Charles Wuorinen has always been comfortable in a range of genres, embracing the traditional forms of opera, symphony, or string quartet as readily as he accepts the challenge unusual combinations that have become a second norm since Pierrot Lunaire more than a century ago. Nor has any particular focus dominated any period of his nearly sixty-year career: his eight symphonies span more than fifty years, his piano concertos forty. He has written everything from piano bagatelles to ballets, a Mass setting, eight symphonies, and three operas. This album features the latest and most traditionally structured of Wuorinen’s four piano sonatas—“sonata” being a term the composer has used on a number of occasions otherwise—as well as two vocal works setting poetry of two of our greatest modernist poets, John Ashbery and James Tate.

The brilliant Cavatina Duo (Spanish flautist, Eugenia Moliner and Bosnian guitarist Denis Azabagic) offer a new release of baroque masterpieces: Telemann's 12 Fantasies, and French virtuoso Marin Marais' spectacular variations on "Folies d'Espagne". Described by Gramophone as "relentlessly mellifluous" and by Grammy-winning producer and leading guitarist David Starobin as "simply the finest flute-guitar duo on the planet", the Cavatina Duo offer a recording for our times: music at once heartbreaking and uplifting. Dedicated soloists and chamber musicians, the Cavatina Duo breaks convention with their combination of instruments. Add to that their daring choices of varied and versatile repertoire, and the result is new sounds, colors and musical phrasings, which in return awakens a high level of emotion and audience response. A Cavatina Duo concert is a musical experience you don’t want to miss.

CORELLI 12 Violin Sonatas, op. 5 • Corelli Trio • BRIDGE 9371 (2 CDs: 125:34)

Here is an absolutely dazzling album that I reviewed, more or less, on a whim. Arcangelo Corelli, a fine composer who certainly introduced some innovations (those marvelous and unexpected string slides that take your breath away), wasn’t exactly a Buxtehude or a Bach, yet as this two-CD set amply proves, his music can certainly hold its own in interest and especially in charm with anyone from the Baroque era, even his fellow Italians Scarlatti and Vivaldi.

Of course, as in the case of virtually all music, the aural impact is highly dependent on the performer, and on this recording we have a truly inspired violinist in Elisabeth Zeuthen Schneider. In the booklet she is quoted as saying that Corelli’s sonatas “are an invitation to explore the most sunny and expressive voices of the violin as well as having the fun of the dancing and wild abandon of ‘La Folia’ that closes the whole set of 12 sonatas.” Further on, she makes a distinction between the church sonatas on disc 1, which she feels explore “more profound and spiritual feelings” than the chamber sonatas on disc 2, but even in those first six sonatas Schneider’s playing is sunny, singing, and full of vitality. I think that she just can’t help herself from feeling good while playing this music; I certainly couldn’t help smiling or feeling good all through the sonatas on the first disc. Schneider’s playing has that same rare combination of sweetness, elegance, charm, and sheer sunniness that one heard in the playing of Yehudi Menuhin. Also, different from most historically informed violinists, she is not averse to playing a few notes with a light vibrato, which adds piquancy and charm to her interpretations.

Moving from disc 1 to disc 2, the secular sonatas, one notices very little difference in general layout, tempos, or indeed inflection. I find Schneider’s playing no lighter, more buoyant, or infectious than on CD 1, but then again, there’s no drop-off in quality, either. She’s just plain good.

An interesting observation: All of the church sonatas are in major keys, but half of the secular sonatas are in minor, including, of course, “La Folia.” In the latter, Schneider pulls out all the stops—literally, including double-stops!—and her performance is indeed lively.

Like so many trio sonatas of this era, the accompanying instruments are just that—background to the soloist. As a result, despite the fact that they are well-trained musicians who play well, there’s really not a lot one can say about Viggo Mangor on archlute and theorbo or Ulrik Spang-Hanssen on continuo organ except that they are there, they give good support, and they keep the rhythm light.

In the booklet, it says that Corelli was a quiet man who “never devoted much time to self-promotion” and “didn’t nurse his reputation publicly in his later years.” Apparently, much the same can be said of the Corelli Trio, for although there are bios of all three musicians, there’s not a single word as to how or why they formed or call themselves “Corelli Trio”! But you certainly won’t keep their presence much of a secret once you hear this album.

FANFARE: Lynn René Bayley

MOZART Piano Concertos Nos. 12–14 (arr. unknown) • Anne-Marie McDermott (pn); Calder Qrt; David J. Grossman (db) • BRIDGE 9403 (75:54)


From Wikipedia, regarding Concertos No. 11-13: “arrangements exist for them for piano plus string quartet that lose little,” with no indication if those arrangements are by Mozart or not. Nothing is said in the liner notes about these or the string quintet reduction of Concerto No. 14. Yet a review of a similar recording, made by pianist Jean-Phillippe Collard for EMI in 1988 at allmusic.com, indicates that the arangements are Mozart’s own, “his justification for doing them was that if he didn’t, someone else would.” To ears used to a full orchestral accompaniment, the sound is a little strange at first—we keep waiting for orchestral tuttis that never arrive—but the bottom line is whether or not the performances are musically convincing and valid, and for me they are, particularly since Anne-Marie McDermott, one of the truly great American pianists of our time, seems to be using a lean-sounding if modern piano (possibly a Baldwin of the type favored by Glenn Gould?), and these lean, crisp sonorities play well against the string quartet (and quintet in the case of No. 14).


The concertos nos. 12 and 13 (presented on the CD in reverse order) are not among Mozart’s most profound compositions in this genre, but rather fall into the category of music that the cynical composer described to his father in a letter: “These concertos (Nos. 11–13) are a happy medium between what is too easy and too difficult; they are very brilliant, pleasing to the ear, and natural without being vapid….In order to win applause one must write stuff which is so inane that a coachman could sing it, or so unintelligible that it pleases precisely because no reasonable man can understand it.” (This quote, again, from Wikipedia.)


McDermott, producing an appropriately light yet well-inflected sound throughout most of each concerto, really lets herself go in the first-movement cadenzas, and it is here that she separates herself from the more delicate, almost prissy Mozart interpreters on record. Not that she attacks the keyboard as if the music were by Beethoven (though she certainly has the power to do so), but because she understands that the nature of these cadenzas was to stand out and assert center stage, however briefly.


As Mozart indicated, concertos 12 and 13 aren’t exactly profound music. Despite some nicely subtle passages (he never wrote anything that did not have such sections within them), they tend to be lightweight works, designed, as he so aptly put it, “to please” without unduly challenging the average listener’s mind. Yet when the music does turn profound, as it does (quite dramatically so) in the Andante of No. 12, McDermott and the Calder Quartet are up to the challenge. Here, their playing includes a great deal of coloration in addition to the subtlest of modifications within the beats, producing an exquisite musical flow.


The Concerto No. 14 inhabits an entirely different musical world. This is richer, deeper, more mature Mozart, the music alternating in mood between “prettiness” (you’ve got to please the public!) and darker, more penetrating depths, and oddly enough this also applies to the first-movement cadenza. Mozart wisely adds a double bass to the proceedings here; it is necessary to counterbalance the thematic material and its development with a richer texture. This performance alone is worth the price of the CD: it is worthy of the music in every way. Note, particularly, Mozart’s subtle yet dramatic use of descending chromatics and his equally impressive use of what one might call grace notes played as part of the overall structure.


This is an excellent album of its type, although your willingness to acquire it will naturally depend on how many other versions you have of these concertos and whether or not you’d like to have them in chamber music arrangements. Recommended nevertheless.


FANFARE: Lynn René Bayley

Ferde Grofé's arrangements for Paul Whiteman's band constitute a treasure-trove of early- to mid-20th century Americana. Usually we only get to hear his epoch-making original arrangement of Gershwin's Rhapsody in Blue, but here we are treated to the rarely-performed Second Rhapsody, as well as Grofé's own Grand Canyon and Mississippi Suites. The results are both delightful and ear-opening. In this arrangement the Second Rhapsody sounds remarkably light and sassy, and notably less "cinematic" than in its original form (the music began life as a film score). Oddly enough, the small ensemble's smoother dynamic profile gives the piece greater coherence and flow, aided by Lincoln Mayorga's elegant playing and Steven Richman's idiomatic and alert conducting.


The same observations hold true for the Grofé works. If the final "Cloudburst" from the Grand Canyon Suite isn't as obviously overwhelming as it can be when played by a full orchestra, movements such as "On the Trail" gain in terms of sheer charm. Throwing the balance of tone onto the winds and brass rather than the strings produces a far less heavy texture overall, and the music sounds somehow more modern, less dated. It's also great to have the chance to hear the Mississippi Suite once again. It's really a fine piece of descriptive work and it deserves to be popular.


As a bonus, we have Gallodoro's Serenade, a characterful bon-bon offered by Mayorga and the piece's dedicatee, Al Gallodoro himself, something of a living legend. He played clarinet and saxophone in Whiteman's band for several decades and is still going strong well into his 90s. Bridge's sonics are typically terrific, while Richman and the Harmonie Ensemble deserve lots of credit for digging up these arrangements and bringing them back to life with such gusto and polish. More titles are promised, and we can only look forward to them with enthusiasm. [11/8/2006]
--David Hurwitz, ClassicsToday.com

Frank Glazer's rich and varied musical life as touring virtuoso, teacher, music director, television host, annotator, and much else is enough for five careers. The 91-year-old pianist's long resume includes everything from studies with Schnabel and Schoenberg to playing in vaudeville houses and, believe it or not, the Icelandic premiere of Brahms' second piano concerto. At 85, he recorded a recital of once-fashionable/now-frowned-upon encores, the type of repertoire Arthur Loesser used to call "cream of corn". Few pianists today have a genuine feeling for such pieces, save, of course, Earl Wild (Glazer's slightly younger contemporary) and perhaps Stephen Hough or Marc-André Hamelin. However, Glazer's beautiful, robust tone and innate charm are exactly what this music needs.

The disc opens with a curvaceous and ravishingly sung out account of Mendelssohn's Spring Song, followed by Alfred Grünfeld's pretty if overlong Romanze and Grieg's Papillon, which is fuller in body and less cameo-like than we often hear. Glazer pays heed to the inner voices in Godowsky's Alt-Wien, although it doesn't quite attain the tonal magic of Shura Cherkassky's recently reissued 1974 recording. Although Sinding's Rustle of Spring, Moszkowski's E major Waltz, and Rubinstein's Melody in F would benefit from a lighter touch and more rippling accompanimental figures, Glazer's legato scales and subtle tonal shadings--using remarkably little pedal--in Liadov's Musical Snuff-Box are worthy of the old Hofmann and Rosenthal recordings.

Rubinstein's Kamennoi-Ostrow moves too slowly to sustain the music's bland harmonic appeal, while Paderewski's Menuet in G and Macdowell's Witches Dance are a shade heavy-handed and lacking in élan. Glazer accommodates the prevalent thick textures of Dohnanyi's "Nalia" transcription by taking overly slow tempos, yet the pianist's sustaining power prevents them from sounding labored. On the other hand, Glazer's fingers sound 60 years younger in Stephen Heller's fluffy transcription of Schubert's "The Trout", while Liszt's Third Liebestraume is direct, elegant, and free of treacle. All told, a lovely disc.

--Jed Distler, ClassicsToday.com

"One hundred fifty years ago, the great mezzo-soprano, composer, and pedagogue Pauline García Viardot created the salon opera Le dernier sorcier ('The Last Sorcerer') in collaboration with the acclaimed Russian novelist Ivan Turgenev. The piece centered on themes of power and progress, gender and equality, and the restoration of natural order in an ever-changing world. A chamber opera in two acts, Le dernier sorcier revolves around Krakamiche, a once-powerful sorcerer whose presence in the great woods has upset the fairies, the forest’s rightful inhabitants, and disturbed the harmony of the land. Through the combined efforts of the fairy folk and their queen, the sorcerer's daughter and her prince, and a hapless valet, Krakamiche ultimately learns key truths about humility, love, and living in harmony with the natural world. Viardot's original manuscript, scored for solo voices, treble chorus, and piano, was held in a private collection for over a century, and as such, the work essentially vanished. Recently, the original piano-vocal score was acquired by Harvard University’s Houghton Library, which has granted permission to produce this world premiere recording."

REVIEWS:

Le dernier sorcier is a lovely discovery. It is not a lost masterpiece, but it is a work that brought me real pleasure. I will return to it in the future, especially in this high-spirited performance. The recorded sound is a bit cavernous and unfocused for my taste; I would have appreciated a greater presence for the voices. Bridge provides extensive and informative notes and a complete French-English libretto.

– Fanfare

If you ever thought that opera is sometimes an overblown genre and could profit from a bit of modesty, here’s a wonderful example of that. The Last Sorcerer could be performed in a small hall or even somebody’s living room and lasts a mere hour, yet it addresses deep human issues and a wide range of feelings. Bridge came out last year with a superb first complete recording of The Cradle Will Rock by Blitzstein with the original orchestrations. Here they take a chance on an even more obscure but also delightful and sometimes touching work.

– American Record Guide

Bridge's Poul Ruders Edition, Vol. 16, features the world premiere recording of a major new Ruders concerto, the seven movement "Sound and Simplicity" (2018), performed by Danish accordion virtuoso Bjarke Mogensen and the Odense Symfoniorkester, led by Sebastian Lang-Lessing. The album also includes Mogensen's transcription of Ruders's hypnotic "Dream Catcher" for solo accordion, and the re-issue of one of the Danish composer's masterpieces- his Symphony No. 3, subtitled "Dream Catcher". Ruders stands today among a handful of the world's leading composers, with operas staged in Munich, London, Copenhagen, New York, Santa Fe, and Boston, and symphonic scores commissioned by the Berlin Philharmonic, the New York Philharmonic, and the BBC Symphony Orchestra.

To Anatolia is Turkish/American pianist Beyza Yazgan's passionately played collection of Turkish classical piano repertoire from a group of composers known as “The Turkish Five” (Cemal Resit Rey (1904-1985), Ferid Alnar (1906-1978), Ulvi Cemal Erkin (1906-1972), Adnan Saygun (1907-1991), and Necil Kazim Akses (1908-1999). The music was composed between 1931-1976 with most of the pieces inspired by Anatolian folksongs, stories, dances, dirges, and lullabies. Though the compositions were all written for piano, the colors and influences of eastern instruments are present throughout.

This new studio recording contains three works for piano and orchestra that virtuoso pianist Orion Weiss and conductor Leon Botstein first performed in concert at the Bard Music Festival. Together, the three works span almost a century of musical Romanticism and are as different from one another as the generations they represent. In each piece, the virtuoso genre becomes a means by which the composer responds to a specific source of inspiration—in the first case (Korngold), a performer and family friend who had suffered a horrendous tragedy, in the second (Rimsky Korsakov), a venerated old master, and in the third (Chopin) a melody from a beloved opera.

REVIEWS:

All the performances on this album, featuring the brilliant pianist Orion Weiss, are excellent.

– New York Times

Thoroughly entertaining.

– BBC Music Magazine

Bethany Beardslee is renowned as one of the great lyric sopranos of the twentieth century, and the inspiration for dozens of composers who wrote specifically for her voice. Born in Lansing, Michigan, she trained first at Michigan State College, and later at the Juilliard School. Accompanied by pianists Richard Goode and Lois Shapiro, Ms. Beardslee's performances of lieder by Brahms, Schumann and Schubert display her exquisite artistry. USC Professor of Music and Journalism Tim Page writes: "Her flexible, expressive voice, with its silvered timbre and warmly caressing middle range, was suited not only to the premieres and first American performances she sang (by composers ranging from Schoenberg to Stravinsky to Milton Babbitt) but also to the Romantic repertory." While she retired officially in 1984, she performed and recorded a number of times in the decade that followed. These recordings, from 1984 and 1986, have been remastered by Grammy award winning engineer Adam Abeshouse.

Volume 4 of Bridge's CHINARY UNG series (a 2-album set), presents five major works composed between 1987 and 2018 by the Grawemeyer Award-winning Cambodian/American composer. Annotator Adam Greene writes: "Ung was inspired by his mentor, Chou Wen-chung, to pursue music that explored cross-cultural practices. Ung's own term for the "style" of music that evolved was 'futuristic folk music', which generally speaking, he approaches through two processes: quotation and evocation. Ung's music is deeply suffused with Asian features, including modal writing, the use of drones, microtonal inflections, elaborate percussion sections, and an expansive, even languid approach to musical-time."

Alan Shulman was a composer, cellist and arranger. Born in Baltimore on June 4, 1915, his early studies were with Bart Wirtz (cello) and Louis Cheslock (harmony) at the Peabody Conservatory. Shulman was the cellist of the Kreiner String Quartet (1935-38). Later, he and his brother, violinist/conductor Sylvan Shulman, co-founded the Stuyvesant String Quartet. During the 1940s and 1950s this group was noted for its performances and recordings of contemporary quartets of Bloch, Prokofiev, Shostakovich, Malipiero, Hindemith and Kreisler, among others. Shulman's first successful composition was Theme and Variations for Viola and Orchestra, which received its première over NBC in 1941 with Emanuel Vardi as soloist. Alan Shulman's most extended orchestral writing appears in his film scores, made for RKO in the 40s and 50s. These soundtrack recordings have been restored and are being issued for the first time.

New York Philharmonic principal flutist Robert Langevin is heard in a charming and sumptuous feast of Parisian music of the golden age. Prior to the Philharmonic, Mr. Langevin held the Jackman Pfouts Principal Flute Chair of the Pittsburgh Symphony Orchestra and was an adjunct professor at Duquesne University, in Pittsburgh. Mr. Langevin served as associate principal of the Montreal Symphony Orchestra for 13 years, playing on more than 30 recordings. As a member of Musica Camerata Montreal and l’Ensemble de la Société de Musique Contemporaine du Québec, he premiered many works, including the Canadian premiere of Pierre Boulez’s Le Marteau sans maître. In addition, Mr. Langevin has performed as soloist with Quebec’s most distinguished ensembles and has recorded many recitals and chamber music programs for the Canadian Broadcasting Corporation. He also served on the faculty of the University of Montreal for nine years. Simply put, this is flute playing of the highest order!

A live performance of Rilke Songs with the same performers was the winner of a 2008 Grammy for "Best Vocal Recording" (BRIDGE9178). The present never-before issued studio version of the songs, was recorded in 2005. Also on this disc is the premiere recording of Lieberson's Piano Quintet, played by Serkin and the Orion String Quartet, the dedicatees of this work.

Bridge's new Complete Mozart Flute & Orchestra album features the Odense Symphony Orchestra and their principal flautist, Rune Most, performing on a wooden flute. The recording, made in the acoustically superb Carl Nielsen Hall, includes the two flute concertos, the rondo, and perennial Mozart favorite, the Concerto for Flute and Harp. Rune Most began his studies at the Carl Nielsen Academy of Music in Odense with Karl Lewkovitch. Later came studies with Professor Lóránt Kovács in Budapest, and in 1990 he made his debut from the soloist class of the Royal Danish Academy of Music in Copenhagen, where he had studied with Toke Lund Christiansen. Today Rune Most is solo flautist with the Odense Symphony Orchestra and teaches at the Carl Nielsen Academy of Music in Odense. Over the years music has taken him to South America, China, Russia and many countries in Europe as a chamber musician and soloist. As a soloist and chamber musician he has recorded several albums of, among other things, Danish and South American music.

This disc presents three sonatas, No. 1, No. 23 ('Appassionata'), and No. 30, Op. 109, performed by 2008 Grammy-winning pianist, Garrick Ohlsson. In the words of annotator Frank Cooper, 'Three stages of greatness-exploratory, revolutionary, visionary- are represented here...'.

The great American composer, George Crumb's most recent compositions have been two large piano compositions, "Metamorphoses, Books 1 and 2", completed in 2019. Volume 19 of Bridge's Complete Crumb Edition, a series of recordings supervised by the composer himself, is made up entirely of Metamorphoses Book 1, performed by Crumb specialist, Marcantonio Barone. The work consists of ten movements, each based on a famous painting by artists including Paul Klee, Vincent van Gogh, Marc Chagall, James Whistler, Jasper Johns, Paul Gauguin, Salvador Dali, and Vasily Kandinsky. At 90, George Crumb continues to produce works of incredible detail and passion. Critic David Hurwitz wrote that "Bridge’s decision to embark on a complete edition of George Crumb’s music remains one of the most significant recording projects currently in progress, as well as one of the most artistically successful."

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REVIEWS:

Klee, Van Gogh, Chagall, Whistler, Gauguin and Kandinsky all give inspiration for a stylistically inclusive, vigorously inventive sequence: just 37½ minutes of music, but a disc of real substance.

– Sunday Times (UK)

The pianist Marcantonio Barone places Crumb’s evocative gestures with reverent care and gives them space to make their full effect, and he’s as responsive to the music’s savage or folk-like moments as he is to its quiet poetry. The recorded sound is ideally close so the piano’s resonances sound huge and all-enveloping, as they should. Those who already know Crumb’s music well might be a tad disappointed that this piece breaks no new ground creatively. But for those who don’t it offers a wonderfully concentrated, vivid introduction to his imaginative world.

– The Telegraph (UK)

Bridge's Complete Crumb Edition reaches Volume 20 with the first complete recording of the great American composer's recently completed Metamorphoses cycle. The "20 Fantasy Pieces After Celebrated Paintings" are Crumb's "Pictures at an Exhibition"- aural interpretations of famous paintings from our recent past including works by Picasso, van Gogh, Chagall, and Dali. Critic David Hurwitz writes: "Bridge's decision to embark on a complete edition of George Crumb's music remains one of the most significant recording projects currently in progress, as well as one of the most artistically successful."

Stefan Wolpe’s escape from Nazi Germany was fraught with uncertainty and danger. During the months following Hitler’s rise to power Wolpe went into hiding, while completing one of his most compelling works- the March and Variations (1932-33), a work of Beethovenian power, scored for two pianos. The piece was largely been forgotten until Quattro Mani’s revival of it, and their sensational premiere recording on Bridge's Music of Stefan Wolpe, Vol. 8. Wolpe’s ballet score, The Man from Midian (1942) a work based on the Old Testament, is centered around the story of Moses, and is the other major work on this release. The virtuoso piano duo team, Quattro Mani (Susan Grace & Steven Beck), has worked with many of today’s leading composers, and is devoted to the expansion of the repertoire for duo piano. QM’s new Wolpe release is the duo’s 14th album for Bridge Records.

Classical Music

Classical Music

This recording presents two of Claude Debussy's enduring masterpieces- the Children's Corner suite (1908), and his brilliant- Études (Books 1 & 2) (1915), played by the American pianist, Aleck Karis. Aleck Karis has performed recitals, chamber music, and concertos across the Americas, Europe and in China. As the pianist of the new music ensemble Speculum Musicae he has participated in over a hundred premieres and performed at major American and European festivals. His appearances with orchestra have ranged from concertos by Mozart, Beethoven and Chopin to those of Stravinsky, Messiaen and Carter. His five solo discs on Bridge Records include Aleck Karis performs Schumann, Carter, Chopin; Aleck Karis: Mozart Recital; Stravinsky: Music for Piano 1911-1942; John Cage: Sonatas and Interludes; and Karis Plays Webern, Wolpe & Feldman. His two albums on Romeo Records are Piano Music of Philip Glass and Late Piano Music of Frederic Chopin. He is a Distinguished Professor of Music at the University of California, San Diego, and Associate Dean of the Division of Arts and Humanities.

Garlands for Steven Stucky is a tribute to the late-American composer, Steven Stucky. The project was spearheaded by Grammy-winning pianist Gloria Cheng, who has recorded the 32 new pieces that make up this star-studded “garland”. In addition, Ms. Cheng is joined by soprano Peabody Southwell and oboist Carolyn Hove in a recording of Mr. Stucky’s Two Holy Sonnets of Donne (1982). Musician royalties for the sale of this recording go to the Los Angeles Philharmonic’s “Steven Stucky Composer Fellowship Fund.” Widely recognized as one of America’s leading composers, Steven Stucky was awarded the 2005 Pulitzer Prize in Music for his Second Concerto for Orchestra. He wrote commissioned works for many of America’s major orchestras and ensembles. For over 21 years he was resident composer of the Los Angeles Philharmonic. He taught at Cornell University, where he founded Ensemble X, until 2014, when he joined the faculty of The Juilliard School. He died of cancer in 2016.

Nightshade Trilogy was composed by Poul Ruders over a span of 17 years- between 1986 and 2003. In the composer’s words, it is “a collection of compositions that evoke for me an almost Gothic association with pale moonlight, tombstones crypts and the elusive shadows deep inside an ancient forest at the deep of night.”