Pianist Ursula Oppens, stalwart champion of 20th- and 21st-century American music and recipient of multiple Grammy nominations and other honors, celebrates her decades-long friendship and professional association with composer Laura Kaminsky on an album of world-premiere recordings. The program includes two recent works written for the pianist: Kaminsky’s Piano Quintet, performed with the Cassatt String Quartet, “a concise work of considerable substance and atmosphere” (New York Classical Review) and the turbulent Reckoning: Five Miniatures for America for piano four-hands, with pianist Jerome Lowenthal, created expressly for this recording. A large-scale Fantasy for solo piano explores sonorities from French Impressionism to jazz. Oppens gave the New York premiere in 2017.

Kaminsky’s Piano Concerto was inspired by visual images of sunlit rivers in New York City and St. Petersburg, Russia, where Oppens gave the world premiere with the St. Petersburg Chamber Philharmonic led by its artistic director Jeffery Meyer. On this world-premiere recording, Meyer, who is also director of orchestras at Arizona State University, conducts the ASU Symphony Orchestra.

REVIEW:

The solo piano Fantasy is just that, an imaginative fantasia piece that moves in unexpected directions at Kaminsky’s whim. A few hints of jazz rhythm come and go in it as well as a remarkable passage in which the two hands play completely different and opposing lines against each other. Interestingly, this Fantasy is longer than the entire Piano Quintet and only eight seconds shorter than the entire Piano Concerto that ends the disc. More and different permutations follow within that time span, all of them unexpected and interesting. These performances, all first recordings of these works, are all excellent, which helps us to appreciate Kaminsky’s sound world. Highly recommended.

– The Art Music Lounge

Titan of the contemporary keyboard, Ursula Oppens is a rarity among artists living today. She is the stalwart bearer of a mid-century musical torch that apparently burns eternal. How fortunate we are to have such musicians as Oppens still making music with fortitude, passion and tireless faith.

Oppens wields her piano at the album’s centre, steering a varied vessel with consistent skill and surety. Even in brief piano passages, as she peeks out from dense ensemble material, Oppens’ artistry sings unmistakably. The 20-minute solo Fantasy (2010) should be considered a tour de force in and of itself. When it comes to a career such as Oppens’, dedication and staying power carry the day. May she always urge us to listen close and listen well, ever compelling our ears toward the future.

-- The WholeNote

Winner of the 2020 GRAMMY Award for Best Small Ensemble/Chamber Music Performance!

The Grammy Award-winning Pacifica Quartet performs works by three Pulitzer Prize-winning contemporary composers: Shulamit Ran, Jennifer Higdon, and Ellen Taaffe Zwilich. Written for the Pacifica and receiving its world-premiere recording, Ran’s Glitter, Doom, Shards, Memory — String Quartet No. 3 is a moving tribute to painter Felix Nussbaum, who perished in Auschwitz in 1944. Higdon’s Voices, dedicated to the Pacifica, evokes explosive energy, otherworldly calm, and spiritual serenity. In Zwilich’s Quintet for Alto Saxophone and String Quartet, a lusciously singing saxophone shares the spotlight with virtuosic string playing. The Pacifica, quartet in-residence at Indiana University’s Jacobs School of Music, partner with their IU colleague, renowned classical saxophonist Otis Murphy.

REVIEW:

This disc exemplifies many aspects of how contemporary music should be presented so it can shine: superb recording standards, expert annotation, and performances of a standard up there with the likes of the Arditti Quartet. This showcase of three Pulitzer-winning composers is utterly remarkable.

– Fanfare

A 2021 GRAMMY Nominee for Best Classical Solo Vocal Album!

Fast-rising American operatic baritone Will Liverman, tapped for major roles at principal opera houses across the country, makes his Cedille Records debut as a featured artist with Dreams of a New Day, an intimate, heartfelt recital he calls “a passion project . . . years in the making.”

Praised for his “unique combination of eloquence and unpretentiousness” (Opera News), Liverman has assembled a program of songs that portray the trials, tribulations, and triumphs of the African American experience through poignant texts and expressive musical settings. His new album, with pianist Paul Sanchez, highlights Black composers across generations, from early 20th-century pioneers Henry Burleigh, Margaret Bonds, and Thomas Kerr to Robert Owens, Leslie Adams, and contemporary composers Damien Sneed and Shawn E. Okpebholo. Liverman commissioned Okpebholo’s Two Black Churches, which he recently performed to great acclaim at his Kennedy Center recital in conjunction with his winning the 2020 Marian Anderson Vocal Award. The Washington Post review called the set “absolutely devastating, and one of the most beautiful pieces of music I’ve heard all year.” This is its world-premiere recording. “One of the most versatile singing artists performing today” (Bachtrack), Liverman concludes the album with his own powerful arrangement of American folk singer-songwriter Richard Fariña’s “Birmingham Sunday.” Dreams of a New Day was recorded by the multiple-Grammy-nominated team of producer James Ginsburg and engineer Bill Maylone.

REVIEW:

This album is a collection of art songs by African American composers, a field where it is often the same few pieces that get performed. Liverman does sing the Three Dream Portraits of Margaret Bonds, setting texts by Langston Hughes, and these have shown up fairly often on programs by Black artists. However, much of the rest of the program is revelatory, tracing the interchange between African American composition and poetry. None of the pieces directly uses material from African American spirituals, but one of the many strengths of Liverman’s readings is that he catches the inflections from spirituals that populate many of these songs and add to their power. Accompanist Paul Sánchez is adept in handling the range of expression here, and singer and pianist operate as a unit. The album is both compelling and groundbreaking.

– AllMusicGuide.com (James Manheim)

The Dover Quartet, “the young American string quartet of the moment” (The New Yorker), launches its emerging, three-volume complete Beethoven quartet cycle with the six Opus 18 quartets, often cited as the epitome of the classical string quartet as developed by Haydn and Mozart while foreshadowing Beethoven’s future innovations. 

Rarely performed, the Piano Concerto of 20th-century Mexican composer Carlos Chavez receives an insightful, idiomatic, and compelling performance from Mexican-born pianist Jorge Federico Osorio, the Orquestra Sinfónica Nacional de México, and conductor Carlos Miguel Prieto. Surprising tempo changes and a whirlwind of styles make the work a thrill ride for performers and audiences alike!

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REVIEWS:

Make no mistake, Carlos Chávez’s Piano Concerto is a major work. Symphonic in length and very generous in content, it poses quite a challenge to the soloist, with hyperactive allegros surrounding an intimate and evocatively scored central Molto lento. Jorge Federico Osorio has no peer in this repertoire, at least on disc. He plays the work with unflagging energy and, where called for, sensitivity, and he’s very capably accompanied by Carlos Prieto and the Mexican National Symphony Orchestra. This is an important addition to the Chávez discography, and it’s very well engineered.

The couplings make an attractive series of encores. Both Chávez’s Meditación and Moncayo’s Muros Verdes are lovely, lyrical interludes, but Samuel Zyman’s Variations on an Original Theme is a major work more than a quarter-hour long. It’s not easy listening. The music is thorny and at times highly dissonant, but there’s also no question that the work has great integrity, a wide expressive range, and an impressive level of disciplined craftsmanship, nor is it particularly difficult to follow. Osorio, as in the concerto, plays all three solo works very well indeed, and as you’re not likely to find this repertoire so convincingly done anywhere else, this disc earns an enthusiastic recommendation.

-- David Hurwitz, ClassicsToday.com
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The program includes a postlude of solo piano music by Chávez and two of his younger compatriots. The Chaváz piece is a lovely youthful composition, written when he was 19, and owes as much to the influence of Grieg as it does to any New World sources. José Pablo Moncayo, a student of Chávez, contributes a beautiful and rather impressionistic work. Finally, there is the variation set by Samuel Zyman, a contemporary Mexican composer. This dark, even bleak, work is certainly the most harmonically advanced music on the CD, but makes for a somewhat jarring break from the more mellifluous material represented by Chávez and Moncayo. But the reason to acquire this recording is for the brilliant Chávez concerto, which has not been recorded for years.


Peter Burwasser, FANFARE.

The internationally celebrated, Grammy Award-winning Pacifica Quartet joins forces with legendary pianist Menahem Pressler of the Beaux Arts Trio for Johannes Brahms’s Piano Quintet in F Minor, Op. 34, a pillar of German Romanticism that opens with one of the most recognizable melodies in classical music. Pressler, a consummate chamber artist, performs the virtuosic piano part with a clarity and transparency that makes the piano seem like a fellow member of the string ensemble. This noteworthy generation-crossing collaboration — a half-century separates the pianist, who is in his 90s, from the quartet members — yields a spacious, sweeping traversal of the Brahms Quintet that sets its own pace to build suspense and drama. While Pressler has performed the Brahms Quintet with marquee string quartets of the past 50 years, this is his first recording of it. The album offers the unusual, perhaps unprecedented, pairing of Brahms’s early Piano Quintet with a string quartet by his champion Robert Schumann, in this case, the String Quartet in A Minor, Op. 41, No.1, which the Quartet has been performing since early in its career. Dedicated to Mendelssohn, this buoyant, sprightly Romantic quartet showcases the Pacifica’s virtuosity and exuberant performance style while offering a contrast to Brahms’s moodier masterwork. This is the Quartet’s first recording of a Schumann work.

REVIEW:

Menahem Pressler was 91 when he recorded the Brahms Piano Quintet for the first time in his long and distinguished career in 2014. He’s clearly up to the task. Admittedly, tempos are slower than usual for the most part, and you won’t find the kind of dynamism and power in loud tuttis commonly served up by younger keyboard hotshots–although Pressler suddenly sheds decades in the finale’s exultant coda, matching the Pacifica Quartet’s urgent sweep note for note. There’s purpose and meaning in every phrase, every gesture, and every nuance on Pressler’s part.

Listen to the tension that the pianist generates in the soft unison rising scales prior to the first-movement exposition repeat, hear the haunting sense of mystery and flexibility in the Scherzo’s Trio, and notice how Pressler’s tonal shadings enhance the conversational lilt in the fourth movement’s main theme. Having so finely tuned and attentive an ensemble as the Pacifica Quartet on hand doesn’t hurt, of course! If the Hough/Takács and Andsnes/Artemis versions score for fluency, assurance, and grandeur, Pressler’s insights are priceless, and we’d be poorer without them.

A 2016 recording of the Schumann A minor Quartet Op. 41 No. 1 fills out the disc. The Pacifica members make a compelling case for this inspired yet arguably sprawling work. They draw out the first movement’s introduction, giving little clue about the fierce Allegro around the corner and the sharply drawn dynamic contrasts with which they’ll characterize the music.

Ferocity also defines the ensemble’s hair-trigger articulation in the “Mendelssohn on steroids” Scherzo. The Presto sounds faster than it actually transpires, due to the players’ sophisticated balancing of lines and ever-so-discreet italicizations of harmonic felicities; rarely do you hear such fusion of forward drive and contrapuntal clarity as the Pacifica Quartet delivers. It’s an absorbing performance, notwithstanding my preference for leaner and edgier versions by the Zehetmair and Eroica Quartets.

– ClassicsToday (Jed Distler)

The world-class vocal ensemble Chicago a cappella does Christmas choral music fans a real service by daring to create a program entirely of contemporary (primarily within the last 20 or so years) works that defy the usual and predictable holiday concert choices that guarantee instant audience familiarity and gratification (not that there's anything wrong with those beloved, treasured standards!). Most of the works featured here require a bit more-than-usual attention from listeners--the composers and arrangers obviously approached such common texts as "What sweeter music", "Il est Né, le Divin Enfant", "O Come, O Come Emmanuel", "Noël nouvelet", "I wonder as I wander", "Lo Yisa Goy", and "The Huron Carol" with an idea to say something that hadn't already been said. And they do--splendidly. Then we have entirely original pieces by Stephen Paulus (Splendid Jewel--from a 14th-century Italian text), Gwyneth Walker (The Christ-child's Lullaby--inspired by a traditional Hebridean song), Richard Proulx (Prayer of the Venerable Bede--from a text found on the wall of Galilee Chapel in Durham Cathedral), and Danish composer Per Nørgård (En stjerne er sat--a dialogue between the Angel and the shepherds).

It's a tribute to the power of the Christmas story and to its enduring, compelling fascination for composers that the best of them continue--more than 2000 years later--to devote their efforts to writing music to recognize and celebrate the birth of Christ. And we are fortunate to have choirs of this caliber to bring this music to us in a context that presents it most favorably and gives it a permanent presence in our listening repertoire.

Another of the disc's strengths is the sheer variety of music, from the Nigerian setting of the text "For unto us a child is born" by Christian Onyeji, to Rosephanye Powell's "spiritual-like" Who is the baby?, to Yemeni composer Chaim Parchi's alluring Chanukah tune "Aleih Neiri", arranged for choir by Zamir Chorale of Boston founder Joshua Jacobson. The nine singers of Chicago a cappella are absolutely right-on in every respect, and the sound is ideal. This is an unqualified success, a holiday treat, a musical bounty that will both challenge and enliven your Christmastime listening. Highly recommended!

--David Vernier, ClassicsToday.com

Anthony McGill, principal clarinet of the New York Philharmonic, and pianist Gloria Chien, a frequent performer with the Chamber Music Society of Lincoln Center, make their commercial recording debut as a duo on Here with You, an album of early and late German Romantic masterworks they’ve treasured throughout their 15 years of mutual admiration and musical collaboration. It’s a project that embodies, in the artists’ words, a “shared expression of beauty and friendship.” Johannes Brahms and Carl Maria von Weber were accomplished pianists who wrote for — and performed with — the leading clarinetists of their day. Brahms’ Sonata No. 1, Opus 120, spotlights fast-paced, intense dialogues between the two players, while his Sonata No. 2 explores the clarinet’s entire tonal range. Weber’s Grand Duo Concertant has been described as “a double concerto without orchestra” showcasing sheer virtuosity for both instruments. The Chicago Symphony Orchestra’s newest Mead Composer-in-Residence, Jessie Montgomery wrote Peace in 2020 as a response to the global pandemic. McGill and Chien offer the world-premiere recording of the clarinet and piano version.

When Jennifer Koh plays, people listen. Or they should, especially when she offers a new program of solo works. This new one, a follow-up to Part 1 of her Bach & Beyond project (see reviews) continues her effort, in her words, “to strengthen the connection between our past and present worlds through a historical journey of solo violin works from Bach’s Sonatas and Partitas to contemporary and newly commissioned works.”

Part 1 is a single disc that features two Bach partitas along with works by Saariaho, Ysaÿe, and Missy Mazzoli, all of it demanding of ear and mind, yet readily accessible and rewarding even to listeners unaccustomed to solo violin repertoire. Part 2 is a two-disc set containing just four substantial works–requiring not only a greater investment of time, but inviting a particular curiosity about and receptivity to more adventurous explorations of solo-string technique and expression. In other words, aside from the Bach, this program is not for those looking for 90 minutes of familiar, “easy” listening.

Koh’s Bach is amazing as usual–so fluid and delivered with such a sensitively nuanced, confident authority. A personality emerges: is it Koh? is it Bach? It’s either or both, but ultimately, who cares? This is exceptional Bach playing–and in a movement such as the “moto perpetuo” Presto finale of the Sonata No. 1, Koh demonstrates not only the violin virtuoso’s mastery of technique–bow and fingers–but also shows how the true performing artist internalizes a piece to the point where notes impressed on a page are miraculously liberated and transformed into spontaneous expression.

The Bartók and Saariaho pieces are both born of Bach’s pioneering solo violin works as well as inhabiting new worlds of their own, where the composers push ever further the limits of what can be asked and expected from a performer, while requiring new frames of reference and attention from the listener. As mentioned, these aren’t “easy” audience pieces, but knowing something about their origins and forms–well-described in notes by both Koh and Patrick Castillo–helps to focus our listening and sharpen our appreciation of the music in these two very different works.

Bach’s influence and inspiration is very evident in the Bartók, from the opening movements–Tempo di ciaccona; Fuga–to the lovely, expressive, singing style of the third-movement, “Melodia”. Of course, the composer has his very own way with the actual music, including the use of quarter-tones in the furious, flashy Presto final movement. Saariaho’s Frises goes far beyond imaginative use of harmonics, timbral effects, and quarter-tones, employing what seems like every possible sound-making device one can create with bow, strings, and wood–with some added electronics that, in Koh’s words, “transform the sound of the violin as it is being produced.” Although we don’t get any more detailed explanation of exactly how this works, you can definitely hear the effect, against sounds of scratching and scraping, sliding and tremulating and arpeggiating, echoing and chiming, double-stopping and wailing and plucking and whistling. This is really where the “beyond” of the disc’s title truly applies!

Throughout, Koh is in command, from the dazzling explications of the Bartók Fuga and Presto movements, to the sometimes frighteningly audacious dynamic and timbral assertions of the Saariaho. As a listener, I have to say that I’m not in love with all the music here, but as a violinist my enthusiastically positive impression of this recording is centered in admiration and appreciation of Koh’s artistry, in every sense, and in her commitment to finding new and meaningful ways to express it. The sound, from Westchester Studios in New York (Saariaho) and at the Performing Arts Center at SUNY/Purchase, even under the close scrutiny of headphone listening, maintains Cedille’s usual highest standard.

-- David Vernier, ClassicsToday.com

American violinist Jennifer Koh’s Bach & Beyond Part 3 concludes her critically acclaimed series of recordings based on her groundbreaking, multi-season recital series of the same name that The New York Times has called “indispensable.” Koh, “a virtuoso with quirky and wonderful ideas” (San Francisco Chronicle), again pairs two of J.S. Bach’s landmark Sonatas and Partitas for solo violin with Bach-inspired 20th- and 21st-century works. On this series-finale album, Bach’s florid and fanciful Sonata No. 2 in A minor and Sonata No. 3 in C major, celebrated for its colossal Fuga movement, frame Luciano Berio’s expressive, chaconne-like Sequenza VIII and Pulitzer Prize winner John Harbison’s alluring For Violin Alone, a dance suite inspired by Bach’s partitas, written for Koh (a world-premiere recording).

REVIEW:

Jennifer Koh returns, with the third and final installment in her Bach & Beyond series. With Part 3, we have another two-disc program, framed by two Bach sonatas–No. 2 in A minor BWV 1003, and No. 3 in C major BWV 1005–and filled out by Luciano Berio’s 15-minute-plus Sequenza VIII and John Harbison’s For Violin Alone, composed in 2019 for Koh and here receiving its world-premiere recording. Koh’s Bach, as noted in my two previous reviews, is polished, passionate, and presented with requisite attention to notational detail, but also with a lived-in, well-thought-out sense of phrasing and melodic flow that arises from the score, from an understanding of the all-important harmonic underpinning–an approach practical and just a bit personal, but never with a hint of posturing.

For this series we especially appreciate how carefully and purposefully Koh has chosen her program partners. We’re not expecting direct stylistic similarity, of course–Bach joining hands with Berio and Harbison is not the point. Rather, what Koh is interested in is some manner of influence or inspiration, arising either in some indirect, complementary way from Bach (Harbison), or by means of a more symbolic, technically oriented tribute to the master’s revolutionary, matchless conceptions (Berio).

Berio’s focus is not Bach per se, but rather takes off, sets its trajectory, and develops its very specific “violinistic” gestures and effects from the well-laid platform of virtuoso solo-violin technique established by the German genius in his ground-breaking sonatas and partitas. There’s no direct reference to Bach, yet the liner notes reference Berio’s comments that this work “becomes inevitably a tribute to that musical apex that is the Ciaccona from J.S. Bach’s Partita in D minor where…past, present, and future violin techniques coexist.” Not surprisingly, this is not a sit-back-and-relax experience; it’s a sit forward and hear the not always “pretty” expressions and explorations of a modern composer putting an instrument through its paces.

Harbison’s For Violin Alone hews closer to solo-violin Bach, its six movements plus epilogue more suite than sonata, its structural elements and integral melodic and harmonic components providing the fertile material for often wide-ranging, albeit tonal, thematic exploration, single lines punctuated by pertinent double-stops that anchor the harmony. Koh is especially effective in the way she articulates these double-stop passages, notably one extended sequence at the end of “Ground”, and throughout Duet and Epilogue.

Ultimately, for me the takeaway from these programs is the ingenuity, the majesty, the audacity of Bach’s imagination and the un-improvable manner in which he realized it. Whatever comes after, by however accomplished a composer, owes a huge debt to Bach’s inimitable and totally original conceptualization and realization of the instrument’s technical and expressive capabilities. Throughout these first-rate performances, Koh takes her time, to the benefit of the music–no rushing, no gratuitous theatrics–and yet is fully capable of exploding into an energetic fury of bow and fingers that leaves you impressed with both the violin and Koh’s command of its unique voice and power.

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

Hailed as an “epic traversal of solo violin repertoire” and a “monumental achievement” (Chicago Tribune), American violinist Jennifer Koh’s complete Bach & Beyond recordings, pairing J.S. Bach’s violin sonatas and partitas with 20th- and 21st-century works inspired by Bach’s groundbreaking masterpieces, are now available in a convenient, economical boxed set offering all three albums for the price of two. Bach & Beyond Part 1 features Koh’s “alluring performances” (The New York Times) of Bach’s Partitas Nos. 2 and 3, Eugène Ysaÿe’s Sonata No. 2, Kaija Saariaho’s Nocturne, and the world-premiere recording of Missy Mazzoli’s Dissolve, O My Heart, commissioned for Koh by the Los Angeles Philharmonic. The Newark Star-Ledger cited the violinist’s “distinctive voice over a range of styles.” Toronto’s The Whole Note said of Bach & Beyond Part 2, “Koh, as always, is superb, her intelligence and interpretation always matching her outstanding technique” in Bach’s Sonata No. 1 and Partita No. 1, Bela Bartok’s Sonata for Solo Violin Sz. 117, BB 124, and Saariaho’s Frises. Koh’s Bach & Beyond Part 3 earned BBC Music Magazine’s and ClassicsToday.com’s highest ratings for performance and recording quality. The Strad admired Koh’s “eloquent, artful, yet unadorned playing” in Bach’s Sonatas Nos. 2 and 3, Luciano Berio’s Sequenza VIII, and the world-premiere recording of John Harbison’s For Violin Alone, written for Koh. AllMusic said, “Koh’s series is highly recommended to those in search of an experience that will reward repeated hearings.” Audiophile Audition called it a “remarkable three-disc effort, recommended to all with a good degree of urgency.”

Excerpts of reviews from previously released volumes included in this set:

Bach & Beyond, Part 1

Koh makes short work of the Bach pieces—not in a bad sense: she just nails these works with a confident technique and a free-flowing, un-mannered style that remains true to Bach yet reminds us that a modern violinist is at the helm. Although ostensibly “modern”, the works by Saariaho and Mazzoli still incorporate time-honored traditions of solo-violin writing and don’t stray into what some might call “experimental” territory. These are both very ingratiating and accessible works to anyone who appreciates interesting, involving, intelligently written new violin music.

– ClassicsToday.com (10/10)

Bach & Beyond, Part 2

Koh’s Bach is amazing as usual–so fluid and delivered with such a sensitively nuanced, confident authority. A personality emerges: is it Koh? is it Bach? It’s either or both, but ultimately, who cares? This is exceptional Bach playing. Throughout, Koh is in command, from the dazzling explications of the Bartók Fuga and Presto movements, to the sometimes frighteningly audacious dynamic and timbral assertions of the Saariaho.

– ClassicsToday.com (10/10)

A 2021 GRAMMY Nominee for Best Small Ensemble/Chamber Music Performance!

Grammy Award-winning Third Coast Percussion, celebrated Brazilian guitarist Sérgio Assad, and his daughter, the vibrant vocalist, composer, and multi-instrumentalist Clarice Assad, “a veritable musical dynamo” (San Francisco Classical Voice), join forces for a collaboratively written program conjuring a dozen universal archetypes — timeless characters shared by cultures around the globe.

Figures such as the Rebel, Lover, Magician, Jester, Hero, and Explorer come to life in 12 short works melding imaginative chamber music with Latin jazz rhythms. The adventurous percussion ensemble’s vast color palette, Sérgio Assad’s unparalleled guitar mastery, and Clarice Assad’s diverse artistic contributions create striking musical portraits. Boston Classical Review proclaimed “each piece cast a vivid impression of its respective theme…. The performers played with verve, revealing the music’s power to convey the traits underlying ancient, eternal ideas.”

REVIEW:

Çedille’s collection of German violin sonatas opens with Johann Schop’s brief  Noblemen , a set of “divisions” influenced, according to the notes, by the English style. It offers Rachel Barton Pine an opportunity for engaging in the kind of brilliant rapid passagework that characterizes pieces of this kind. Throughout the program, Pine plays with a sound that falls a bit on the nasal, pinched side of the spectrum, yet without the timbral (or technical) mannerisms in which earlier period instrumentalists with similar timbral predilections used to indulge. The repertoire provides for a kind of collegiality in which the Trio revels in this varied program, and the engineers have balanced the performers in an ambiance that’s just reverberant enough to enhance the sound of their ensemble. Strongly recommended for its exuberant, virtuosic music-making, elegant yet without a trace of slickness and serious without a trace of ponderousness. 

FANFARE: Robert Maxham

Grammy Award-winner Alex Klein, former principal oboist of the Chicago Symphony Orchestra, performs sonatas that signify the oboe’s 20th-century reemergence as a brilliant solo instrument. One of the world’s most famous oboe players, Klein says he waited to acquire a professional lifetime’s worth of experience before putting his stamp on the six sonatas heard here. With pianist Phillip Bush, Klein plays works that he says “define the modern oboe”: Camille Saint-Saëns’ jovial, late-Romantic Sonata for Oboe and Piano, Op. 166; York Bowen’s lushly beautiful Sonata for Oboe and Pianoforte, Op. 85; Henri Dutilleux’s emotionally wide-ranging Sonata for Oboe and Piano; Petr Eben’s youthful, inventive Oboe Sonata, Op.1; Francis Poulenc’s late, philosophical Sonata for Oboe and Piano, FP 185; and Eugène Bozza’s Sonata for Oboe and Piano, an ethereal, rarely heard tour de force. Klein possesses a “tone so unique and beautiful that musicians from around the globe would flock to [Chicago’s] Symphony Center to hear him play” (Chicago Magazine). He won a Grammy Award in 2002 for Best Instrumental Solo Performance (with Orchestra) for his recording of Richard Strauss’s oboe concerto with conductor Daniel Barenboim and the Chicago Symphony Orchestra.

REVIEW:

Oboe playing simply does not get any better than this. The collaborative support of pianist Phillip Bush could also not be bettered, nor could the recorded sound offered by Cedille. This recital, then, is nothing less than an essential acquisition for any fan of the oboe or superlative wind playing in general.

– Fanfare

Grammy Award-winner Alex Klein, the Chicago Symphony Orchestra’s principal oboe emeritus, and pianist Phillip Bush perform works by composers from both sides of the Atlantic who were caught up in or deeply moved by 20th-century political turmoil. The Brazilian-born oboe virtuoso’s passionate project, with its underlying appeal for tolerance, encompasses works by Czech, German, British, American, and Brazilian composers. Much of the music evinces a calm lyricism and melodious beauty that belie the composers’ difficult circumstances. Some were exiled from their native countries, others despaired of impending war. One, Pavel Haas, died in Auschwitz. Paul Hindemith’s 1938 Sonata for Oboe and Piano, written in Swiss exile, is said to represent happier days in his native Germany. Pavel Haas’s Suite for Oboe and Piano, composed at the outset of Nazi occupation of Czechoslovakia, shares the complex musical language of his teacher, Leoš Janácek. William Bolcom’s ultimately hopeful Aubade – for the Continuation of Life, written amid early 1980s fears of nuclear war, forges a fragile coexistence between cello and piano. Benjamin Britten’s Temporal Variations, written on the eve of World War II, expresses the composer’s anti-militarism. José Siqueira wrote his tuneful Three Etudes for Oboe with Piano Accompaniment shortly before fleeing Brazil’s military dictatorship. Klement Slavický’s professional musical career had been derailed by the Czech Communist regime by the time he wrote his virtuosic Suite for Oboe and Piano.