Latest releases reviewed

ROSSINI: PETITE MESSE SOLENNELLE
Carolyn Sampson (soprano), Hilary Summers (alto), Andrew Tortise, William Unwin (tenors), Andrew Foster-Williams (bass), Gary Cooper, Matthew Halls (pianos), Mark Williams (harmonium), King's Consort/Robert King
Hyperion CDA 67570
***
Rossini, who abandoned his lucrative career as an opera composer at the age of 37, called his Petite Messe Solennelle, written when he was nearly twice that age, "the final sin of my old age". The work was conceived for a kind of grand domestic performance - it calls for just 12 voices, two pianos and harmonium, although Rossini also completed an orchestral version. Robert King's new performance of the original scoring benefits from the colour of period instruments, and the choral singing (with French-style pronunciation of the Latin) is rich and full, though at times perhaps a bit too forceful. The solo singing in this most unusual, sometimes austere, sometimes even giddy-sounding religious work may be a make or break issue. Alto Hilary Summers has the heft to unbalance the ensemble, and Andrew Tortise is one of those idiosyncratic tenors who is likely to evoke polarised responses. www.hyperion-records.co.uk

VIVALDI: CONCERTOS AND SINFONIAS FOR STRINGS
Venice Baroque Orchestra/Andrea Marcon
Archiv Produktion 474 5092
*****
The booklet for this new Vivaldi CD says it all. "Joyous celebrations of the art of orchestral playing," runs a sub-head. And: "Dashing scales, pounding basses, flickering arpeggios, exquisitely drawn-out chord sequences, sweetly touching melodies" are the characteristics highlighted in Lindsay Kemp's programme note. There's a catch, of course. These are concertos, nine of them, without soloists, works in which the orchestra alone is the centre of attention, and the disc includes three sinfonias in similar style. The playing is vibrant and alert, with a stylish swagger that exudes the pleasure principle in music. You'll find it hard to get through this disc without smiling. www.deutschegrammophon.com

MOZART: PIANO TRIOS IN B FLAT K502, IN E K542, IN G K564
Florestan Trio
Hyperion CDA 67556
****
Of all the Mozart trio recordings to come my way in this commemorative year, this new disc from the Florestan Trio is the one that offers the most easy-going, conversational give-and-take between the three players. Violinist Anthony Marwood is the soul of musical discretion throughout. Cellist Richard Lester sometimes does try to make a little more out of his part than the limited independence of the cello line warrants. And pianist Susan Tomes sometimes strikes a bit of attitude through her rubato in spite of the fact that Mozart gifted her most of the limelight and her colleagues never unduly challenge her position. The overall impression, however, is of a difficult-to-achieve neutrality which leaves the music to speak for itself. www.hyperion-records.co.uk

CHOPIN: ÉTUDES OP 10; ÉTUDES OP 25; NOUVELLES ÉTUDES; BARCAROLLE
Alfred Cortot (piano)
Naxos Historical 8.111052
*****
French pianist Alfred Cortot (1877- 1962), it sometimes seems, was as notorious for his wrong notes as he was as celebrated for the poetry of his playing. His 1933 and 1934 recordings of Chopin's Études contain their moments of inaccuracy, both accidental and planned (adjustments to the composer's text), so it's useful of programme note writer Jonathan Summers to provide reminders of just how high a proportion of these performances were issued from single takes. Note that accuracy is rarely the point of a Cortot performance. The plasticity of his singing line was unique, his rubato extravagantly daring and unusually persuasive, his tonal palette ravishing, his identification with Chopin as a romantic spirit apparently complete. The spirit and fantasy which shine through these excellently transferred old recordings are utterly treasurable. The disc also includes later recordings of the Nouvelles Études and a magical account of the Barcarolle. www.naxos.com