show why Richter has long been re­garded with such awe by his fel­low pi­anists – he fol­lowed the Ham­merklavier with an en­core of the fi­nale (not in­cluded here). The recorded sound is not top notch, and there’s some dis­tor­tion that’s in­tru­sive in the early sonata.


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