The Gentlemen of HM Chapel Royal, Hampton Court Palace and their director Carl Jackson make their Resonus Classics debut with this album of works for lower voices by Thomas Tallis – himself a Gentleman of the Tudor Chapel Royal serving under four monarchs. Recorded in the impressive surroundings of the Chapel Royal where the choir are resident, this first release with the ensemble presents works for four and seven voices including a reconstruction of Tallis’s Missa Puer natus est nobis based on chant for Christmas Day, and the sumptuous Suscipe quaeso Domine. The Gentlemen of HM Chapel Royal, Hampton Court Palace sing services throughout the year in the palace’s splendid Chapel Royal, whose ceiling was installed by Henry VIII in the 1530s. There they are joined by up to eighteen boy choristers, who are drawn from schools nearby and led by Carl Jackson, Director of Music. Just as in the sixteenth century, the choir’s personnel is adapted dynamically to the occasion and the demands of the repertory. In ordinary times, there are six Gentlemen and for special occasions the ensemble can expand to as many as fourteen singers.

In his later years often described as the grand old man of Finnish modernism, Erik Bergman (1911-2006) was among the first in Finland to use compositional methods such as twelve-tone technique, serial music, choral Sprechgesang and aleatory counterpoint. His specialty was choral music, and a large part of his huge production involves a choir in some form. This recording focuses primarily on his works for mixed choir that have not appeared on disc before, and gives a broad picture of his production for the medium over a period of more than 60 years. Born to a Swedish-speaking family, many of Bergman's settings were of poems in Swedish, but he was a true internationalist and this two-disc set also includes works with texts in Italian, Norwegian, English, German, and naturally, Finnish. These are here performed by the Helsinki Chamber Choir, Finland's only professional chamber choir, under its artistic director Nils Schweckendiek.

Big Data – the title reveals the defining themes of this recording! The Decoder Ensemble considers the possibilities and consequences of the limitless availability of media in the digital age. All of the pieces here focus in different ways on common contemporary practices like remixing, copying & pasting, sampling, and recycling. An involvement with these techniques is natural for the members of Decoder, three of whom are themselves composers. The group, founded in 2011, calls itself a “band for contemporary music” and is actively involved in the newest musical developments and trends including electronics, computer techniques, multimedia, and elements of pop and rock music. The idea for this release grew out of the group’s “Big Data Weekend”. According to clarinetist Carola Schaal, this was a small festival “organized in 2017 by the Decoder Ensemble for which the group commissioned eight works dealing with the theme of remix. We chose several of those works for this album, as well as a piece by Brigitta Muntendorf that seems to us to fit perfectly with the others.”

The finale to this critically acclaimed four-disc series contains some of Sarasate’s greatest—and also some of his rarest—transcriptions and arrangements, some of which have been in the repertoire of violinists since they were published. They include a delectable Chopin sequence, arrangements inspired by the music of French Baroque violinists, an early and beautifully constructed Souvenirs de Faust based on Gounod, and Sarasate’s own favourite concert piece, Raff’s La fée d’amour. “Yang throws off merciless chains of double stops and finger-crippling arabesques with scintillating aplomb…simply inimitable…Bravo!” (BBC Music Magazine on Volume 3, 8.570893)

In the latest volume of this critically admired series, a number of rarely heard pieces from Albéniz’s first compositional phase can be savored. They were composed between 1881 and 1892 and reveal the variety and flair of which he was capable, even in the smallest of musical forms, such as the delightful mazurkas. The Siete estudios (Seven Studies) are no mere exercises – rather they fuse the color of Iberian music with the rigor of Central European traditions. Les Saisons is an evocative portrait of the seasons and can be seen as a forerunner of the impressionistic writing that would soon appear in French music.

Anchored in an optimistic synthesis of classical, folk, rock and electronic music, With Malice Toward None elevates the idea of what it means to be human in the 21st century. Pamela Z artfully deconstructs her folk rock heroes while paying homage to youthful nostalgia and childhood songcraft, while Christopher Theofanidis and Mark Wingate partner to craft a jaggedly ethereal adaptation of poet Samuel Beckett’s haunting final masterpiece. Eve Beglarian’s epic Armenian fantasia (We Will Sing One Song) taps into the elemental desire to connect - its yearning, duduk-inspired glissandi and enchanting melismas diverge and reunite as they crisscross digital soundscapes; virtuosic percussion improvisations lead to a place of sonic enlightenment. With tradition beckoning, newly arranged Armenian folk songs find their voice, over a century removed from ethnomusicological discovery. The album’s titular track personifies the life of its creator, weaving storytelling and social contradictions with Enlightenment calls to action and good old-fashioned rock ’n’ roll. Communing with artists across the globe, Apollo Chamber Players expands its bold take on our collective contemporary experience, innovating beyond the boundaries of time, place and pandemic.

Philadelphia-based period-instrument ensemble Night Music re-creates an afternoon of music making from October 1801 at the Austrian capital’s Palais Arnstein, with a flamboyant Quintet for flute and strings by Joseph Kraus, a duo by Carl Ditters von Dittersdorf for the unusual combination of viola and double bass, and a chamber arrangement – by the impresario Johann Peter Salomon utilizing the same instrumentation as the Kraus Quintet – of perhaps the most notorious of symphonic surprises. NIGHT MUSIC is a Philadelphia-based chamber ensemble dedicated to exploring and performing music of the Revolutionary era, roughly 1760 to 1825. Their repertory ranges from duos and trios to large-scale chamber works combining strings and winds, such as the imaginative symphony arrangements that were so popular around 1800, to concertos, cantatas, and concert arias. The 2019-2020 season highlights include guest appearances at Kenyon College and the University of Pennsylvania’s “Music at the Pavilion” Series. Recent engagements include the PhilaLandmarks Early Music Concert Series and the Early Music at St. James series in Lancaster.

 

REVIEW:

 

The Kraus Flute Quintet makes an excellent opening, likely to make you wonder why we don’t hear more of this Swedish composer’s music. Although the flute is first among equals here, it’s by no means a showy piece for a soloist. Night Music perfectly integrate flute and strings, and the recording is also very well integrated.

 

Is Salomon’s arrangement of Haydn's ‘Surprise’ Symphony equally worthy of recording? The music makes a good effect, charming music at this scale, receiving a charming performance; as in the Kraus, the flautist and the engineers don’t allow the instrument to dominate. With such small forces, however, the feature which earned the work its nickname, the sudden change from quiet to loud in the andante second movement, designed ‘to make the ladies jump’ – Beecham used to bring it off especially well – doesn’t quite come off, despite a claim to the contrary in the booklet. That said, this is an enjoyable work in its own inevitably diminished right.

 

I can’t claim great music status for the Dittersdorf Duo, but it, too, receives a performance which brings out its attractions, and the recording captures the unusual sound of the combination very effectively.

 

– MusicWeb International

Axel Borup-Jørgensen (1924-2012) was a meticulous modernist who followed his own distinctive path. His works exude distinctive and intense nature mysticism. The five works presented here – including three world premiere recordings – span the most important period of the composer’s artistic development, from Music for percussion and viola, op. 18 (1956) to his cathartic Periphrasis, op. 156, (first version, 1977) and all feature the full array of percussion instruments found in 20th c. music, bringing Borup-Jørgensen’s exquisitely crafted sound universe to life. Standing at the center of this universe is Gert Mortensen, one of the world’s leading scholars and performers of music for percussion. Mortensen’s ensemble partners, representing some of Denmark’s greatest musicians, including the incomparable Michala Petri (recorder), Tim Frederiksen (viola), The Percurama Percussion Ensemble, the Danish National Symphony Orchestra Brass Quintet and his regular duo partner, Prof. Qiao Jia Jia (Duo Crossfire), ably match Mr. Mortensen’s artistry.

The composer Fernando Lopes-Graça (1906–94) was something of a Portuguese Shostakovich: as a committed socialist, he faced repression from Portugal’s rightist military dictatorship; his works were banned and he was stripped of his official positions. Lopes-Graça responded in music, evolving a feisty, wiry Bartókian style that drew on Portuguese folk-music. This recording features Lopes-Graça’s own Bechstein piano, played by Olga Prats, who worked closely with him. Reviewing Vol. 1, Fanfare stated: “… the disc should be heard by 20th c. music lovers… a strong, individual voice”.

REVIEW:

Lopes-Graça’s First String Quartet won the Rainier III Composition Prize in 1965 and the composer then began to receive some of the public recognition he deserved. Eventually, some of his symphonic works were recorded. In the 1970s his writings were published and he was honored for his contributions to Portuguese culture. He composed a great many pieces during the last 20 years of his life, one of which is his Second String Quartet. The second movement contains a folk dance that extends into a rhythmic dialogue with dramatic overtones and a propulsive undercurrent. The third movement, “Cavatina,” is an aria with a long melodic line but without the cabaletta that would follow it in a bel canto opera. The finale includes material from the first movement as well as new music in a memorable whirl of interesting textures. This disc is a must for connoisseurs of 20th-century music and those who love unusual string quartets. I really enjoyed it and expect others so inclined will too.

-- Fanfare

Often cited as the most distinguished neoclassical composer of post-war America, Robert Muczynski (1929-2010) was born in Chicago to Polish parents. This album of chamber music surveys an output which is always restless and unpredictable thanks to the embrace of both Bartokian harmonies and structures as well as the more lyrical yet open-ended language of Samuel Barber. The Cello Sonata of 1968 is often considered to be Muczynski’s chamber music masterpiece, in which the problems of balance and register inherent to the genre are not only solved but transcended with a mastery especially evident in the central Scherzo. From a year later, the Fantasy Trio Op.26 is a welcome addition to the clarinet-cello-piano trio genre established by Beethoven. Energy and punchy rhythmic interplay are hallmarks of Muczynski’s music, as the earlier Flute Sonata engagingly demonstrates: in its whimsical, abrupt, headstrong progress through a compact four-movement form, it may even be considered the most important such work by an American composer. Muczynski took technical agility and devil-may-care confidence for granted in his interpreters; in this case, an international quartet of musicians based in the US. There is an extended booklet essay by the pianist Dmitry Samogray which places both composer and works in invaluable context. Any listeners curious to fill out their appreciation of American music beyond Copland and Bernstein will want to hear this release.

The Decameron is one of the greatest literary works of the Middle Ages. Ten young people have fled the terrible effects of the Black Death in Florence and, in an idyllic setting, tell a series of brilliant stories, by turns humorous, bawdy, tragic and provocative. This celebration of physical and sexual vitality is Boccaccio’s answer to the sublime other-worldliness of Dante’s Divine Comedy. Known for its widespread influence including Chaucer’s The Canterbury Tales and poetry by Keats, The Decameron is also a valuable document of life at the time of the Black Death. This is the first unabridged cast recording in English and includes prolific stage actor Simon Russell Beale. Ten original songs are featured, composed by West End composer Steven Edis. Guido Waldman’s vibrant translation captures the exuberance of Boccaccio’s masterpiece.

Chopin: Piano Works

Christmas celebrations are thought to go all the way back to the formidable feasting of the Vikings at midwinter, when in true Nordic fashion yuletide was ‘toasted in’. The celebration of the birth in Bethlehem is more subdued and spiritual, but it is of a far more recent date. We do not know if the Vikings celebrated yuletide with music, but music at Christmas has been a popular tradition since the Middle Ages. Today, practically all peoples around the world celebrate midwinter with special religious and cultural rituals; the precise times vary, but gifts, decorations, festivities, candles, bells and special Christmas music are apparently always part of this. In the 17th and 18th centuries, Christmas was the busiest time of the year for church composers. The congregation expected to hear new Christmas music in church which often involved instruments, choirs and soloists. Here you'll hear the Concerto Grosso - starting with A. Corellis version becoming template for the composers G.Torelli, A.Vivaldi, F. Manfredini and P. Locatelli following the trend of music concertos for Christmas Celebrations.

This is the third album with original Baroque style compositions by Federico Maria Sardelli, musicologist and author, and founder/conductor of Modo Antiquo, the early music ensemble with which he made numerous first performances and recordings of unearthed works by Italian baroque composers, notably the operas by Antonio Vivaldi. He is a satirist and comical actor. One of his foremost passions however is composing, in the style and spirit of his beloved Baroque era. His works are not exercises in formal writing but the recreation of the daring originality and vibrant passion of the time, alive through the spirit of discovery. This new release presents works for the keyboard, Suites de pieces pour le clavecin, in the style of Couperin, Rameau and Royer. They are played by Sardelli's colleague, friend and amazin harpsichordist Simone Stella.

David Mason’s beautiful verse-adaptation of Hawthorne’s classic novel, The Scarlet Letter, astutely portrays its characers amid the Puritan society of 17th century New England. My music-lyrically expressive and intricately orchestrated- dramatizes the psychological underpinnings of this story. Though Hester is shamed for adultery, her steadfast strength of character reveals a true moral sense, while the weakness of both her lover and estranged husband ultimately yield their self-destruction. This is a world premiere recording made possible by a generous grant from the Sorel Organization.

Ravel’s opera L’Enfant et les sortilèges captures an imaginative child’s world in which the creatures and objects around him come to life. Wittily portrayed in Colette’s inventive libretto and by Ravel’s meticulous orchestration, furniture, crockery and animals alike are at first provoked by the child’s appalling behavior, finally helping him after he bandages the squirrel’s paw he had previously pricked with his pen. The unforgettably enchanting Mother Goose translates well-known fairytales into music, including the gently melodic Sleeping Beauty’s Pavane, her conversation with the gruffest of beasts, and a final blessing in The Fairy Garden. Leonard Slatkin, music director of the Orchestre National de Lyon and the Detroit Symphony, has made more than 100 recordings that in total have earned him seven Grammy® awards and 64 Grammy® nominations.

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Review:

The all-French cast articulate the text splendidly, with tenor Jean-Paul Fouchécourt doing his usual superb number as L'Arithmétique. Mezzo Hélène Hebrard as the Child sounds suitably young and fresh, soprano Annick Massis as the Fire negotiates her high coloratura with accuracy and élan.

– BBC Music Magazine

Nikolai Peyko (1916–95) is a major Russian composer completely unknown in the west. +He is another composer who wrote nine symphonies, and much other orchestral music besides, but fell foul of the Soviet regime and was sidelined. +His piano music shares Shostakovich’s irony and Prokofiev’s driving march-rhythms and playful good humor. +This first CD of two in this complete recording of his piano music is the first time any of this music has been heard recorded on a western label.

Brahms originally wrote the Piano Quintet, Op. 34, for string quintet before recasting the work as a two-piano sonata. However, the sheet music has not ever been recovered. So, finnish cellist Karttunen set about its reconstruction. The result has all the vigor and power of the music we know but now recast in a different sonority.

REVIEW:

Another triumph for a small independent label. Brilliant thought provoking re-evaluations of ‘standard’ works by Brahms. The double viola version of the clarinet quintet in Brahms’ own arrangement is especially rewarding featuring some of the most beautiful viola playing I have ever heard from Steven Dann. Life-enhancing stuff.

-- MusicWeb International

The Heritage of John Philip Sousa, Vol. 6

Representing three generations of Spanish composers, these works reveal the diversity and depth of the Iberian musical imagination. Albeniz's Suite is a perennial evocation of Iberian Romanticism that transcribes naturally from piano to guitar, and Jose's original and inventive Sonata revives a reputation cut short by the Spanish Civil War. Dedicated to Segovia, Manen's Fantasia-Sonata is rich in Catalonian sentiment both elegiac and celebratory. Vojin Kocic's debut recording, 'and what a debut it is' (The WholeNote), can also be heard on Naxos.