Classical Music

Stale Kleiberg’s Mass for Modern Man is about the loss of existential meaning as an antithesis to faith and belief. The work commutes between these two extremes, and raises the following underlying question: Is belief possible for modern man? In this work, the answer is ‘yes’: not a resounding ‘yes,’ but a ‘yes’ in spite of all. The work is a large-scale concert mass for two soloists, choir and orchestra where Kleiberg’s neo-romantic music commutes between the intimate and the grand. Stale Kleiberg (b. 1958) is a major Norwegian composer with a considerable international reputation. His music is widely performed in Norway and abroad, and is mostly commissioned by well-established orchestras, ensembles, and performers. There are also many published recordings of his music, including seven albums (the present one is number eight), that have received outstanding international reviews. Kleiberg’s music is characterized by a highly distinctive form of extended tonality and by meticulous attention to coloristic details.

Critically acclaimed composer John Luther Adams, who won the 2014 Pulitzer Prize in Music, offers the first recordings of three of his recent string works: two string quartets, featuring the much-lauded JACK Quartet, and a four-movement work for a choir of 48 cellos. This is stunning, beautiful, sometimes monolithic, sometimes intimate music that is in a state of constant, subtle motion.

The composer Hans Werner Henze describes his Ninth Symphony for mixed chorus and orchestra (words by Hans-Ulrich Treichel after the novel "The Seventh Cross" by Anna Seghers) as follows:"What happens in this symphony is an apotheosis of terror and pain. It is a summa samarium of my creative output, the attempt to come to terms with the assaults of an arbitrary and unpredictable world. (...) A German reality, this symphony is above all an expression of enormous respect for the people who dared to resist in the time of Nazi-Fascist terror and who gave their lives to defend freedom of thought."

Louis Glass was a contemporary of Carl Nielsen, however his musical ideals were of the late-Romantic idiom. Like Nielsen he composed six symphonies, but as a composer he was a dreamer and his lush, brilliantly orchestrated works hark back to a time when modernism had no influence. This is the first complete recording of the six symphonies which were played frequently in Denmark, but vanished into the mist of a forgotten world. The splendid Bulgarian orchestra easily identifies with Glass’ musical sound world, stretching back and absorbing the style of the early Richard Strauss. These symphonies were recorded between October 1999 and August 2000, and feature the Plodiv Philharmonic led by renowned conductor Nayden Todorov.

Any attempt at a review of compositions devoted to the bassoon, will inevitably reveal how few of them there are, despite the fact that, in our century, greater exploration of the possibilites of this instrument has led to an increase ia a repertoire which is fundamentally very limited. On the other hand, the many technical improvements have resulted in the bassoon's icreased participation in ensemble chamber compositions, frequently accompanied by the piano. In addition to compositions originaly conceived for piano and bassoon, this release includes, in the second half, trascriptions of compositions originally written for variously formed ensemble, which have contributed to the extension of the repertoire, at the same time exploiting to the full many possibilites offered by these instruments. The works are performed here by Stefano Canuti and Massimo Somenzi, two of Italy's most sought-after bassonists.

Classical Music

It doesn’t take much to image that the material on this album could be an initiative launched by Swiss diplomats: A Swiss guitar quartet playing compositions by a Cuban and a American. For many years, relations between Cuba and the USA were not particularly friendly – until Barack Obama opened a new era of diplomacy between the two nations in 2016. As a neutral country, Switzerland has often erved as an intermediary between the United States and other countries. But this is not about diplomacy. The Eos Guitar Quartet often performs works by Leo Brouwer and Ralph Townwe and has commissioned these artists to compose original music for the quartet. Everyone knows and appreciates each other. And as a highly specialized chamber music ensemble, the Eos Guitar Quartet naturally tries to help expand the repertoire for such a formation. This Performance of Gismontiana is a live recording of a concert featuring the Eos Guitar Quartet together with the Musikkollegium Winterthur conducted by composer Leo Brower. The Concert took place in the Stadthaus Winterthur, Switzerland.

Civilizations are born, live, and die, and ours is no exception. If the pagan gods that inspired the construction of Stonehenge, Cheops, and the Parthenon are today relegated to pure mythology, is it reasonable to think that Christianity will be immortal? Studying these ruins makes it possible to think about civilizations and to face with discernment the dynamic of decadence that is imposed after 2,000 years of Judeo-Christianity. Michel Onfray presents here the historical origins of these belief systems. The philosopher details the birth of this common base of values forged by the fathers of the Church, more so than by Jesus, during the first centuries of our era, and who continue to define, in spite of themselves, the identity of our civilization.

Marius Constant, who had an intimate knowledge of DeBussy's Pell�as et M�lisande, published Impressions de Pell�as, published in 1992 an abridged version for six singers and two pianists. In an intense flow of music, he telescopes the five acts with great finesse, removing a few scenes and making a fair number of cuts and a few minimal adjustments to the musical material. For the scenography, he suggested, "We are in an early twentieth-century salon." This reflects the fact that during the genesis of Pell�as, DeBussy regularly played fragments of it for his circle of friends. In this version, both listeners and performers are involuntarily swept towards the origin and essence of DeBussy's masterpiece: a "music of the soul" in which we can all recognize our own M�lisande, Pell�as, Arkel, Genevi�ve, Yniold and Golaud. This chamber version of the opera is completed by the Pr�lude � l'apr�s-midi d'un faune in DeBussy's own transcription for two pianos and the suite en blanc et noir. The two pianos used are the new straight-strung instruments built in Belgium by Chris Maene at the request of Daniel Barenboim.

This fruitful "encounter" between Leonard Bernstein and Maurice Ravel juxtaposes Bernstein's intensity and rhythmic vitality with the melancholy refinement of Ravel's colors, while also highlighting the composers' commonalities, such as a shared tonal language and masterful incorporation of jazz idioms. Our purpose, however, is not only to appreciate an artistic cross-exchange but also to build upon it. This is what Trio Zadig and Benjamin Attahir seek in Asfar, a new work that springs from the creative nexus of these 20th-century giants and continues the conversation. The Zadig Trio came together when two childhood friends from France, Boris Borgolotto and Marc Girard Garcia, met American pianist, Ian Barber. Already, they have been awarded 11 international prizes at international competitions in France, Italy, Austria and USA. With depth and passion they play a repertoire that goes from Haydn to contemporary composers.

Classical Music

Winner of the 2015 German Music Competition, clarinetist Bettina Aust presents this new release alongside her brother, pianist Robert Aust. For Bettina’s debut album, she has chosen a varied programs, immersing the listener in a kaleidoscope of styles, including pieces from composers Francaix, Burgmuller, Widmann, Bernstein, and Brahms. “The two young musicians supply from a performance that is a huge thunderstorm of sound feels…they mingled rapid pace with crystal-clear sound…” (Der Tagesspiegel)

Classical Music

Iannis Xenakis invented his own instruments for Les Pléiades, a suggestive, interstellar work for percussion ensemble. And once again the Ensemble DeciBells commissioned their very own grandiose musical instruments for their outstanding recording of this work. The musicians led by Basel solo timpanist Domenico Melchiorre play the shimmering music, which fuses the boundaries between individual instrument, ensemble, and listener on a dizzying scale: subtle and yet with nerve! Percussion ensemble DeciBells is closely associated with new music, and regularly works on projects with contemporary composers. The ensemble’s roots are in Basel, however, concert tours have taken them to Asia and throughout Europe. DeciBells is Adrian Romaniuc, David Gurtner, Robin Fourmeau, Sakiko Yasui, Szilard Buti, Till Lingenberg, and Domenico Melchiorre.

More than 24 countries are represented in the European Brass Ensemble, which meets at the Melk Abbey in Austria. This new release is the ensemble’s first album with GENUIN, and features world premiere recordings. Renowned trumpeter James Morrison joins the ensemble. Morrison is highly sought-after for both his classical and jazz trumpeting skills.

Genuin presents the second release of the Saxon Wind Philharmonic, this time featuring for the first time, festive wind music. Director and conductor Thomas Clamor leads the group through Bernstein and Gershwin classics such as Candide, Summertime, and Strike up the Band.

This CD makes a great gift for anyone in need of healing prayer. It is perfect for reflection in the different “sanctuaries” of our lives-places like the car, the office, or even amidst nature during a quiet walk or respite under a tree, a blanket of stars, or the sun-drenched sky. Reflect on one prayer everyday. Use them in prayer services, private devotions, public prayer, or small Christian communities. Author and composer Lawton reads each reflection himself; his gentle delivery and rich vocal timbre breathe compassion and life into these expressive words of inspiration and hope—lighting a pathway to peace and shepherding the soul toward rest.

Classical Music

Tim Shriver, Chairman of Special Olympics International, Washington, DC writes: ‘I Will Bring You Home’ is a selection of 17 songs from David Haas’s book of the same name. David has been putting music on the lips of the people of God for over four decades, and this companion recording highlights some of his most beloved songs and hymns from throughout his prestigious career as a liturgical composer. It also includes two newly composed songs that David wrote specifically for this collection, “I Will Walk with You,” and “What Can I Leave Behind.” “We are called,” as David wrote, “to love tenderly.” But sometimes, we need to sing it to feel it and feel it to live it. No one helps us along that path of love better than David Haas. His work invites us to sing, feel, and live a life of love. No follower of the gospel could hope for more, and these stories help begin to tell us why.

The GIA Composer's Collection seeks to bring together into one place the master works by some of the most respected Wind Symphony composers of all time. Stunningly performed by the North Texas Wind Symphony under the direction of Eugene Corporon, this series also includes extensive liner notes about the composers and their contributions to the Wind Band.

Since the inception of the projects, composers, conductors, music critics, and connoisseurs worldwide have praised the recordings conducted by Eugene Migliaro Corporon for their innovation, excellence, and professional standards. These exceptional videos and compact discs identify and preserve the standard repertoire and globally encourage composers to contribute to the ever-growing legacy of great music that has the power of universality. The breadth and variety of the releases highlights the fact that the wind symphony, in its many forms throughout hundreds of years of music history, has been and continues to be a significant original medium for serious aesthetic expression. The projects have yielded more than 100 albums that showcase the creative energy of thousands of world-renowned composers and gifted musicians. Winds magazine offers the following regarding the body of work: “This series has immense historic value in documenting the best of the repertoire...as well as providing much sheer listening (and viewing) pleasure for the level of artistry in the performances. The acoustic quality of the recording is state-of-the- art... All of the works are superbly realized and worthy of exploration...these discs represent the standards to which all must aspire.” This release contains the works of Mackey, Dooley, Nagao, Schoenberg, Feld, Corigliano, and Daugherty.

Rejoice and Be Glad explores Matthew's version of the Beatitudes through the lens of music he and others have written; through texts of Pope Francis; and David's own exploration of the Beatitudes in everyday living. Rejoice and Be Glad! The Kingdom of God is (Y)Ours! The Kingdom of God is both yours and ours - it belongs to all of us: the poor, the sorrow-filled, the lowly, the hungry, the homeless, the pure of heart, the peacemakers, you and me, all of us, the Children of God. DAVID Haas resides in Eagan, Minnesota, where he is director of The Emmaus Center for Music, Prayer and Ministry and serves as campus minister at Cretin-Derham Hall in St. Paul, Minnesota where he directs the CDH Liturgical Choir and serves as the animator for the Cretin-Derham Hall Taize' Prayer Community. Highly regarded as one of the preeminent liturgical music composers in the English-speaking world, he has produced more than 45 collections of original music. His liturgical works are sung and prayed throughout the world and appear in hymnals of many Christian denominations and in many languages.

The GIA Composer's Collection seeks to bring together into one place the master works by some of the most respected Wind Symphony composers of all time. Stunningly performed by the North Texas Wind Symphony under the direction of Eugene Corporon, this series also includes extensive liner notes about the composers and their contributions to the Wind Band. Leonard Bernstein (1918-1990) is perhaps the first American-born composer to achieve worldwide fame and recognition, but as Ned Rorem pointed out: "His books and lectures have re-shaped the way America listens, and his mastery of keyboard and podium has defined the notion of American performance." This stellar recording of Bernstein's great works features Eugene Migliaro Corporon directing the North Texas Wind Symphony, giving exceptional life to this wonderful music, including Overture to Candide and JFK Fanfare. This recording is spectacular on every level-a showcase of great music recorded by one of the great wind symphonies of our time.

Piano music is central to Valentin Silvestrov’s output. With its frequent allusions to lingering recollections of the past, this programme presents an overview of various creative periods. It begins with the composer’s reworkings of youthful sketches (Naive Musik), followed by Der Bote (The Messenger) with its beautiful Mozartian theme leading into a sonatina in the style of the 18th century. After recent works from Silvestrov’s self-defined ‘Bagatelle’ period, the recording concludes with the striking Kitschmusik, which engages with the music of Schumann, Chopin and Brahms. The Two Waltzes are dedicated to Elisaveta Blumina.

The works in this programme demonstrate Philip Glass' perpetual goal of connecting with his audience. Taking shape as something like a hidden sonata form, Mad Rush contrasts peaceful atmosphere with tempestuousness and mesmerising beauty. The last of it's kind in Glass' oeuvre, 600 Lines, here receiving it's premiere recording on solo piano, is an obsessive and hypnotically restless toccata that represents the zenith of his experiences while working with Ravi Shankar. These two monumental works are joined by premiere recordings of the subtly transformed Metamorphosis Two, and Glass' transcription of Paul Simon's The Sound of Silence.

In weaving America’s native culture and history, Philip Glass has created his own musical lineage. This album explores these ideas through his single most demanding piano piece, the ferocious, but lyrically meditative Piano Concerto No. 2 (after Lewis and Clark), as well as one of his most neglected, the mysterious A Secret Solo 2. Wichita Vortex Sutra, a joyful and transcendent study, is also heard in the version for narrator, with words by the poet Allen Ginsberg. From his experimental years comes Music in Contrary Motion with its mesmerizing variety of pulse patterns. Nicolas Horvath is an unusual artist with an unconventional résumé. He began his music studies at the Académie de Musique Prince Rainier III de Monaco, and at the age 16, he caught the attention of the American conductor Lawrence Foster who helped him to secure a three-year scholarship from the Princess Grace Foundation in order to further his studies. His mentors include a number of distinguished international pianists, including Bruno Leonardo Gelber, Gérard Frémy, Eric Heidsieck, Gabriel Tacchino, Nelson Delle-Vigne, Philippe Entremont, Oxana Yablonskaya and Liszt specialist Leslie Howard who helped to lay the foundations for Horvath’s current recognition as a leading interpreter of Liszt’s music. He is the holder of a number of awards, including First Prize of the Scriabin and the Luigi Nono International Competitions.

Here's a double-barrelled surprise: gripping new music for violin and piano and a performing style that revisits a sweet-scented immediacy more typical of previous generations.

Here's a double-barrelled surprise: gripping new music for violin and piano and a performing style that revisits a sweet-scented immediacy more typical of previous generations. Maria Bachmann, a pupil of Ivan Galamian and the late Szymon Goldberg, has a bright, winsome tone and a heartwarming interpretative manner. The works that particularly suit her are Corigliano's 1963 Violin Sonata and the two pieces that were written with her in mind, Albert Glinsky's Toccata-Scherzo and Paul Moravec's Sonata. Of the latter two, the Glinsky is the more memorable—a sort of Sarasate for the 1990s, its lyrical centre-piece flanked by brilliant outer sections. The Moravec is busy and pleasant, but even Bachmann's dextrous advocacy can't quite mask its stylistic anonymity. The Corigliano, on the other hand, harbours the kind of juicy 'tunes' that modern players search for in vain but hardly ever find in contemporary music. The Lento is strikingly memorable, whereas elsewhere Corigliano demands all the tricks of the fiddler's trade—harmonics, pizzicatos, sal pondcello and so on, all couched in an appealing musical context that might best be described as Stravinsky-cum-Samuel Barber.

Turning then to Fratres and comparing Bachmann with Gidon Kremer (ECM), I was interested to note how Bachmann arpeggiates pizzicato chords, a gesture totally in keeping with her warmer, less spidery approach. Ksemer's rougher-edged but rather more ethereal reading still gets my vote, but Bachmann provides an engagingly demonstrative alternative. Messiaen himself said of his "Praise to the Immortality of Jesus" that it "specifically addresses the second aspect of Jesus, namely His human aspect, the Word that has become flesh, resurrected immortal to give Him life." And it's as well to bear that in mind when listening to Bachmann's unusually sensuous performance, an affectionate, this-worldly option to the more withdrawn manner of, say, Luben Yordanoff (with Barenboim on DG).

Bachmann receives sympathetic support from Jon Klibonoff and both are nicely recorded. I thoroughly enjoyed this recital, and I sincerely hope that there's another on the way. But if and when it arrives, I do hope that RCA drop their tiresome idea of fold-up annotation: within a day or so, my copy was already beginning to look like an old shopping list. Booklets are far better. Incidentally, why photograph the immensely personable Maria Bachmann entangled in net curtains?

-- Robert Cowan, Gramophone [12/1993]

Sermons and Devotions

MacMillan: Veni, veni Emmanuel