Here is a recording of rarities on two counts. Not only is the music of Kryukov, Vasilenko, Frid, Krein and Bogdanov-Berezovsky little known outside of Russia, but viola sonatas are as welcome as they are scarce. Romantic lyricism, the influence of Scriabin.

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Guitar Recital: Johan Fostier

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Jewels: Treasures, Old & New, for the Harpsichord

This collection of nine works of mine, recorded by the Ives Ensemble, spans exactly 30 years but all the music was actually written at the opposite ends of this period of time. The six trios are early pieces, composed in 1986 and 1989, while Piano Quintet and the two works for solo piano were written between 2011 and 2016. A 10th piece was also recorded and is available only on download, this is Holt Quartet, composed in 2013. If these compositions were listened to in chronological order, Hugo Pine would be followed by Piano Quartet. These two works are both entirely characteristic of my compositional endeavor at those particular points in time. They are in some ways similar and in some ways very different. What has changed in the intervening 22 years? (Laurence Crane) The Ives Ensemble was founded in 1986 by the Dutch pianist John Snijders and consists of a steady pool of 14 musicians. The ensemble concentrates on performances of non-conducted 20th and 21st century chamber music, in which, ever since the founding of the ensemble, the music of Charles Ives, John Cage, and Morton Feldman has been serving as its base. The ensemble has a large body of commissioned works from such great composers as John Cage, Richard Ayres, Michel van der Aa and many others.

Includes work(s) for organ by Heinrich Scheidemann. Soloist: Julia Brown.

Dvorák's String Quintet with double bass can be counted among his finest chamber works (or actually among his finest works, period). It contains all of the composer's trademark compositional virtues: vibrant energy, gorgeous melodies, dancing rhythms, and an overall life-affirming spirit. There's spirit aplenty in the Vlach Quartet's joyous reading, augmented by Jakub Waldmann's double bass, which, thanks to Naxos' beautifully balanced, sonorous recording, adds a satisfyingly deep bottom to the ensemble sound. The Quintet originally contained five movements, but Dvorák removed the intermezzo and published it separately as the familiar Nocturno, which here receives an exquisitely tender and serene reading from the Prague players.


The tunes in Drobnosti (miniatures) will be recognizable to anyone familiar with Dvorák's Romantic Pieces for piano and violin, here in their original version for two violins and viola. This arrangement sounds slight after the robust tones of the preceding Quintet, but the delicate tunes nonetheless retain their power to enchant. Finally, the melancholy Andante appassionato (from an aborted early string quartet project), is notable for its beautiful tunes and an animated middle section that bears a striking stylistic resemblance to Tchaikovsky. In sum, a richly varied and highly enjoyable program. [12/19/2002]
--Victor Carr Jr, ClassicsToday.com

Thalberg: Fantasies On Operas by Rossini

This series of DVDs features travel scenes accompanied by classical music.

The Places
Our tour of Scotland takes us from Edinburgh, with its castle, Scott monument and Palace of Holyrood, to the highland and then to The Hebrides, recalling the journey undertaken by the young Mendelssohn.

The Music
In 1829 Mendelssohn visited England and, after the summer season, travelled north to Scotland, accompanied by his friend Karl Klingemann. In Edinburgh he visited the Palace of Holyrood, recalling the tragic story of Mary, Queen of Scots, and the murder there of her secretary David Rizzio. Further north he took the steamer to the island of Staffa, where he saw Fingal's Cave and in spite of sea-sickness immediately sketched the opening theme of his Hebrides Overture. It was not until 1842 that his Scottish Symphony was completed, a work inspired by memories of his visit to Scotland.

Picture format: NTSC 4:3
Sound format: Dolby Digital / DTS Surround
Region code: 0 (worldwide)
Running time: 52 mins
No. of DVDs: 1

The importance of Mieczysław Weinberg’s 24 Preludes for solo cello, written for Rostropovich, lies beyond their superficial resemblance to Bach’s Well-tempered Clavier or the piano preludes of Chopin or Weinberg’s colleague Shostakovich. Instead, it resides in Weinberg’s remarkable ability to write for solo cello with almost limitless imagination, using myriad musical styles and varied techniques. These fascinating qualities are also to be found in his more expansively lyrical Sonata, a masterfully written outpouring of deep emotions. Latvian-born cellist Josef Feigelson has enjoyed a solo career spanning over three decades and champions neglected cello repertoire.

Liszt Complete Piano Music, Vol. 19: Beethoven Symphonies No

Flexible Music is: Haruka Fujii: percussion Dan Lippel: guitars Tim Ruedeman: saxophones Eric Huebner: piano Hout- Louis Andriessen Flexible Music- Nico Muhly Around the Bend- John Link Closing Time- Ryan Streber Sustenance Variations- Orianna Webb Throw Down or Shut Up- Vineet Shende 'The quartet known as Flexible Music derives it's name from the title of the Nico Muhly piece that the group plays on it's new disc. Like that score, the program's other works by Louis Andriessen, John Link, Ryan Streber, Orianna Webb, and Vineet Shende take percussion, piano, saxophones, and guitars through fascinating textural, rhythmic, and coloristic terrain. The results are varied and vital, a feast of intimate musical possibilities. The disc's springboard is Andriessen's beguiling Hout, which has been recorded by several other ensembles. Dutch for 'wood', the piece is a canon that finds the instruments chasing each other at pell-mell speed, occasionally stopping in their tracks amid the hypnotic activity, sensual gestures and group exclamation points. Muhly's Flexible Music is exactly that. Inspired by video games, it's energy is relentless, with swirling, punching ideas momentarily relaxed with lyrical lines. In Link's Around the Bend, something surprising is always lurking, from exotic tambourine sighs to quickly shared fragments, dreamy piano lines and sudden outbursts. An electric guitar broods in Streber's Closing Time, which is animated through saxophone flights and feisty interaction. Tidbits emerge from hushed moments, and the saxophone and guitar have extended solos before the music fades away. The aura veers from the frisky to the still in Webb's Sustenance Variations, whose punchy chords and confrontational episodes find a keen balance amid lines of haunting poetry. Shende pays homage to James Brown in Throw Down or Shut Up, whose vigorous activity includes vocal grunts, riffs, shifting rhythms and a sassy finish. The members of Flexible Music are undaunted by the repertoire's formidable demands. Haruka Fujii (percussion), Eric Huebner (piano), Timothy Ruedeman (saxophones), and Daniel Lippel (guitars) appear to relish the sense of discovery that these composers have invested in their captivating creations.'- Donald Rosenberg, Gramophone August 2009 '... Flexible Music, a young and vigorous New York City-based quartet. Aggressiveness, virtuosity, and seamless ensemble playing are obviously Flexible Music hallmarks, and these strengths are revealed immediately with a blistering account of Louis Andriessen's Hout, the piece that one imagines was the catalyst that brought the quartet together. While calling any work a tour de force may seem terribly cliche, it's really the only term that aptly describes Hout. It's a relentless piece, beginning with what seems like a never-ending canon at the 16th note.

The best of Eternal Guitar accompanied by Camerata Cassovia Orchestra under the direction of Johannes Wildner and Peter Breiner bring such classics as Vivaldi's Lute Concerto in D Major, RV 93: II. Largo (arr. G. Garcia for guitar and orchestra) and Bach's Concerto in D Minor, BWV 974 (after the Oboe Concerto by A. Marcello): III. Presto (arr. E. Voorhorst for guitar) to life.

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These three Catalan piano trios reveal illuminating facets of each composer. Roberto Gerhard’s early trio exudes a distinctly French ethos, alongside that of de Falla, very different from his later asperity. Xavier Montsalvatge’s much later work, written between 1986 and 1988, owes its origin to disparate sources but forms an impressive whole, and is lyrical, expressive, sensual and dance-like in turn. Admired as a cellist, Gaspar Cassadó composed a brilliantly virtuoso trio, influenced by earlier Spanish models, but revealing great panache and considerable demands via guitar imitations, Malagueña rhythms and lashings of folkloric brio.

Armenia' greatest composer Aram Khachaturian received both acclaim and criticism from the Soviet regime, including the USSR State Prize for his three Concerto-Rhapsodies. "A concerto is music with chandeliers burning bright; a rhapsody is music with.

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The first cantata is about a rose - a symbol of love - which is spurned by Nysa and Chloris. The fourth cantata marks a turning point, which could well be the reason Ariosti scored the next three cantatas for alto. The title expresses it's content: 'Freedom acquired through love'. In the fifth cantata another image is used to depict the breakdown of love: a shipwreck. The first aria describes a storm at sea, with crashing waves, thunder and the absence of sunshine. The last cantata marks the return to the beginning: the protagonist has not really overcome his love for Nysa. Otherwise he would not feel that she, "who faithlessly seeks her delight in the arms of another, is the cause of my bitterness and misery". These cantatas make one understand that Ariosti was successful as a composer of operas; there is plenty of drama here. Not only the vocal parts but the instrumental parts as well depict the feelings expressed in the texts. It is impressive how the two melody instruments - originally two violins, here flute and violin - and the basso continuo illustrate the storm at sea in the first aria of Cantata No. 5. They also perfectly express the unhappy lover's feelings in his lament in Cantata No. 3.

Emil Gilels Legacy, Vol. 3: 1975 Helsinki Recital (Live)

For those of us who have learnt to play the piano over the last half century the name of Alec Rowley will be extremely familiar. Even today when I visit the secondhand music shops in Kelvinside and Fishergate in Glasgow and York, I am amazed at the number of volumes of this composer that are always available. I have managed to build a small collection of his easier pieces. I doubt that there is much in print these days, but historically there are reams of miniatures and teaching pieces available to the interested explorer and collector. I did not realise until quite recently that Mr Rowley did have a serious side to him - that is until I inherited an album of organ works. None of these are for neophytes and all of them seem to be interesting examples of the ’tween-the-wars genre. However I will always remember him for two salon pieces – Witchery and Hornpipe – both for piano. I still play these at least once a month!

I have long known about the Concerto in D major and have plonked my way through the score. However, until this present release I had never heard it. And what a pleasure it is. I will state my case – I love the work – it is a fine discovery and deserves its place in the repertoire.

The work received its premiere in a BBC broadcast way back in 1938. The work is scored for soloist and strings; however there are optional parts for timpani and percussion. This is the version recorded here. From the very first note we are in the presence of a delightful work. Forget anyone who says that it relies heavily on Delius or Britten or Cyril Scott. This is an original concerto that is well scored and has ‘a breezy, open-air freshness about it’ that is both charming and satisfying. The work is well constructed, with the opening of the last movement mirroring the introduction to the first. My only criticism is that this concerto is too short! But Naxos and Mr Donohoe please note, there is another Piano Concerto and Three Idylls for Piano and Orchestra just begging to be recorded!

Christian Darnton is an unknown quantity to me and I imagine for many other listeners as well. However the Piano Concerto in C Major is a fine example of the genre. It was composed in 1948 for the South African pianist Adolf Hallis. In fact the work was premiered in Durban the following year.

It is quite a short work and this is perhaps its one fault. There seems to be a little bit of a stylistic imbalance between quite ‘elegant’ and sometimes even ‘dreamy’ music and the harder edged neo-classicism of Stravinsky. For example the first movement vacillates between these two contrasting styles and the disparity is too great for good balance. That being said there is much that is attractive about this work. Once again the contrasts in the middle movement are quite extreme. There is a whiff of Britten about the outer sections whilst the middle section nods to the Warsaw Concerto in its ‘heart on sleeve’ romanticism.

The finale is a good example of neo-classical fun. There are moments when Malcolm Arnold seems about to break through. However the entire movement is well wrought and is quite exciting.

I reiterate my comment that this work is far too short. There is a wealth of interesting material that could have been developed into a major work.

However, I do hope that Naxos will issue some more music by this obviously talented composer, for example any one of the four symphonies.

The Roberto Gerhard Concerto for Piano and Strings is the antithesis of the Darnton. It is slightly later, having been composed in 1951 (the CD cover states 1961 as the date of composition) for the Aldeburgh Festival. It is the first of Gerhard’s works to be written using serial techniques. Yet continuity with the past is introduced as the composer gives a renaissance musical title to each movement. The first being Tiento which is Spanish for ‘toccata,’ the second is Diferencias which is loosely translated as ‘variations’ and the last movement is inscribed Folias which means ‘fantasy.’

Gerhard uses the serial technique with subtlety. We are never conscious that the work is being controlled by a pre-defined sequence of notes. However its unity is never in doubt. This is an extremely well-balanced and nuanced piece that is totally consistent with itself from the very first note to the last. Harmonically there is none of the astringency of Webern and his followers; in fact it is difficult to pin the concerto down to a style or period. This is quite definitely a work that is infused with the moods of Spain. However do not look for Spanish Dances – the ethos is derived from darker aspects of Iberian culture.

There are two things to say about Howard Ferguson. Firstly, he wrote too little! It is always a great disappointment to me that Ferguson gave up composing in the early 1950s; he reckoned that he had said all he wanted to say! Of course the listener’s loss is the student and performer’s gain as most of the rest of his life was spent in editing early music and teaching material. The second thing is that every piece that Ferguson wrote is near perfect and commands our attention. There is nothing that does not deserve to be permanently in the repertoire.

The Piano Concerto is a case in point. I have no doubt that if this work was by a Polish or German composer it would be in the public domain. As it stands I imagine that it is well known to a handful of British music enthusiasts. Yet what a great and wonderful work it is. It is not really necessary to try making comparisons. I do not agree with Andrew Burn’s notes that it nods to Mozart. What we have is a beautifully composed piece that throws introspection and an extrovert, almost ‘puckish’ feel into contrast, yet manages to give a satisfying sense of completeness. Of course the heart of the work is the reflective ‘Theme and Variations’ – this movement is quite bitter-sweet and stays in the mind long after the last note plays. The last movement, an Allegro giovale, is a tour de force. However there are some quieter, more introverted moments and there is a reprise of the slow movement ‘tune’ towards the end. But this is positive, uplifting music that is a joy and pleasure and a privilege to listen to.

The sound quality is great. The playing is second to none. The programme notes could have been a bit more fulsome. The programme itself is well thought out and repays repeated hearings. All credit must go to Peter Donohoe and his British Piano Concerto Foundation.

Now a personal plea. Mr Donohoe, if you read this please can you consider one or two or more of the following for your next batch of releases in this great series – the piano concertos by William Baines, York Bowen, Rosalind Ellicott and Walford Davies. But whatever you choose please keep them coming and concentrate on those works that are not otherwise available!

-- John France, MusicWeb International

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"At his best, Rheinberger offers a surprising and often telling synthesis of Baroque counterpoint with a gently Romantic sensibility. One could say the same of Anton Bruckner, but, unlike Bruckner, there is no compelling forward thrust in this music—nothing heaven storming, or, unlike Beethoven, nothing that pushes the technical or aesthetic envelope. Rheinberger was content to use the musical language he inherited from his teachers, the organist Johann Georg Herzog and the composer Ferdinand Lachner, who was one of Schubert’s devotees. Joseph Gabriel Rheinberger (1839–1901) was born in Vaduz, the capital of Liechtenstein. A child prodigy organist, he was appointed, at age seven, to the post of town organist. Subsequent training in organ and composition took him to Munich and, ultimately, to Vienna where he lived out his days as a composer of 197 works—including symphonies, tone poems, chamber works, piano pieces, masses, requiems, and two operas—and as a teacher at the Vienna Conservatory. Among his pupils can be counted Engelbert Humperdinck, Ermanno Wolf-Ferrari, and Horatio Parker. The Lachner connection is intriguing, in that Rheinberger’s life span effectively brought the world of Schubert into the first year of the 20th century. Seen in a different light, Rheinberger was a hopeless anachronism. Listening to this music, I wonder how he must have reacted to the “music of the future,” as exemplified in Wagner’s tonally ambivalent Tristan.

There is a good deal of Biedermeier charm in these two works, but that is only one of its constituent elements. At its core, it is made of sterner stuff. The Six Pieces for Violin and Organ, op. 150, masquerades as a Baroque suite. Its opening movement is a stylized French overture, which provides one of the piece’s finest moments, in Rheinberger’s aforementioned synthesis of Baroque and Romantic languages. Unlike how they would have been handled by the great Baroque masters, the following movements—Pastorale, Gigue, Elegie, Abendlied, and Theme and Variations—the liner notes claim, “do not have any real interconnection, either thematically or with regard to key.” The implication is that we have a handful of pretty genre pieces and not much more. I respectfully disagree. There are subtle thematic and harmonic links throughout these pieces, and some of them—the Pastorale and especially the Elegy—are achingly beautiful in their inconsolable melancholy. The second work, Suite for Violin and Organ, op. 166, is more closely reasoned. Its opening Preludium evokes the world of Bach. The following Canzone takes us into the worlds of Schubert and Brahms, although there is also a Brucknerian quality in its austerity and in its ability to make time stand still, qualities that also characterize the following Allemande with its Brahmsian trio section. The final Moto perpetuo is based on the same harmonic progression that underpins the whole suite, and it puts the violinist to the test—one that she passes with flying colors.

Violinist Line Most’s intonation is impeccable, and her tone production is ravishing. Organist Marie Ziener, playing the fine organ of David’s Church, Copenhagen (Marcussen & Son, 1980) is with her hand-in-glove. The recorded balances in this tricky repertoire are beyond reproach."

William Zagorski, FANFARE

Some of Robert Schumann’s rarest piano music can be heard in this disc, which ranges from his precocious Titania Overture arrangement to the Ghost Variations, the theme of which, he told his wife Clara, had been sung to him by angels. His Beethoven Studies survive in three sources, whilst his admiration for his contemporaries Schubert and Chopin is shown by two works containing a series of variations. The 1836 Third Sonata is included in the pre-1853 revision and also included is the original version of what became his very popular Toccata, Op. 7.

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