"František Vincenc Kramá?, as he is correctly named, is better known as Franz Vinzenz Krommer. Born in Bohemia in 1759, he was educated, in part, by an uncle, but taught himself theory. He left Bohemia in 1785 and worked extensively in Hungary for the better part of 10 years. From 1795 until his death in 1831 he worked in Vienna. His reputation was very high, and his works were quite widely known throughout Europe. His quartets were considered on a par with Haydn's, and overall he was often compared to Beethoven. From our point of view those statements may be excessive, but he certainly was a polished musician deserving considerable renown. His wind concertos are especially fine, and are gradually becoming well regarded in our own time.

His two oboe concertos were written in Vienna in 1803 and 1805. Both are dramatic works with virtuoso turns and leaps abounding. The first is more Mozartean in nature while the second has distinct overtones of early Beethoven. Both are first-class pieces that deserve to be known.

Johann Nepomuk Hummel is more of a known quantity. He was highly regarded in Vienna as a contemporary of Beethoven, though of somewhat lesser stature. His Introduction, Theme, and Variations is a polished, virtuoso piece of considerable brilliance.

Alex Klein was born in Brazil, trained at Oberlin College, and for the last five years has been principal oboist of the Chicago Symphony. His technique is flawless. He is well supported by Paul Freeman and the Czech National Symphony. Cedille's recorded sound is first-class, as expected from this source."-- John Bauman, Fanfare [11/1999]

Handel's violin sonatas, familiar to violinists and chamber audiences, have been inexplicably neglected on disc. These intimate, inviting sonatas show the seldom-heard side of Handel's genius.

"Violinist Rachel Barton triumphs in her first release for the Cedille label… Indeed, Rachel Barton's wonderfully vital Handel performances bring us some of the most refreshing, life-enhancing Baroque playing heard in years." -- Chicago Tribune

"[Rachel Barton] is one of the rare mainstream performers with a total grasp of Baroque style and embellishment, and the whole disc is a delight… The exhilarating bravura of her incisive articulation and sharply pointed rhythms is matched by Barton's singing line in her poised and elegant lyrical movements. Superb continuo players David Schrader and John Mark Rozendaal contribute to the real sense of ensemble teamwork." -- Fanfare

"Few non-specialists have gotten inside this procedure [of ornamentation] as convincingly as violinist Rachel Barton. Her playing is splendid on all levels - lovely tone, wonderfully expressive phrasing, secure technique, and strong involvement with the music. But the most unusual aspect of Barton's Handel is the convincing and imaginative way she embellishes the repeats in the music - adding runs, ornaments, and flourishes that give a different aspect to a phrase we've just recently heard… They help to enliven a cherishable disc." -- Classical Pulse

"A spritely partnership between violin and cello, with deft rhythmic accompaniment on harpsichord… The music's virtuosic character is rendered with superb, resonant double and triple stopping and de-emphasized dance motion in the allegros. Barton lets the music's raw, improvised feeling hang out a little, giving the recording a refreshing zest." -- Classical Net

"[Rachel Barton] uses a baroque bow with her modernized 17th-Century violin, making a wonderfully warm yet still focused sound, and her passage work is brilliant yet lyrical - much like the cascades of a coloratura - and her ornamentation is both thoughtful and virtuosic. This is a wonderful recording." -- American Record Guide

"A first-rate recording of a durable classic." (Opera News)

"Chicago Opera Theater brings the story fully and frighteningly to life for the first time on compact disc. Joyce Castle sings the title role . . . with chilling malevolence. Bedi brings to the role [of Monica] a pervasive and affecting sweetness." (Newark Star-Ledger)

"Exudes a riveting theatrical atmosphere." (Dallas Morning News)

Oft-performed but mysteriously absent on recordings, Menotti's eerie opera The Medium has materialized in its first recording in more than a quarter century. This two-act "musical drama" is about a fake psychic whose surprise encounter with the unknown leads to murder and mayhem. It is stage a dozen times annually in the US alone. Yet, recordings haven't been available for years, and (until now) it has never appeared on CD.

A "sensational success" for Menotti (Kobbé's Opera Book), the present version of The Medium had its premiere February 18, 1947 at New York's Heckscher Theater. New York Times music critic Olin Downes wrote, "we have here the quality of opera. It is dramatic music, emphatic in action as well as feeling, and in essence song, which is what opera must be. No other American composer has shown the inborn talent that Mr. Menotti, an Italian by descent, unquestionable possesses for the lyric theater." Critic (and composer) Virgil Thomson called it a "first-class musico-theatrical work . . . the most gripping operatic narrative [he] has witnessed in many a year . . .[It] wrings every heart string, and the music is thoroughly touching."

These two fine symphonies belong in the collection of anyone who enjoys contemporary music of a more traditional or conservative bent. Not that they are easy listening: Symphony No. 1, which has a much higher level of dissonance than No. 5, brings to mind Honegger's thornier inspirations; but like that composer, Blackwood does not sacrifice expressiveness as a result. His melodies (and there are quite a few here) are all characterful and cover a wide range of emotion. The humorous opening of the scherzo provides one example. Best of all, the piece gets a scorcher of a performance from Charles Munch and the BSO in a vintage Living Stereo recording licensed from RCA, sounding very good here, if a touch congested in loud passages. The climax at the end of the first movement is positively apocalyptic!


The Fifth Symphony, according to the composer, was written in an idiom that recalls "modernized Sibelius"--and that description is exactly right. You'll find the same evocative string textures, writing for winds in thirds, and so forth, but all are presented in a more advanced (but by no means harsh) harmonic idiom. It's a lovely, poetic work, and this 1993 live performance does it justice. If the First deserves respect, you may well find yourself feeling a good bit of affection for this beautifully-crafted later piece. The audience is well-behaved, and the sonics are very natural, warm, and clear. An excellent introduction to a very talented and worthy composer/pianist (try Blackwood's excellent Ives "Concord" Sonata for another facet of his musical personality), not to mention an important addition to the Munch/BSO discography.
--David Hurwitz, ClassicsToday.com

Pianist Ramon Salvatore, a champion of American music, harvests a program of attractive, distinctive yet neglected works by four prominent, living composers on his first recording for Cedille Records.

The disc offers debut recordings of Robert Palmer's neoclassically seasoned Third Sonata (dedicated to Salvatore) and Paul Bowles' evocative Carretera de Estepona. Other works include Bowles' Six Latin American Pieces, John LaMontaine's dramatic Piano Sonata, Op. 3, and Hunter Johnson's Piano Sonata, which The New York Times described as "an engrossing combination of Hindemith-like counterpoint and American blues."

The composers, who received advance copies of the recording, praise it robustly. Palmer notes "a clarity and understanding of every part of the work that is truly outstanding." He describes Salvatore as a "superb musician" and likens him to the late John Kirkpatrick for his dedication to popularizing neglected American masterpieces.

Bowles calls the recording of his pieces "the best I had heard." Johnson declares the recording of his Sonata "a knockout in every respect. I would call it definitive -- everything exactly right -- one by which to measure all other performances of it." To LaMontaine, it's "nothing less than stupendous."

Salvatore's interest in American music extends back into the 19th century, but he devotes this recording to "a lost generation of works" by American composers whose personal styles blossomed in the 1930s and 1940s -- styles marked by new harmonies and rhythms an ocean apart from European influences that once dominated American music.

"Soler's distinctive personality is stamped all over [these quintets]. Schrader has recorded two volumes of [Soler's] sonatas for Cedille Records, and he brings the same digital skill and musical discrimination to these quintets. He leads a quartet that uses mid--to late--eighteenth century original instruments, in performances that are lively, tasteful, and finely balanced. The ensemble is ideally recorded." (Fanfare)

"The pleasures of discovering this unfamiliar music are greatly enhanced by the performances." (Chicago Tribune)

Captivating and quirky, the quintets for keyboard and strings of Spanish composer Padre Antonio Soler were rare, even in the heyday of LP recordings. Now they are available for the first time on compact disc.

Few pianists have had the courage to tackle Ives' "Concord" Sonata in public. Easley Blackwood made it his signature piece. Blackwood earned high praise for his concert performances of Ives' "Concord" Sonata, a set of transcendentalist meditations named for Emerson, Hawthorne, the Alcott family and Thoreau, all of whom lived in Concord, Mass. Critic Max Harrison of The London Times declared Blackwood's performance of the piece "the finest account I have ever heard."

Chicago Symphony Orchestra flutist Richard Graef, a Blackwood colleague in the Grammy Award-winning Chicago Pro Musica chamber music ensemble, performs in the sonata's "Thoreau" movement.

Copland's Piano Sonata, long overshadowed by his populist works, represents his most profound and personal thoughts. A surprisingly lively middle movement explores fast rhythms in irregular, rapidly changing meters. "I never would have thought of those rhythms if I had not been familiar with jazz," Copland remarked.