John Adams’ City Noir was inspired by the cultural and social history of Los Angeles, with the composer himself calling it ‘an imaginary film score’, while Fearful Symmetries exemplifies his steamroller motor rhythms. The album ends with a capricious ‘Spider Dance’ of memorable rhythmic drive – a work dedicated to Marin Alsop who leads the ORF Vienna Radio Symphony Orchestra in these performances.

REVIEWS:

Marin Alsop has been quietly championing John Adams abroad—and now at the Met Opera conducting his El Nino— for decades. A new Naxos recording with the ORF Vienna Radio Symphony Orchestra demonstrates her flair and feeling for his distinctive idiom. City Noir, premiered by the LA Phil in 2009, is a vivid, multi-textured score inspired by mid-20th century urban California. With its jazz inflections and brooding canvases, the debt to the City of Angels and film noir are equally clear. This is the work’s third recording but well worth acquiring for Alsop’s theatrical bite and detailed interpretation. Punchier than Robertson and livelier than Dudamel (though Robertson’s ravishing sonics make for essential listening), she holds the attention with a sure eye for the work’s architectural twists and turns. The companion piece is Fearful Symmetries from 1988, one of Adams’s most infectious scores and yet only receiving its second outing on disc. Alsop takes the chugging basic pulse a tad faster than the composer’s own recording without sacrificing any of the infinite variety to be found in Adams’s orchestral details. It’s a joyous, carefree work and beautifully recorded. The same goes for the recorded premiere of Lola Montez Does the Spider Dance. Happily rehabilitated after getting the chop from Girls of the Golden West, this six-minute essay in wriggling cross rhythms is laced with sardonic wit.

-- Musical America (Clive Paget)

John Adams’s City Noir has been pretty well represented on disc in the fifteen years since its 2009 premiere: Marin Alsop’s new recording of the score with the ORF Vienna Radio Symphony is the work’s fourth. In general, this celebration of the city of Los Angeles benefits from her approach. It’s swift and characterful...its structure emerges nicely intact in Alsop’s hands. The central “The Song is for You” boasts a series of idiomatic solos (especially from alto saxophone and trombone), at times seeming to channel Gershwin. [The] ORF’s woodwinds, trumpets, and jazz drummer really shine here. By about any measure, this is some brash and chill Adams.

Even more welcome is the pairing’s account of Fearful Symmetries, a half-hour-long study in rhythm and texture that’s only been recorded once before. Granted, that earlier release was led by the composer and it’s aged well. But Alsop’s new take is downright invigorating. The conductor brings a strong sense of drive to the music, drawing out a beautiful blend of colors – from invitingly swooning saxophone quartet playing to unexpected synthesizer colors – from her forces. What’s more, hers is a reading that manages to vigorously illuminate the sophistication of Adams’s compositional language, circa 1988. It’s a keeper.

-- The Arts Fuse

“Darkness and Scattered Light” presents celebrated Pulitzer- and Grammy-winning composer John Luther Adams’s mesmerizing; elegant; virtuosic music for double bass—two solos and a work for five basses—written for and all performed by bassist extraordinaire Robert Black. “This is one of the most beautiful albums I have heard in years.... It would be hard to imagine a better match of composer and performer than John Luther Adams and Robert Black.”(David Lang; Pulitzer-winning composer); John Luther Adams’s music has been performed by such prominent ensembles as the New York Philharmonic; the Chicago Symphony; the Los Angeles Philharmonic; the Seattle Symphony; the and the JACK?Quartet. Cold Blue Music has released ten recordings of his work; including Houses of the Wind; Arctic Dreams; Lines Made by Walking; Everything That Rises; and The Wind in High Places. “John Luther Adams ... one of the most original musical thinkers of the new century.” (Alex Ross; The New Yorker) “His music . . . is an elemental experience.” (The Guardian). Robert Black tours the world collaborating with composers; musicians; and other artists. A founding member of the Bang on a Can All-Stars; his recent collaborations have been with Philip Glass; Eve Beglarian; and Joan Tower. “No one on the planet can make the double bass sing; dance; sound like a drum; spin like a top; like Robert Black. Robert has single-handedly reinvented the technique and repertoire of the Double Bass; bringing it bursting into the 21st century.” (Michael Gordon)

Percussionist Steve Schick [an origianl member of the Bang on a Can All-Stars] releases his first full-length CD on Cantaloupe Music in conjunction with his first book - which promises to be the definitive volume about percussion in the 20th-21st Century. A former percussionist himself, John Luther Adams finds music from the earth and brings it to life in composition - expect an unadulterated ambient soundscape that takes a journey through different sonic textures and environments, aided by a beautiful production and Schick's breathtaking performance.

A 2021 GRAMMY Nominee for Best Orchestral Performance!

Pulitzer and Erasmus Prize-winning composer John Adams occupies a unique position in the world of American music. His works stand out among contemporary classical compositions for their depth of expression, brilliance of sound, and the profoundly humanist nature of their themes. Adams describes My Father Knew Charles Ives as “an homage and encomium to a composer whose influence on me has been huge.” Harmonielehre was a deliberate move by Adams to expand his musical language beyond Minimalism, keeping its energetic pulse but embracing the rich tonal resources of the past to create a work that has accrued an aura of timelessness. Six-time GRAMMY Award-winning conductor Giancarlo Guerrerois music director of the Nashville Symphony and the NFM Wroc?aw Philharmonic in Poland, as well as principal guest conductor of the Gulbenkian Orchestra in Lisbon, Portugal. He has championed contemporary American music through numerous commissions, recordings and performances with the Nashville Symphony, presenting eleven world premieres of works by Michael Daugherty, Terry Riley, and others. As part of this commitment, he helped guide the creation of Nashville Symphony’s Composer Lab & Workshop initiative.

REVIEWS:

In point of fact, John Adams’ father did not know Charles Ives, but imagined that they had a good deal in common, and that was a springboard to a work that is unlike any other among Adams’ output. It’s not at all clear why My Father Knew Charles Ives has been so neglected. The work gets a detailed, sympathetic treatment here from Giancarlo Guerrero and the Nashville Symphony Orchestra. Guerrero and the Nashvillians have done a major service by reviving My Father Knew Charles Ives.

– AllMusicGuide.com (James Manheim)

Given the difference in ambiance and style between the two works, these brilliantly played and recorded performances might just make an ideal point of entry for those new to the composer.

– MusicWeb International

"She leads the score with grand sweep and understanding, and her Colorado forces bring out its colors vividly; moreover, she inspires her cast to sing as if they're having a great time with this no-longer-new but still odd opera."


Nonesuch's 1987 recording of this opera, produced when the work was new, was revelatory. Though clearly a piece of mimimalism, it did not rely only on endless repetition; indeed, Adams' musical language was varied enough to make Nixon in China a fascinating opera despite very little action and a somewhat unrevealing text by Alice Goodman. The Nixons and the events of the 1972 visit came across as oddly shallow. It's clear now that that was the point: Nixon's first-act rant, "News has a kind of mystery", is much the key to the opera.

It also seems wittier and more purposefully ironic now, with Kissinger's villainy almost overshadowed by his ladykilling; Pat Nixon's innocence almost charming (we've seen worse since); Madame Mao's berserk aria even more pointedly wacky and funny; and the contrast between Chou En-lai's philosophizing and Richard Nixon's simplemindedness clearer than ever. During the toasts in the third scene of the first act, Chou's toast, an eloquent paean to the future ("Our children race downhill unflustered into peace..."), is accompanied by even arpeggios; when Nixon's clichés take over ("a vote of thanks to one and all who made this possible"), we're jarred into paying attention to his mundanity by disconnected, disparate tones. It's masterly.

Each scene in the first act still strikes me as a few minutes too long, but Act 2, particularly with the spectacular and varied music for the surreal opera performance, is riveting. The frustrating last act is oblique in its dramatic thrust (it features personal reflections from all of the characters except, tellingly, Kissinger), but it is food for thought even if it is a dramatic anti-climax. It's a strange, quiet way to end an opera--but take it for what it is.

This new recording, taken from a live performance at Denver's Ellie Caulkins Opera House in June, 2008, is brilliant. It is sonically way ahead of the Nonesuch (which was recorded at a very low level), thus making it possible to understand almost every word, and Marin Alsop's tempos are slightly slower than Edo de Waart's, which also helps comprehension. She leads the score with grand sweep and understanding, and her Colorado forces bring out its colors vividly; moreover, she inspires her cast to sing as if they're having a great time with this no-longer-new but still odd opera.

Robert Orth's Nixon has just the right amount of self-parody that "playing" Nixon requires--the distance between 1987 and now is very long and we can sense ironies from our vantage point that we were blind to then. Maria Kanyova's Pat also seems more sympathetic while remaining as publicly simple as she always was, and Kanyova's voice and diction are splendid. Marc Heller handles Mao's high tessitura, sometimes bordering on madness, with great character and flavor. Chen-Ye Yuan's Chou is beautifully sung and he captures both the character's joylessness and intelligence. Thomas Hammons (also on the Nonesuch recording) uses his dark, growling bass to show us everything we need to know about the cynical Kissinger, and Tracy Dahl, as Madame Mao, is pretty frightening, even while delivering her Queen of the Night-like aria.

There's not much to decide between this set and the Nonesuch, which is still available. As mentioned, this new one is sonically superior (and cheaper), but otherwise it's pretty much a tie. Naxos, like Nonesuch, supplies a libretto; Nonesuch's booklet has superb essays and a better synopsis.

--Robert Levine, ClassicsToday.com (10/10!)

This recording presents one of the most lucid and well-programmed portraits of john Adams to emerge, well, in a long while.

In this program, Paavo Järvi and the Tonhalle-Orchester Zürich celebrate a composer of our time with works from different periods and citing a wide range of references, whether autobiographical or typically American. John Adams has assimilated numerous musical influences, and his personal style cannot be reduced to one of them: he is neither Minimalist, nor post-Minimalist, nor neo-Romantic. Some of his works can of course be said to belong to one or other of these movements, but he does not consider himself to be the representative of any particular tendency. If he refers to musical tradition in his works, it is always in a critical way and at the same time open to the influences of pop music, rock, and jazz.

REVIEW:

Paavo Järvi and the Tonhalle-Orchester Zürich mightn’t be the first pairing one associates with the music of John Adams. But, as their new album – simply titled John Adams – attests, they’ve pretty much got the iconic American composer’s style down pat.

Rhythmically, the Swiss band really digs into the proceedings here. That’s especially true of their account of Lollapalooza, a whimsical 1995 curtain-raiser dedicated to Simon Rattle. Järvi’s tempo is notably slower than either Kent Nagano’s or Michael Tilson Thomas’s, yet, if the reading is less overtly edgy, it’s perhaps jazzier than its forebears. And it certainly doesn’t want for energy or textural clarity.

Similar qualities mark Slonimsky’s Earbox, another mid-‘90s effort. It’s brilliantly energetic, yes, but Järvi’s command of its structure is the real story: this is as coherent a Slonimsky as has been played, clearly drawing on all the threads of Adams’ style up to about 1996 while also suggesting what was to come in pieces like Naïve and Sentimental Music and Son of Chamber Symphony.

Also, My Father Knew Charles Ives, Adams’ semi-autobiographical 2003 tone poem that, last year, was the highlight of a disc from the Nashville Symphony. Järvi and the Tonhalle-Orchester are, generally, a bit more relaxed in their tempos than their counterparts in Tennessee, especially in the first movement. But the performance never slogs; rather, it overflows with atmosphere and color.

Rounding things out is a carefully-balanced account of Adams’ 1986 fanfare Tromba lontana. Perhaps less familiar than its more vigorous companion piece, Short Ride in a Fast Machine, Tromba lontana, with its delicately dancing textures, potently complements My Father Knew Charles Ives.

The end result is one of the most lucid and well-programmed portraits of Adams to emerge, well, in a long while. As such, it’s an excellent way to mark the composer’s 75th birthday this year – or just his general contributions to contemporary music, which, as this disc reminds, have been anything but commonplace or predictable.

-- The Arts Fuse (Jonathan Blumhofer)

A half-speed mastered, new LP transfer of a best-selling album in the acclaimed series of minimalist piano music recorded by Jeroen van Veen for Brilliant Classics.
‘Throughout, the playing’s brilliant, confident, and sonorous’: this album of the piano output of John Adams won glowing reviews when it was first released in 2017. As an indefatigable champion of minimalist music from both sides of the Atlantic, Jeroen van Veen had recorded some of these pieces before, within his compendious ‘Minimal Piano Collection’ which became an essential acquisition for collectors of the most influential classical style in music during the last 60 years.

The 2017 remake of China Gates is even more opulent as a performance, superbly engineered to catch van Veen’s subtleties of touch at the piano, and thus eminently suitable for a high-spec vinyl transfer. ‘There’s something quite nice about encountering interpretations of these perennial Adams favourites that sound so comfortable,’ continued the Arts Fuse review: ‘a pianist enjoying himself, freely exploring the enveloping diatonicism of the music.’

Adams regards Phrygian Gates (1977) as his ‘first mature composition’, and it may seem strange that he has not since written more for solo piano than the four pieces gathered here, but as Jeroen van Veen argues in his sleeve-note essay, these pieces between them say all that needs to be said in terms of the composer’s piano style.
Mostly composed in a West Coast beach hut, the gentle flow, rolling swells and thundering breakers of Phrygian Gates add up to a half-hour, overpowering analogy for melodic waves. From the same year, China Gates distils this energy into a five-minute work of memorably concentrated stillness. Adams left off the piano for another 20 years until writing Hallelujah Junction for two pianos in 1996. Van Veen gave the Dutch premiere, and he remains an outstanding, authoritative advocate of Adams’s music.

"Waves and Particles" is Pulitzer- and Grammy-winning composer John Luther Adams’s beautifully shimmery, virtuosic string quartet, performed by the incredible, illustrious JACK Quartet. Adams’s music has been performed by such prominent ensembles as the New York Philharmonic, the Chicago Symphony, the Los Angeles Philharmonic, the Seattle Symphony, and the International Contemporary Ensemble. JACK Quartet has been deemed “superheroes of the new music world” (Boston Globe) and “the go-to quartet for contemporary music, tying impeccable musicianship to intellectual ferocity” (The Washington Post).

The London Sinfonietta combine two works from Thomas Adès, one of the most distinctive and popular voices in modern composition. Both works feature accompanying films (by Tal Rosner and Sophie Clements) that are included in this CD/DVD set. This is the second CD for the London Sinfonietta with Signum. It follows their October release of music by Louis Andriessen, featuring the UK premiere of Anaïs Nin, alongside his famed work De Staat. In Seven Days is a musical interpretation for piano and orchestra of the biblical 'creation' by Thomas Adès, composed in collaboration with a film-piece by the artist and filmmaker Tal Rosner. Both music and film evoke the processes of the creation rather than the objects described in the movement titles, using simple elements in repeated and evolving contexts in a perpetual state of flux, change and growth. The Piano Studies Nos 6 & 7 are arrangements of player-piano works by the American composer Conlon Nancarrow. An influential figure to generations of composers, Nancarrow's studies for the player-piano (or pianola) allowed him to generate music of extreme rhythmic complexity in a multitude of inventive ways. These arrangements for two pianos by Thomas Adès capture the strange magic of the originals, where fragmented musical ideas are played off against each other in a wild, almost jazz-like way. The works are accompanied by film-visualisations by Tal Rosner and Sophie Clements.

In the Autumn of 2021, the Finnish Radio Symphony Orchestra together with its new chief conductor, Nicholas Collon, arranged a Thomas Adès festival in Helsinki devoted to the world famous composer’s music in addition to works by other composers chosen and conducted by Thomas Adès (b. 1971). One of the highlights of the festival’s program was the world première of Märchentänze in its version for violin and orchestra performed by violinist Pekka Kuusisto, Adès’ long-time artistic partner. This new album by the Finnish Radio Symphony Orchestra includes four recent and exciting orchestral works written by the composer between 2016 and 2021 in world première recordings.

In addition to the Märchentänze, this album includes Adès’ orchestral Hotel Suite from Powder Her Face, an adaptation based on the music from the opera through which Adès first made a widespread name for himself in the mid-1990s. The orchestral version of Lieux retrouvés, originally written for Steven Isserlis, could be described as a cello concerto in the spirit of Marcel Proust. Orchestral work Dawn was written for the 2020 London Proms for ‘orchestra at any distance’, due to the coronavirus pandemic. Adès’ Dawn comes across as timeless music floating in a serene universe of beauty all its own.

REVIEW:

These performances by the Finnish Radio Symphony Orchestra (FRSO) under their current Chief Conductor, British-born-and-trained Nicholas Collon (b. 1983) are magnificent and bring out all the subtle colorations in these superbly scored works. That said, Finnish violinist Pekka Kuusisto gets a big hand for his superb playing in Märchentänze [T-10 thru 13]. And the same goes for Finnish cellist Tomas Nuñez in Lieux retrouvés [T-6 thru 9].

The recordings were made in October 2021 (Hotel… & Lieux…) and April-May 2022 (Märchentänze & Dawn) in the Helsinki Music Center’s Concert Hall. They present consistently generous, dynamically wide-ranging sonic images with both soloists centered, well captured and effectively highlighted. As for the orchestral timbre, it’s characterized by titillating highs, a pleasant midrange and clean bass. While these recordings are good on headphones, this colorfully scored music is even better over a good home theater system.

-- Classical Lost and Found (Bob McQuiston)

This new release from The Choir of Chapel Royal features Christmas carols both old and new. These songs were recorded in St. James’s Palace, London, and the stunning acoustics can be heard in each track. Huw Williams currently serves as Director of Music at Her Majesty’s Chapel Royal, St. James’s Palace. He also directs Cantemus Chamber Choir and Stroud Choral Society, and is on the faculty at Eton College.