The premiere of Franz Lachner’s Symphony No. 6 was held in Munich on 19 April 1837 with the composer as the conductor. The Munich press termed it a “magnificent work” and an “outstanding masterpiece,” and in this truly extraordinary work Lachner refrains from the confrontational juxtaposition of large-format thematic blocks (above all occurring in his third and fifth symphonies), instead presenting a “more organic” compositional style in which motivic-thematic developments are realized step by step. Lachner’s Concertino for Bassoon and Orchestra is a work from 1824, composed during his Vienna years. He dedicated it to Theobald Hürth, who was then the Vienna Court Opera Orchestra’s principal bassoonist. It is not known whether or not Hürth ever performed this work in public, and performances of it are not documented. It is one of the earliest extant compositions by Lachner and possibly his first work with orchestra. Here Chia-Hua Hsu, the solo bassoonist of Taiwan’s Evergreen Symphony Orchestra, interprets its recording premiere.

During his thirteen years as chief conductor of the Stuttgart Radio Symphony Orchestra of SWR Sir Roger Norrington conducted and recorded an important part of Berlioz's core repertoire. The present boxed set brings together on seven CDs the Requiem, the opera Benvenuto Cellini (concert performance), the oratorio L'Enfance du Christ, the overture Les Francs-juges and of course the Symphonie fantastique.

Norrington's style has caused a stir internationally with what has come to be termed ‘The Stuttgart Sound’: a synthesis of historically-informed performance practice with the technical capabilities of a modern orchestra. Whether in Mozart, Haydn, Bruckner, or Berlioz, Norrington seeks to capture the performance experience of the time, adjusting the orchestra’s size and seating plan to create an authentic sound without vibrato.

Hector Berlioz had to surmount a variety of challenges before he was able to pursue his musical vocation. His father, a respected physician in the provincial South of France, was not readily willing to come to terms with his son's intention to quit his medical studies and turn instead to music. He therefore made all further financial support subject to Hector's climbing up the musical ladder at lightning speed. Alas, it didn't work so easily. Berlioz's road to success was tedious and marked by adversity and struggle, his personal life tumultuous. The uniqueness and originality of his musical style are no longer disputed, but this insight came at the end of a decades-long process.

"The beautifully produced Çedille album of Jewish cabaret music broke new ground. Yet more depths were revealed in a ravaged culture: modest, entertaining, and humane." -- Paul Ingram, Fanfare

The booklet accompanying this release is so thick that it requires a double jewel case to accommodate it and the single CD it documents. So extensive are the essay, annotations, and bibliography to this production—assumed to have been authored by the New Budapest Orpheum’s director, Philip V. Bohlman, though nowhere is he credited as the author—that I will not even try to summarize their contents, which cover the history, politics, and poetics of Yiddish song in stage, screen, vaudeville, and cabaret. The program of Jewish cabaret songs contained herein complements some of the volumes that appeared in the massive Milken Archive of American Jewish Music, though the composers represented on the current CD were not necessarily transplants to American soil. Of those who enriched the Jewish cabaret literature, some did make it to U.S. shores, notably Hanns Eisler, Kurt Weill, and Arnold Schoenberg. But others, such as Viktor Ullmann and Pavel Haas, perished in the Holocaust.

The disc is divided into seven sections: (1) “The Great Ennui on the Eve of Exile,” featuring songs by Edmund Nick and Erich Kästner; (2) “The Exiled Language—Yiddish Songs for Stage and Screen,” featuring unattributed songs, but at least one by Abraham Ellstein; (3) “Transformation of Tradition,” presenting songs by the aforementioned Eisler; (4) “The Poetics of Exile,” offering songs by Kurt Tucholsky, as well as additional songs by Eisler; (5) “Traumas of Inner Exile,” featuring songs by Ullmann; (6) “Nostalgia and Exile,” presenting additional unattributed songs; and (7) “Exile in Reprise,” offering songs by Friedrich Holländer.

The songs were chosen to reflect the various phases of exile—physical, emotional, and psychological—that European Jewry experienced in the period leading up to and during WW II and its immediate aftermath, roughly 1935 to 1945, a period that accounts for the second great exodus of Jews from Europe. Primarily then, these are songs from the smoke-filled nightclubs and entertainment halls of Berlin and other European cities before the rise of Hitler, from the barracks of the concentration camps during the Holocaust, and from the months and years following the liberation. The before, during, and after the Shoah aspects of the recorded material frame and reflect the corresponding attitudes, mindsets, and living conditions of the times—from a song like Elegy in the Forest of Things, expressing a kind of resigned world weariness; to Ellstein’s Deep as Night that tries to deaden the senses to the pain of the outside world with the surrogate internal pain of a longed for love; to the bitter sarcasm of Eisler’s Sweetbread and Whips and Georg Kreisler’s Poisoning Pigeons, a song about spreading arsenic on graham crackers and feeding them to the birds in the park; and finally to I’m an Irrepressible Optimist, a song from the aftermath which cannot erase memories and finds optimism only in the release of death. 

The New Budapest Orpheum Society is an ensemble-in-residence at the University of Chicago. A mixed group of vocalists (Julia Bentley, mezzo-soprano and Stewart Figa, baritone) and instrumentalists (Iordanka Kisslova, violin; Stewart Miller, string bass; Hank Tausend, percussion; and Ilya Levinson, piano), the NBOS performs regularly at Chicago’s universities, synagogues, and cultural institutions, and has also appeared at the United States Memorial Holocaust Museum and the American Academy in Berlin. Philip V. Bohlman is the group’s artistic director; and Ilya Levinson, in addition to her role as pianist, also serves as music director and arranger.

Readers who acquired and enjoyed the three volumes from the Milken Archive of American Jewish Music titled “Songs of the American Yiddish Stage” (Naxos 8.559405, 8.559432, and 8.559455) will find much in “Jewish Cabaret in Exile” to their liking. One needn’t necessarily be Jewish, however, to appreciate this material, much of which had its origins in the dives, dance halls, and strip joints of Bertolt Brecht’s, Kurt Weill’s, Lotte Lenya’s, and Marlene Dietrich’s Berlin. Some of it is pretty heady stuff, with the gender-bending sexual stereotyping and absurdist satire of a decadent, Dada-costumed culture on the verge of imploding. Recommended then if you love it. If you don’t, best leave it.
-- Jerry Dubins, Fanfare

Track listing details:

I. The Great Ennui on the Eve of Exile
Edmund Nick (1891–1973) & Erich Kästner (1899–1974)
1 Die möblierte Moral / The Well-Furnished Morals (1:48)
2 Das Wiegenlied väterlicherseite / The Father’s Lullaby (4:49)
3 Die Elegie in Sachen Wald / Elegy in the Forest of Things (3:29)
4 Der Gesang vom verlorenen Sohn / The Song of the Lost Son (5:13)
5 Das Chanson für Hochwohlgeborene / The Chanson for Those Who Are Born Better (2:43)
6 Der Song “man müßte wieder . . .”/ The Song “Once Again One Must . . .” (3:59)

II. The Exiled Language — Yiddish Songs for Stage and Screen
7 Moses Milner (1886–1953): In Cheider / In the Cheder (5:46)
8 Mordechai Gebirtig (1877–1942): Avreml, der Marvikher / Abe, the Pickpocket (5:12)
9 Abraham Ellstein (1907–1963): Tif vi di Nacht / Deep as the Night (3:07)

III. Transformation of Tradition
Hanns Eisler (1898–1962):
From Zeitungsausschnitte, Op. 11 (Newspaper Clippings)
10 Mariechen / Little Marie (1:49)
11 Kriegslied eines Kindes / A Child’s Song of War (2:32)

IV. The Poetics of Exile: Songs by Hanns Eisler and Kurt Tucholsky (1890–1935)
12 Heute zwischen Gestern und Morgen / Today between Yesterday and Tomorrow (2:35)
13 Bügerliche Wohltätigkeit / Civic Charity (3:01)
14 Zuckerbrot und Peitsche / Sweetbread and Whips (2:20)
15 An den deutschen Mond / To the German Moon (2:46)
16 Einigkeit und Recht und Freiheit / Unity and Justice and Freedom (1:53)
17 Couplet für die Bier-Abteilung / Couplet for the Beer Department (1:26)

V. Traumas of Inner Exile
Viktor Ullmann (1898–1944)
Three Yiddish Songs (Brezulinka), op. 53 (1944)
18 Berjoskele / The Little Birch (4:18)
19 Margaritkele / Little Margaret (1:37)
20 Ich bin a Maydl in di Yorn / I’m Already a Young Woman (1:30)

VI. Nostalgia and Exile
21 Georg Kreisler (b. 1922): Tauben vergiften / Poisoning Pigeons (2:46)
22 Hermann Leopoldi (1888–1959) and Robert Katscher (1894–1942): Ich bin ein unverbesserlicher Optimist / I’m an Irrepressible Optimist (3:46)
23 Misha Spoliansky (1898–1985) / Marcellus Schiffer (1892–1932): Heute Nacht oder nie / Tonight or Never (3:22)

VII. Exile in Reprise
Friedrich Holländer on Stage and Film
24 Friedrich Holländer (1896–1976): Marianka (2:32)
25 Wenn der Mond, wenn der Mond . . . / If the Moon, If the Moon . . . (3:00) Lyrics by Theobald Tiger (Kurt Tucholsky)

“Lou Harrison and Cultural Fusion”
A PostClassical Ensemble “More than Music” film
Written and produced by Joseph Horowitz
Visual presentation by Peter Bogdanoff
Film six in the six-film Naxos series:
“Dvorak’s Prophecy: A New Narrative for American Classical Music”

Joe Horowitz writes of this film: "No non-Western musical idiom has so impacted on the Western concert tradition as Indonesian gamelan, beginning with the Javanese Pavilion at the 1889 Paris Exposition: an epiphany. Sampling gamelan-inspired works by Debussy, Poulenc, Messiaen, and McPhee, we arrive at a paragon exemplar of cultural fusion – Lou Harrison – and a pair of concertos, for violin and piano, unsurpassed by those of any other American. The composer/scholar Bill Alves demonstrates the layered complexity of Javanese gamelan, and how it translates into keyboard textures composed by Harrison for Keith Jarrett. For Harrison’s Concerto for Violin and Percussion, we tour the “junk percussion” – including flowerpots and washtubs – that Harrison made sing and dance."

He goes on to write "We now inhabit a “postclassical” musical aesthetic that, rather than piling on modernist complexity, draws inspiration from a variety of sources, Eastern and Western, “high” and popular. The prophetic figure, it seems to me is Lou Harrison, who practiced world music before there was a name for it. Harrison was certainly a composer who discovered a usable past – including music from Indonesia, China, and Japan. In the New World, a usable starting point was and remains the sorrow songs of African Americans, so eloquently celebrated around the turn of the twentieth century by W. E. B. Du Bois and Antonin Dvořák. Dvořák’s 1893 prophecy that “negro melodies” would foster a “great and noble” school of American music has never seemed more pertinent.”

"These six beautiful films reveal a compelling, inclusive musical tradition, deeply interwoven with American culture." – J. Peter Burkholder, author of 'A History of Western Music' and 'Listening to Charles Ives'.

“Aaron Copland: American Populist”
A PostClassical Ensemble “More than Music” film
Written and produced by Joseph Horowitz
Visual presentation by Peter Bogdanoff
Film four in the six-film Naxos series:
“Dvorak’s Prophecy: A New Narrative for American Classical Music”

Buffeted by social and political currents, Copland can seem unmoored: a cork in a stream. He was politicized by the Depression- and by the example of Mexico, whose artists galvanized national identity and progressive thought. He wrote a prize-winning workers’ song and addressed a Communist picnic in Minnesota. Twenty years later, the Red Scare targeted him as a traitor. Can his odyssey be read as a parable illuminating the fate of the American artist?  This film features a reenactment of Copland’s grilling by Senator Joseph McCarthy (played by Edward Gero). It also highlights the most consequential Copland score we don’t know: his ingenious music of Lewis Mumford’s 1939 World’s Fair film The City, itself a complex product of the Popular Front. We reconsider the valedictory Piano Fantasy, in which Copland refreshed his modernist roots- a galvanizing performance by Benjamin Pasternack, who also recalls a telling encounter with the composer. The other commentators include the American historians Michael Kazin and Joseph McCartin, who ponder the tangled legacy of American populism of the left and right.

"The 'Dvořák’s Prophecy' film series makes an essential contribution to our understanding of the history of music in America, and of the role that music has played, and must continue to play, in American culture as a whole. The films are both enlightening and entertaining. I can readily envision their use in classrooms, in both introductory and advanced-research contexts. Non-specialists will also enjoy them thoroughly. Because Horowitz does not shy away from political, racial, and gender issues of intense contemporary relevance, these films are especially important right now." – Larry Starr, Emeritus Professor of Music, University of Washington

This new album by the Helsinki Baroque Orchestra and Aapo Häkkinen together with the Audi Jugendchorakademie and bassoonist Jani Sunnarborg featuring late works by composer Bernhard Henrik Crusell (1775–1838) makes an important addition to the recordings of Nordic Classical period works and of early Finnish music. Highlight of the album is the world première recording of Crusell’s Viking-themed ‘The Last Warrior’ (Den sista kämpen) from 1834, the composer’s last large-scale composition.

Autumn 2020 offered Daniel-Ben Pienaar an opportunity, not because the world was in lockdown but rather for the benefit it provided. A professor at London’s Royal Academy of Music, Daniel-Ben was allowed overnight access to the RAM’s Angela Burgess Hall. Solitary, with a Steinway and a single pair of suspended omni-directional microphones, surrounded by silence and the darkness of the night, Daniel-Ben recorded this inspired eight-CD set of Haydn’s Piano Sonatas over a four-month period.

Daniel-Ben’s choice of Haydn’s 48 Piano Sonatas is based on his own meticulous research. The cycle comprises authenticated works plus earlier compositions presumed by scholars to be penned by Haydn. This deluxe box set follows in the footsteps of Daniel-Ben Pienaar’s acclaimed surveys of sonatas by Mozart, Beethoven and Schubert.

This album by violinist Christian Tetzlaff and cellist Tanja Tetzlaff, together with the Deutsches Symphonie-Orchester Berlin conducted by Paavo Järvi, is dedicated in the memory of their longtime artistic partner, pianist Lars Vogt (1970–2022). At the heart of this album is Brahms, one of Lars Vogt’s favorite composers, and his late orchestral masterpiece, the Double Concerto. Brahms himself had admired one of Viotti’s violin concertos so much that he included material from the violin concerto into his work. With Christian Tetzlaff’s recording of the violin concerto, this album finally brings these two works together. Also included is Dvorák’s beautiful Silent Woods for cello and orchestra, a work by another composer that was very close to Lars Vogt’s heart.

Alpesh Chauhan’s début recording for Chandos – Tchaikovsky: Orchestral Works, Vol. 1 (CHSA 5300) – met with widespread critical acclaim and awards, including recording of the week for both The Times and Presto Music, and the BBC Music magazine’s Orchestral Choice. This second volume – with the same forces – offers equally crisp and attentive playing from the BBC Scottish Symphony Orchestra, in another album that mixes well-known and less-heard Tchaikovsky. Three purely orchestral works form the core of the programme: Fatum (an early concert piece inspired by and dedicated to Balakirev), Hamlet (the last of his Shakespeare-inspired pieces), and Capriccio italien. These are interspersed with works conceived for the theatre: the Introduction to his opera The Queen of Spades and excerpts from The Oprichnik (an early opera) and The Snow Maiden (incidental music for a play by Ostrovsky). The album was recorded in Glasgow City Halls in SURROUND-SOUND and is available as a hybrid SACD.

Before television or radio, the piano was the focal point of the home. Holiday recordings such as Jacqueline Schwab's DOWN CAME AN ANGEL evoke the spirit of days gone by.
Best known for her solo piano soundtracks to Ken Burns's PBS documentaries, Schwab has a quaint, inviting touch on the keyboard and a wonderful appreciation of Appalachian musical tradition. The result is a warm, familiar Christmas sound filled with nostalgia. Schwab's piano shimmers with a delightful tone, like a parlor with a fireplace on a snowy day.
Though the album is entirely instrumental, the traditional hymns, carols, and spirituals were meant to be sung. To that end, the producers have included lyric sheets, giving families the opportunity to gather around the piano once again to experience a Christmas tradition.

Fuchs’s distinctive voice, flair for orchestral colours and sheer lyricism shine through.

Kenneth Fuchs is fortunate indeed to have not one but two discs of his music recorded by the London Symphony Orchestra. The first, in 2003, was nominated for two Grammys in 2005 and the second, recorded in 2006, should do well too, such is the quality of both the music and music-making. Holding it all together in the orchestral pieces and the mixed quintet is conductor JoAnn Falletta, who made such a strong impression in her recent disc of Respighi (review).

United Artists, the first item on the disc, was written specifically for the LSO as a gesture of thanks for their earlier recording of Fuchs’s works (Naxos 8.559224). At its core is a four-note motif, presented first in the Coplandesque opening fanfare. But this isn’t derivative music; indeed, the composer’s distinctive ‘voice’ is evident from the outset, and his flair for orchestral colours and sheer lyricism shine through in this atmospheric opener.

Quiet in the land is another of those vast musical landscapes that might provoke comparisons with Copland, yet Fuchs’s evocation of the Midwestern Plains just as the Iraq war was beginning is rather more complex and ambiguous in its sentiments. As the composer writes in the liner notes, ‘I wondered how quiet the spirit of our land might be’.

Even without this programme the opening bars hint at harmony, subtly undermined by vague discord - just listen to that quiet, agitated figure that begins at 1:30, beneath the more lyrical and expansive melody above. It is such lucid, ‘hear-through’ writing, yet it’s full of warmth. The members of the LSO manage to bring out both these aspects of the score, blending precision with feeling. And what a haunting close, too.

The recording venue – St Luke’s in London’s Old Street – is very well captured by the engineers, with no hint of brittleness or edge. The musicians seem ideally placed, too, which is particularly welcome in Fire, Ice, and Summer Bronze for brass quintet. Subtitled an ’Idyll ... after two works on paper by Helen Frankenthaler’ the first movement yokes together two eternal opposites – fire (the restless first section) and ice (the more muted second section).

There seems to be an underlying creative tension in some of these pieces, perhaps an attempt to reconcile musical and emotional extremes. For instance, in Summer Bronze the music is strangely mercurial – now lyrical, now dissonant, now both. But it’s that other dichotomy, between outward virtuosity and inner feeling, that these seasoned players – always secure, always poised – convey so well.

Based on a painting by Jackson Pollock, Autumn Rhythm does contain some jazzy snippets, but the emphasis seems to be on sonorities, with long, lyrical melodic lines and, at times, a quirky bass. It is a strangely ‘in-between’ piece; to use the autumn analogy, summer is not quite done, yet winter is on its way. In his notes Fuchs describes how the two states are drawn together and, indeed, how one becomes the other: ‘An unusual aspect of this composition is that in its final section the flute, oboe, and clarinet metamorphose into their lower – perhaps autumnal – counterparts, the alto flute, English horn, and bass clarinet.’ It’s a remarkable sleight of hand, deftly constructed and seamlessly executed.

Canticle of the Sun – a hymn tune based on 13th-century texts by St Francis of Assisi – is built on a four-note motif. Written for the LSO’s principal horn player, Timothy Jones, this 20-minute gem has a radiant, all-embracing optimism that is just irresistible. Indeed, it is not unlike a stained glass window, all those fragments of high colour glowing in the light behind. But at the centre of it all is Jones’s supple and passionate playing, surely as seductive a performance of this piece as we are ever likely to hear.

As with Respighi’s Church Windows, Falletta displays a sense of line and phrase that is most welcome in this music. And while I’ve grumbled about the sound on some Naxos releases I’m prepared to eat humble pie on this one. The engineers have done an exceptional job capturing the sound of the LSO at St Luke’s; what a pleasant change from the dry-as-dust Barbican.

Early days, I know, but this could be one of my discs of 2008.

Dan Morgan, MusicWeb International

This is the first of two volumes of George Walker’s complete piano works, both featuring performances by Alexandre Dossin. The three sonatas heard here offer compelling contrasts. Sonata No. 1 (rev. 1991) is his longest and utilises folk tunes, No. 2 is darker and unified by tonal relationships, while No. 3 (rev. 1996) displays contrapuntal mastery and translucent elements. The album opens with the serene and majestic Prelude and Caprice, while both Spatials and Spektra are atonal. Bauble is heard in a world premiere recording.

REVIEW:

Judging by the compositions on this album, his piano music is communicative, colorful, expressive and, above all, characteristic. As a student of Rudolf Serkin, he was himself an outstanding pianist with an impressive career in Europe and the United States. This may have been conducive to his talent as a composer. 

Pianist Alexandre Dossin shows himself to be an accomplished interpreter, making Walker’s tonal language his own with his flexible and sensitive playing.

-- Pizzicato

Sebastian Fagerlund has made a name for himself primarily through his concertos and orchestral works. As demonstrated on previous recordings, his music displays a huge range of colors and an uncommon rhythmic vitality, as well as a sure feel for instrumental writing. He has nevertheless also composed a number of vocal and choral works, and in fact the first release on BIS of his music was the opera Döbeln (2010), based on a controversial figure in the war between Sweden and Russia in 1788-90. When Fagerlund received a commission for a second opera from the Finnish National Opera, he found his inspiration closer to our own time as well as to his own field. Ingmar Bergman’s 1978 chamber drama Höstsonaten (Autumn Sonata) tells of the celebrated pianist Charlotte Andergast, and how she is confronted by her daughter Eva, who accuses her of neglect and self-absorption. Bergman’s screenplay has been used as basis for numerous stage productions, but this is the first adaptation for opera. Höstsonaten was premièred at the Finnish National Opera in Helsinki in 2017, with Anne Sofie von Otter as Charlotte – the role for which Ingrid Bergman was nominated to an Oscar as best actress. She is supported by a cast including Erika Sunnegårdh, Helena Juntunen and Tommi Hakala, and the chorus and orchestra of the Finnish National Opera conducted by John Storgårds.

In the spring of 2020, the Covid pandemic caused turmoil in the concert diaries of most musicians, including the conductor Andrew Litton and his wife Katharina Kang Litton, principal violist of New York City Ballet. To find an outlet for their musical expression they began to explore the repertoire for viola and piano together. Having played the sonatas by Brahms they came across the music by two other Viennese composers, Brahms’ near-contemporary Robert Fuchs and his student Egon Kornauth. Fuchs – who the less-than-effusive Brahms called ‘a splendid musician’ – had a long and distinguished career at the Vienna Conservatory where his other students included such composers as Mahler, Wolf, Sibelius, Zemlinsky and Korngold. That the sonatas recorded here were composed around the same time as Schoenberg’s Second String Quartet can be hard to believe – as is the fact that Fuchs’s Phantasiestücke (composed in his 80th and final year) was contemporary with Bartók’s Piano Concerto No. 1. But if they are not in any way pioneering, all three works are beautifully achieved: formally both strong and flexible, with a subtle, deeply-felt emotional coloring of their own. The Litton Duo close the recital with a piece that has a personal significance for the two – an arrangement of the Korean folk song Arirang which they received as a wedding present from Stephen Hough.

On two highly praised albums, Susanna Mälkki and her players in the Helsinki Philharmonic Orchestra have released recordings of Béla Bartók’s three scores for the stage – The Miraculous Mandarin, The Wooden Prince and Bluebeard’s Castle, all written before 1918. The team now takes on two of his late orchestral masterpieces. Composed in 1936 for the Basel Chamber Orchestra, Music for Strings, Percussion and Celesta is one of the purest examples of Bartók’s mature style, with its synthesis of folk music, classicism and modernism. One immediately striking feature is the unusual instrumentation: two string orchestras seated on opposite sides of the stage, with percussion and keyboard instruments in the middle and towards the back. In 1940, during the Second World War, Bartók emigrated to the U.S.A., where he initially found it difficult to compose. In 1943 he received a prestigious commission from the Boston Symphony Orchestra, however, and in less than eight weeks he composed the Concerto for Orchestra. In it he worked with contrasts between different sections of the orchestra, and the soloistic treatment of these groupings was his reason for calling the work a concerto rather than a symphony.

REVIEW:

There hasn’t been a coupling of these two iconic works this successful in, well, decades. Usually the pieces get divided between different performers, or if it’s the same forces throughout, one work comes off better than the other. Not here. Start with the Music for Strings, Percussion and Celesta. No one (except possibly Reiner) attempts to play it at Bartók’s indicated timings–around six+ minutes per movement. Everyone is slower, and often rightly so, but sometimes rather too much slower. Mälkki sounds just about perfect: in the range of seven minutes per movement, with an eerily flowing opening fugue, a ferocious second movement Allegro, a terrifying Adagio (listen to those timpani glissandos at the bottom of the texture), and a finale that features an imaginative and characterful flexibility of tempo, highlighting its dance-like character. The Helsinki strings play with extraordinary discipline, even if some of the “special effects” such as col legno bowing could resister more strongly. Never mind. It’s a great performance.

So is that of the Concerto for Orchestra. Perhaps the best thing I can say about it is that it sounds like a genuine collaborative effort between conductor and orchestra. Mälkki keeps the music flowing, reveling in the fine ensemble that the Helsinki Philharmonic has become: the brass fugato in the first movement, the “games of pairs” in the second, or the eerie woodwind solos in the brooding Elegia–nothing here is less than world-class. In the finale, Mälkki finds an idea balance between hard-driving forward movement and precision of articulation. She also keep something especially exciting in reserve for the coda, which dashes away thrillingly. BIS has captured the entire production in powerfully present, tactile sound that really lets you hear down through the ensemble, from top to bottom. This really is an exceptional release. If you love this music, be sure to hear it.

– ClassicsToday.com (10/10; David Hurwitz)

On Synergy, flautist Sharon Bezaly and her musician friends demonstrate that one plus one can be much greater than two. Featuring works that celebrate the coming together of like-minded musicians, this project is a reminder, after more than two years of a pandemic that has affected all of us, that true musical synergy can only be achieved 'face-to-face’, rather than ‘remotely’. With his Concerto for flute and recorder, Telemann not only creates a fusion of different musical styles of his time – namely Italian, German and French – but also shows a gift for borrowing elements from popular music. Saint-Saëns brings swirling colors and energy with a Tarentelle for flute, clarinet and orchestra, that at times displays obsessive, even threatening undertones. From the same period, Doppler’s Concerto for two flutes is not far from the world of opera, providing the two soloists with ample opportunity to shine like two singers in front of an orchestra. In addition to celebrating the synergy created between musicians, the last two works featured on this disc, Bachianas Brasileiras No. 6 and Suite from the Orchestral Works, are telling examples of synergy between composers: it is as if Villa-Lobos and Mahler were shaking hands with Johann Sebastian Bach across distances of thousands of miles and hundreds of years.

REVIEW:

The principal attraction of this SACD, as good as the performances are, is the uniqueness of the program. Sharon Bezaly, one of the outstanding flutists of our time, has brought together composers not particularly associated with each other, and from different eras. While each performance is enjoyable, the real success of the disc is how the imaginative program flows in such a lovely way.

On Telemann’s Concerto in E Minor for Recorder, Flute, and Strings with harpsichord continuo. Bezaly is joined by one of the world’s premier recordists, Michala Petri, and their interplay is delightful. The final Presto is particularly inventive and sparkling in the way the two soloists play off each other.

Michael Collins and Bezaly play Saint-Saëns’s Tarantelle with total communication, lingering lightly over lyrical passages while clearly enjoying their virtuoso moments as well.

The big surprise for me was the Concerto in D Minor for Two Flutes by the flute virtuoso and composer Franz Doppler (1821–1883). The music is almost vocal in its melodic shape, but the remarkable aspect of the score, surprisingly, are the passages where the two flutes must play in unison. Bezaly and Walter Auer come close to making us believe that they are a single flute.

Next comes the one work without orchestra, Villa-Lobos’s Bachianas brasileiras No. 6, scored for flute and bassoon. Bram van Sambeek is a brilliant technician, but more importantly he produces a rich sound from his bassoon and provides harmonic support for Bezaly’s flute.

Her combination of rich tone and rhythmic precision is just right for The Mahler-orchestrated selections from the Second and Third Orchestral Suites. While no one would mistake this for an historically informed performance, it is an extremely stylish one. Michael Collins and the Swedish Chamber Orchestra bring elegance to the Air and energy to the Gavotte from the Third Suite. As an encore Bezaly give us a repeat of the Badinerie from the Second Suite.

BIS’s usual high standards of engineering and informative program notes round out a truly lovely disc.

-- Fanfare (Henry Fogel)

Kalevala, the Finnish national epic, begins with the creation of the world – from a duck's egg – and goes on to relate a series of tales of magic and adventure. One of the most memorable characters is Kullervo, a flawed hero whose tragic story is told in the course of six songs or runos. These describe multiple murders, rape, incest and finally suicide – a powerful brew that has inspired several Finnish artists. Among them is Jean Sibelius, who in 1891 was a young music student in Vienna. At home in Finland a wave of nationalism was gaining momentum and the Kalevala was an important symbol in the struggle for independence from Russia. Sometimes called a choral symphony, Sibelius's Kullervo was premiered in 1892, receiving a mixed reception and the work was soon overshadowed by the First Symphony. Only in the 1970s did it became more widely known, at which time the score caused something of sensation. Faithful to the urgency and brutality of the score, the present recording was made at live performances at Symphony Hall in Minneapolis, with Osmo Vänskä directing the forces of the Minnesota Orchestra, joined by their Finnish guests Lilli Paasikivi, Tommi Hakala and the eminent YL Male Voice Choir.

Paul Watkins presents three enduring masterpieces of the chamber music repertoire, Johannes Brahms’s two cello sonatas and the Clarinet Trio. Joining Mr. Watkins are two musicians of the highest caliber, the pianist Ian Brown, his established duo partner, and clarinetist Michael Collins. Completed in 1865, the Cello Sonata No. 1 is somewhat reserved in character, with an elaborate fugal finale that pays homage to Bach. Some twenty years later, Brahms composed his more adventurous, expansive and extroverted Cello Sonata No. 2. The Clarinet Trio, op. 114 was written for clarinetist Richard Mühlfeld, an artist who inspired Brahms to compose a series of works for the clarinet considered some of the supreme masterpieces in the instrument’s repertoire. “Perhaps no clarinetist around today is capable of floating a purer, smoother and more beautifully contoured melodic line than Michael Collins, and he is often heard at his best in [Brahms’s] four late masterpieces.” - BBC Music Magazine “Paul Watkins [is] unquestionably, in my opinion one of today’s foremost cellists.” - Fanfare

This re-release of the Spring Symphony, complemented by two smaller but equally life-confirming works by Britten, marks the composer’s centenary year. It also forms part of Chandos’ Richard Hickox Legacy series. Hickox conducts the London Symphony Orchestra with the soloists Elizabeth Gale, Alfreda Hodgson, and Martyn Hill and a number of UK choirs.

Jennifer Pike was the youngest-ever winner of the BBC Young Musician of the Year in 2002. She has given performances throughout the UK and around the world and, now aged twenty-three, is widely regarded as one of the finest violinists in Britain. The pianist Tom Poster who performs alongside her is well known for his artistry and versatility, equally in demand as a soloist and as a chamber musician. This recital features violin sonatas by Brahms and Robert Schumann as well as Three Romances by Clara Schumann. Robert Schumann’s Violin Sonata No. 1 is very much a ‘Duo’, the two instrumentalists performing in equal partnership. It was written in 1851 at quite a stressful time in Schumann’s life. There is certainly an air of robustness, even roughness, in the baroque-style finale. By contrast, in Brahms’s Violin Sonata No. 1, the violin is always the principal voice, the piano never a competitor but rather a subtle accompanist. Brahms wrote the work in memory of his godson Felix Schumann who had died of tuberculosis at the tragically young age of twenty-four. Clara Schumann’s Three Romances was her only work for violin and piano, but whilst the violin is allowed to sing throughout, the complexity of the piano part testifies to its having been composed by a pianist of the first rank.

Reviews

Performance (Brahms) **** (R & C Schumann) ***** Recording *****

“...this is a refreshingly projected performance which boasts an almost ideal fluidity in terms of manipulation of tempo and nuance in the first movement [Brahms]... warm-hearted performances of the Clara Schumann Romances ... the distinction of the performances is never in doubt.”

Erik Levi – BBC Music magazine – May 2013

Following the success of their previous album, English Music for Strings, John Wilson and his Sinfonia of London turn their attention to the music of Henri Dutilleux. His ballet Le Loup was composed as a commission for Roland Petit’s dance company and premièred in Paris in March 1953. Rarely recorded – this is the first recording by a non-French orchestra – the work unfolds in three tableaux and tells a convoluted tale of a bridegroom who jilts his bride (to run away with a gypsy) by persuading her that he has been changed into a wolf. Over time she discovers that the wolf is real, but her feelings turn from terror to love and when the alarmed villagers hunt the wolf, she defends him and dies at his side. The album is completed by three world première recordings of new orchestrations (by Kenneth Hesketh) of wind solos written for the Paris Conservatoire in the 1940s. Both the Sarabande et Cortège and Sonate pour hautbois are virtuosic tours de force for their soloists, as is the Sonatine pour flûte, which displays the lyricism, agility, and sparkling incisive qualities of the flute in what became Dutilleux’s most-performed work.

Continuing their series of orchestral works by Sir Eugene Goossens, Sir Andrew Davis and the Melbourne Symphony Orchestra turn to the Phantasy Concerto for Violin and the Second Symphony. Goossens was born in London in 1893, into a family of Belgian conductors and musicians. He trained in Brugesand at the Royal College of Music (studying composition under Stanford), played violin in the Queen’s Hall Orchestra under Sir Henry Wood, and became Sir Thomas Beecham’s go-to stand-in because of his ability to conduct the most demanding programmes on little or no rehearsal. Goossens gave the first UK concert performance of Stravinsky’s Le Sacre du printemps, in 1921, and in 1923 became the first music director of the newly formed Rochester Philharmonic, before succeeding Fritz Reiner, in 1931, as chief conductor of the Cincinnati Symphony Orchestra. He spent nine years in Australia, as chief conductor of the Sydney Symphony Orchestra, and was instrumental in the planning of the Sydney Opera House. Both works recorded here were composed towards the end of his life. The Second Symphony, dating from 1942–45, is a vivid and personal response to WWII. The Phantasy Concerto for Violin and Orchestra was originally promised to Heifetz, who never performed it. Having returned to London, Goossens gave the work’s premiere in a BBC broadcast in July 1959, and this was followed by a Proms performance in 1960; on both occasions the soloist was Tessa Robbins. Sir Andrew Davis and his Melbourne forces perform these rarely heard works with care and finesse, and Tasmin Little shines as the soloist in the Phantasy Concerto. The album is recorded in Surround Sound.

Classical Music

Gerard Schwarz and the Seattle Symphony recorded a great deal of music, originally for Delos, now on Naxos. Much of the discography, while good, was ephemeral—yet another disc of standard repertoire—but some of it was really important: symphonies by Hanson, Piston, and Diamond, for example, and this disc. No one much cares today about music critic/composer Deems Taylor’s often charming but conservative music, but his suite Through the Looking Glass, based on Alice in Wonderland, really is worth hearing. If you know John Alden Carpenter’s Adventures in a Perambulator then you know what to expect: good tunes, colorful scoring, and a nice, light touch.

The Griffes pieces are famous, of course, as the works of one of America’s great “might have been” composers. The Poem for Flute and Orchestra is the best known, followed by the exotic Pleasure Dome of Kubla Khan and The White Peacock. These evocative miniatures all point to a major talent, a life tragically cut short at the age of 36. Both here and in the Taylor work the performances are uniformly splendid: extremely well played, and just about perfectly conducted regarding tempo, texture, and balance. Scott Goff plays the flute solo in the Poem with finesse and lovely tone.

The original Delos recordings always were a bit low-level and dull on top, but this one at least has transferred well, once you find a comfortable volume setting. A great disc for collectors of turn-of-the-(20th)-century Americana.

-- ClassicsToday.com

Paul Moravec has become one of the most acclaimed and admired composers of our time. His compositions stand out for their melodic poise, lyrical passion, and rich harmonic language. His Violin Concerto was grandly received and stands as one of his most important accomplishments. With its sensuous, romantic elegance and jubilant finale, it has earned a position as one of the most outstanding American compositions in this genre. The plaintive Shakuhachi Quintet integrates the shakuhachi, a classical bamboo flute, with the Western string quartet. Equilibrium was written specifically for this album. It recalls the B-A-C-H motive that is also heard in the Violin Concerto. Evermore was composed as a wedding gift for Maria Bachmann.