The Well-Tempered Ear
Gramophone Magazine names the Best Classical Recordings of 2022 by each month
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By Jacob Stockinger
Maybe you have a holiday gift card to use.
Or maybe you have some leisure time to explore new recordings for your pleasure.
You’re in luck.
Various media have recently named the Best Classical Recordings of 2022. Whether you stream them or use compact discs or listen to vinyl, over the next week or two The Ear will feature some of them.
One of the most prestigious and well respected lists is provided by the British publication and website, Gramophone Magazine (below).
The link below is just to the December 2022 choices. But in it you can find links by the month to other outstanding selections.
Like many other links now, you can also find links to complete reviews of individual albums, and can even listen to excerpts from the named performances.
Also like many international lists, this one often reflects a not-so-subtle bias — usual towards the artists in the home nation where the organization is based. So look for a lot of British performers and composers.
Still, you can find many outstanding choices to spend those gift cards on. Or just to explore for pleasure whenever you have the time and desire.
Here is one example.
When he first heard it, The Ear was fascinated by Paul Wee’s outstanding and astounding performance of the virtuosic solo piano transcription by the 19th-century French composer Charles-Valentin Alkan of Mozart’s famously sublime and dramatic Piano Concerto No. 22 in D minor, K. 466 (below in a photo of the album cover and in a YouTube video).
Very handy if you don’t have access to an orchestra! Plus you hear the composition in a new and insightful way — as often happens with transcriptions.
What do you think?
Do you have a favorite new recording from 2022?
The Ear wants to hear.
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Classical music: New York Polyphony opens the 17th annual Madison Early Music Festival with a perfectly rendered composite portrait of Elizabethan sacred music. Plus, the winners of the fourth annual Handel Aria Competition are announced
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ALERT: In case you haven’t yet heard, the winners (below) of the fourth annual Handel Aria Competition, held on Friday night in Mills Hall and accompanied by the Madison Bach Musicians, have been announced.
Eric Jurenas (center), countertenor, won First Prize; Christina Kay (right), soprano, won Second Prize; and Nola Richardson (left), soprano, won Third Prize and Audience Favorite.
By Jacob Stockinger
The Ear left the concert hall thinking: Well, this will be an easy review to write.
Just give it an A-plus.
An easy A-plus.
On Saturday night, the acclaimed a cappella quartet New York Polyphony (below) opened the 17th annual Madison Early Music Festival (MEMF) with a flawless performance.
This year, the MEMF is celebrating the 400th anniversary of the death of poet and playwright William Shakespeare (below top) and the 45-year reign of Queen Elizabeth I (below bottom), who oversaw the English Renaissance.
And the program – performed before a large house of perhaps 450 or 500 enthusiastic listeners — was perfectly in keeping with the festival’s theme. It used sacred music rather than stage music or secular music, which will be featured later in this week of concerts, workshops and pre-concert lectures.
In fact, the program of New York Polyphony was based on two of the group’s best-selling CDs for BIS Records and AVIE Records: “Tudor City” and “Times Goes by Turns.” It was roughly divided into two masses, one on each half. (You can hear a sample in the YouTube video at the bottom.)
Adding to the variety was that each Anglican or Roman Catholic-based mass was a composite, with various sections made up like movements written by different composers. Thrown in for good measure were two separate short pieces, the “Ave Maria Mater Dei” by William Cornysh and the “Ave verum corpus” of William Byrd.
The Mass on the first half featured music by Byrd, John Dunstable, Walter Lambe and Thomas Tallis. The second half featured works music by Tallis, John Pyamour, John Plummer and excerpts from the Worcester Fragments. The section were typical: the Kyrie, Gloria in Excelsis, Credo, Sanctus, Benedictus and Agnus Dei.
There was nothing fancy about this concert, which marked the Wisconsin debut of New York Polyphony and which spotlighted superbly quiet virtuosity. The four dark-suited men, who occasionally split up, just stood on stage and opened their mouths and sang flawlessly with unerring pitch and superb diction.
A cappella or unaccompanied singing is hard work, but the four men made it seem easy. The countertenor, tenor, baritone and bass each showed confidence and talent plus the ability to project clarity while not overshadowing each other. This was first-class singing.
The beautiful polyphony of the lines was wondrous to behold even, if like The Ear, sacred music from this era – with its chant-like rather than melodic qualities – is not your favorite fare.
New York Polyphony provided a good harbinger of the treats that will come this week at the MEMF from groups like the Newberry Consort of Chicago with soprano Ellen Hargis (below top) and the Baltimore Consort (below bottom) as well as from the faculty and workshop participants. On Friday night is an appealing program that focuses on Shakespeare’s sonnets and music.
And on Saturday night at 7:30 p.m., with a pre-concert lecture at 6:30 p.m., will be the All-Festival concert. That is always a must-hear great sampler of what you perhaps couldn’t get to earlier in the week. This year, it will feature the music as used in a typical Elizabethan day.
Here is a link to the MEMF website:
https://artsinstitute.wisc.edu/memf/
And here is a link the website of New York Polyphony if you want to hear more:
http://www.newyorkpolyphony.com
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