Between 1934 and 1949, Allan Pettersson, one of Sweden’s foremost composers of symphonies, wrote chamber works that differ greatly from his later production. With his Two Elegies, composed at the tender age of 17, Pettersson drew the enthusiasm of his teacher, who saw in him the makings of a composer. The Four Improvisations for string trio recall Bartók’s music with their rhythmic vitality. The Andante espressivo is more personal with its experimental melodic and harmonic leanings. After his forced return from Paris in 1939, where he had gone to study, Pettersson composed a tender and lyrical Romanza and, three years later, his only piece for solo piano, the elegiac and meditative Lamento.

The most important work on this recording is the Concerto for Violin and String Quartet, a harsh, dense work that places great demands on the musicians. Initially rejected by the critics, the work now appears almost unique in terms of its radical tonal language and experimental use of extended techniques. For this recording, Ulf Wallin has brought together colleagues and friends to perform these lesser-known works, which nevertheless constitute an essential milestone in the career of the great Swedish composer.

REVIEW:

The Concerto for Violin and String Quartet of 1949, which opens the program and makes up over half of the album’s run time, is a lush work with numerous challenges for performers, both technically and harmonically, that from the outside would seem likely to limit the scope of listeners who would enjoy it. However, credit to the present performers, for these demands are met, and the results are thoroughly interesting and thought-provoking. The Concerto is the latest included work, chronologically, and it is a clear step toward the composer’s symphonic writing. The earliest works here are the Two Elegies for Violin and Piano, from 1934. These lovely, short tunes reflect the schooling the composer had undertaken; one could perhaps mistake these as having been written in the previous century.

Pianist Thomas Hoppe, Wallin is another draw. Aside from ideal backing on the violin and piano works, Hoppe delivers a beautiful reading of Pettersson’s Lamento for Solo Piano. There is a lot to take in here, and listeners will be rewarded with subsequent hearings.

-- AllMusic.com (Keith Finke)

In the spring of 2020, the Covid pandemic caused turmoil in the concert diaries of most musicians, including the conductor Andrew Litton and his wife Katharina Kang Litton, principal violist of New York City Ballet. To find an outlet for their musical expression they began to explore the repertoire for viola and piano together. Having played the sonatas by Brahms they came across the music by two other Viennese composers, Brahms’ near-contemporary Robert Fuchs and his student Egon Kornauth. Fuchs – who the less-than-effusive Brahms called ‘a splendid musician’ – had a long and distinguished career at the Vienna Conservatory where his other students included such composers as Mahler, Wolf, Sibelius, Zemlinsky and Korngold. That the sonatas recorded here were composed around the same time as Schoenberg’s Second String Quartet can be hard to believe – as is the fact that Fuchs’s Phantasiestücke (composed in his 80th and final year) was contemporary with Bartók’s Piano Concerto No. 1. But if they are not in any way pioneering, all three works are beautifully achieved: formally both strong and flexible, with a subtle, deeply-felt emotional coloring of their own. The Litton Duo close the recital with a piece that has a personal significance for the two – an arrangement of the Korean folk song Arirang which they received as a wedding present from Stephen Hough.

As core members of the ensemble Wigmore Soloists, Michael Collins, Isabelle van Keulen and Michael McHale present four works for clarinet trio composed over a period of some 130 years. Mozart’s Kegelstatt Trio was long believed to have been composed during a game of bowling. The writing is reminiscent of a conversation between three friends in which contrasts are not excluded: we hear affection, divergences and even disagreements. This atmosphere of friendly, playful, and sometimes very intimate exchange also pervades Schumann’s Märchenerzählungen (Fairy Tales). While its spirited conviviality might give the impression that this work was the product of idyllic times, it was actually composed during Schumann’s last full year of sanity before his final mental collapse in 1854. There is a similar atmosphere of warm intimacy in Max Bruch’s Eight Pieces, written in 1910. Four of them are presented here, giving not a single hint of the approaching First World War. Based on a Russian folk tale, Stravinsky’s stage work L’Histoire du Soldat may be less good-natured than the preceding works. But the music is wonderfully entertaining, borrowing from various genres, including jazz. The composer’s trio version consist of five movements and has deservedly become his most frequently performed chamber composition.

REVIEW:

As expected, the performances are excellent. The Mozart is wonderfully lyrical; the Stravinsky crackles with energy; and the Schumann and the Bruch have the intensity and heartfelt phrasing the composers require. Collins leads with his clear and resonant timbre, dazzling fingers and articulation, and superb musicianship; and McHale lends splendid tone, touch, technique, and sensitivity. Van Keulen demonstrates terrific versatility all through, from warm contralto utterances to spunky fiddle playing, though sometimes her viola lines are a little thin and scrappy. Even so, the profound devotion to each score makes this album very worthwhile.

-- American Record Guide

Along with Vivaldi’s ‘Seasons’ or Beethoven’s ‘Fifth’, Bach’s Brandenburg Concertos belong to those works that are so well-known that we risk taking them for granted. In order to (re-)discover the special qualities that can inspire us today, in 2001 Thomas Dausgaard and the Swedish Chamber Orchestra decided to contact six contemporary composer, asking each of them to compose a companion piece to one of the concertos. Seventeen years later, in 2018, it was time to present the result, with a performance at the BBC Proms of all the works – new and old. Recorded over a period of 18 months leading up to this event, the present boxed set provides a unique opportunity to experience six very different musical minds and idioms entering into conversation with Bach: Mark-Anthony Turnage, Steven Mackey, Anders Hillborg, Olga Neuwirth, Uri Caine and Brett Dean. Bach’s concertos are remarkable in that they are all scored for different instrumental combinations, and part of the brief to the group of composers was to reflect this. In her Aello, Olga Neuwirth has for instance used several ‘instruments’ to stand in for Bach’s harpsichord, including a synthesizer, a milk frother and a typewriter. Brett Dean, on the other hand, has stayed very close to Bach’s instrumentation, but has chosen to write his work as a preparation for Brandenburg Concerto No. 6 – an Approach to Bach’s extremely tight canonic writing. In performing the twelve works the orchestra and Dausgaard are joined by leading soloists including Clare Chase, Mahan Esfahani, Håkan Hardenberger, Pekka Kuusisto and Tabea Zimmermann.

Recognized as one of the world’s leading viola players, Philip Dukes has enjoyed a career spanning over thirty years as an accomplished concerto soloist, recitalist, and chamber musician. He joins forces with Peter Donohoe, acclaimed as one of the foremost pianists of our time, for this extraordinary recording of works by Brahms and Schumann. As he writes in his booklet note, Phillip wanted to find a new approach to these works: ‘I wanted it to sound fresh and alive, almost as when I was looking at the scores for the first time all those years ago, but with the secret benefit of all that subsequent experience under my belt. So, I did just that. I purchased a new, excellent, well researched edition, I listened to all manner of different recordings (of the versions both for clarinet and for viola), and I devoted three months to the project, the culmination of which is what you will hear.’

The music of Michael Jarrell has been said to “examine states of dream and unreality, searching for a moment of truth” – a truth which is often found in the lowest sonorities and slowest tempi, a place where time stands still. His works are often interrelated, not only by a certain sensitivity or a distinctive tone, but also by the recurrence of particular features that he reworks in different contexts. The present disc combines two recent concertos, each of them performed by its dedicatee. In July 2019, three years after they gave the first performance of Émergences-Résurgences, Tabea Zimmermann rejoined l’Orchestre National des Pays de la Loire and Pascal Rophé in order to record the work. In the liner notes Jarrell describes his method in the concerto in visual terms: ‘Curves, colors, chiaroscuro or strong lines; I tried to integrate a pictorial dimension into the scheme of this piece…’ Jarrell’s fourth violin concerto, 4 Eindrücke, is even more recent, and was first performed in 2019 in Tokyo’s Suntory Hall by Renaud Capuçon and Pascal Rophé conducting. As suggested by its title, the work is in four contrasting movements, of which the second stands out in that the soloist plays only pizzicato throughout. Framed by the two concertos is an orchestral work from 2009 which takes its title from Lucretius: ‘the sky, recently so clear, suddenly becomes horribly murky’. Although the work lacks a programme as such, the title paints in words the abrupt contrast between what the composer describes as ‘great expressive violence’ and an atmosphere that is ‘gentle, calm and full of inwardness’.

Serbian-Swedish Djuro Živkovic has quickly established himself as one of Europe’s leading young composers. His musical style is strongly marked by Byzantine Orthodox music – spiritual, mystical and characterized by fantastic narration, virtuosic instrumentation and a stylistic, highly profiled sound. Živkovic’s music presents a profound and abstract space to reflect on the subject matter of mystery, ecstasy and transcendence. Citadel of Love is a highly personal ensemble work which manages to create a mystical aural experience. The narrative voice of the piano together with the other six instruments, subtly adding voices as well as percussion instruments, carries the listener from beginning to end through an inner drama of intensity and fullness of soundscapes.

I Shall Contemplate… II is an intimate chamber piece for viola and small ensemble, stylistically similar to a sacred cantata, in which improvisatory techniques contribute to the free and unencumbered compositional process. Here, Živkovic’s use of ancient scales creates an archaic, echoing space. The text, spoken by the soloist, comes from old Byzantine mystical books. Finally, Night Music is a fascinating crossover work in which piano works by Alexander Scriabin are mixed with newly composed musical layers, thus adding to the Russian composer an absurd fantasy, estranged passion and exotic illusions.

There is no better recordings of the strio trio repertoire than those you will find here. - David Hurwitz (ClassicsToday.com)

In 2007 Frank Peter Zimmermann was able to realize his long-cherished dream to establish a string trio, together with Antoine Tamestit and Christian Poltéra. Three individually superb string players do not necessarily add up to a top-flight trio – even if they all play on instruments by Stradivarius, as here – but Trio Zimmermann immediately made a name for itself at international festivals and prestigious concert venues.

In 2010 the trio released its first album – with Mozart's seminal Divertimento – to critical acclaim. (More than 10 years later, that recording was the top recommendation in the Record Review series Building a Library on BBC Radio 3.) On following offerings, the ensemble explored the later repertoire for string trio: two discs with Beethoven's contributions to the genre, and a third with works by Hindemith and Schoenberg which have garnered distinctions such as Diapason de l’Année, the Chamber Award from BBC Music Magazine and a ‘Jahrespreis’ from the German Record Critics’ Award association. For their fifth disc to date the trio went back in time, however, as the three members together prepared a performing version of Bach's Goldberg Variations, described as ‘a triumph of combined technical ingenuity and musical insight’ in The Strad. These five discs have now been collected into a boxed-set retrospective, offering lovers of chamber music more than 5 hours of glorious music-making, in top-notch sound and including the original booklets with full documentation.

Past praise for previously released albums included in this set:

Bach: Goldberg Variations

The expertise and fluency of the Zimmermann's playing is evident. Their approach to dynamics is refreshingly flexible, and all three players bring a graceful approach to ornamentation.

-- BBC Music Magazine

Beethoven: String Trios, Op. 9, Nos. 1-3

These musicians are in command of the meticulously written extremes in expression, sforzandos not indiscriminately stabbed at but gauged according to the contexts in which they appear. Tempi are gauged to a nicety too. In sum, they do Beethoven proud throughout this exceptionally fine disc.

-- Gramophone

Hindemith & Schoenberg: String Trios

The Trio Zimmermann play them both Hindemith works with such energy, panache, and attention to the minutest detail that they are totally convincing and make a perfect foil to the rigors of the Schoenberg that follows.

-- The Guardian

Trio Zimmermann play Mozart & Schubert

The Zimmerman Trio plays with remarkably accurate intonation and a ravishing tone that’s also mindful of the Classical style. In other words, they don’t lay it on too thick, but they aren’t afraid to let the melodic lines sing. Schubert’s single-movement trio makes the perfect coupling.

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

Beethoven: String Trios, Op. 3; Serenade, Op. 8

The Zimmermann Trio offers what must be the finest recording of Beethoven's Op. 3 since the classic mono Heifetz/Primrose/Piatigorsky version. They bring out all of the first movement’s requisite brio, paying heed to the syncopated rhythmic underpinnings that support the scampering triplet passages. The ensemble lightens its sonority for the Andante without sacrificing body and definition, while they articulate the Menuetto’s two-note phrase groups and subito dynamics in strict tempo yet in a way that’s oblivious to the bar lines. While the Finale is a model of controlled ferocity, the musicians are not afraid to let the lyrical sections sing out sweetly (never cloyingly).

Power and delicacy effortlessly coexist in the Serenade’s opening March, while subtle dynamic gradations distinguish the Menuetto’s loud arpeggiatted tuttis. The Adagio’s long unison lines offer cogent proof that one can employ minimum vibrato and still retain a focused and alive sonority. The March returns da capo at the end of the piece, with slightly more emphatic fortes and lighter pianos this time around. The warmth, clarity, and ambient realism of BIS’s surround-sound engineering holds equal appeal when experienced in conventional stereo playback mode. This release is not just a worthy follow-up to the Zimmermann Trio’s magnificent Mozart K. 563 and Beethoven Op. 9 Trio traversals, but a reference disc in its own right. Bravo!

-- ClassicsToday.com (10/10; Jed Distler)

Volga-Tatar-born Canadian composer and conductor Airat Ichmouratov conducts the London Symphony Orchestra for this recording of two of his major works, Chandos’ third album dedicated to the works of this outstanding composer. Both concertos are recorded here by the soloists who premiered each work. Ichmouratov’s first viola concerto was conceived in 2004, whilst he was a conducting student at the Université de Montréal. His fellow Ph.D. candidate, the violist Elvira Misbakhova, wanted something new for her doctoral performance, preferably a concerto that combined lyrical impulses and virtuoso challenges. The resulting work is a large-scale piece in three movements that exploits and celebrated the naturally sombre character of the instrument. The Piano Concerto was written in six months in 2012 – 13 and then lingered in a drawer for almost a decade awaiting a soloist who could both do it justice and add finishing touches to the solo part. Jean-Philippe Sylvestre, a Montrealer with a fondness for the virtuoso tradition, was himself looking for a new concerto to champion. Ichmouratov gratefully acknowledges the contributions made to the solo part by Sylvestre, the concerto’s dedicatee.

The soulful sounds of the oboe and oboe d’amore infuse the expressive, lyrical new album of solo and chamber works by award-winning Canadian composer Christopher Tyler Nickel. The star of the show is Seattle Symphony principal Mary Lynch VanderKolk, whose artistry plays a vital role in Chris’ compositional process. He explains, “I find ways to incorporate her strengths and personality into expressing the music’s emotions.” The Oboe Sonata, dedicated to Mary, is by turns haunting and pastoral, navigating the full three-octave range of the instrument. The Sonata for Oboe d’amore demonstrates the large timbral and emotional range of the oboe’s lower-pitched cousin, from darkness to light.

Undaunted by the historic canon of iconic solo instrumental works already in existence, Chris – an oboist himself – created a tour de force with his Suite for Unaccompanied Oboe, a work Mary describes as “more cinematic” than his other concert works, not surprising perhaps given his countless award-winning TV, film, and theatrical scores. The album concludes with what is surely the only Oboe d’amore Quintet ever composed. The instrument’s plaintive tone takes center stage against the backdrop of string quartet, as the work moves from serenity, melancholy, and nostalgia, before ending with an invigorating finale that brings the inspiring album to a close.

REVIEWS:

Featuring the talents of oboist Mary Lynch VanderKolk, the new album Christopher Tyler Nickel: Sonatas and Chamber Music for Oboe and Oboe d’amore masterfully explores the full range and lyrical aspects of the oboe while spiritedly challenging its technical capabilities. Opening with the Oboe Sonata specifically composed for VanderKolk, Nickel’s own familiarity with the oboe is clearly demonstrated as he insightfully captures the strengths of the player – creating beautifully sweeping lines that showcase VanderKolk’s colourful and lyrical capabilities as she artfully navigates the dynamic and rhythmic passages in a way that only the most consummate performer could. Imagining the pensive sadness of the lone instrument at twilight is what one may experience as they listen to Nickel’s second piece of this collection, the Oboe d’amore Sonata.

The album concludes with the Quintet for Oboe d’amore for the namesake instrument and string quartet in a uniquely distinctive composition drawing the listener in with the dark, melancholic timbre of the double-reed instrument traditionally only heard in Baroque music, making this piece the first of its kind and a true testament to this Canadian composer’s proclivity for the oboe family and ability to fashion narrowly defined aspects of both music and the instrument into a broader phenomenon.

-- The Whole Note

Brilliant Classics have celebrated the 150th Anniversary of Reger’s birth last year by expanding their Reger Collection of a decade ago from 11 to 18 CDs. Added to the original set, which presented Reger’s best known works – the glorious orchestral Böcklin Suite, the Mozart, Beethoven and Hiller Variations, the mighty piano and violin concertos, the beautiful clarinet quintet (not in the least inferior to Brahms’ masterpiece), the complete Chorale Fantasias for organ (Reger, an organist himself, wrote extensively and superbly for his instrument) and a fine selection of choral music – is a new set of chamber music including the Piano Trio, Flute-Violin-Viola Serenades, Clarinet–Piano Sonatas and other works, and Reger’s compositions for solo viola and for solo cello. The transparency of the chamber music genre particularly highlights the composer’s absolute mastery of counterpoint. Also new is an expanded keyboard section, with more works for the organ – so associated with Reger – including the Sonatas and Fantasy–Fugues, and a new solo piano CD recorded in 2023 by Eden Walker featuring Dreams by the Fireside and the Bach Variations and Fugue.

There is still much we do not know about the veritable mandolin-mania of late 18th-century Europe, particularly Vienna, which in that period was home to the three greatest musicians of the Classical period: Haydn, Mozart and Beethoven. The instrument certainly enjoyed dazzling success in Viennese musical circles, embraced by the cultured aristocrats who resided in the Habsburg capital, and its meteoric rise was supported by some extraordinary virtuosos who helped promote its high-quality and fast-growing repertoire.
Giovanni Hoffmann’s refined chamber music featuring the mandolin was warmly received among the Viennese elite, making him one of the foremost figures behind the burgeoning mandolin repertoire of late 18th-century Vienna. Very little is known about his life; the Italianate first name alongside a clearly central-European surname adds to the mystery shrouding his birthplace and sphere of education.
Hoffmann was both a mandolin virtuoso and an esteemed composer. In 1799, the music merchant Johann Traeg advertised a list of the mandolin scores available to purchase from his shop on Vienna’s Singerstraße. It included a Trio for mandolin & bass by Hoffmann, and that same year, the composer released a further number of manuscript works through Traeg including his Quartets for mandolin, violin, viola & cello and
Serenatas for mandolin & viola. Hoffmann’s work is recorded again in Austria in the early decades of the 19th century, but – like his birth – the place and date of his death have not yet come to light. His music, however, lives on, a testament to his talent for composing delightful music in a Classical style evoking the fascinating gatherings of the Viennese literati.

A Gramophone Editor's Choice

The Doric String Quartet is firmly established as one of the leading quartets of its generation, receiving enthusiastic responses from audiences and critics around the globe. Following their acclaimed recordings of Mendelssohn’s string quartets, here they are joined by leading violist Timothy Ridout for this album of his two string quintets. Mendelssohn's two String Quintets were written at the beginning and end of his short but remarkable compositional life. No 1 was written in 1826, shortly before the Overture to 'A Midsummer Night's Dream', when Mendelssohn was just seventeen. No.2 was written in 1845, when he was thirty-six, a year before the premier of Elijah and just two years before his death.

REVIEWS:

This recording shows these quintets are one of [Mendelssohn’s] finest achievements, full of lyricism and power…with almost Beethovenian profundity. The energy of the players' account of Op. 87 is pretty irresistible.

-- The Guardian (UK)

Minutely attentive to Mendelssohn’s detailed dynamic and phrase markings, they yield to none in polish and precision. True to form, they characterize with gusto.

-- Gramophone (Editor's Choice, 4/2022)

Beethoven’s Piano Sonata op. 106, the “Hammerklavier Sonata,” is regarded as the most complex and demanding piece among the complex and demanding works from his late period. It was not until Franz Liszt, decades after Beethoven’s death, that a pianist was able to master this sonata’s madcap technical challenges. The version for string quartet prepared by David Plylar, a curator at the Library of Congress, was initially intended as a guide through the structural thicket of this gigantic opus. In this rendering by the Leipzig String Quartet, however, it also turns out to be an extremely revealing expansion of our musical horizons. The extended polyphonic passages quite naturally profit from the new opportunities offered by ensemble playing: the canon at the beginning of the development section in the first movement or the mighty fugue in the finale. Beethoven calls for the use of all eighty-eight piano keys, which at the time was a sensational demand. The extreme registers are also represented in the quartet version. Only a top ensemble like the Leipzig String Quartet has the magic and mastery it takes to bring its gigantic leaps, flageolet chords, and intricate harmonic relations to the concert stage. Two transcriptions by Beethoven’s contemporary enrich the program. Along with the Gewandhaus violist Peter Michael Borck, the quartet members present Beethoven’s third attempt to write an overture for his opera Leonore. At the very latest when Borck reaches for the famous offstage trumpet, the last skeptic will become a firm believer in the quintet’s symphonic qualities. The considerably trimmer final version of the Fidelio overture impressively rounds off this extraordinary project.

To mark their 30th Anniversary, Britten Sinfonia and Thomas Adès are releasing their acclaimed Beethoven and Barry cycle as a box set. The works were recorded between 2017 and 2019 at Barbican Hall, London and Theatre Royal, Brighton. Thomas Adès: “This collection is the fruit of two parallel passions. After twenty years of performing and often premiering Gerald Barry’s works, I was frantic to record as much of it as possible. I had also loved working on Beethoven Symphonies with Britten Sinfonia, and suddenly an idea was born: why not dare the two firebrands to join hands? As soon as this idea took hold, everything fell into place. I believe Ludwig van Beethoven must be treated as a living composer, and I find Gerald’s music to be entirely classic. So the two complement each other ideally.” Gerald Barry: “Tom Adès decided on this pairing. It startled me. The first record I bought when I was about 13 was Beethoven’s Emperor Concerto. We didn’t have a record player so all I could do was study the cover and advertisements on the back. I could look and see but not hear. I would take the record out and smell it. I used my nose as a stylus going round and round.”

Erkki-Sven Tüür (b. 1959) is one of the most outstanding voices in contemporary music today and regarded by many as one of the foremost living symphonists. This new album by Tapiola Sinfonietta and conductor Olari Elts includes world première recordings of two concertante works featuring violist Lawrence Power and recorder soloist Genevieve Lacey together with a late masterpiece, Symphony No. 8. Tüür describes his viola concerto Illuminatio (2008) is “a pilgrimage towards eternal light”. The work opens with a mysterious soundscape. As the work progresses, the music develops and grows, and the relationships between the soloist and the orchestra is in a constant change. Whistles and Whispers from Uluru (2007) for recorder and chamber orchestra was written to a commission from the Australian Chamber Orchestra for recorder virtuoso Genevieve Lacey. When the composer was writing the work at his summer residence in the island of Hiiumaa in Estonia, it was spring and the air was full of birdsong. In his mind, he connected Uluru, the sacred mountain of the Australian Aborigines, to his northern surroundings, and the two impulses fused. The soloist goes through multiple members of the recorder family, from sopranino down through treble, alto and tenor to bass, and then back to the heights of the sopranino. An electronic soundtrack augments the texture at times. Symphony No. 8 was commissioned by the Scottish Chamber Orchestra and was completed in 2010. Tüür scored the work for a sinfonietta-type ensemble instead of a large symphony orchestra, and as a result the music has at times a chamber music feel.

Germany’s oldest Mozart festival celebrates its 100th anniversary in 2021. The present jubilee boxed set presents previously unpublished treasures from the archive of the Bavarian Broadcasting. All live recordings from the Baroque Imperial Hall at Würzburg Residence are digital remasters.

Joseph Boulogne, Chevalier de Saint-Georges was a brilliant swordsman, athlete, violin virtuoso and gifted composer, with a claim to being the most talented figure in an age of remarkable individuals. He was an early and important exponent of the hybrid symphonie concertante – a genre that draws on both the symphony and concerto traditions. This novel format was the ideal platform for expressive inventiveness, providing new textural possibilities through the addition of a second solo violin or viola. The Symphony in G major, which has all of the effervescence typical of Haydn, is an excellent example of the cosmopolitan French symphonic style.

Michael Halász’s first engagement as a conductor was at the Staatstheater am Gärtnerplatz, Munich, where, between 1972 and 1975, he directed all operetta productions. In 1975 he moved to Frankfurt to work as principal Kapellmeister with Christoph von Dohnányi, and here he conducted the most important works of the operatic repertoire. Many engagements as a guest conductor followed and in 1977 Dohnányi took him to the Staatsoper Hamburg as principal Kapellmeister. From 1978 to 1991 he was GMD (general music director) of the Hagen Opera House and in 1991 he took up the post of resident conductor at the Wiener Staatsoper for 20 years.

REVIEWS:

In content and style the concertante owe much to Haydn, each score in two movements that are never short of attractive thematic material, the soloist’s role musically dancing around a slender orchestral backdrop. Here they include the exciting young Russian-born violinist, Yury Revich, with a famous 1709 Stradivarius, and the deputy leader of the Czech Chamber Orchestra, Libor Jezek, Pavla Honsova the solo viola. Now 83, the conductor, Michael Halasz, obtains very neat playing from the Czech Chamber Philharmonic, his tempos never rushed but always buoyant. In three short movements, the disc is completed by one of the two symphonies written by Saint-Georges, again owing much to Haydn. High-class sound quality, and I greatly commend it to you.

– David's Review Corner (D. Denton)

Today Joseph Bologne is remembered as the first classical composer of African ancestry and also as a noted conductor, violinist, and as a pioneering exponent of the symphonie concertante, a genre that combined the structural characteristics of both the Classical symphony and the 18th concerto grosso, and one that he successfully explored and imprinted with originality.

Michael Halasz leads the Czech Chamber Philharmonic Orchestra Pardubice and soloists Pavla Honsová, Yury Revich, and Libor Ježek with a stylish command of Bologne’s charming music.

– Rafael's Music Notes (R. de Acha)

Alexander Grechaninov (1864–1956), an eventual Russian exile following the Revolution, was a member of the second generation of nationalist composers – he was a student of both Rimsky-Korsakov and Taneyev – he never abandoned an essentially Russian lyricism. These attractive unknown viola works are as good as unknown: several remain unpublished, and two are in Elena Artanomova’s own viola transcriptions. The CD is released to coincide with the 150th anniversary of Grechaninov’s birth this year.

REVIEW:

Primarily known for his orchestral music, Grechaninov also wrote a sheaf of chamber works. That for viola has remained obscure. His Op.161 Sonata for viola (or clarinet) is unpublished which accounts for much of its obscurity and this is its first recording. Its premiere was given by Elena Artamonova and Nicholas Walker in London only in 2013, the same year it was recorded. The premiere was given in December but the recording was made earlier in June. Couched in sonata-form, and written between 1935 and 1940 the work proves amiable, songful and engaging. There is a high quotient of charm in Grechaninov’s chamber music, and that is an element that figures prominently here. His penchant for vocal composition ensures that the melodies are at all times winningly warm, not least in the lyric effusions of the central Canzona movement. I hear hints of Spanish music in the finale though there is certainly a strain of Russian folklore buzzing merrily throughout, and some passages sound almost like Dvo?ák.

The Second Sonata was written in 1943 and is actually a clarinet sonata, whose dedicatee was the great Simeon Bellison. The arrangement for viola is the work of Elena Artamonova, who has taken her cue from the earlier viola sonata and has dealt persuasively with questions of articulation and register. The work sounds convincing in its new form. Once more there’s a fine balance between the instruments, and an uncluttered and jovial quality. Toccata has gone to the trouble of separately tracking each of the variations that mark the theme and variations, with coda, of the second movement of this bipartite work. Here Slavic folk affiliations are to the fore, and a vigorous and engaging variation for solo piano too. I was most taken by the third variation where the piano’s gruff enquiries are met by a pliant viola response. There’s a viola cadenza before the spirited and exciting toccata-like coda.

Early Morning is a cycle of ten pieces written in France in 1930 for cello (or violin) and piano. It has been arranged for viola by Sabine Stegmüller and this is its first recording in this guise. Primarily this is a work of instruction for children, adept and engaging teaching material with nice descriptive titles à la Schumann, two highlights of which are the pensive In the Twilight and the deliciously deft Burlesque. In modo antico is a suite written back in 1918 for violin and orchestra or piano. This arrangement is Artamonova’s. It opens with a somewhat showy cadenza but continues in a romantic vein rather more than anything too self-consciously modo antico, though the movements sport titles such as Sarabande, Gavotte – played with deliciously zesty lift here – and Jig. Finally there are the two Grechaninov transcriptions of songs by Debussy, first published in 1946, which would make excellent recital pieces. Once again these are premiere recordings.

These richly lyrical works, all pretty much unknown, receive highly persuasive and stylistically apt performances from Artamonova – who writes the excellent booklet notes – and Nicholas Walker. Well worth getting to know, in fact.

– MusicWeb International (Jonathan Woolf)

Mario Castelnuovo-Tedesco was one of Italy’s most influential and important composers during the 20th century. He was inspired to write for the guitar after meeting Andrés Segovia, and in the years that followed he wrote over one hundred works for the instrument. The Quintet for Guitar and String Quartet, a rare combination, reveals perfect sonority and construction with a serene Iberian mood. The Sonatina for Flute and Guitar contrasts joyfulness with poignant melodies, while the Eclogues are bucolic and lively. Written for Segovia and his wife Paquita Madriguera, the Fantasia for guitar and piano presents an expertly blended texture for this combination of instruments. Guitarist Leonard Becker is the Second Prize winner of the International Hannabach Guitar Competition 2020, held in Augsburg, Germany. He has performed with orchestras including the Pilsen Philharmonic Orchestra, with which he performed Rodrigo Concierto de Aranjuezin 2019. Alongside Louis Vandory, Valerie Steenken, Elisabeth Buchner and Márton Braun he is the founder of the Tedesco-Quintett (guitar and string quartet), which won First Prize at the International Chamber Music Competition ‘Gerhard Vogt’ in 2019.