Estonian violinist Kerem (b.Tallinn, 1981) is familiar as a performer in Britain as well as at home. He is also a prolific composer, with over 100 works to his credit, 3 symphonies among them. The three-movement 3rd Symphonny (2003) and the Lamento for viola and strings (2008–9) lie downstream from Shostakovich and Boris Tishchenko, and were inspired by the idea of the struggle of the individual voice against oppressive ideology.

This unusual album begins with archival recordings, in excellent sound, of the Russian-born composer-pianist Tcherepnin (1899–1977) playing some of his most memorable piano music. The 2nd part of the CD, performed by the Russian pianist Shilyaev, presents a selection of attractive, rarely heard works from various periods in Tcherepnin's career.

REVIEW:

As the only composer to have done significant work in all 5 UN Security Council nations—Russia, Britain, France, China, and the USA—it is unsurprising that Willi Reich, in his biography called Alexander Tcherepnin a ‘musical citizen of the world’.

Piano Sonata No.1 began life as No. 14 but Tcherepnin destroyed vast amounts of his juvenilia; not that you’d ever guess that this sonata was written by someone so young it is so incredibly self assured, an assurance which will have come from all the works he had previously composed. It is a fabulously rich piece of writing with a theme that emerges in the first movement that would have been worthy of Liszt. This sonata and the Op. 85 piece are played by the composer himself showing his complete mastery of the instrument both technically and compositionally.

Incredible as it may seem for such a prolific composer his second sonata had to wait 42 years to be written. The first movement is fascinating, alternating between lento and animato while the second, marked andantino is wistfully beautiful. The final animato has the sonata finally disappear mid-phrase.

His Quatre Préludes Nostalgiques from 1922 come next, the first of which creates an air of mystery. The second is a quiet interlude before the third’s tempestuoso lives up to its name. The last one is a mixture of sadness and grandeur.

The final work on the disc played by the composer himself is a little 1½ minute cracker with almost all the notes coming from the piano’s lowest register. At this point pianist Mikhail Shilyaev takes over showing how gently he can caress the keys which is what is required with the first of his contributions Moment Musical from 1913, when the composer was only 14, and is its first recording.

From 1918 to 1919 we have another first recording, Tcherepnin’s Petite Suite. This is full of delights. Rondo à la Russe from 1946 is “Russian” as it is supposed to be but interestingly Tcherepnin otherwise rarely shows his origins in his music though sometimes he does remind one of Rachmaninoff or Prokofiev. Entretiens composed over a ten year period from 1920 to 1930 is in ten parts, all of them showing the composer’s inventive flair. One of the recurring ideas in his music is the evocation of bells as with the final piece from the set.

Tcherepnin enjoyed fun as much as being serious and this is amply demonstrated in the little Polka from 1944. Scherzo from 1917 has elements of both Prokofiev, Tcherepnin’s idol at the time, and Rachmaninoff, though much harsher in sound to his lushness, though it begins that way. The set of 10 little pieces that together form Expressions, dating from 1951, are the only ones played by Shilyaev that are not first recordings and each bears a title rather than a tempo marking. At the Fair brings some Russian elements into play and I was reminded of Stravinsky. Barcarolle is a beautiful and delightful sounding piece and one of the longest on the disc at 3 minutes long; Tcherepnin had an amazing ability to exploit ideas within a tiny time-frame. La Quatrième from 1948-9, the last offering, is another first recording. It’s full of grandeur and the title is a reference to the Fourth Republic in France which heralded its post-war era following liberation. It received its première only in 1959 since it was part of a project by the publisher to have several compositions from immigrant composers of the École de Paris group in a collection that never materialized.

The overall impression one is left with after hearing this disc and others of Tcherepnin’s music is the breadth of his inventiveness; there is never a dull moment and discovering his music has been one of the musical highlights for me this year. As one would expect the tracks recorded this year sound fresher and crisper than those recorded by the composer in March 1965, though to have his own interpretations of those works is so valuable. Tcherepnin showed what a considerable pianist he was while Shilyaev amply shows his interpretive skills with that full range of moods and touches. This is vital for music that can range from a mere whisper to almost cataclysmic thunder.

The booklet notes by Benjamin Folkman are extremely well written, highly informative and contribute towards making the whole experience both enjoyable and memorable. If you have discovered the wonderful world of Tcherepnin’s piano music then this disc is a must for you and, if not, it is a perfect place to start to get to know this fascinating composer.

-- MusicWeb International

5 works for chamber orchestra by Krenek were written between 1931 and 1979 – both before and long after Krenek abandoned Hitler’s Austria for California. The emotions embraced here range from translucent lyricism, via powerful dramatic utterance, to uneasy existentialist humour – and much of it is very beautiful.

REVIEW:

This disc is titled Music for Chamber Orchestra, but Krenek uses large forces; the orchestra personnel list includes a string complement of 6/5/5/4/2, plus multiple woodwinds, trumpet, trombones, four percussionists, harp, celesta, piano, and guitar. Warsaw’s Chamber Orchestra Leopoldinum will need neither recommendation nor resumé for those who hear this disc; the musicians, their instruments, and their ensemble are perfection. Ernst Kovacic is an Austrian violinist as well as conductor; he has been director of the Leopoldinum since 2007 and has a marvelous feel for Krenek’s idiom.

The Nightingale was written in 1931, when Krenek was 31; the other works came to fruition in his 8th decade, from 1971 to 1979. The 10-minute Von Vorn Herein is “a mixture of freely invented sections and those based on a twelve-tone row” (from the penetrating program notes by Krenek scholar Peter Tregear). Its opening measures have a distinct flavor of Schoenberg’s First Chamber Symphony, and it then pursues its own “old-fashioned expressionistic” (Krenek) path, closing with a loud yawp from the trombones—a far cry from what we think of as a chamber orchestra work. Im Tal der Zeit includes references to Krenek’s earlier, tonal works but comes across as a colorful, gentle gloss on Schoenberg’s Five Pieces, op. 16. Krenek had an unparalleled ability to make atonal music graceful and pleasing. Static and Ecstatic consists of 10 short movements, half of them serial and half freely composed. In his Ernst Kernek, The Man and His Music, John L. Stewart writes “The music is so sensual, so eloquent, and so immediately enticing that one is inclined to regret the years Krenek spent on the stark, obdurate serial works…” The Dissembler is an odd combination of the playful and the serious, a monologue (in English) about acting by an actor, touching on metaphysics (“But—what is truth?”), with quotes ranging from Euripides and Goethe to the Bible and Krenek’s own writings—each in its original language. The solo line varies from speech to Sprechstimme to song. The serial music suits the concept, as does a bass drum joining a chamber ensemble. Tregear again: “A dissembler is also someone who plays against convention and authority, a jester who resides inside the cloak of a sober classicist.” Krenek indeed!

Amid all this fascinating semi-serialism comes a magical orchestral song, a setting of Karl Kraus’s poem The Nightingale. The high-soprano vocal line has the luxurious golden ease of Richard Strauss’s writing for Sophie or Daphne, backed by a delicate, Mahlerian accompaniment. It is sung with stunning grace and lucidity by Agata Zubel, who is also a composer teaching at Warsaw’s Academy of Music. If Want Lists consisted of individual works, these eight minutes would be a sure bet. This Toccata Classics CD is a model of fine production values. Magisterial performances and honest, well-balanced sound aid Krenek’s eloquent music; the booklet includes complete texts and translations, plus artist bios and a list of orchestra personnel. It is an absolute must for Krenek fanciers, and everyone should hear The Nightingale.

-- Fanfare

Ján Cikker (1911–89) was one of the leading 20th c. Slovak composers, credited with no fewer than nine operas. This disc features several first recordings of his piano music, of which little is known even in his native Slovakia. The music sits downstream from Szymanowski and Janáček, like them blending folk influences with French impressionism echoes. As also with Szymanowski, some of the pieces evoke the composer’s fondness for the Tatras, the mountainous borderland between Poland and Slovakia.

The friendship between Mátyás Seiber and Antal Doráti dates back to their youth, when they were the two youngest students in Zoltán Kodály's composition class in Budapest in the 1920s. Doráti was one year younger than Seiber and held him in high esteem from the beginning. In the memoirs, Így láttuk Kodályt [‘Thus We Saw Kodály’], he writes the following: "The two 'best' were Mátyás Seiber and Lajos Bárdos. Matyi [Mátyás] wrote a great string quartet at the time, which has survived. One of our tasks was to write variations on a Handel theme. In response to one of Seiber's slow-tempo variations, Mr Kodály said: 'That's nice'. In our eyes - at least in my eyes - that was the canonization of Matyi."

Throughout his long career Liszt’s songs – perhaps the most neglected part of his enormous output – took a radical approach to form: he eschewed convention in his search for a sincere musical response to each text. His free-spirited creativity meant that a single song would often call on a range of stylistic devices, among them bel canto vocal lines, unaccompanied recitative, orchestrally conceived piano textures and audacious harmonic procedures. This first recording of his songs by a bass voice brings out both the power and poetry of Liszt’s remarkable imagination. The American bass Jared Schwartz was born in Berne, Indiana, where he began piano lessons at the age of three, violin at seven and French horn at ten. He began a double major in pre-med and music at Bethel College, Indiana, then studied piano with Alexander Toradze and voice with Victoria Garrett, earning a graduate degree from the Eastman School of Music. For Toccata Classics he has already recorded albums of songs by Faure and Flegier.

REVIEW:

Schwartz's forte singing is most impressive, and his voice remains lustrously smooth and elegant in all registers. His vocal coloring, use of contrasting dynamics, and feeling for the text combine to make his readings thoroughly engaging. When he sings with gentleness and lyricism he weaves a magic spell, as in ‘Des Tages Laute Stimmen Schweigen’, which ends sublimely as he delivers the final line of the text (“As night embraces you with gentle silence”). It is stunning.

Mary Dibbern, who collaborated with him in his Flegier album and in preparing his Fauré album, does a superb job with Liszt’s often challenging accompaniment. She also wrote the comprehensive and informative notes for the release.

I learned to enjoy Liszt through his songs, especially his early high-flying Schiller and Petrarch settings, sung by tenors. I am now enjoying a voice that plumbs the sonic and textual depths of the songs.

-- American Record Guide

Ronald Center (1913–73) is sometimes described as ‘the Scottish Bartók’, and his music does indeed capture some of the stark, wild energy of the Scottish landscape in a style of Bartókian asperity. These three string quartets show him, in his northeast corner of Scotland, to have been fully conversant with the quartets being written around the same time by Barber, Britten and Shostakovich, but their direct manner, terse expression, wiry humor and roots in Scottish folk-music ensure that Center is his own man.

The four works for symphonic wind band composed by Peter Fischer – born in 1956, across the bay from San Francisco, in Martinez, California – are almost textbook examples of American eclecticism, mixing urban vibrancy with a sense of the timeless outdoors, bringing in flavors from jazz and rock and moving easily between vigorous dance-rhythms and sultry nightscapes. Dance, indeed, lies at the heart of most of this music, which gives the mambo, the tango, the tarantella and the waltz a new and spirited twist amid echoes of Stravinsky, Revueltas and Bernstein. In Fischer's Trumpet Concerto, soloist Jens Lindemann plays trumpet, cornet, and flügelhorn.

These two works present two sharply contrasting sides of Malcolm Arnold: his limitless resources of knockabout fun, and a sense of existential tragedy. But each score presents its own surprises: the jocularity of the Grand Concerto Gastronomique conceals some seriously good (though not seriously serious) music; and the delicately scored Ninth Symphony, written after five years when its composer had, in his own words, ‘been through hell’, irradiates its emotional restraint and elegiac tone with moments of light and warmth.

REVIEW:

Overall, this is a typically excellent disc from Toccata; first rate music receiving effective performances presented in an informative and valuable package. Even the rather sombre, indeed haunted, image of Arnold that stares bleakly from the booklet cover is well-chosen and apt. Given that it is two decades since we have had a new survey of Arnold’s magnificent symphonies, I hope that this will prove to be just the beginning of a new cycle – a warmly welcomed disc.

-- MusicWeb International

This release is a joint project between American string sextet Cuatro Puntos and student ensembles from Afghanistan National Institute of Music (ANIM), opened in Kabul in 2010 after a period of Taliban rule in which instruments were destroyed and musicians were outlawed. The special goal of ANIM is on supporting the most disadvantaged members of Afghan society, many students are orphans and street vendors. Cuatro Puntos is based in Hartford, Connecticut. The ensemble is a non-profit organization centered around global peace and cooperation achieved through the writing, teaching and performance of music across the world. The title work is by composer Sadie Harrison; in recognition of her unique integration of modern composition and traditional Afghan folk music, she was given the honor of being named a Visiting Fellow at Goldsmiths, London. This album is the result of her time there. The Rosegarden of Light alternates between interludes performed by the Ensemble Zohra, the ANIM all-girls ensemble and fantasies on their material performed by Cuatro Puntos. "At a time when we are bombarded every day by images of the world in crisis, The Rosegarden of Light is a joyful celebration of musicians who share a fundamental right to express themselves through the universal language of music." - Blackmore Vale Magazine

REVIEW:

Music can mean many things to different people and to some it can mean everything. Music can represent religious beliefs, create political conversations, and preserve the cultural aspects of a civilization. Now imagine living in a place where music has been heavily censored since the 1970s, a ban on instrumental music wasn’t lifted until 2001, and the first performance of a decades old children’s book moved people to tears because they thought the songs were lost. This is Afghanistan. This is the importance of the “Rosegarden of Light” release.

The liner notes tell of books about Afghan music and its history and a website to view videos of performers. The performances are lively and solid, mostly a mix of Indian, Persian, and Pashtun, with some strongly influenced by western music. The music isn’t the most difficult, but simply having groups like the ANIM Junior Ensemble of Traditional Afghan Instruments playing folk songs and the all-female Ensemble Zohra existing at all is a major accomplishment. The US string sextet Cuantro Puntos does the heavy lifting on the culturally mixed pieces, and the collaborative works turn an already important musical release into something even greater.

-- Fanfare

Henri Hardouin (1727–1808) was a chorister in Rheims Cathedral, rising swiftly through the ranks to become maître de chapelle – until the French Revolution disbanded religious establishments. As a priest he was in potential danger and seems to have gone into hiding until, in 1794, the death of Robespierre allowed him to resume his duties. Hardouin’s six four-part masses, published in 1772, are unusual for their time in being a cappella, and they enjoyed wide circulation in pre-Revolutionary France. Since then they have been roundly neglected – an omission this first complete recording intends to rectify.

Gary Stroutsos honors the Hopi Tribe with solo improvisations on a reincarnated leena. Featuring the plaintive and haunting sounds of the Hopi long flute, these pieces are inspired by the landscapes of the American Southwest, and the people who have lived there since time immemorial. Songs for Leena is the follow-up album to Öngtupqa. The Hopi Tribe have maintained their flute tradition for thousands of years. Today, it is still actively cultivated with the help of The Hopi Long Flute Preservation Project, of which Gary is an honorable member. Due to his dedication to the instrument, and long-term friendships with cultural practitioners of the tribe, the Hopi Cultural Preservation Office invited Gary to join the project – an offer never extended to a non-native before. Profits from this album will go towards The Hopi Long Flute Preservation Project.

Adolfo Fumagalli (1828–56), one of four musician brothers from Inzago, near Milan, made a name for himself across Europe as ‘the Paganini of the piano’, astonishing audiences with dazzling technique and acquiring a reputation for performances using his left hand alone. Fumagalli composed a large body of piano music – over 100 opus numbers – many being operatic fantasies and virtuosic studies of the type presented in this anniversary recital given in his home town. The CD also features several virtuoso studies from the set of 24 in Fumagalli’s École du pianiste modern, published in Paris in 1854.

Indian classical music has certain modes and ragas dedicated to the seasons, which have been explored by many generations of musicians. In accordance with the Indian calendar, spring runs from mid-February to mid-April, and is known as Vasant (or Basant). The festival Holi celebrates spring’s arrival. In this album, Baluji captures the rapture of spring, expressing seasonal feelings of renewal and hope through the subtle nuances of the chosen ragas. He celebrates his mastery of the sitar with wonderful sensitivity and dexterity. There are also some thrilling moments enthused by the distinctive tabla playing of Sukhvinder Singh “Pinky”, with his vivacious renditions of 1relas and 2chakradas. Baluji cannot see the colors of flowers but he has heard their voices, and they sing out through this joyous album – Voice of Flowers.

The composing career of Simon Bainbridge (born in London in 1952) is spanned by the four chamber works in this album, all of them cast as single narrative spans. The First String Quartet, written when its composer was not yet twenty, blends lyricism and pointillism, rather as if it were recasting abstract poetry in sound; and the recent Second offers a kaleidoscopic tableau of color and nervous energy inspired by visual art. In his Cheltenham Fragments, as the title suggests, Bainbridge uses mosaic technique to build up textures and thematic outlines. And the long lines of the virtuosic Clarinet Quintet generate fleetfooted whirlwinds as they unfold. Linda Merrick and the Kreutzer Quartet worked closely with the composer on the preparation of these recordings.

To mark the 50th anniversary of Noël Coward's death, celebrated musicians and regular Signum artists Mary Bevan, Nicky Spence and Joseph Middleton join forces for this album of works by Coward and his contemporaries. Featuring songs such as Parisian Pierrot and The Man I Love, the album comprises of a collection of solos, duets and instrumental songs by composers such as Ned Rorem, Liza Lehmann, William Walton, and Benjamin Britten.