Strauss, Skalkottas: Oboe Concertos - Kwak. Goritzki

MDG Scene 903 1598-6
Stereo/Multichannel Hybrid
Classical
Nikos Skalkottas: Concertino for Oboe and Chamber Orchestra (1939), Kalevi Aho: Seven Inventions with Postlude for Oboe and Violoncello, Richard Strauss: Concerto for Oboe and Small Orchestra (1945)
Yeon-Hee Kwak (oboe)
David Pia (cello)
Munchner Rundfunkorchester
Johannes Goritzki (conductor)
Triple Feature
Yeon-Hee Kwak already has a catalogue rarity featuring concertos by Martinu and Dorati to her credit, and now this outstanding oboist and Munich resident pays tribute to three other twentieth-century composers. She performs with the Bavarian Radio Orchestra under Johannes Goritzki in a brand-new recording of the Strauss Oboe Concerto and the recording premiere of the orchestral version of the Concertino for Oboe and Orchestra by Nikos Skalkottas. The Inventions with a Postlude for Oboe and Cello by the Finnish composer Kalevi Aho form welcome encores.
Transforming Experience
Special circumstances sometimes produce special works. If an American soldier, an oboist from Pittsburgh serving in Germany after World War II, had not met Richard Strauss, the eighty-one-year-old composer probably would never have written his world-famous Oboe Concerto. In an environment of transformation marked by deep grief, the man who was certainly the most successful composer of his time wrote a bright work full of airy lightness and wit, without a trace of the gloomy and uncertain circumstances of 1945.
Extraordinary Talent
The compositions by Nikos Skalkottas are indeed a discovery. The extraordinary quality of this extraordinary composer is only gradually becoming known; a native of Athens, he was driven by pure need to return from Berlin to his native Greece in 1933. In his Concertino this Schönberg pupil combines carefree joy of performance and burlesque wit with folkloristic rhythm, while breathtaking cascades follow tenderly felt moods – a gripping experience and a showpiece for the soloist, who once again has the opportunity to display her extraordinary capabilities.
Fascinating Tour
Yeon-Hee Kwak has discovered a genuine gem in the Inventions of Kalevi Aho. With her cello partner David Ria she sets out on a journey through a mighty cosmos. Small in form but magnificent in expression: it is fascinating how the Finnish composer plays with the baroque idea and what colors the two musicians, individually and in dialogue, conjure out of the score! Produced in the finest SACD technique and the MDG trademark 2+2+2 sound, audio worlds of enthralling intensity spread out before the listener – an audiophile experience of the highest order!
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Review by John Broggio - June 20, 2012
The Skalkottas will be unfamiliar to many but to those not au fait with his compositional style should not be concerned - it shows remarkable similarities to Shostakovich but with a little more atonality replacing the grim irony of the Russian master. The Concertino of 1939 is a remarkably sunny affair, considering the tumult occurring in Europe at the time with the most obvious reflection of those troubled times being the slow movement, which is played with plaintive eloquence by Yeon-Hee Kwak and various woodwind contributions from the Munchner Rundfunkorchester. The nimble dexterity on display from Kwak and the strings under Goritzki's baton in the finale provide great contrast and end the work convincingly.
Aho's 7 Inventions with Postlude for Oboe & Violoncello provides Kwak the opportunity to display a more openly virtuoso display than in the other works. The effort and care that she and David Pia bring to this work provides a sense of unity to an otherwise fragmentary series of miniatures. Together they bring the work vividly to life and their performance conspires to make Aho's relatively unlikely pairing captivating.
The Strauss needs no introduction of course and Hwak plays it with consummate ease but that should not be confused with a bland or characterless rendition. However the Munich players are by no stretch of the imagination the VPO (or other illustrious Strauss orchestras) and against the very best, their contribution sounds a bit muted. Hwak tries hard to make up for this and never falls into the obsessive category of music making but can't stop the overall effect being a little flat.
The recording faithfully and clearly delineates the orchestra and it's seating plan with divided violins; despite the relatively small forces there is a cohesive and full tonal picture.
Recommended for the Aho & Skalkottas without reservation, the Strauss is reasonable but not exceptional.
Copyright © 2012 John Broggio and HRAudio.net
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