Here/After: Songs of Lost Voices gives voice to those no longer with us, including Camille Claudel, Francis Poulenc, Wanda Landowska, Pierre Bernac and Paul Eluard. It also pays tribute to the lives lost on September 11, 2001. Here/After is a double play on the spiritual hereafter that their voices are still here even though their bodies are gone.

Philip Glass, Steve Reich, and John Adams—it is my prediction that, 50 years from now, it will be the last composer’s music that is played most frequently. I am not sure that Adams is the “best” composer of the three (frankly, Reich’s work is more interesting to me), but he is the one who has motivated the most performers to program and record his work. For example, apart from Alsop, three other conductors have recorded Short Ride (de Waart on Nonesuch, Rattle on EMI, and Mosko on Chandos), and there are alternative recordings on Nonesuch of the other three works as well. The Nonesuch discs are important documents, but not necessarily the last word. Despite their explicit or implicit approval by the composer, they can and will be bettered, as time goes on. Consider The Wound-Dresser. I remember being impressed by this work when Nonesuch released the CD with baritone Sanford Sylvan, and the composer conducting the Orchestra of St. Luke’s—I still was in graduate school, and various commentators were quick to draw parallels between Walt Whitman’s injured and dying boys and the current victims of the AIDS epidemic. There’s nothing wrong with Sylvan and Adams, but I find Gunn and Alsop more moving—almost too much so, as the text’s homoaffective subtext is moved closer to the foreground. (It strikes me now that the vocal line at “Many a soldier’s loving arms about this neck have cross’d and rested” could have been written by Stephen Sondheim.)

Alsop makes a good case for Short Ride and for the Berceuse élégiaque. The latter work is an arrangement for chamber orchestra of a work by Ferrucio Busoni—a fact that is not mentioned anywhere in Naxos’s documentation, shamefully enough. Adams, in his Nonesuch recording, is a little more weird and abrasive than Alsop in Shaker Loops—to good effect. All in all, the availability of the Nonesuch recordings does not make this Naxos release superfluous. Alsop is a fine conductor, the Bournemouth Symphony Orchestra plays well for her, and then there’s that Naxos price! If you’ve been curious about Adams’s music, but have not been willing to pay Nonesuch prices to hear it, here are four of Adams’s best works in competitive performances at a fraction of the cost.

Raymond Tuttle, FANFARE