- 01 – Ludwig van Beethoven – Tremate empi tremate Op. 116 – I. Allegro
- 02 – Ludwig van Beethoven – Tremate empi tremate Op. 116 – II. Adagio
- 03 – Ludwig van Beethoven – Tremate empi tremate Op. 116 – III. Allegro molto
- 04 – Wolfgang Amadeus Mozart – Chio mi scordi di te…Non temer amato bene K. 505
- 05 – Ludwig van Beethoven – Piano Concerto in D major Op. 61a – I. Allegro ma non troppo
- 06 – Ludwig van Beethoven – Piano Concerto in D major Op. 61a -II. Larghetto
- 07 – Ludwig van Beethoven – Piano Concerto in D major Op. 61a -III. Rondo
Javier Negrín & Beethoven Philharmonie – dir. Thomas Rösner
Chen Reiss, who is at the heart of Mozart’s Ch’io mi scordi di te? as well as Beethoven’s terzetto, is a rising star of the opera world, receiving widespread acclaim for her sumptuous sound. Mozart wrote this concert aria for himself and the soprano Nancy Storace, who had played Susanna in his opera, The Marriage of Figaro. For this recording, Chen Reiss is paired with pianist Javier Negrín, who has enjoyed considerable acclaim for his solo Odradek releases. Javier Negrín brings these special qualities to this interpretation of Beethoven’s piano transcription of the Violin Concerto, a version he describes in the album booklet as “totally idiomatic”, adding: “To me, this music speaks about reconciliation and acceptance; it has a very serene beauty and purity of sentiment.”
This recording features tenor Jan Petryka and baritone Paul Armin Edelmann alongside Chen Reiss and the Beethoven Philharmonie, an Austrian ensemble created for and specialising in performances of this repertoire.
“An enjoyable traversal from pianist Javier Negrín with the Beethoven Philharmonie conducted by Thomas Rösner, and they play as though they believe in it; the performance is set up by vocal pieces: an early Beethoven terzetto that Rösner thinks anticipates the great trio in Beethoven’s Fidelio; and soprano Chen Reiss singing a Mozart concert aria, reminding us of Beethoven’s admiration for Mozart’s vocal lines and the way he could adapt his keyboard music for other instruments.”
BBC Radio 3 Record Review - Andrew McGregor / August 2020
“A new album called ‘Voices’, just arrived, which contains Beethoven’s ‘Sixth’ Piano Concerto, or possible ‘4a’, since it’s the piano version of the Beethoven Violin Concerto, which came between the Beethoven Fourth and Fifth Piano Concertos. This is Beethoven adapting it to the suggestion of Muzio Clementi and it’s been a singular passion of pianist Javier Negrín, who fell in love with it when he heard Howard Shelley perform it and has been wanting to record it himself ever since…. An enjoyable traversal from pianist Javier Negrín with the Beethoven Philharmonie conducted by Thomas Rösner, and they play as though they believe in it; the performance is set up by vocal pieces: an early Beethoven terzetto that Rösner thinks anticipates the great trio in Beethoven’s Fidelio; and soprano Chen Reiss singing a Mozart concert aria, reminding us of Beethoven’s admiration for Mozart’s vocal lines and the way he could adapt his keyboard music for other instruments. ‘Voices’ is the album’s title, it’s new this week from the Odradek label.”
“Mozart’s concert aria for soprano, piano and orchestra, Ch’io mi scordi di te? has in Chen Reiss a sensitive and vocally impeccable interpreter. The programme ends with the piano version of [Beethoven’s] Violin Concerto Op. 61. Javier Negrin plays the piano part very imaginatively, with much spontaneity and freshness. Thomas Rösner and the Beethoven Philharmonic Orchestra provide gripping and colourful accompaniment, making the recording one of the most exciting in the catalogue.”
Pizzicato - Remy Franck / August 2020
“The title of this album, Voices, undoubtedly fits the vocal pieces, but is also supposed to underline the cantabile nature of Beethoven’s Violin Concerto, here in the composer’s piano version.
The programme begins with Beethoven’s trio ‘Tremate, empi, tremate’, which, according to Thomas Rösner’s booklet text, « seems like an anticipation of the trio between Leonore, Florestan and Pizarro in Fidelio ». The performance is powerful and dramatic, and the singers convince with good performances, with a slightly reserved appreciation of the tenor’s singing. In the quieter passages Jan Petryka impresses with a beautifully lyrical voice, but his voice sounds strained in the final part and produces some unpleasant stilted notes.
Mozart’s concert aria for soprano, piano and orchestra, Ch’io mi scordi di te? has in Chen Reiss a sensitive and vocally impeccable interpreter.
The programme ends with the piano version of the Violin Concerto op. 61. Javier Negrin plays the piano part very imaginatively, with much spontaneity and freshness. Thomas Rösner and the Beethoven Philharmonic Orchestra provide gripping and colourful accompaniment, making the recording one of the most exciting in the catalogue.”
“… the programming here is both stimulating and unique; the sound is fabulous, and the orchestra on top form. Something new for Beethoven year!”
Classical Explorer - Colin Clarke / November 2020
“So the loaded question of how many piano concertos Beethoven wrote rears its head, as here we have his own transcription of his Violin Concerto for the piano. It is part of the Italian-based record company Odradek's policy of exploring the repertoire, coupled with lesser-known but fascinating vocal pieces by Beethoven and Mozart.
First up, though, a dramatic Beethoven "terzetto" (piece for three parts) for soprano, tenor, bass and orchestra, Tremate, empi, tremate (Tremble, you villains, tremble), Op. 116 of 1802, reminding us that it is , after all, Beethoven Year. It begins with a dramatic statement: a beautiful slow movement is interrupted by a forceful finale. It reminds us to look further than the familiar in Beethoven, and what delights that can bring (which inturn reminds us of the delights of Martino Tirimo's Beethoven box).
Here's the first movement of Tremate:
After that excitement, we need a bit of calm. The solo trio in Tremate is perfectly balances: Chen Reiss, soprano, Jan Petryka, tenor and Paul Armin Edelmann, baritone. Lovely that Reiss gets a chance to shine, along with our pianist, Javier Negrín, in Mozart's "Recitativo and Rondo" for soprano, piano and orchestra Ch'io mi scordi di te .... Non temer, amato beno, K 505 (of 1786) . The piece thus acts as a nice overlap of disc personnel, marrying singer with piano as soloists. Reiss is at the top of her form in this concert aria, and Thomas Rösner directs the Beethoven Philharmonie with pinpoint precision:
This is one of the finest performances of that concert aria in the catalogue, and so it is good to hear Javier Negrín's eloquence shine solo in Beethoven's arrangement of his Violin Concerto (which takes the opus number 61a). The concerto includes an extensive cadenza by Beethoven, which is one more than the violin concerto itself does (and the piano cadenza includes a part for timpani also!). And how fascinating to hear the delicate left-hand additions to that first solo, high entry. Here's the first movement with Negrín and Rösner:
... but of course we need to compare and contrast. So many performances of the Beethoven Violin Concerto played on a violin, of course; which one to pick. Well, I guess we're all imprinted by the first we performance we got to know, and for me it was Perlman and Giulini with the Philharmonia (on LP - big black round things). So here we are:
Beethoven Violin Concerto (i) in the Warner reissue of the WMI
The ornaments of line in the slow movement sound, to my ears at least, just as effective on piano; perhaps the opening of the finale loses something in lightness, but the first repeat of the theme in a higher register contains another wonderful left-hand surprise, and there's plenty of incident later to keep you amused, especially when delivered with such a sense of grace as Negrín manages:
This is absolutely not the only version of the piano transcription: perhaps most famously, Barenboim recorded it. But the programming here is both stimulating and unique; the sound is fabulous, and the orchestra on top form.
Something new for Beethoven year!”
“Another sensational album from the Odradek Records label… Chen Reiss … sings with exquisite musicality … the singer and the piano and the orchestra offer a wonderful reading of the work. In short, a highly recommended album, with high-level artists and impeccable sound.”
La Discoteca de HispaÕpera - Sipuo / 8 February 2021
Otro sensacional disco del sello Odradek Records, de producción impecable, llamado “VOICES Beeethoven | Mozart” que cuenta con el pianista canario Javier Negrín, la orquesta austriaca Beethoven Philharmonie, la soprano israelí Chen Reiss, el tenor polaco Jan Petryka y el barítono austriaco Paul Armin Edelmann todos ellos bajo la dirección del también austriaco Thomas Rösner.
El disco incluye la obra “Tremate, empi, tremate” Op. 116 de Beethoven, un trío para soprano, tenor, barítono y orquesta que, como bien dice el director Rösner, parece un anticipo del gran trío de la ópera ‘Fidelio’. Una obra que el músico de Bonn compuso durante el período en que estuvo asistiendo a clases con Antonio Salieri entre 1801 y 1803, quien le pudo sugerir el texto italiano. No fue hasta 1814 cuando, tras unos arreglos, se estrenó la obra junto a la Séptima y Octava Sinfonías. Está compuesta por tres números y los tres cantantes ofrecen muy buenas interpretaciones, especialmente el tenor, quien tiene la parte más destacada en el canto. Es una preciosa obra, poco ‘explotada’, que constituye una joya rara de las composiciones de Beethoven.
También de Beethoven se incluye el “Concierto para piano y orquesta en Re Mayor Op. 61 a” compuesto inicialmente para violín (Op. 61) y adaptada para piano por petición de su amigo Muzio Clementi, con un tercer movimiento Rondo muy popular. Javier Negrín ofrece una interpretación magistral, plena de frescura y espontaneidad, perfectamente acompañado por una orquesta que suena estupendamente.
El aria de concierto “Ch’io mi scordi di te?” K 505 de Mozart para soprano, piano obbligato y orquesta, completa el repertorio del disco. Chen Reiss, una soprano muy a tener en cuenta en el panorama lírico actual, canta con una exquisita musicalidad una pieza que está considerada como una de las mejores composiciones en este género, y que fue concebida como un aria de inserción para el personaje de Idamante en una revisión que Mozart hizo de su ópera Idomeneo. Tanto la cantante como el piano y la orquesta ofrecen una lectura estupenda de la obra.
En resumen, un disco muy recomendable, con artistas de gran nivel y un sonido impecable con el que disfrutar una hora de música bellísima.