Aaron Copland’s popular Clarinet Concerto, with its tender and poignant opening, highly virtuosic central cadenza and brilliantly jazzy final movement, is preceded by Robert L. Aldridge’s Clarinet Concerto, which has been described as the direct descendant of the Copland. Classical, folk, jazz and klezmer influences are brought together in a work which is infectious in its driving rhythms and soaring melodies. Aldridge’s Samba for clarinet and string quartet is an attempt to make this instrumentation sound like a Latin big-band. David Singer, the acclaimed longtime principal clarinetist of the Orpheus Chamber Orchestra, is joined on this recording by the internationally renowned Shanghai Quartet and A Far Cry Orchestra, a Boston-based collective of young professional string players who perform without a conductor and with rotating leadership.

Kenneth Fuchs is one of America’s leading composers and his latest collaboration with award-winning conductor JoAnn Falletta and the London Symphony Orchestra – the first volume of which (8.559224) was nominated for two GRAMMY® awards – reveals the breadth of his achievement. Atlantic Riband evokes the struggle and ultimate victory of ocean-crossing immigrants to America in an orchestral showpiece of power and splendor. American Rhapsody is a lyrical romance for violin and orchestra, and Divinum Mysterium a single-movement viola concerto rich in expressive tapestry. Concerto Grosso shows Fuchs’s sheer energy, and Discover the Wild is an orchestral overture of lyricism and color. A champion of American music, JoAnn Falletta has presented nearly five hundred works by American composers including over one hundred world premières. Her Naxos recordings include the double Grammy Award winning disc of works by John Corigliano and Grammy nominated discs of works of Tyberg, Dohnányi, Fuchs, Schubert, and Respighi.

REVIEWS:

Fuch’s idiom is a most ingratiating mix of tonal harmonies, interesting sonorities and textures, and colorful writing.

...Atlantic Riband exudes optimism and affirmation of the indomitable human spirit throughout its 13-minute duration, even in its quietest sections. Some of the latter feature a prominent part for the piccolo. It doesn’t require too much imagination to hear the waves, the sea birds, and the gentle rocking of the ship in this work, which would work equally well on the serious concert stage or in a pops concert context.

American Rhapsody is described as a romance for violin and orchestra. This is consequently not a showy display piece, but a gentle exercise with beautiful flowing lines in both the solo instrument and the orchestra. The composer’s mastery of counterpoint is most evident in this work, as the violin soars and sings. The inspiration for the piece came from Fuchs’s own Second String Quartet, but the Rhapsody is not so much a transcription of that work as a continuation of it. The violin part is wide-ranging, with prominence given to the arpeggiated minor 11th chord. Harmonies in the orchestra tend towards pandiatonicism, and the piece, given its gentle sonorities and disposition, will instill in the auditor a sense of repose. The sweetly singing tone of violinist Michael Ludwig is all that one could ask for to bring this work off convincingly.

The CD closes with a brief concert overture, Discover the Wild, which draws heavily upon the intervals of the perfect fourth and fifth to make its dramatic impact. This is the most Coplandesque work on the CD—I hear a good bit of the Outdoor Overture in it—but that is to take nothing away from the skill of the writing and the effect of the piece.

All of these pieces are played with precision and commitment. Falletta makes a good case interpretively for these works, as do the various soloists. This is a thoroughly enjoyable CD, which should have wide appeal among the readers of this magazine. Fuchs has a good ear for color and sonority and the skill to put together convincing musical fabrics.

-- Fanfare

REVIEWS:

...Torke speaks with his own voice and (more importantly) knows how to write a good tune or two. And so despite the danger of sounding like a shameless Gershwin rip-off, An American Abroad comes across more as a joyous updating of a tried and true concept, and contains at its heart a lyrical melody that Gershwin himself would have been proud to sign. The much briefer Jasper covers similar emotional ground, being a bright, breezy jeu d'esprit that effortlessly sustains its 12-minute length.

The major work, though, is Rapture, a percussion concerto that features--in each of its three movements respectively--drums and woods, mallets, and metal instruments. Percussionist Colin Currie has a field day wielding his various pieces of musical artillery, and the outer movements play an entertaining game of having the soloist set a series of complex rhythmic patterns while the orchestra then proceeds to construct a variety of tunes employing them. It's great fun, if a bit relentless, and the vaguely Balinese central movement offers a very lovely and quite necessary element of repose...this brilliantly performed and recorded selection fills an important niche in Naxos' American Classics series. Despite rather unhelpful notes by the composer, it would be churlish to deny this sunny and accessible music anything but the highest recommendation. [2/3/2003]

--David Hurwitz, ClassicsToday.com

The BIS Complete Edition of the CPE Bach Keyboard Concertos with this disc reaches Volume 12, and is by now firmly established as a major contribution to the repertoire. These are performances which have received great acclaim, for instance Volume 10 (CD914) which Diapason described with the words: 'Spányi and his orchestra speak the language of Carl Philip as one speaks one's mother tongue, bringing out nuances, voices and contrasts without ever overstating the effects.' the whole series has been greeted as 'fascinating' and 'constantly surprising' (in Répertoire), 'very important' (classicstoday.com), 'splendid' (Fanfare) and being of 'an exceptionally high standard' (Diapason). For this volume, a sonatina and a concerto from the early 1760s have been brought together with a concerto from 1746.

n her own liner notes to this disc, Sally Beamish writes that it 'represents the beginning of my journey into orchestral music'. Symphony No.1, from 1992, is in fact the very first work Beamish composed for large orchestra, for a commission she describes as 'the most extraordinary gift, and a terrifying undertaking: I was journeying into the unknown, which is reflected in some unusual choices in instrumentation - very low timpani writing, for instance, like footsteps on a wooden floor.' The piece combines elements of the traditional music of the Scottish bagpipe with an instrumental 'setting' of Psalm 104, praising the majesty of creation. In Beamish's own words the symphony represents 'a celebration of the beauty of Scotland, and the inspiration, both musical and visual, which I have found here.' Two years later Beamish was commissioned to write a concerto for the violinist Anthony Marwood, and from him received a copy of the novel All Quiet on the Western Front. The three movements of the concerto can be traced to three particular passages in the book, and are influenced by the composer's 'deep-rooted sense of the futility and tragedy of war'. The flute concerto 'Callisto' is a later work, from 2005, which on the present recording is also performed by the soloist it was composed for, Sharon Bezaly. Having been inspired by a retelling of the myth from Ovid's Metamorphoses, Beamish describes the work as 'a mini-opera, with the leading roles - Jove, Diana, the nymph Callisto - taken by various instruments'. In the course of the work, the soloist is required to play all four members of the flute family: from bass flute to piccolo. This is the sixth disc on BIS dedicated to the music of Sally Beamish, music which in reviews of previous recordings has been described as 'personal and sensual' (in the German magazine Fono Forum), 'beautiful ... colourfully orchestrated and full of poetic moments' (in American Record Guide), and 'striking compositions [which] combine lyricism and drama with clarity of form' (in Gramophone). (Please note: the recording of Callisto included here was first released in October 2008 on 'Spellbound' BIS-CD-1649, a disc of flute concertos.)

Miklós Spányi's latest volume in his series of the Keyboard Concertos of C.P.E. Bach is the 16th of an estimated total of 19, and we are thus reaching the end of a series which according to a reviewer on the German website Klassik Heute has earned 'a rightful place in the history of recorded music as an epoch-making achivement'. On the present disc we are treated to three works which illustrate the various responses of the composer to the changes that occurred in the musical establishment in the mid-18th century. So all is set for another exciting installment in this highly acclaimed series of 'brilliant recordings, that admits to no routine or any degree of tiredness', to quote the website klassik.com.

Once valued even higher than his father J.S. and revered by Haydn, Mozart and Beethoven, the music of C.P.E. Bach has since become the preserve of musicologists and specialists. Highly regarded for bringing early and unknown music by Haydn to light, Manfred Huss has also been a long-time C.P.E. Bach champion; the present disc combines the prestigious Pasticcio-Preis awarded recordings that he made with his Haydn Sinfonietta Wien in 2005-06.

Appearing with leading orchestras and conductors around the world, Evelyn Glennie has also collaborated with musicians as diverse as Emmanuel Ax, the King's Singers and Bjork. Another unexpected partner is the Taipei Chinese Orchestra, with which she first performed at the 2009 Deaflympics. Returning to Taiwan a year later, she recorded the present disc of original compositions and arrangements for percussion and Chinese orchestra. The programme is wide-ranging in geographical terms, with works by composers from the Far East, as well as by German-based Nebojsa Zivkovic, whose duo Born to Beat Wild for bass drum and trumpet here is performed with a suona, 'Chinese oboe', replacing the trumpet. But the disc also spans a vast distance in time, in that the final work, Emperor Qin Crushing the Battle Formations, is a reworking by the composer Yiu-Kwong Chung of an ancient score first performed in the year 627 at the court of the second Tang Emperor. Ecstatic Drumbeat is the last of four discs that present collaborations between the Taipei Chinese Orchestra and soloists from a Western tradition, with Evelyn Glennie following in the footsteps of flutist Sharon Bezaly, saxophonist Claude Delangle and trombone player Christian Lindberg on her own oriental journey.

• Chinese composer Ge Gan-ru, whilst studying music at the Shanghai Conservatory, earned the designation of “China's first avant-garde composer”.
• Flautist Sharon Bezaly, heard here, is the Concerto for Flute's dedicatee.
• Enrique Diemecke leads the Orquesta Sinfónica de Castilla y León.