why classical music makes a great gift
ten excellent Christmas gift suggestions
by patricia hammond | december 1998

Classical music makes an excellent gift. Could that be because it doesn't go out of style, being (in the majority of cases) already over a hundred years old?

Others say that as there's more to listen to in Classical music, it gets better every time you play it. One could continue to speculate, but I'll admit my own bias. I love Classical music.

On the basis of that qualification, in addition to being a classical salesperson in "the largest music store in Canada", and daily seeing folks react to what I foist upon them, I'm going to recommend ten titles that make people happy.

I must start with the Baroque era, not only because there are so many great musicians devoting themselves to Baroque music lately, but also because Baroque has a very direct appeal. The rhythms are clear, beautiful melodies abound, and - shame to say - it's easy to either turn it up and absorb it, or turn it down and use it as background music. Which suits some very well.

I
Practically everyone loves Vivaldi's Four Seasons. But Vivaldi, being a violinist, wrote many more works like it with virtuoso solo violin interacting with various combinations of strings. L'Estro Armonico (harmonious whim, or inspiration...) is the title of a group of concerti, which together fill two CDs. Violinist Fabio Biondi, who plays like a fiend, and his ensemble "L'Europa Galante" have just recorded these on Virgin (EMI) in excellent sound, selling for the price of one CD. It's hard to find better playing than this.

II
Also of extremely good value are the three (ed. note: there seems to be 4) volumes entitled "The art of the Baroque Trumpet" on the budget label, Naxos (around $7 per disc). The first volume is filled with trumpet concertos by Torelli, Handel, Telemann and others, and the Drottningholm Baroque Ensemble plays very well indeed. The second is music for trumpet and organ, and the third volume has the welcome addition of a beautifully clear-voiced soprano. But the real star is Niklas Eklund, arguably the best recorded Baroque trumpet player in the world today. Especially considering that the Baroque trumpet is such a difficult instrument to master.

III
For a more introverted, personal side of the Baroque, it is fulfilling to turn to Bach's Six Suites for Solo Cello, which, like L'Estro Armonico, fit neatly on two CDs. These have been interpreted by many over the last sixty years, most famously by Yo Yo Ma. The cellist has a huge responsibility in these suites, because his or her personality and vision is apparent in every note; so much can be expressed. To me, Pablo Casals, who made the first recordings ever of these pieces back in the mid to late 30s, still beats them all when it comes to personality, and he emotes so much. It's obvious how much this music means to him, and his interpretation simply glows. The sound has been nicely refurbished by the Abbey Road people at EMI, and all six suites come in a mid-priced 2CD set.

IV
On the showier side of things, and moving ahead a century or so, there's nothing like a piano concerto: the pianist vs. the orchestra, the individual against the crowd. Beethoven's "Emperor", Rachmaninoff's 3rd, Mozart's "Elvira Madigan" are deservedly well-known and loved piano concertos. The concertos of Johann Nepomuk Hummel, on the other hand, are undeservedly obscure. Stylistically reminiscent of the piano concertos of Beethoven, Mozart, and Chopin, they're instantly likeable and irresistibly tuneful. The recording on the Chandos label featuring pianist Stephen Hough leaves nothing to be desired in terms of sensitivity and brilliance. A welcome addition to any Classical-friendly CD collection.

V
More peaceful is Faure's Requiem, not so much a mass for the dead as a soothing contemplation of rest. In the 1893 version of the work, Faure scored it for boys' choir and a select group of instruments that excludes violins, creating a dark, velvety timbre. This version is given a first-rate recording by the Harmonia Mundi label, featuring conductor Philippe Herreweghe and the wonderful bunch of singers and instrumentalists he always manages to assemble for his recordings. Particularly gorgeous is Agnes Mellon's creamy-voiced "Pie Jesu".

VI
A lot further back in time is a collection of Sacred Renaissance choral music performed by the impeccable Tallis Scholars. This unaccompanied vocal group makes sounds so pure that it's hard to believe they're human. In this "Silver" collection (to celebrate their 25th anniversary of being together) PolyGram has assembled many of their most successful recordings in a two-for-one package. The uniform purity of their singing and the reflective nature of this sacred music can make rather beautiful aural wallpaper.

VII
With similar purity, contemporary Estonian composer Arvo Pärt's Te Deum creates an eerie moodiness that is very appealing, much in the same way that Gorecki's Symphony of Sorrowful Songs did back when it hit the pop charts. The most outstanding recording of Pärt's Te Deum is the one on ECM with Tonu Kaljuste conducting. The sound is amazing, and I can only describe this music as both modern and ancient, gloomy and uplifting.

VIII
Then, for the "Three Tenors" fans on your shopping list, or for people who lean toward the Mario Lanzas and Andrea Bocellis, grab them "Jussi Bjoerling, Tenor of the Century" on RCA. Until his sudden death in 1960, this singer had everything a tenor dreams of having. His thrilling "Nessun Dorma" is better than Pavarotti's, and there are many other gems on this disc, heroic and lyric.

IX
Handel's Messiah is something of a holiday staple, but just as fulfilling is Bach's Christmas Oratorio. With its invigorating opening chorus and beautiful solos, it can be played over and over and enjoyed more each time. Rene Jacobs leads a great bunch of vocalists and instrumentalists in a relatively new recording on Harmonia Mundi. Clear sonics and a booklet containing the German texts with English and French translations. This is a very fine work.

X
While we're on the subject, my Messiah recommendation is the Boston Baroque Orchestra and Chorus, directed by Martin Pearlman. Great choral singing, bouncy playing, and a fine team of soloists including a soprano who sounds like most folks' idea of an angel, not that anyone could know really...

Patricia is a classically trained mezzo who now lives and works in the UK. For more information about her, visit patriciahammond.com.