For over fifty years, Britain’s foremost recorder player, John Turner, has composed a carol and sent the score as his Christmas Card. Until now just a personal gift to his friends, John was persuaded to record a selection, which has led to this beautiful album. Presented by the chamber choir Intimate Voices (which also performs as Voces Intimae) and featuring sopranos Sasha Johnson Manning, Eleanor Gregory and Philippa Hyde in solo and duet pieces, with obbligato harp and oboe in some, this is a lovely mixed programme of Nativity carols, composed very much in traditional style, in new settings of ancient texts. John Turner is a fine composer but is chiefly known as a recorder player and champion of contemporary composers, with dozens of recordings to his credit, many from Divine Art and Métier.

Carson Cooman is many things musical – organist and Composer in Residence at the Memorial Church, Harvard University; writer, critic and consultant, concert organist, and above all a highly prolific composer of music in a wide variety of genres, from orchestral to song. Recent counts show over 3000 tracks of his music available online with over 300 compositions written for him by more than 100 composers. His organ compositions come in many styles, from liturgical models, to substantial secular pieces such as his organ symphonies, preludes and fugues. On this album a range of works, most composed between 2013 and 2020, wonderfully realized on a fabulous instrument. Erik Simmons is a superb organist, making his 14th Cooman organ album for Divine Art. We hear the gorgeous voices of the organ of Propsteikirche St. Ludgerus in Billerbeck, Germany, recorded through the Hauptwerk system.

A special triple album of great Romantic works by one of the world’s most accomplished pianist specializing in works of that era. These stunning performances of Busoni’s Chaconne (after J S Bach) and Berg’s Sonata are receiving their first release; the other tracks were previously issued by Bayer and have been newly remastered. Schliessmann is a unique interpreter, never afraid to find a new expression and always searching for the heart of the music and the composer’s inspiration. On their initial release these recordings attracted great accolades: American Record Guide said: “The best pianist I know at entering the world and expressing the awareness of the German romantics. There is something personal and unique about Schliessmann's Schumann. It does not sound like anyone else's. He is better than any other pianist I have heard.” High Performance Review said of his Scriabin: “This is the most imaginative playing one has heard yet - on the level of Richter, Michelangeli, Wild, Gould - the highest order of artistry.”

Yacheslav Artyomov is considered by many to be Russia’s greatest living composer. After the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Honegger and Messiaen to name a few – but melded into a unique voice. This is one of a pair of related albums and contains a Symphony which is the third of his gigantic symphonic tetralogy “Symphony of the Way” - it was given its premiere by Mstislav Rostropovich to whose memory the disc is dedicated. The symphony is accompanied by another major work, Tristia II, a Fantasy for piano and orchestra with poems and prayers by Nikolai Gogol. The two conductors are among the cream of Russia’s younger generation, both amassing a very fine reputation in their own fields. Overall, this is a release of high importance in the symphonic repertoire (world premiere recordings).

"The period instrument Avison Ensemble exists to perform the music of the forgotten English composer Charles Avison of whose works these two CDs of charming concerti grossi are but a small proportion. For a long time he was known for a popular organ piece Sound the Loud Timbrel, a gentle pastoral included here in the Concerto in B flat, op. 9 no. 8.
The ensemble performs it with simplicity, freshness and lovingly tended, authentic ornaments sighing into cadences. The concerti tumble out like pristine toys from a long-locked cupboard. Pavlo Beznosiuk leads with a decisive bow that seems to sing ‘injustice’ for Avison’s inexplicable neglect."

-- Classic FM

Almost nothing to fault and everything to enjoy here.

This excellent pair of CDs follows hard on the heels of Divine Art’s release of the Avison Ensemble’s recording of their eponymous composer’s Opp. 9 and 10 Concertos (DDA 21211), which I so recently recommended. If anything, this is finer music than those concertos – hardly surprising when the originals were sonatas by none other than Domenico Scarlatti – and the performances and recording are equally fine.

The London publication in 1739 of 42 Scarlatti sonatas provided Avison’s inspiration in arranging movements from several of those as concerti grossi. His excuse, if one were needed, was the difficulty of performance of the music in its keyboard original state, but he couldn’t help also preening himself on having "tak[en] off the Mask which concealed their natural Beauty and Expression". I beg leave not to get into the thorny question of the adequacy or otherwise of the originals – performances of the calibre of those of Richard Lester on his complete Nimbus cycle would suggest that there was little amiss – but the music certainly sounds more varied and probably more amenable to most modern ears in its orchestral dress. More recently, Tommasini had the same idea in his arrangement as a ballet for Diaghilev of Scarlatti’s music in The Good-humoured Ladies.v Avison didn’t orchestrate whole concertos; some, like No.1 are from just two sonatas (Kk91a/d and Kk24), others from four different originals, like No.2, from KK 91c, 13, 4 and 2. The Divine Art booklet makes the provenance of each movement clear, also indicating with an asterisk movements transposed to a different key, with a dagger where the movement has been shortened or altered, and with two asterisks where the source is unknown.

Most of those unknowns, mainly slow movements, were probably Avison’s own compositions – sounding in no way out of place in the company of the Scarlatti-derived movements. Everything, original or not, is very skilfully arranged – preferable to the Sinfonie di Concerto Grosso of the elder Scarlatti, Alessandro, as least as performed, slightly heavily, by I Musici on Philips 400 017 2 – one of the first batch of CDs in 1983, but no longer available. (For all my reservations, this is worth reissuing, but there are alternatives on Tactus TCC661906 and 661907 and CPO 999 8562.)

Hitherto my benchmark recording has been that of the Academy of St Martin under Neville Marriner (Philips Duo 438 806-2, no longer available). It was, indeed, from the ASMF on a long-deleted Oiseau-Lyre LP that I first came across the music of Avison and his contemporary Boyce and discovered thereby that English music between Purcell and Elgar had not been quite the desert that it had been portrayed as.

This new recording is ample compensation for the deletion of the ASMF set. It doesn’t exactly wipe the floor with the earlier version, which is still worth considering if you find it as a remainder or second-hand at a reasonable price. Surprisingly, some of the tempi on the new set are slightly broader than on the Philips. No.1/iv, for example, takes 4:43 at Beznosiuk’s hands, 4:01 at Marriner’s. On CD2, No.7/iv now takes 4:17 against Marriner’s 3:33. I compared the two versions of these movements and found, as is often the case, that both make perfect sense in their own context. Perhaps I lean slightly to Marriner in 7/iv – he stresses the allegro part of the marking, Beznosiuk the affettuoso part – but I don’t want to make a big issue of it.

I shall still want to hear the ASMF versions – I couldn’t resist listening to the two CDs straight through for comparison – but the new versions are likely to make for more frequent listening. It’s a tribute to the music and to both performances that I could listen to four well-filled CDs in one session without becoming sated.

The ASMF version employs modern instruments, though with cognisance of period practice; the Avison Ensemble employ period instruments, as itemised in the booklet. There is a rival period-performance from the Brandenburg Consort and Roy Goodman on Hyperion Dyad CDD22060 (2 CDs for the price of one). I haven’t heard this version but it has been described in some quarters as likely to sound a little rough and ready to those not fully attuned to early instruments. Mark Sealey certainly didn’t in general share that opinion in his review of this set, and I find it a little surprising in view of the excellence of their performances of the Handel Op.3 concertos which I have recommended here on Musicweb.

You certainly won’t find anything of the sort about the playing of the Avison Ensemble on the new set – this is early music without the rough edges, by which I don’t mean to imply that it’s dull or over-polished: this isn’t the early-music equivalent of the Berlin Phil under Karajan. I’m still hard put to hear the continuo, though, as I was with the earlier Op.9/10 set – I don’t want to hear a monster harpsichord clattering away, but I’d like to hear a little more of it. Otherwise, the recorded sound is first-rate.

The Avison Ensemble have already recorded the music of their namesake for Naxos and Divine Art. Their 2-CD recording of the Concerti Grossi, Op. 6 on Naxos 8.557553-4 was welcomed by Jonathan Woolf and Johan van Veen as doing Avison proud – see JW’s review and JV’s review. Robert Hugill was equally appreciative of their later recording of Opp. 3 and 4 (8.557905-6 – see review). I hope to include an appreciation of the Naxos recording of the Op.6 works in my November, 2008, Download Roundup: this is Avison’s finest music with the possible exception of the Scarlatti-based concertos.

Having switched to the Divine Art label, the Ensemble recently recorded the newly-discovered set of Concertos after Geminiani’s Op.1, to the satisfaction of JV again, though he had some reservations about the recorded sound – (DDA21210, see review). All these recordings are very worthy of your consideration but the Naxos Op.6 and the new Divine Art sets are probably the best places to start. With the new set offered at two-for-one, it’s very little dearer than the Naxos, so why not get both?

The only black mark that I can place against this whole enterprise is the failure to provide Avison’s dates, which is all the more surprising when Divine Art include such a wealth of detail about the provenance of each movement.

-- Brian Wilson, MusicWeb International

Vyacheslav Artyomov is considered by many to be Russia’s greatest living composer. After the fall of the Soviet regime his music has travelled the world to great acclaim. It is deep, ultimately spiritual and brilliantly crafted, with influences from the Russian symphonic tradition colored by Mahler, Scriabin, Honegger and Messiaen to name a few – but melded into a unique voice. The Divine Art Artyomov Retrospective continues with the magisterial symphony The Way to Olympus, chamber orchestral works and ‘Preludes to Sonnets,’ Artyomov’s only solo piano work. The works on this release were recorded at the height of achievement of the major Soviet orchestras, conducted by major figures including the universally acclaimed Rozhdestvensky. This release is the fourth in a set of nine that will fully explore Artyomov’s legacy.

While music for two pianos is encountered frequently, larger groups of pianos are rare, so this is an excellent opportunity to explore new and recent music for three pianos by composers from Turkey, Brazil, Spain and Italy. While exploring modern techniques the music is predominantly tonal, and remarkably light and clear-textured much of the time, though never facile or shallow. The composers have used the three keyboards to explore richer melodic lines and counterpoints while avoiding the temptation to create overwhelming walls of sound. The piece by Dallapicolla in particular is open-textured and quite traditional, predating his adoption of serialism. The album includes the world premiere recording of Saygun’s major work ‘Poem’. The three pianists are also international – Ucbasaran and Gallo now both live and teach in the USA and Chavaldas works in Spain. They met when students at the Franz Liszt Academy of Music in Budapest, Hungary. They all have highly praised recordings and concert appearances to their credit and came together for this special album in 2010 though it has awaited its release until now.

“The attraction of this disc lies in its concept (three pianos) and the quality of the performances (excellent).”
– Mark J,. Estren (Infodad)

Hailed as an artist of ‘magnificent pianism’, Guernsey-born pianist Tom Hicks has been praised for his ‘gorgeously creative playing’ that ‘transports the listener to another place and time’. Hicks is a gold medallist in numerous national and international competitions and holds degrees and awards from The University of Manchester, The Royal Northern College of Music, Yale University and Northwestern University, where he now lectures. His first disc featuring John Ireland’s Sarnia, ‘Tom Hicks: Ireland and Tchaikovsky’ has been described as ‘brilliantly evocative’ by Colin Clarke in International Piano, and ‘gorgeously creative’ by Scott Noriega in Fanfare. In his first recording for Divine Art, Tom presents stellar performances of two major Sonatas – those of Franz Liszt and John Ireland. A generation apart, both are highpoints of the Romantic and post-Romantic era. This playing puts Hicks at the top of the tree for his bold expressiveness and vision. On this album Hicks prefaces the Sonatas with shorter, but equally imaginative and expressive pieces: two Preludes by Stanford, Cortège by Rebecca Clarke, and one of the charming waltzes from the ‘Three-Fours’ Suite by Samuel Coleridge-Taylor.

Helen Habershon is both an accomplished performer and an inspired composer of music which often evokes nature, or human emotions and sensibilities this is music which is ‘easy listening’ and in the light music tradition, and is unpretentious, but never facile: it has deep meaning. Her first two albums have been highly praised and were Album of the Month and Album of the Week on Classic FM (UK) respectively. Her most recent album, ‘Found in Winter’, released in 2019, has been aired by Classic FM ever since. Helen had an established performing career until a serious injury led her to turn to composing, but she is now once again able to perform. Here she teams up with the successful pianist and arranger John Lenehan, who has appeared on over 70 recordings including several solo albums for Sony. For Found in Dreams Helen Habershon and John Lenehan offer a wonderfully diverse collection of repertoire. This includes beautiful arrangements of some of their favorite pieces; a couple of short movements of outstanding clarinet repertoire by Brahms and Finzi and some delightful new compositions of their own. As well as his beautifully crafted arrangements John has also written two lovely pieces to add to Helen’s. The cover design is a dream image from Helen’s five year old grandson.

Saint-Saëns excelled as a composer, conductor, pianist and organist – his composition output is enormous, reaching over 160 titles of which many are substantial – operas, ballets, symphonies – yet today much of his work remains neglected and he is known by a few works only: the Organ Symphony, Samson et Dalila, Danse Macabre and Carnival of the Animals. His original piano pieces are generally light ‘salon’ works but are nonetheless delightful and well formed. His major contribution to the piano works is the equally neglected body of transcriptions (of his own works and those of others) where he was sadly eclipsed by the more outgoing and promotion-minded Franz Liszt. This album and its companion include a number of first recordings, introducing a large body of keyboard gems to a new audience. Volume 2 is divided into two sections: transcriptions from Cantata and Oratorio and original ‘occasional pieces,’ transcriptions of two works by Luis de Milan and the Douze Transcriptions (of which there 13!) of works by J. S. Bach. Antony Gray is a London-based Australian pianist and teacher with numerous acclaimed recordings to his name on ABC and other labels including a 3-album set of Bach transcriptions and a 5-album set containing the entire piano output of Poulenc. He has premiered many new pieces written for him and has often appeared on radio in the UK and Australia.

The British composer Robin Stevens (b. 1958) is a great talent who is being discovered by the global music community, due in part to the critical acclaim given to the two previous Divine Art albums of his music. His varied, stimulating and expressive work arises from many influences - from the music of the Romantic era, to mathematics, his faith and inspiration of his teachers, and he is now producing substantial works for varied instrumental groupings, which are modernist and original, but yet immediately accessible. An accomplished cellist himself, Stevens has produced a body of work for the instrument which should become part of the regular repertoire. On this album, works for cello and piano stand alongside pieces for solo cello, from the substantial 27–minute Sonata Romantica to several compositions in a lighter, tonal style full of Stevens’ wit and humor. Written between 1994 and 2020, they present a diverse range of expressionist and gently modernist sound worlds. American cellist Nicholas Trygstad moved to England in 1998 to study at the Royal Northern College of Music. He became principal cello of Scottish Opera and from 2005 the Hallé Orchestra, and is very active in both solo recitals, chamber concerts and his teaching duties both at the RNCM in Manchester and also now with NYO Inspire. David Jones is Head of Accompaniment at the Royal Northern College and pianist for the Hallé Choir, and has given premiere performances of works by a number of prominent British composers. His previous recordings include three albums of music by Jeffrey Lewis, attracting the comment “not to be missed”: by Gramophone. Both Nicholas and David have appeared on previous Divine Art / Métier recordings.

Jonathan Östlund (b.1975) is a Swedish composer who has recently been living in Romania and before that London before returning to his home country in 2021. He has manifested an avid interest for music from an early age and has pursued his passion with a BA and MA in Composition at the Luleå Tekniska Universitet, in Sweden. He has studied under the artistic guidance of Prof. Rolf Martinsson, Prof. Jan Sandström and Prof. Sverker Jullander, among others, and has so far completed over 100 works, including several orchestral pieces, a Violin Concerto and a Piano Concerto, and has been awarded many prizes in international competitions. This new album follows the distinctive format of previous programs in that it features orchestral, vocal, choral, instrumental and chamber music. Östlund’s primary inspiration is nature which is brought out fully in beautiful Impressionist works such as L’eau de l’oubli and La nuit étoilee. He is also fascinated by the art of composing fantasies and paraphrases on classics and several are included here. A large team of soloists (several of whom also gave the world premieres of these works) were gathered in various locations, often having to work through lockdowns, to record this album. Östlund’s music is very accessible and tonal and often full of wit and humor, and is always atmospheric.

Violinist Aisha Syed Castro (b.1989) may well be one of the most remarkably gifted musicians to come from the Dominican Republic and the team at Divine Art are tremendously excited to have signed this young virtuoso for an album of works with principally American and Latin roots. She has been described as a ’virtuoso’ by the press on three continents, and has not only engaged in a busy and highly successful performing career but is tireless in her work for the underprivileged. Aisha is the Honorary Cultural Goodwill Ambassador of the Dominican Republic and works devotedly through charitable ventures (some of which she founded) to bring classical music to the underprivileged and socially disadvantaged.

In her new album, Aisha has brought together a program of works that have special meaning for her, many from Spanish/ Latin/ American sources, including extracts from West Side Story, works by the Dominican maestro Rafael Solano, music from Black composers Samuel Coleridge-Taylor and William Grant Still, and well-known miniature masterpieces by Piazzolla, Granados, and Albeníz. A special piece for the artist is ‘Aisha’s Dance’ from Khachaturian’s Gayaneh ballet, which she has played since she was 15. This recording was made in April 2019 in England and is a sparkling program of masterworks. Aisha’s musical partner here is pianist Martin Labazevitch, who also arranged the closing track, a medley of hymns dear to Aisha including a beautiful rendering of the timeless ‘Amazing Grace’. Martin is a Steinway artist who has attracted rave reviews around the world for his lyricism and intensity of performance.

Since the rediscovery of Scott Joplin’s ragtime genius in the 1970s his music has been an important part of the classical repertoire. Yet though he called himself with some justification “The King of Ragtime Writers” he was not a brilliant pianist; he was actually a trained violinist and cornet player and was lead singer of the Texas Medley Quartette. This wide experience helped to make his piano rags full of interest. All the same, most recordings concentrate on the most familiar works and ignore the many other superb pieces in Joplin’s substantial output. This new album from New York pianist Marilyn Nonken (Professor of Music at New York University’s Steinhardt School) includes some well-known works and some rarities. Rags, concert waltzes and other novelty pieces show brilliance and a well-honed craft. Joplin is the best known of the ragtime piano circle, but he was part of a community of composers, many of whom had short and tragic lives of poverty and ill health. While composing few works that have survived, the four represented here all collaborated with Joplin as joint composers: Louis Chauvin (1882-1908); Scott Hayden (1882-1915), Arthur Marshall (1881-1968) and the white composer Joseph Lamb (1887-1960).