Aquarelles brings together three world class musicians- Bonita Boyd, Steven Doane and Barry Snyder, performing four classics from the flute, cello, and piano repertoire. Bonita Boyd began her career with the Rochester Philharmonic under David Zinman, becoming the youngest principal flutist of a major American orchestra. She is professor of flute at the Eastman School of Music, and is an active concert soloist throughout the world. Steven Doane and Barry Snyder have recorded extensively for Bridge, their recordings receiving rave reviews and awards from journals in the USA and Europe. The duo's recording of the complete music of Gabriel Fauré for cello and piano was awarded the Diapason D'or in France, and has been broadcast throughout the United States and Canada, over the BBC in England, and throughout Europe. The second recording in the series, of works by Britten and Frank Bridge, was also released to critical acclaim.

This is an exciting new album bundle of five previously released albums from Navona Records. What Are They Doing To That Piano? features composers and artists dedicated to finding the most adventurous and compelling sounds that the piano has to offer. Opening with works composed by John Cage, the virtual godfather of prepared piano, and performed by the virtuosic Kate Boyd, this bundle contains one of the most eclectic collections of solo piano music a listener will ever encounter. Ice & Fire, first released in 2013 by Navona Records, features six compositions by Stephen Scott for the Bowed Piano Ensemble, including Afternoon of a Fire, written for bowed piano and improvised native american flute in memory of a wildfire that occurred in his native Colorado. The album also includes experimental works that interpret the concept of drones, a piece with five miniatures for bowed piano, and Scott's first written piece for voice and bowed piano. Originally released on Ravello Records in 2016, 16-2-60-N-5: Works for Electronics & Piano, by composer and pianist Sidney Bailin, shows how musical technique can exist solely to help him tell his secrets. A combination of piano and electroacoustic works, 16-2-60-N-5 transforms patterns and structures into a viscerally and emotionally gripping sound experience. Felt, a compilation for solo piano first offered by Navona Records in 2015, presents the works of a number of composers including Matthew Durrant and Byron Petty. With each composer comes a subtly different perception of what the piano is capable, a degree of variation that presents itself repeatedly in the kaleidoscopic collection of pieces included on this release. On An Evolving Cycle, Gheorghe Costinescu's second Ravello Records album, first released in 2013, the composer explores the manner in which keyboard idioms evolved from Baroque to 21st-century contemporary, charting the evolution of form and technique with a deft control of style. Throughout this collection, the composers and performers run the gamut of stylistic and physical variations possible for the piano and its repertoire. It seems only fitting that these albums would ultimately be combined into a single compendium of the piano at its finest, and we are pleased to finally offer, in collected form, What Are They Doing To That Piano?

After 20 highly acclaimed classical guitar records, Liona entered the "new age" with style in 1988. Starting with the Vangelis piece from The Year of Living Dangerously (L'Enfant) and featuring guest appearances from Eric Clapton, David Gilmour (Pink Floyd) and Yo-Yo Ma, the scope and variety of Persona is kind of "beyond belief." Exciting, beautiful and dazzling, it's just like the artist herself.

-- AllMusic.com

Brahms originally wrote the Piano Quintet, Op. 34, for string quintet before recasting the work as a two-piano sonata. However, the sheet music has not ever been recovered. So, finnish cellist Karttunen set about its reconstruction. The result has all the vigor and power of the music we know but now recast in a different sonority.

REVIEW:

Another triumph for a small independent label. Brilliant thought provoking re-evaluations of ‘standard’ works by Brahms. The double viola version of the clarinet quintet in Brahms’ own arrangement is especially rewarding featuring some of the most beautiful viola playing I have ever heard from Steven Dann. Life-enhancing stuff.

-- MusicWeb International

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Elegant writing beautifully presented.

Douglas Boyd and his Winterthur forces are proving to be a reliable signing for MDG. This disc follows an excellent recording of the Rheinberger organ concertos. In both cases, we are talking about music that has made very few outings on CD, let alone SACD, so to find them presented at this quality is a treat.

Schubert, according to the liner-note, put great energies into improving his reputation as a composer for the stage, but of the ten stage works he completed, only three were preformed in his lifetime. Rosamunde was one of them, and its poor reception was apparently one of the reasons why later stage projects failed to find a home. Problems with the work's dramaturgy have been blamed for its failure, rather than any inadequacies on the part of the music. And the music is good. It falls somewhere between the Schubert the chamber composer and Schubert the symphonist. There is plenty of drama here, but for the most part it retains the civilised formality of the Classical era. Performing the incidental music – and great as it is, the word 'incidental' is definitively appropriate – poses a few challenges. A choir is required, but they only put in a few appearances, as does the alto soloist. Schubert writes trombone parts, but he only uses them to support the choir. So the whole project is a bit impractical, and while you need a range of talented musicians, none is given the opportunity to really show off those talents.

Fortunately, the Musikkollegium Winterthur musicians have what it takes. There is some elegant woodwind writing, all of which is beautifully presented. And those trombone parts, brief as they are, are played with enviable precision and tonal focus. Douglas Boyd achieves a good balance between the composer's aspirations to drama and his innate sense of musical elegance. There are a number of points where the music builds up to a thematic statement through a swell on an upbeat or a short crescendo, and Boyd is able to create just the right sense of anticipation, and without excessive intervention.

It is probably worth noting that this is very much Schubert on modern instruments. There is nothing wrong with that but it seems to be rapidly becoming the exception rather than the rule. The textures are warmer and more homogeneous than you get from period instruments, but - unlike in the later symphonies for example - there is little in the way of contrapuntal or textural detail to lose in the weave. That also limits the potential benefits of the SACD audio. The audio quality is good, and it brings a sense of warmth and intimacy to the quieter textures, especially the woodwind solos, but there is little in this score to bring out in terms of pertinent incident and colour.

The disc opens with a bonus track of sorts. It turns out that Schubert wrote the Rosamunde music to a tight deadline and did not have a chance to write an overture. Instead, the programme opens with the overture to Die Zauberharfe. The liner-note assures us that the overture is very much in the spirit of the Rosamunde music, and so it is. However, the Rosamunde movements are thematically interconnected - though a theme better known from the quartet of the same name. The overture does not share this link and so stands out from what follows. That's not a big grumble, but it does call the logic of the programming into question. Even with this imported overture, the running time is still under an hour. So why not include a few more overtures and incidental movements too?

-- Gavin Dixon, MusicWeb International

RHEINBERGER Organ Concertos: No. 1 in F; No. 2 in g. 3 Pieces for Cello and Organ • Stefan Johannes Bleicher (org); Douglas Boyd, cond; Musikkollegium Winterthur; Cäcilia Chmel (vc) • MDG 1643 (SACD: 57:58)


Josef Rheinberger (1839–1901) is frequently named alongside Max Bruch, Karl Goldmark, Robert Fuchs, and Carl Reinecke when mention is made of late 19th- to early 20th-century German Romantic composers who cultivated an essentially conservative style influenced by the Mendelssohn-Schumann-Brahms-Joachim axis. Budding composers from abroad, including America, flocked to Germany to study under these men and to have bestowed upon them the mantle of a proper German pedigree. In Leipzig, Reinecke could claim Grieg, Sinding, Svendsen, Janá?ek, and Weingartner among his students; while in Munich, Rheinberger could name Humperdinck, Parker, Chadwick, Wolf-Ferrari, Thuille, and Furtwängler among those he instructed.


Rheinberger’s instrument was the organ, a fact that’s hard to ignore based on his vast output in which the organ plays a dominant role. Yet, in his entire voluminous catalog—the solo organ pieces alone occupy 12 CDs—the two concertos on this disc are the only concerted works I’m aware of that he wrote for organ and orchestra. The mind leaps immediately to the similar compositions by Rheinberger’s French contemporaries Widor and Guilmant, but the reality is that Rheinberger’s concertos are in a more classical mold and of a thematic content somewhat similar to the chorale-like melodic and harmonic manner of Saint-Saëns. Oddly, as well, there are not a few passages that seem to anticipate the sort of ceremonial hubbub and pageantry one hears in Elgar’s soon-to-be pomp and circumstance mode. Rheinberger’s concertos, however, predate the earliest of Elgar’s coronation marches by 17 and seven years, respectively.


The Concerto No. 1, dated 1884, two years before Saint-Saëns’s brilliant “Organ” Symphony, is modestly orchestrated for three horns (or two horns and bassoon) and strings, with the organ filling in for the absent winds. Scoring in the Concerto No. 2 of 10 years later isn’t much augmented, but to the earlier ensemble Rheinberger adds two trumpets and timpani, so that the organ must still furnish the sonorities that would ordinarily be supplied by flutes, oboes, and clarinets. If the Second Concerto finds its voice somewhere between Saint-Saëns and Elgar, the First Concerto reaches a bit further back, perhaps to Mendelssohn and Schumann.


These are not hard works to like. They’re tuneful, spirited, and engaging enough that one doesn’t miss the fuller symphonic approach that Saint-Saëns took to the orchestra or the more variegated splashes of color Widor and Guilmant drew from their Cavaillé-Coll and French organs.


There are two or three more recordings of these works available than I find reviewed in the Fanfare Archive. In 23:6, John Bauman covered a Classico release featuring organist Ulrik Spang-Hansen with the Chamber Philharmonic of Bohemia led by Douglas Bostock; while in 28:5, James Reel readdressed a Capriccio recording that had originally been reviewed in 16:2 and was recycled in SACD format with the rear channels presumably artificially processed. That disc featured organist Andreas Juffinger with Harmut Haenchen conducting the Berlin RSO. Not reviewed, as far as I can tell, are recordings by Ulrich Meldau with Daniel Schweizer presiding over the Zurich Symphony Orchestra on the Motette label, and a more recent Naxos version by organist Paul Skevington with Timothy Rowe leading the Amadeus Chamber Ensemble. Of these several editions, the only one I have for comparison purposes is the Juffinger in its “enhanced” SACD incarnation.


The Capriccio booklet has nothing to say about the organ, though the recording was made in Berlin’s Jesus-Christus-Kirche, so I assume the instrument to be of German, Swiss, or Dutch pedigree, but for the concertos the new MDG recording is to be preferred. Newly recorded in February 2010, the disc is in true surround format. Full-page specifications are given on Winterthur’s historic Stadrkirche organ built by E. F. Walcker in 1887–88 and restored in 1980–84 by the Swiss firm currently doing business as Kuhn Organ Builders, Ltd. And MDG’s Bleiche and Boyd are considerably more animated than Capriccio’s Juffinger and Haenchen in every movement of both concertos, delivering performances that are crisply articulated and in which the organ and orchestra are beautifully integrated.


MDG’s bonus is three pieces— Abendlied, Pastorale, and Elegie —Rheinberger transcribed for cello and organ from a set of six pieces he’d originally written for violin and organ at the dual requests of church organist Johann Georg Herzog and the composer’s publisher, August Robert Froberg. Adagio meditation-type pieces for a solo string instrument accompanied by organ were rarities, if indeed they existed at all at the time. Rheinberger’s contributions are exactly what you would expect—the musical equivalent of votive candles flickering in the transepts. Cellist Cäcilia Chmel plays prayerfully enough, but the angels remain frozen in their friezes, unmoved by Rheinberger’s entreaties.


Definitely recommended for enjoyable, if not great, music, fine performances, and superb recording. I will not, however, be throwing away my Juffinger and Haenchen on Capriccio for the simple reason that it includes Rheinberger’s Suite for Violin and Organ, op. 166, a lovely neobaroquish affair that echoes with distant strains of Bach, Handel, and Corelli, and is a more substantial and preferable alternative to the three cello pieces on the current disc.


FANFARE: Jerry Dubins

ONLY COMPLETE RECORDING. Sir Arthur Sullivan wrote his light opera Haddon Hall when he was at the height of his considerable creative powers. Despite his intention to turn away from writing "lighter" works so that he could concentrate on more serious fare, Sullivan's love of the good-life forced his return to the rather more lucrative stage of the Savoy Theatre, and the world of comic opera. Sydney Grundy presented him with a libretto based on an actual historical incident, namely the elopement of Dorothy Vernon, with her lover John Manners, from Haddon Hall, her ancestral home. The opera was completed and presented at the Savoy Theatre on 24th September 1892. The reception to Sullivan's music (though not the libretto!) was ecstatic. Bernard Shaw thought Haddon Hall to be the very best of the Savoy Operas, and for a while the piece beat even the Mikado in box office receipts. We hope that, after hearing this new recording, you will agree that Haddon Hall is an unjustly neglected work of great charm, fully worthy of Britain's most famous composer of the 19th century, Sir Arthur Sullivan.