Elements explores the distinctive sound world of saxophone and harp in a program that moves between Baroque masterworks and newly commissioned music inspired by the four classical elements: Earth, Air, Fire and Water. Performed by saxophonist Huw Wiggin and harpist Oliver Wass, the album places Bach, Purcell, Vivaldi and Couperin alongside contemporary works written specially for the duo. Each commission reflects a different elemental idea, from the luminous textures of Charlotte Harding's Euphotic to the volatile energy of Laura Bowler's Caesium and the wind-driven virtuosity of David Wallace's blowing A gale. Interwoven throughout are inventive arrangements of Baroque works, drawing subtle connections across centuries. The pairing of saxophone and harp creates a sound palette that is intimate and richly coloured, capable of lyric stillness and brilliant display. Praised for his "liquid gold tones" by The Times, Wiggin joins forces with leading harpist Oliver Wass in a programme that moves between reflection, drama and radiant beauty.
Shostakovich's Preludes and Fugues stands as one of the most profound and technically demanding collections of piano music from the 20th century. A masterpiece of both harmonic exploration and emotional depth, the cycle includes 24 pairs of preludes and fugues, each reflecting the complexity of Shostakovich's musical voice and his experiences during the post-Stalin era. This new recording from pianist Sofia Sacco captures the full breadth of the work, offering a detailed and nuanced performance of each prelude and fugue, and a clear, faithful presentation of one of Shostakovich's most important contributions to the piano repertoire.
Each of Beethoven's piano concertos is a world unto itself, gripping and moving in it's own way and for it's own set of reasons. But even in this company, the Concerto no. 4 stands apart. It's opening phrase, inward-facing and played by the piano alone, immediately establishes that it is a work without precedent or parallel. It is full of contradiction - poetic and grand in equal measure - and makes an indelible impression on the listener. Many pianists will say it is the Beethoven concerto they love most; I am among them. It is fitting that this work inspired the strangest, most surreal companion piece of the Beethoven/5 project: Salvatore Sciarrino's Il Sogno di Stradella. Described by the composer as a concerto "not only of sounds but of resonances, near and distant," the work toggles back and forth between the composer's own spectral language, and one which evokes the 19th century. It is impossible to describe and utterly compelling. Recording these works live but without audience with the Swedish Radio Symphony Orchestra in the midst of the Covid-19 pandemic was an intensely intimate experience. It is extremely gratifying to finally share these performances with music-lovers not just in Stockholm, but throughout the world. (Jonathan Biss)
