25-year-old rising American violinist Karisa Chiu, noted for her "easy virtuosity... humor, nuance... [and] playful[ness]" (Cleveland Classical), and renowned Chinese-American pianist Zhu Wang ("a thoughtful, sensitive performer" -New York Times) unite for Chiu's debut album, HOME. Influenced by her Chicago upbringing, pandemic discoveries, and Korean and Chinese family roots, the recording reflects on the various interpretations of "home" in Chiu's life, with works by Jean Sibelius, Claude Debussy, Augusta Read Thomas, Cyril Scott, and Gabriel Faure. A finalist in Cedille Records' inaugural Emerging Artist Competition in 2021, Chiu earned her Bachelor's degree from the Curtis Institute of Music and her Master's degree from the Cleveland Institute of Music. She is currently pursuing an Artist Diploma at the Juilliard School under the tutelage of Catherine Cho and Donald Weilerstein. She is the first new solo violinist to record for Cedille in 20 years. Although raised in a Swedish-speaking family, Jean Sibelius chose to root his artistic identity in Finnish culture. Written between 1915 and 1918, his Five Pieces blend Finnish folk influences with the elegance of salon music, reflecting a personal and creative claim of Finland as home. Composed in wartime exile and performed at his final public appearance, Debussy's Violin Sonata (1916-1917) is both a farewell and a return. Intended as part of a larger French sonata cycle, the work reaches toward distant tonalities and Iberian influences, yet remains anchored in a deeply personal language - a reflection on home as something both fragile and enduring. A lyrical, chant-inspired solo for violin, Thomas' Incantation unfolds with patience and quiet intensity. Chiu first encountered the work years before recording it, eventually collaborating with Thomas during her time as composer-in-residence at Curtis. With Thomas's deep ties to Chicago, the piece became a personal emblem of home - bridging Chiu's roots in the Windy City and a new sense of belonging at Curtis. In Kreisler's arrangement of Cyril Scott's dreamy Lotus Land, Chiu's violin floats above Zhu Wang's shimmering textures, rich with whole-tone and pentatonic color. Inspired by Tennyson's The Lotos-Eaters, the piece offers a brief, sensual escape, where lyricism and stillness evoke a world apart. Discovered by Chiu during the pandemic - a strange yet meaningful chapter in her life - the work recalls a fleeting but formative anchor amid uncertainty. Faure's Violin Sonata No. 1 balances classical structure with sweeping emotion and introspective calm - a work of youthful maturity. Chiu performed it during a return trip to Korea with her mother, reconnecting with family and cultural roots. The sonata evokes not only Faure's early voice but also a powerful emotional link to memory and belonging.

Acclaimed concert violinist Rachel Barton Pine, sought-after pianist Orion Weiss, and the multiple Grammy Award-winning Pacifica Quartet join forces for their new album French Impressions: Chamber Music by Chausson & Tailleferre, celebrating transformational works by French composers Ernest Chausson and Germaine Tailleferre, whose chamber music deserves greater attention on recordings. Chausson's Op. 21 sextet, titled Concert, known for it's unusual orchestration of solo violin, string quartet, and piano, takes advantage of the quasi-orchestral capabilities of a chamber ensemble. The only work on the album featuring Rachel Barton Pine, Pacifica Quartet, and Orion Weiss as a collective, Concert is regarded as one of the most important French chamber music works of the late-19th-century fin-de-siecle era. Germaine Tailleferre was a prolific composer and the only female member of the group of celebrated 20th-century French composers known as Les Six. Tailleferre was a piano prodigy who enrolled at the Paris Conservatoire at age 12, defying her father's objections. Her compositions span symphonic, chamber, and film music. A winner of numerous premiere prix, she studied with revered composers including Maurice Ravel, whose work significantly influenced her versatile style. Violinist Rachel Barton Pine showcases her "astonishing and joyful" (Washington Post) artistry, alongside the "powerful technique and exceptional insight" (Washington Post) of pianist Orion Weiss for Tailleferre's Violin Sonata No. 2, Pastorale, and Berceuse for Violin and Piano - works that often express a nostalgic longing for home and display dynamic and adventurous interplay between the violin and piano. The Pacifica Quartet, known for it's "remarkable expressive range and tonal beauty" (New York Times), is featured on Tailleferre's String Quartet, a piece acclaimed for it's playful themes, fluid accompanimental figuration, and bold harmonies.

Dance of the Night Sky, Black Oak Ensemble's third album on Cedille, aims to expand the boundaries of the string trio repertoire, offering listeners a vibrant collection of contemporary works including four world premiere recordings, all by British women composers. Comprising of violinist Desiree Ruhstrat, violist Aurelian Fort Pederzoli, and cellist David Cunliffe, the Black Oak Ensemble has been praised for their "insightful, committed and masterful performances" (ClassicsToday) and "fierce eloquence" (London Times). The album opens with the world premiere recording of Shirley J. Thompson's Dance of the Night Sky, written for Black Oak Ensemble and premiered at the 2024 Cedille Soiree gala, showcasing the composer's distinctive style, which has also marked historic occasions including Queen Elizabeth II's Golden Jubilee. The concept for the album was borne from an accidental Google search for "soccer" and "British composers," leading to the discovery of Thompson's Concerto for Football and Orchestra. This sparked a deeper exploration of string trios by British women and the idea to highlight the eight composers on the album, each bringing a unique voice to the string trio repertoire. With vivid musical imagery ranging from a steam train station in Zimbabwe in Carol J. Jones' bulawayo railway to the enigmatic poetry of Friedrich Nietzsche in Grace-Evangeline Mason's Into The Abyss, I Throw Roses-both world premiere recordings - the album showcases a multigenerational array of commissions. Sally Beamish's The King's Alchemist comprises four variations on the French folksong "L'Homme Arme" while exploring the story of John Damian, a European alchemist at the court of Scottish King James IV who donned wings to fly to France from Scotland's Stirling Castle (he didn't make it). Dobrinka Tavakova's Insight blends the voices of the string trio into a singular sound, evoking instruments such as the accordion and a brass fanfare. Recently appointed Master of the King's Music, Errollyn Wallen is one of the 20 most-performed living composers. Making Hay, in it's world premiere recording, takes her arrangement of J.S. Bach's Prelude in E Major from Book 1 of The Well Tempered Clavier and transforms it into a virtuosic display for string trio.

Multiple Grammy-winning Third Coast Percussion (TCP), praised by NPR for championing "borderless music" and "blurring musical boundaries, " celebrates it's 20th anniversary in 2025 with Standard Stoppages, an album inspired by pioneering conceptual artist Marcel Duchamp's idea of twisting standardized units, with works that redefine rhythmic structures and sonic possibilities. Reflecting on two decades-or a "score"-of music-making, the anniversary gives TCP the space to reflect on their many milestones, collaborations, and steps along the journey that have shaped their work over the years, inspiring the group to commission new works for the occasion. This diverse set of commissions makes for a colorful sonic palette of percussive ensemble works, ranging from Zakir Hussain's traditional Hindustani influence to Musekiwa Chingodza's Zimbabwean song to Jessie Montgomery's western contemporary approach. This project brings together both new and past collaborators; with commissioned works from Jlin and Zakir Hussain, alongside fresh contributions from Jessie Montgomery and Tigran Hamasyan. The late Zakir Hussain and the rich Hindustani and tabla traditions were strong sources of inspiration for Third Coast Percussion, most notably through the commissioned work Murmurs in Time. His unexpected passing between the album's recording and release moved TCP to dedicate this project to his memory and enduring legacy. Drawing from Duchamp's Three Standard Stoppages, TCP's 7th recording for Cedille Records invites reflection on the varying paths that lead to unique creative expressions, both for themselves and their collaborators. Standard Stoppages was produced and engineered by Judith Sherman, Colin Campbell, and Bill Maylone. Tracks 1-4 and 7-10 were recorded November 4-8, 2024, and tracks 5-6 October 1-2, 2024, at Narwhal Studios, Chicago, IL; Track 11 was recorded November 15, 2024, at Rax Trax, Chicago, IL.

He Cavatina Duo-renowned Bosnian guitarist Denis Azabagic and Spanish flutist Eugenia Moliner-collaborates with the Grammy Award-winning Pacifica Quartet on River of Fire, an album featuring world-premiere recordings of five original compositions that bridge classical traditions and Gypsy influences. The works, composed for the duo by Sergio Assad, Stacy Garrop, Clarice Assad, Mattew Dunne, and Atanas Ourkouzounov, draw on the music and history of the Romani diaspora, weaving a narrative of migration, displacement, and resilience. The Cavatina Duo is committed to innovation and cultural exploration with a deep understanding of historical influences, from Balkan and Spanish Gypsy music to Indian classical traditions, emphasizing an East-to-West and West-to-East exchange, echoing Gypsy music's historic migration. Each movement of Garrop's Romani Songs explores a different aspect of Romani music, including an original arrangement of Ederlezi, a traditional Romani song depicting the changing of seasons. Garrop was inspired by Romani dancers and her work, performed with cellist Brandon Vamos, incorporates clapping, stomping, and the guitar as percussion. Violinist Simin Ganatra joins in Sergio Assad's Contos Ciganos, a work that encapsulates musical influences from global cultures that permeate the Romani sound. It follows the historical dissemination of the Romani people from the traditional dances of India's Punjab region to Gelem Gelem, a Romani anthem inspired by the unique cultural blend found in northeastern Brazil. Ourkouzounov's Raga Ibraima blends Balkan and Romani musical influences with the traditional Indian raga. This piece pays homage to Ivo Papazov, a Bulgarian-Romani clarinetist who garnered international recognition for bringing his unique musical heritage to "wedding band" music in Stambolovo, Bulgaria. Dunne composed Three Artisans in memory of flutist Tal Perkes. It's three movements-The Painter, The Architect, and The Flute Player-acknowledge Perkes's life pursuits while weaving in European jazz, Flamenco, and Romani musical influences. The Pacifica Quartet joins for Grammy Award-nominated Brazilian-American composer Clarice Assad's Uma Mesma Outra Lenda. The work depicts four scenes following the Romani experience of being in constant motion, the fleeting comfort of temporary homes, and the anxiety of instability. River of Fire was produced and engineered by the Grammy-winning team of James Ginsburg and Bill Maylone. The album was recorded on January 4-5 and June 5-6, 2024 in Auer Hall at Indiana University Bloomington.

Songs in Flight features world premiere recordings of Shawn E. Okpebholo's complete song cycle for which the album is named, along with four additional art songs-one from each of his other song cycles - building upon the themes and messages of his work, performed by Grammy-winning and -nominated artists known for their dedication to cultural and historical music projects. Drawing inspiration from the Freedom on the Move database of advertisements for runaway enslaved individuals, Songs in Flight explores their untold stories over twelve songs with texts by poets Tsitsi Jaji, Crystal Simone Smith, and Tyehimba Jess. The work incorporates styles including spirituals, folk tunes, elegies, and protest songs, each song offering a unique historical narrative and emotional depth. A celebrated figure in contemporary classical music, Okpebholo has been described as "devastatingly beautiful" by The Washington Post. Songs in Flight continues his mission to create impactful, narrative-driven music, bringing new dimensions to historical stories. Performers include Grammy Award-winning multi-instrumentalist, Rhiannon Giddens, celebrated for her work in reviving African American folk traditions; Grammy-winning baritone Will Liverman, praised as a "voice for this historic moment" (Washington Post); Grammy-nominated countertenor Reginald Mobley, renowned for his powerful interpretations across diverse repertoire; Karen Slack, acclaimed soprano with a "sizeable voice that captures vacillating emotions" (New York Times); and pianist Paul Sanchez, praised as "the ideal interpreter... performing with clear virtuosity" (Fanfare). Saxophonist Julian Velasco, winner of Cedille's inaugural Emerging Artist Competition, joins in two of the songs following the cycle. Honoring the resilience of historical figures while acknowledging modern-day struggles with racial injustice, including references to Ahmaud Arbery and Trayvon Martin, Okpebholo's work reclaims the humanity and voice of these people, making their lives and struggles resonate through this intricate, soulful collection of songs.

Reviews for the albums that make up this set:


Cedille certainly produces some of the smartest "concept" albums in the classical music business today, because the concept always seems to work musically. Now, the Pacifica Quartet is one of the best chamber ensembles out there, as its Mendelssohn recordings for this same label attest. Even so, there's no dearth of fine Shostakovich cycles, starting with the Borodin Quartet and running through the Emerson Quartet. These performances, every bit as fine as those, would be excellent by themselves, but they do risk getting lost in the discographic shuffle. So it was an inspired idea to pair them with other important works in the same medium by Shostakovich's contemporaries. I'm not sure if this adds up to a "Soviet Experience," whatever that is, but it does make for some great listening.

A great start to a very promising series.

– David Hurwitz, ClassicsToday.com

In every single movement of Shostakovich’s quartets and in the Prokofiev, the Pacifica Quartet penetrates to the very heart and soul of the music. What stands out—matters of technical precision and ensemble blending and balance are givens—is the way in which the players probe for and reveal amazing details even in passages that, superficially, may seem to present relatively flat surfaces unlikely to yield much in the way of dimensionality, such as the Adagio of the Third Quartet. But under inspection of the Pacifica’s microscope, the music displays a topography filled with hidden peaks and valleys. It’s this intellectual curiosity to explore, wedded to largesse of emotional expressivity that makes these performances special.

FANFARE: Jerry Dubins


This is the third volume in Cedille’s ongoing series of Shostakovich quartets, enriched by additional works by the composer’s Soviet colleagues, and like the two previous releases it is a triumph. As with the previous volumes, the Pacifica Quartet’s performances are as good as any. Also in keeping with previous releases, the sonics are marvelously lifelike, well-balanced, and warm. It’s funny how, with all of the fuss and bother about SACD, surround-sound, and whatnot, enterprising small labels like Cedille still make recordings in good, old-fashioned stereo that wipe the floor with outfits that expect new formats to supply a quality that ultimately remains the exclusive province of a top-notch engineer with a great pair of ears.

– David Hurwitz, ClassicsToday.com

Shostakovich’s string quartets have been extremely fortunate from the very beginning to have received quite a few outstanding recordings. A number of them are cited above, but there are earlier ones by the Beethoven and Borodin Quartets that have historical significance, as well as more recent ones by the Sorrel and Mandelring Quartets (the last two of which I’ve not heard). But of those I have heard—and that would include all the others named in this review—I believe I’m prepared to say that this cycle by the Pacifica Quartet is the top contender. Whether you already have one or more Shostakovich quartet cycles in your collection, or you have none, the Pacifica’s is a must-have for anyone of the conviction that these are the most profound musical utterances in the realm of the string quartet since Beethoven.

This is a Shostakovich cycle for the ages.

FANFARE: Jerry Dubins

For her 24th recording for Cedille Records, violinist Rachel Barton Pine joins forces with period instrument specialists David Schrader, John Mark Rozendaal, and Brandon Acker to record Arcangelo Corelli's seminal set of 12 Violin Sonatas, Op. 5. "An exciting, boundary-defying performer" (Washington Post), Pine has been described as "a most accomplished Baroque violinist, fully the equal of the foremost specialists" (Gramophone). Known for her versatility across a vast repertoire - from Renaissance to heavy metal - she has studied period performance practice extensively and performs on the viola d'amore, renaissance violin, and medieval rebec. She has appeared as soloist with Apollo's Fire, the Seattle and Indianapolis Baroque Orchestras, Baroque Band, and Ars Antigua, and has performed concertos with Nicholas McGegan, Jeannette Sorrell, and Frans Bruggen. Published in 1700, Corelli's Twelve Violin Sonatas are foundational in the evolution of both the sonata and concerto forms. This recording explores these compositions through a historically informed approach, utilizing an array of period instruments, each chosen to enhance the expressive nuances of Corelli's music. Reflecting the era's experimental spirit, the ensemble embraces the interpretative freedom suggested by Corelli's original scores. Schrader alternates between organ and harpsichord, Rozendaal between violoncello and viola da gamba, and Acker performs on theorbo, archlute, and baroque guitar. Pine, inspired by the versatility of her colleagues, performs the famous "Follia" variations (Sonata No. 12) on an original-condition Gagliano viola d'amore, exploring this rarely used instrument in an authentic historical context. Corelli: Violin Sonatas, Op. 5, was produced and engineered by the Grammy-winning team of James Ginsburg and Bill Maylone. It was recorded on February 21, 23, and 25, 2024 and April 29-May 2, 2024, at Nichols Concert Hall in Evanston, IL.

Children's Stories features world premieres of works based on beloved children's literature by superstar classical composers Michael Abels (Frederick's Fables for narrator and orchestra) and Augusta Read Thomas (Gwendolyn Brooks Settings for children's choir and orchestra). Both pieces bring children's literary narratives stunningly to life through music. Making it's commercial recording debut, the Illinois Philharmonic Orchestra, under the baton of it's music director Stilian Kirov, is joined by acclaimed bass-baritone Michael Sumuel, narrating Frederick's Fables, and youth choirs Anima - Glen Ellyn Children's Chorus and ChiArts Choir in Gwendolyn Brooks Settings. Michael Abels co-wrote the Pulitzer prize-winning opera Omar with Rhiannon Giddens and is celebrated for his scores for Jordan Peele's films, including the Oscar-winning Get Out. Abels has garnered Grammy and Emmy nominations and was short-listed for an Oscar for his score for Us, which TheWrap named "Score of the Decade." Most recently, Abels wrote the music for Disney's new Star Wars series, The Acolyte. Praised by The New Yorker as "a true virtuoso composer," Augusta Read Thomas was the Chicago Symphony Orchestra's longest-serving Composer-in-Residence (1997-2006) and a finalist for the Pulitzer Prize in Music. Championed by Barenboim, Rostropovich, and Boulez, The American Academy of Arts and Letters described Thomas as "one of the most recognizable and widely loved figures in American Music." Abels' Frederick's Fables are based on the children's stories by Caldecott Award-winning children's author and illustrator Leo Leonni. Abels transforms these beloved fables into "an unseen animated film," weaving narration and orchestra to vividly conjure images in the audience's imagination - truly a modern-day "Peter and the Wolf." Thomas's Gwendolyn Brooks Settings interprets poetry from the 1985-1986 U.S. Poet Laureate and 1950 Pulitzer Prize-winner's Bronzeville Girls and Boys, based on a vibrant Chicago neighborhood, historically called the city's "Black Metropolis." Thomas's score integrates orchestra and choir to "paint sonic images," highlighting the meanings of Brooks' poetic words. This recording exemplifies collaboration across Chicago's musical scene, combining the talents of renowned composers, a Chicago-area orchestra, and community choirs to celebrate stories that speak to the universal experience of growth, community, and the power of storytelling.

Silenced - Unsung Voices of the 20th Century, featuring tenor Ian Koziara and pianist Bradley Moore, shines a light on art songs by composers Franz Schreker, Vitezslava Kapralova, Viktor Ullmann, and Alexander von Zemlinsky, whose musical achievements were overshadowed by the oppression of the Third Reich. This recording marks the first time many of these art songs, traditionally performed by sopranos, are being recorded in the tenor voice.

Described as "an exciting Wagner tenor" (New York Times) and "a wonderful artist" (Washington Post), Chicago native Ian Koziara has performed at leading venues worldwide, including the Metropolitan Opera, Carnegie Hall, Glimmerglass, Teatro La Fenice, and Opera National du Capitole, among others. He sings regularly at Oper Frankfurt, where he recently starred in Franz Schreker's Der ferne Klang.

Bradley Moore has served as associate Music Director at the Houston Grand Opera and assistant conductor at the Metropolitan Opera and Salzburg Festival. He has performed as a piano soloist with orchestras including the National Symphony Orchestra and Buffalo Philharmonic, and has collaborated in recital with artists such as Renée Fleming and Susan Graham.

This recording explores the operatic and chromatically rich German harmonies of early 20th-century composers Franz Schreker (1878-1934) and Alexander von Zemlinsky (1871-1942), alongside the esoteric textures of Viktor Ullmann (1898-1944), who wrote his Holderlin-Lieder and Drei Lieder, Op. 37 during his internment at the Terezin concentration camp. Vitezslava Kapralova (1915-1940), the least known and shortest-lived composer on the program, was a trailblazer as the first Czech woman to become a professional conductor and the first woman ever to conduct the Czech Philharmonic. Kapralova possessed extraordinary talent and technical virtuosity, and her passion for song and poetry are reflected on this program in sets such as Dve pisne, Op. 4 and Jablko s klina, Op. 10. Tragically, Kapralova's career was cut short by her untimely death at age 25.

REVIEW:

This is not only one of the best sounding violin and orchestra recordings ever made, but the entire concept is so smart, so well executed, and so thoughtfully planned that even if it were not so musically stupendous it still would be worthy of your attention. As it is, this is one of those rare productions in which absolutely everything goes right. Consider, for example, the problems attendant upon releasing yet another recording of the Brahms Concerto. You have a small independent label with excellent musical credentials but limited resources, a soloist of great musical gifts (Rachel Barton's previous discs have all been top-notch) but who isn't a "big name", and a work that virtually every other violinist with access to a microphone has recorded, sometimes more than once. Given the fact that on musical evidence Barton's Brahms certainly deserves to be heard, what's a label to do?

First, secure the services of a world-class orchestra under a fine conductor (Carlos Kalmar, music director of the Oregon Symphony and Chicago's Grant Park Festival, fills that bill nicely). Amazing, isn't it, that when major labels are screaming about how they can't afford to record major American orchestras Cedille has found the resources to do just that? Second, instead of simply offering the Brahms, you find an interesting coupling. And let's not kid ourselves: Joseph Joachim's Hungarian Concerto isn't just an "interesting coupling"; it is the Holy Grail of Romantic violin concertos, a work so lengthy (47-plus minutes, about the same as the Elgar concerto), so difficult, yet so deliberately symphonic and, in a sense, anti-virtuoso in conception that it has never once received even a merely adequate recording. Take that coupling, play it to a fare-thee-well (demonstrating once and for all that the work is indeed a brilliant and neglected masterpiece), and then toss in an equally fine Brahms Concerto, all offered at a two-for-one price. If that isn't a recipe for success, then nothing is.

Indeed, Joachim's youthful Hungarian Concerto is so beautiful and full of life, its Gypsy-tinged melodies so entrancing, that only its inordinate difficulty accounts for its rarity. In concert it would be a show-stopper, and Rachel Barton has its full measure. The heavily symphonic first movement requires the soloist to engage in genuine chamber-music dialog with the orchestra, especially the principal winds. Joachim's orchestration must stand with the finest ever achieved in a concerto; there are no dead spots and no balance problems as long as the soloist has the taste and musicianship to know when to cede the spotlight and when to take command.

Take the remarkable cadenza as a typical example: there's no barnstorming sawing and scraping, but instead a densely flowing river of lyricism joined now and then by solo flute and oboe. It's one of the most purely gorgeous passages ever written for the violin, and Barton plays it for all it's worth (and finishes up with some devastating descending chromatic octaves that actually sound like musical notes and not a rusty hinge).

The slow movement features another very attractive principal theme, and when it returns at the movement's conclusion in the cellos, decorated by garlands of ornamentation from the soloist, the result sounds like some lost work of Dvorák at his most melodically characterful. Barton's electrifying attack on the finale, a dazzling "Rondo from hell" with a whiplash perpetual motion principal subject, sets the seal on this remarkable performance. Her double-stops (and there are tons of them: check out from 2:30 into the movement) are as sweetly tuned and richly voiced as her legato is smooth and her sense of rhythm acute. Even after this long work I wouldn't be surprised if you went right back and played the finale over again. It's that much fun.

The word that most succinctly sums up Barton's Brahms is "aristocratic". Among recent recordings, she plays Milstein to Hilary Hahn's Heifetz. The timings are identical to Perlman and Giulini's celebrated performance with this same orchestra, but for my money Barton achieves an even finer balance between poise and virtuosity (and shows far greater dynamic sensitivity, especially in the finale). With opening-movement tempos relaxed but never slack, Barton's warm, round sound allows her to really dig into the music where necessary (witness that famous fanfare-like motive, or Joachim's first-movement cadenza)--but she never emits a raw or unlovely note. The second movement, with a gorgeous oboe solo at the start, is just heavenly, and the finale reveals plenty of high-spirited energy but also numerous delightfully phrased touches in its various episodes. At the very end Barton and conductor Kalmar produce a wind-down coda simply perfect in its timing and wit. She even includes her own eminently musical and enjoyable cadenza on a separate track. Simply jump ahead when the orchestra stops (the balance of the coda is also included, so you don't have to skip backward to get the ending).

As noted above, the sonics are sensational. The opening of the Brahms, with dark-hued strings answered by the winds like a gleam of sun breaking through the clouds, will take your breath away. Although Barton deserves much of the credit for emitting such attractive sounds, it certainly helps that Cedille's engineers capture her shining tone with nary a trace of shrillness, even in the highest positions. Barton herself writes an excellent set of notes (surely indebted to Tovey in discussing the Joachim, but none the worse for that), and to put the icing on the cake she plays a 1742 Guarneri "del Gesu" violin, the "ex-Soldat", selected by Brahms himself for his friend and colleague, violin virtuoso Marie Soldat. Recordings don't get any better than this. Rachel Barton, conductor Carlos Kalmar, and Cedille deserve your enthusiastic support for putting this project together and executing it with such perfectionist zeal and consummate musicianship. There's also a lesson here that the whole industry should take to heart: Where there's a will, there's a way, and it's OK to make fewer recordings, especially if you make great ones. Astounding!

--David Hurwitz

On a new double-album of solo organ works by Leo Sowerby (1895–1968) and another prominent Chicago composer, Frank Ferko (b. 1950), versatile keyboard virtuoso David Schrader plays four of Sowerby’s “greatest hits” for organ, including the monumental Symphony in G major, plus the rarely heard “March” from Suite for Organ, on the 68-rank Wicks Opus 2918 at St. Ita’s Catholic Church, Chicago. The world-premiere recording of Sowerby’s late Two Sketches is available on the album’s digital editions. Schrader plays a diverse program of eight Ferko compositions, all world-premiere recordings, including several based on music by 12th-century composer and Christian mystic Hildegard von Bingen. Schrader performs on three noteworthy manual-action organs at the House of Hope Presbyterian Church, St. Paul, Minnesota, including the instrument for which one of the works was specially written.

Classical Music

It’s impossible to know what is in the mind of a composer through the process of writing a piece, but that doesn’t stop people from speculating regarding motivation, intentions, or supposed “meaning” or extra-musical representations in a given work. Dover Quartet cellist Camden Shaw comments on this in his excellent notes to this new release, even admitting to the quartet’s own subjectively applied imagery and how it impacted their “personal response to the [Shostakovich] ”. Yet it’s hard to imagine that, while trying to survive the day to day horrors of a concentration camp (Ullmann, Laks), or experiencing life in a besieged country ravaged by death, deprivation, and destruction (Shostakovich) the music that you write wouldn’t be more than a little affected by these circumstances.

None of the three works here has any declared programmatic intent, but knowing their provenance–Ullmann wrote his quartet while a prisoner in Theresienstadt in 1943; Laks composed his in 1945, after his liberation from years in Auschwitz; Shostakovich’s work came during a stay north of Moscow as war still raged during the summer of 1944–makes it easy to hear within the pages of each, so profoundly and movingly realized by the Dover musicians, more than mere echoes of the myriad, often conflicting emotions arising from the ever-present, inescapable tension and turmoil. Not surprisingly, these include both sadness and longing, but there are also moments in each of these works of beauty and optimism, as well as assertiveness. Whether some or all of these expressive components might add up to something called “defiance”—say, in these works’ more aggressive passages, or perhaps by the simple expression of hope, of serenity in the face of depression, violence, and death—is for each listener to decide.

Viktor Ullmann’s Quartet No. 3 is one of the finest quartets of the 20th century, immediately engaging from those opening seventh chords to the final (defiant?) G major exclamations. Descriptions of the work always include references to Schoenberg (with whom Ullmann studied), and though the influence is discernible (the harmonic freedom; a brief flirtation with a tone row), the style and structure are modeled more traditionally. And while Ullmann plays with tonal ambiguity here and there, the work remains in the tonal world.

Commentators–and even publishers–seem to disagree about the quartet’s organization: four movements? five? or two, as presented in this Dover performance? The Dovers combine the first three sections–Allegro moderato, Presto, Largo–almost without pause, which makes good musical sense; the “second movement” is more like a coda, short, fast, assertive, “mischievous”, darting and dancing until its brief recall of those opening chords.

The Dovers choose to slightly underplay certain dynamics and soften some of the score’s indicated articulations and accents, making contrasts less extreme than they might be (narrowing the range from forte to triple-forte, for instance, in the second movement; the light treatment of cello accents early in the first movement; the barely-there crescendo to forte in the opening measures). But there’s a consistency and balance to the quartet’s approach to this music whose poignancy is still quite real and truly projected. It’s a mystery why this work has received only a handful of recordings; it should be in every quartet’s repertoire, and in every music-lover’s library.

The Shostakovich String Quartet No. 2, on the other hand, has been recorded many times, and quite well, notably by another group on this same Cedille label, the Pacifica Quartet (see reviews). The Dover Quartet adds another exemplary performance, highlighted by the opening and closing minutes of the second movement–entrancing, reflective, serene, yet somehow intriguingly dark. In the third movement a disjointed waltz turns excitingly frenetic–made all the more effective by the Dover’s exacting articulation; the final movement conveys both “tension” and “dread”, just as Shaw describes. It’s a compelling, confident performance–perhaps that “imagery” Shaw and his colleagues imposed on the work really did make a difference!

Yes, we can imagine a “train whistle” at the opening of Szymon Laks’ String Quartet No. 3, as Shaw observes, followed by other allusions to a train ride theme. But you could more easily imagine something more abstract, as the music quickly becomes absorbed in developing Laks’ chosen Polish folk song thematic material. I have to say I wasn’t as enthralled with this work as I anticipated, based on first reading Shaw’s description of the music. Laks has an impressive and very moving story, having survived Auschwitz for more than two years, forced to perform music for his Nazi captors–and for prisoners going to their deaths.

The four-movement quartet stylistically fits very neatly in the company of Ullmann and Shostakovich; much of the musical language is similar (harmonic palette, off-kilter dance rhythms, for instance), yet, although written later than the other two quartets on the program, this work is far more “traditional” in its overall sound and manner. It also struck me as less idiomatic: it doesn’t immediately convince of its string quartet credibility, an essential string quartet nature and character.

Shaw was quite touched by the second movement (“one of the most impassioned and heartbreaking movements for string quartet I’ve ever heard”), and you may be too: it is very beautiful and obviously written from a place of deep reflection and emotion–and the Dovers play it that way. The other movements have moments of brilliance and beauty as well, from the playful, extended pizzicato of the third to the nifty, rich-textured, cleverly varied treatment of the folk melodies in the fourth. (Laks also doesn’t fail to show a bit of a sense of humor–or is it actually something more serious?– displayed in the very endings of the second and last movements.) For me, this piece is a little too long and perhaps guilty of overworking some of its material, but it’s also easy to hear how it would be fun to play, and would make an engrossing concert work.

The Dover Quartet has already demonstrated its deserved place among the world’s premier ensembles, and here, in its exploration and illumination of two lesser-known but also deserving composers and works, rescued from the ashes of mid-20th century Europe, shows a commitment not only to upholding the highest technical and interpretive standards, but to entertain and encourage inquisitive, open-eared audiences. And I should mention that the sound, from the Banff Centre in Alberta, Canada, expertly captures the “feel”, the presence of a string quartet playing live. Here also is another example of imaginative, enlightened–and enlightening–programming. Highly recommended.

– ClassicsToday.com (David Vernier)

Jennifer Koh, a “brilliant violinist” (The New Yorker) who performs with “conviction, ferocity, and an irresistible sense of play” (Washington Post), showcases works by Kaija Saariaho, the visionary and influential Finnish composer with whom Koh has closely collaborated and feels a deep personal bond. The album offers the world-premiere recording of Saariaho’s Light and Matter for violin, cello, and piano, inspired by sunlit colors and shadows in a city park outside the composer’s window. Also receiving its first recording is the violin and cello version of Aure, meaning a gentle breeze, created for and dedicated to Koh and cellist Anssi Karttunen, another champion of Saariaho’s music. The album’s largest work is the one that first attracted Koh to the composer: the violin concerto Graal Théâtre, written for Gidon Kremer, which Koh has performed many times and performs here in the composer’s chamber-orchestra version. Grove Music Online notes that the work illustrates “Saariaho’s rich and expansive string style, but places greater emphasis on melody than earlier works.”

Tocar, Spanish for “to touch,” explores the playful and tactile aspects of the word through violin and piano. Cloud Trio for violin, viola, and cello was prompted by shape-shifting clouds in the French Alps. Saariaho X Koh is the violinist’s twelfth Cedille Records album in a discography that includes the Grammy-nominated String Poetic.