Principal cast includes: Jim Walton, Ann Morrison, Lonny Price, Sally Klein, Jason Alexander, Terry Finn, Liz Callaway, Daisy Prince, Tonya Pinkins.
Additional personnel includes: Paul Gemignani (conductor).
Composed by Stephen Sondheim.

SCHNITTKE: Cello Sonatas Nos. 1 and 2 / Epilogue / Musica no

Keyboard Cubed is Cervetti’s second recording for Navona and takes the listener into a world of kinetic and emotionally charged sound forged from 3 keyboard instruments. Sometimes it is the pianoforte, the double keyboard of the harpsichord and the organ.

On Navona Records' WITHIN EARTH, Houston string quartet Apollo Chamber Players, described as "... infectious... intimate... provocative... fun... " (Gramophone Magazine) presents an album that demonstrates the contemporary possibilities in string music, continuing Apollo's innovative 20x2020 project. The album contains three new multicultural commissions, as well as a contemporary work by Alexandra Du Bois. Leo Brouwer's Nostalgia de las Monta�as is an homage to his affection for Brazil's lush mountains and landscapes, and reflective of his love of Afro-Cuban and Brazilian dances and rhythms. The three-movement work plays to the Apollo Chamber Players' passion for contemporary music as well as to the individual talents of the performers. The irregular metric patterns, distantly reminiscent of Brazil's varied dance music, require an extraordinary steadiness and sense of rhythm, which is demonstrated impeccably. Matthew Dudzik's cello part impressively keeps the rest of the music in line. But also the viola, played by Whitney Bullock, gets it's share of glory: in Christopher Walczak's Four Dreams, it is the middle voice that ties the three-movement quartet together, this time thematically. Remarkably, during the entire album, it is almost impossible to differentiate between the first and second violin: both Anabel Ramirez Detrick and Matthew J. Detrick, respectively, play with great empathy to both the music and their fellow quartet members. M�y [Cloud] by Vu Nh�t T�n and Vanessa V� (the latter a Emmy and Grammy Award winner and Academy Award Contributor) is scored for string quartet and the ��n b?u, a Vietnamese monochord zither. The result is ethereal, otherworldly, and like a cloud, changes constantly over the course of nearly 20 minutes, eventually fading away without a trace. The final track, the album's namesake Within Earth, Wood Grows by Alexandra du Bois is the musical interpretation of a line in the I-Ching. Again, the ��n b?u features prominently, and yet, this time, it is the overall team spirit that shines through, between Apollo and the guest ensembles WindSync, Kinetic and Loop 38. Indubitably, it is the same spirit of unity which lends the Apollo Chamber Players their emotionally charged, homogenous sound, and the same spirit which led them to commission the contemporary works presented here.

Continuum: Modern Orchestral Works

Transits: Minimal to Mayhem, his fifth full Navona Records release, is an abridged sequence of five works from a set time and concrete place that maps composer Sergio Cervetti's creative progression over four decades of composing. The Concertino for piano, woodwinds and timpani (2013) is a rowdy and raucous array of South American rhythms tempered by a tender quote from Gustav Mahler's Kindertotenlieder. One of Cervetti's last minimalist works, Exiles (1980) begins with a slow piano rendition of a melodic theme from the Uruguayan patriotic song Mi Bandera, which is soon overwhelmed by electronic textures. In contrast, 1975's Guitar Music, (the bottom of the iceberg) is an early minimalist work for solo guitar that experiments with "restricted pitch-classes". The two works completing the album are based on the history and culture of the R�o de la Plata where Cervetti was born and raised. El R�o de los P�jaros Pintados (1979) seamlessly integrates the bandone�n with electronics. Candombe for Orchestra is the 1996 orchestration of Candombe for Harpsichord (1984), both works indebted to a Uruguayan national dance of African origin.

On his latest release on Navona Records, WISDOM-LOVE-ETERNITY, composer Michael G. Cunningham presents a collection of his choral works, performed by the K�hn Choir of Prague conducted by Marek Vorl�cek, which explore the spiritual element of the human condition, addressing the uncertainty of death, the inexpressible emotion of love, and humans' search for an understanding of God. Poetry plays a significant role in many of the works in the album. Poetry from Henry Wadsworth Longfellow, Shakespeare, C. P. Cranch, Francesco Petrarch, Robert Herrick, Robert Burns, P. B. Shelley, and others is introduced, inspiring contemplative, dramatic, and elaborate vocal harmonies, instrumental accompaniment, and musical imagery. Some of Cunningham's more austere writing is found in his setting of text from the Christian liturgy in works such as Come, Holy Spirit (1975) and The West Wind (1961). Audiophile Audition praises Michael G. Cunningham as "a gifted and interesting composer" Cunningham has written over 200 compositions, spanning virtually every medium. He is a respected educator and author, with more than ten books published focusing on the subjects of composition and music theory His works have been performed in Europe, Japan, Australia, and throughout the United States Cunningham's other albums - PARAGONIA, SONIC FLIGHT, GALLERY, and COLONNADE - are available through Navona Records His works are featured on the Navona compilations VOICES OF EARTH & AIR, QUADRANTS, and CONTINUUM

Cunningham, M.: Colonnade

Violinist Pekka Kuusisto and the Norwegian Chamber Orchestra present First Light, the first fruit of Kuusistos tenure as the ensembles Artistic Director, on which two eminent New York composers are cast in a Nordic light. The album offers the world premiere recording of Nico Muhlys Shrink (Concerto for Violin and Strings), a unique, remotely-recorded rendition of Philip Glass The Orchard by Kuusisto and Muhly, and Kuusistos new string orchestra arrangement of Glass Mishima String Quartet No. 3. Violinist, conductor and composer Pekka Kuusisto is renowned for his artistic freedom and flair in directing ensembles. Since its formation in 1977 the Norwegian Chamber Orchestra has established itself as one of the foremost chamber orchestras on the international classical music scene today. Nico Muhly is one of the most-performed composers of his generation, and appears as pianist on this album. Kuusisto, the NCO and Muhly all make their PENTATONE debut.

First Light (Pentatone), the first collaboration on disc between the Finnish violinist Pekka Kuusisto and the Norwegian Chamber Orchestra, of which he is artistic director, presents works by Nico Muhly and Philip Glass: two New York composers of different generations united in friendship. Muhly’s Shrink (2019), a glittering, jittery, mischievous violin concerto written for Kuusisto, is here given its world premiere recording. The work reflects its title, contracting and intensifying as it progresses, a perfect mirror of the word “shrink” and a platform for Kuusisto in hyperactive, virtuosic mode.

Glass’s The Orchard (from The Screens), in comparison, is a work of slow, long-breathed elegy. Muhly is the pianist, with Kuusisto beautifully lyrical and tender – a track you immediately want to share. The violinist has arranged Glass’s String Quartet No 3 “Mishima” for string orchestra, played here with energy and finesse, bringing alive those mid-1980s surging symmetries that first made Glass a cult figure.

REVIEWS:

Kuusisto's approach to these works is unusually lively. The pairing of Muhly and Glass is fresh and intelligent. The opening Shrink, with its three movements titled "Ninths," "Sixths," and "Turns," repeats figures and intervals in a very Glass-like way, even as the nervous mode of expression is different. Kuusisto contributes his own orchestration of the Glass String Quartet No. 3, which works very well in orchestral guise. As an entr'acte, there is a short piece by Glass, "The Orchard," performed remotely in 2020 by Kuusisto (violin) and Glass (piano) during the coronavirus pandemic. An enjoyable release of music by two American composers whose popularity in Europe seems only to be increasing.

– AllMusicGuide.com

Muhly's Shrink is an energetic, driven concerto, played with intensity by Kuusisto on violin. Although not dissonant in character, it is not a piece that lingers over lilting melodies. Then comes Glass's The Orchard, performed here as a duet for piano and violin, and the mood completely changes, becoming soothing and almost therapeutic. Following the frenetic forward motion of Shrink, to arrive in such a pleasant, peaceful, musical grove is a refreshing respite. The arrangement for string orchestra of Glass's String Quartet No. 3, "Mishima" that closes the program adds some weight and texture to Glass's minimalist creation. With excellent engineering and informative liner notes, this is a solid release of contemporary music from Pentatone.

– Classical Candor

Classical Music

Following the success of their previous album, English Music for Strings, John Wilson and his Sinfonia of London turn their attention to the music of Henri Dutilleux. His ballet Le Loup was composed as a commission for Roland Petit’s dance company and premièred in Paris in March 1953. Rarely recorded – this is the first recording by a non-French orchestra – the work unfolds in three tableaux and tells a convoluted tale of a bridegroom who jilts his bride (to run away with a gypsy) by persuading her that he has been changed into a wolf. Over time she discovers that the wolf is real, but her feelings turn from terror to love and when the alarmed villagers hunt the wolf, she defends him and dies at his side. The album is completed by three world première recordings of new orchestrations (by Kenneth Hesketh) of wind solos written for the Paris Conservatoire in the 1940s. Both the Sarabande et Cortège and Sonate pour hautbois are virtuosic tours de force for their soloists, as is the Sonatine pour flûte, which displays the lyricism, agility, and sparkling incisive qualities of the flute in what became Dutilleux’s most-performed work.

Japanese musicians have often taken the connection between man and nature as their theme and award-winning composer Toshio Hosokawa stands strongly in that artistic lineage. His Horn Concerto ‘Moment of Blossoming’ imagines the solo instrument as a lotus flower and the orchestra as the cosmos. The theme of the blossoming lotus continues in the piano concerto Lotus under the moonlight and in the songful Chant for cello and orchestra, influenced by Shômyô singing (the ceremonial music of Japanese Buddhism). The Horn Concerto was co-commissioned by the Berlin Philharmonic, the Concertgebouw of Amsterdam and London’s Barbican Centre.

As part of his final year as Music Director and following a two-season celebration of the Orchestra’s 125th anniversary, Peter Oundjian and the RSNO here present their second recording of music by John Adams, with the exceptional participation of the Doric String Quartet. Written for a large orchestra including six percussionists, keyboard sampler, and amplified steel-string guitar, Naive and Sentimental Music is a sweepingly symphonic masterpiece, full of contrasts and clashes. It reflects the dichotomy between ‘naive’ and ‘sentimental’ poetry as analyzed by Friedrich Schiller in his 1795 essay Über naive und sentimentalische Dichtung, as well as the ‘bipolar’ musical life of Esa-Pekka Salonen, the dedicatee of this piece, who conducted the first performance with the Los Angeles Philharmonic in 1999. Absolute Jest is a large-scale scherzo for amplified string quartet and orchestra, heavily inspired by the music of Beethoven, which Adams has always deeply admired. The quartet of soloists, a late addition to the score, emphasises the echoes of Beethoven’s music (mainly his string quartets) and facilitates a ‘hyperspace rate’ of virtuosity, which the Doric String Quartet here perfectly demonstrates.

-----

The RSNO’s playing captures all the delicacy, grandeur and zing of Adams’s complex score, while the Doric String Quartet brings sumptuous sweetness and laser-like clarity to its solo part. There follows a magnificent reading of Naïve and Sentimental Music, with Oundjian skilfully managing the balance of pace and introspection.

– BBC Music Magazine

Astor Piazzolla, the great Argentine composer and bandoneon player, was born exactly a century ago in 1921. Fascinated by the music of Bach, Mozart and Chopin, Piazzolla wanted to compose great classical music. From Alberto Ginastera he received lessons in orchestration, composition and conducting, as well as in literature and poetry. Following his studies with Ginastera, Piazzolla received a scholarship to study in Paris with the renowned pianist and composer Nadia Boulanger. Under her guidance, he began to conceive of and perfect his own style of composition. Composer and bandoneon player Omar Massa hails from Buenos Aires and has lived in Berlin since 2019. He is seen by music critics as the successor to Astor Piazzolla, whose work he has been performing from the age of six. Massa is considered to be an ambassador and champion of Argentine music as he too creates bridges to classical music with his own compositions. He combines minimalism with contemplative spaces, creates impressionistic colours, uses unusual meters and expands harmonic language without losing the inner melancholy of the true Tango Nuevo. Massa catapults the music of Buenos Aires into the 21st century. For over five decades, the Berlin Symphony Orchestra has been an integral part of Berlin's musical and cultural life, enriching the German orchestral landscape, and since 1990 has been the orchestra for all Berliners. In addition to the popular and long-established symphony concerts held in the Berlin Philharmonie, the Berlin Symphony Orchestra performs throughout Berlin and the surrounding area. With guest performances in Europe and tours to North and South America, Africa and Asia, as well as their appearances at international festivals (in France, Italy, Austria, Spain, Israel, among others), the Berlin Symphony Orchestra presents itself successfully worldwide and sees itself as a cultural ambassador for Berlin.

Fernando Suarez Paz joined the Quinteto Nuevo Tango at the request of Astor Piazzolla in 1978, and he toured with the ensemble until their disbandment in 1988. In his decade of performing alongside Piazzolla, Paz recorded 18 albums all over the world. The first track on this album, Escualo by Piazzolla, is dedicated to Fernando Suarez Paz. The New York Times gave Paz a 7-star rating after his performances alongside vibraphonist Gary Burton at various jazz festivals across Europe, Japan, and the United States. Fernando’s son, Leonardo Suarez Paz is featured on this release. Leonardo grew up alongside Astor Piazzolla and was mentored by both Piazzolla and his father. He directs tango projects all over the globe, and his productions have appeared in such venues as the Lincoln Center in New York, and the Teatro Colon Opera House in Buenos Aires.

The young Swiss violinist David Nebel recorded under the direction of Kristjan Järvi exceptional works by two of the most important and influential composers of the 20th century: The rarely recorded Violin Concerto No.1 by American minimalist composer Philip Glass and Igor Stravinsky's neoclassical Violin Concerto in D.

When Glass (*1937) was a boy, the first instrument of his own that he had was a violin. However, Glass did not write his Violin Concerto No. 1 until his fiftieth year. It was his very first large-scale orchestral work, premiered in New York City on 5 April 1987. Glass composed the work for his father Ben Glass, as a piece that he thought his father might have liked had he lived to be able to hear it. The piece quickly became very popular with its exclamatory and exciting first movement, a sumptuous and brilliantly patient second movement and a thrilling third movement with perhaps the most captivating coda that Glass has ever written.

The Violin Concerto in D with four movements instead of the usual three was composed in Stravinsky’s (1882–1971) Neoclassical period in 1931. In this work Stravinsky explored the forms of Baroque music, especially the concerto grosso principle, and gave solo passages to the orchestral musicians in many places, where individual instruments are involved in charming dialogues with the solo violin.

Stravinsky’s Violin Concerto was recorded with the Baltic Sea Philharmonic, and Glass’s Violin Concerto No. 1 with the London Symphony Orchestra.

Classical Music

Penderecki wrote music for string quartet over a period of 56 years. His StringQuartetNo.1was written in the same year that he achieved international success with Threnody (Naxos8.554491), and includes a wide range of playing techniques reflective of the avant-garde. String Quartet No. 2 reveals the influence of Ligeti, while No.3is a personal, even autobiographical work. In No. 4 there are modal or even folk inflections, in writing that is both limpid and abrasive. The eventful Derunterbrochene Gedanke completes Penderecki’s music for quartet, while the String Trio exemplifies his music’s motoric energy.

REVIEW:

Penderecki's First Quartet pointed to his fascination with hard-edged atonality and 12-note influences, the one movement score expressed in pizzicato and lasting just a little over six minutes. With his Second Quartet he had begun to move away from astringency to a more legato quality but with atonality to signpost things to come. There was to be a gap of twenty years before the more lengthy Third appeared in 2008, and it was period when he ‘took stock’ of the way music was going. At the same time his music was moving to an even more communicative melodic period we experience to a final degree in the Fourth of 2016. Now in a more ‘traditional’ two movements, and with a Vivo finale, its style has a melodic starting point. Integrated into these changes were two further works for strings, an extremely brief String Quartet from 1988 given a title Der unterbrochene Gedanke (The Interrupted Thought), and a String Trio from 1990. Both fit neatly into the changing moods of the quartets that surround them. They are here performed by the much acclaimed British-based Tippett Quartet who encompass these changes with a conviction that would place the performances as my number one choice and in quite superb sound.

– David's Review Corner (David Denton)

Puerto Rico-born composer Roberto Sierra is internationally renowned for his integration of Caribbean music with the Western idioms he acquired during studies in Europe. The character of Kandinsky ranges from the intimate to the bold and virtuosic, responding with fresh and surprising impressions to a selection of Wassily Kandinsky's unique paintings. The 'Clarinet Sonata' explores the intricate swing of Caribbean mixed meters and instrumental colors in a work of stunning expressiveness and virtuosity. Sierra's longest chamber work to date, 'Treinta y tres formas de mirar un mismo objeto,' was composed for Cheryl Seltzer and Joel Sachs, and is also one of the most substantial works in the repertoire for two performers at a single piano. This recording was made possible in part by grants from the New York State Council on the Arts, a State Agency, and Cornell University.

The world-premiere recording of Richard Danielpour's Toward a Season of Peace offers a dynamic performance that impresses with its immense forces and energetic playing and compels an emotional response with its pacifist sentiments and beautiful lyricism. Danielpour's style is instantly accessible by virtue of its rich tonality and poignant melodies, and the flow of the music gives his oratorio a traditional appeal, with the right balance of dramatic tension and comforting release. The setting of excerpts from the Masoretic text of the Bible, the Persian verses of Rumi (in an English translation), and an Arabic poem by Al Mutanabbi brings languages into a convergence somewhat reminiscent of Leonard Bernstein's mixing of Latin, English, and Hebrew in his Mass (1971), and the ecumenical nature of Toward a Season of Peace also brings that theater piece to mind. Unlike Bernstein, and to Danielpour's credit, he doesn't mingle elements of popular music with his neo-Romantic choruses, and he avoids the trendiness that dates Mass, aiming instead for a more universal and timeless prayer for peace. At many points, the mystical choruses of Vaughan Williams and Holst spring to mind, and feel stronger than any modern influence. Perhaps this oratorio is more inspirational than motivational, and it may join other works earnestly dedicated to world peace that have fallen by the wayside, but the performers aren't to blame if that happens. Soprano Hila Plitmann, the Pacific Chorale, and the Pacific Symphony, conducted by Carl St. Clair, give a lovely and reverent performance that is gorgeous in its harmonies and textures, and ultimately moving because of its simplicity and directness.

-- All Music Guide

The winner of many prestigious awards for composition, Samuel Adler is also Professor emeritus at the Eastman School of Music. His Canto series was written to meet the challenge of providing concert etudes for every orchestral instrument. This program presents the complete Cantos for solo string instruments, exploring the great possibilities in each instrument from virtuoso feats to lyrical poignancy, 'moody' pensiveness to sharply observed wit and humor. The duet Close Encounters expresses ecstatic feelings of love, while the string trio Five Snapshots reflects contrasting scenes of nature. Samuel Adler's of Musique and a selection of other chamber works can be found on Naxos 8.559602. His Fifth Symphony can be heard on 8.559415.

Few living composers communicate with the emotional directness of Sir James MacMillan and his belief that "beauty is at the heart of our Christian faith" is profoundly present in his new setting of the Stabat mater. Arguably one of the most powerful poems in the liturgy, only a small number of composers have tackled the Stabat Mater in the last 30 years and the musical world has waited a long time for a substantial setting. In James MacMillan's version we are witness to a new and intensely personal work which encapsulates the power of the poem in a way no other composer has done to date. Harry Christophers writes: "James digs deep underneath the surface of this 13th century Marian hymn meditating on Mary's suffering as she stands at the foot of the cross. He speaks of 'a painful world of loss, violence and spiritual desolation' and the score is packed to the full with those intense feelings. Our collaboration with the Britten sinfonia on this project has been a marriage made in heaven - both groups have had long associations with James's music and both give of their all in bringing this score to life." Sir James MacMillan writes: "It was a great delight and honour to respond to The Sixteen...I regard Harry Christophers' choir as one of the great choirs of the world and their standards of vocal brilliance and blend are unsurpassed."

The sonatas recorded here encompass almost the entirety of Hans Werner Henze’s creative life. Composed in difficult conditions just after WWII, the Violin Sonata covers the broadest range of human emotions, and is in some ways a study for the extraordinary First Violin Concerto. Steeped in Italian mythology, the Solo Violin Sonata is ‘a real piece of theatre,’ as is the emotionally shattering Viola Sonata, written straight after the completion of the ballet Orpheus. The Violin Sonatina is drawn from Henze’s children’s opera Pollicino, and the two remaining miniatures are memorials for lost colleagues. Internationally acclaimed violin virtuoso Peter Sheppard Skaerved’s close connection with Hans Werner Henze is well recognized, and this release follows on from his recordings of Henze’s First and Third Violin Concertos “having some seriously emotional meat on the bones of this traditional form” (MusicWeb International), and the Second Violin Concerto summed up as “a superb [album]… highly recommended” by Gramophone. This is the first recording to bring together Henze’s solo sonatas for violin and viola, as well as the early Violin Sonata and later Violin Sonatina. Peter Sheppard Skaerved recorded the composers revised 1992 version of the Solo Violin Sonata on the Metier label in 2000, but returns to the 1977 original for this recording, completing a deal with the composer to “see who is right!”

Sir John Tavener describes the Lament for Jerusalem as a mystical love song. The Lament brings together Christian, Judaic, and Islamic texts and is sung in Greek and English. The musical structure is that of a lattice whose proportions are carefully designed so that the listener is invited to focus on key points of the text which are themselves supported by transcendental melodic, harmonic, and textural devices. The simplicity of the work's form and it's logical progression through a series of seven linked, self-referential tableaux allow the Lament to grow in power and beauty during it's course. The American composer Steve Reich has described some of his own music as purveying 'a kind of dynamic stasis' and that aptly sums up the effect of Tavener's Lament for Jerusalem. The Lament is rooted in grim tradition, yet it looks longingly into the future to a time when beatific vision is restored, and, as in much of the very greatest art, form and content are inseparable.

Back in April 2014 at Carnegie's Zankel Hall, Augustin Hadelich's performance of David Lang's 'mystery sonatas' was praised by the New York Times as a riveting display of “magisterial poise and serene control.” That same magic penetrates this starkly beautiful recording of the work, played by Hadelich on the exquisite 1723 “ex-Kiesewetter” Stradivari, on loan to him by its current owners since 2011. Lang based his 'mystery sonatas' on the famous pieces by Heinrich Ignaz Franz von Biber, but with a modern twist. “I decided to make my own virtuosic pieces about my most intimate, most spiritual thoughts,” he explains, “[but] mine are not about Jesus, and the violin is not retuned between movements. I did keep one of Biber's distinctions. He divides Jesus's life into three phases—the joyous, the sorrowful, and the glorious. The central pieces of my mystery sonatas are called 'joy,' 'sorrow,' and 'glory,' but these are all quiet, internal, reflective states of being.”

-----

REVIEW:

The violinist Augustin Hadelich premiered this work in 2014 to considerable acclaim. His warm, commanding tone perfectly matches this open and intensely sincere music. This recording is an instant classic.

– Music for Several Instruments

Contemporary composer David Loeb continues his series of albums for Centaur Records. Guitarist Paul Smith had previously played some of Loeb’s works, and he suggested an album of compositions which comprise narrative or pictorial points of departure rather than abstract theoretical pieces. David Loeb took up the challenge, and this intriguing album is the result. Composer David Loeb was born in 1939 to a family which took music and the arts very seriously. He studied first with Peter Pindar Stearns at the Mannes College of Music, and then received his master’s degree from Yale. His catalog of compositions is quite remarkably extensive and diverse. In addition to the typical assortment of works for orchestra, chamber ensembles, and voice, he has also composed extensively for Asian instruments and for early music instruments. Sometimes, he even brings the two worlds together and scores for combinations like four shakuhachi and four viols.

With 17 symphonies and 32 concertos to date, Kalevi Aho is one of today’s most prolific composers of large-scale orchestral scores. The present release brings together two works separated by 35 years, but also by the reception they have enjoyed: whereas Sieidi, the percussion concerto Aho composed in 2010, has become one of his most performed works, Symphony No. 5 from the mid-70s is a rarely heard score. Sieidi was written for Colin Currie, who has recorded it here and who performs the concerto with orchestras across the world. Its title, a word in Sami, is used in reference to the rituals and shamanism of indigenous peoples around the world, and the solo part, which makes use of nine different percussion instruments, begins and ends with the djembe and darbuka, drums usually heard in African and Arab music. The instruments are placed in a row towards the front of the stage, and during the course of the work the soloist makes his way across the platform, from the right to the left and back, reinforcing the ritualistic dimension of the piece. Currie is supported by the Lahti Symphony Orchestra under its principal conductor Dima Slobodeniouk, a team with a deep familiarity with Aho’s music. This stands them in good stead when they take on the highly complicated score of Symphony No. 5, which in places even calls for a second conductor: wishing to express the incoherence of human existence, the composer lets various, often unrelated musical events overlap, at times dividing the orchestra into two parts playing at different speeds. Composing the work was ‘an exceptional effort’ according to Aho, who adds that it left him ‘with the liberating feeling that everything was now possible – that any musical problem or crisis could be overcome.’

Edward Gregson (b. 1945), one of Britain’s most versatile and prolific composers, has gained worldwide recognition for his approachable and engaging music. With the BBC Philharmonic, Bramwell Tovey conducts orchestral works, including two recently arranged for ensemble in the Horn Concerto and Aztec Dances, that take inspiration from an array of musical and extra-musical sources, revealing the breadth of Gregson’s musical imagination.

In ‘This Land Sings,’ Grammy Award-winning composer Michael Daugherty has created an original musical tribute to the singer-songwriter and political activist Woody Guthrie (1912-1967). Traveling the backroads of America from coast to coast with a guitar and harmonica, Woody Guthrie performed folk songs of love, wandering and social justice during the Great Depression and the Second World War. Daugherty has composed his own original songs and instrumental interludes that give haunting expression, ironic wit and contemporary relevance to political, social and environmental themes from Guthrie’s era. Under the baton of Grammy Award-winning conductor David Alan Miller, the Albany Symphony’s new music ensemble Dogs of Desire, joined by soprano Annika Socolofsky and baritone John Daugherty, give a poignant and rousing performance.

-----

REVIEWS:

For the most part, Daugherty doesn’t set Guthrie’s tunes at all, although This Land Is Your Land turns up in a couple of numbers. Instead, he writes words of his own and draws on texts from elsewhere in the progressive strain of thought, dating back to Mark Twain, that animated Guthrie’s production. It all adds up to something quite unlike anything anybody else has done before. Listeners are going to have their own reactions, but this is original stuff, ideally and flexibly performed.

– AllMusic Guide (James Manheim)

Michael Daugherty traveled around the dust bowl of the United States before commencing the work, savoring the backdrop to Guthrie’s life as a writer and performer. It has resulted in an overture and sixteen vocal and instrumental tracks, the words for the songs written mostly by Daugherty. They are funny; they question life and our existence; suffering and love, all expressed in a mix of classical, folk, and jazzy rhythms. It is certainly a different experience that takes the composer down a new road, particularly so in the early part of the score. The excellent punchy sound is ideal for the work. Do listen to it.

– David''s Review Corner (David Denton)

Includes work(s) by John Rutter.