Saariaho: Maa (Earth)

REVIEW:

On the face of it, it makes good sense to group these three relatively early works by Schnittke together on one disc, and the documentary interest of the issue is enhanced by the fact that both sonatas are dedicated to Mark Lubotsky. The downside is that Schnittke is rarely at his best in these pieces, and the recording allows the piano too great a degree of rather harsh prominence.

The First Sonata (1963), which documents Schnittke's emergence from the cocoon of conformity to a style that owes much to Shostakovich, and its wide range of reference, from serialism to Latin American rhythms, is now less striking than the skill with which Schnittke shapes the third movement's gradually intensifying melodic line. In the Second Sonata (1968), again, it is the growth of continuity out of fragmentation that impresses, giving the single-movement structure a substance it would otherwise lack. Even so, the sonata is more a manifesto of defiance than a fully realized proposal for a new musical order. It is to the credit of both performers that they don't try to oversell the music's aura of iconoclasm, though a recording more favorable to the violin would have done these well-considered accounts greater justice.

Schnittke concocted his Suite in the old style (1972) from various film scores. It would be unduly censorious to complain of the composer's self-indulgence in music as charming as this, and in any case a more sinister note enters the final ''Pantomime''. Here, at least, the authentically alarming later Schnittke briefly stands revealed.

-- Arnold Whittall, Gramophone [4/1994]

KLAMI, U.: Lemminkainen's Adventures on an Island / The Cobb

Orchestral Music - Sibelius, J. / Grieg, E. / Nielsen, C. (S

MELARTIN: SYMPHONIES NO 1 & 3

Sibelius, J.: Symphony No. 4 / Pohjola's Daughter / Finlandi

The calendar year 2023 marks the 90th birthday of Krzysztof Penderecki (1933–2020), one of the most prominent 21st Century Polish composers. Sacred themes and texts surround the creative work of Penderecki, including many of his large-scale works. This album consists of the majority of his impressive sacred a cappella choral works which are mainly written in Latin. These deeply religious choral works are modern classics which will, no doubt, remain in the choral repertoire for years to come.

REVIEW:

Penderecki’s sacred choral oeuvre is usually worthy of the best efforts singers are willing to bring to it. And here we have the self-recommending proposition of one of the world’s finest choirs bringing that music to life in the warm, reverberant space of St John’s Church in Riga, Latvia. The Ondine engineering makes it an even more emphatic win.

— American Record Guide

This is a beautiful selection of Sviridov’s choral music.

Georgy Sviridov’s Canticles and Prayers is considered by many as one of the most important works in Russian sacred music. In this new recording the Latvian Radio Choir under Sigvards Klava offers impressive renditions of music from this collection by the Russian master. Sviridov, a pupil of Shostakovich, began writing religious works in 1969. Since then these works have come to form an important part of his oeuvre. In the 1980s Sviridov had several projects to write a liturgy or a mass. In the end, the sketches of his sacred music came to form a cycle titled Canticles and Prayers. The work was created at a turning point in the history of Russia, the perestroika years that ended in the collapse of the Soviet state. The composer was keenly affected by the events of those years, building a monument to his era. The main body of Canticles and Prayers was assembled between 1988 and 1992. In September 1997, Sviridov selected the versions he thought best, approving the final order for the first three parts and making the final edits to the score. This work remained incomplete at the time of his death in 1998. Canticles and Prayers was thus Sviridov’s last work. The recording also includes the chorus The Red Easter based on a cycle of Easter hymns. Previous releases of the Latvian Radio Choir on Ondine have been highly successful. For instance, the recording of Rachmaninov’s All-Night Vigil was chosen as the Record of the Month, Editor’s Choice and received a nomination in the Gramophone Awards in 2013. Also, their more recent releases of choral works by Valentin Silvestrov and Eriks Esenvalds received Gramophone Editor’s Choice.

REVIEW:

This is a beautiful selection of Sviridov’s choral music. There is a subtlety to phrasing of the Latvian Radio Choir’s performance of the Trisagion (track 2, ‘Holy God’), for example, that often eludes Russian and Ukrainian choirs. And this serves them well too in the remarkable Having beheld a strange nativity, especially in the last movement, with its ‘increasing’ alleluias, and their mastery of dynamics means that they can bring it down to the quietest of pianissimos in nanoseconds.

The cycle on texts from the Old Testament is less familiar but has similarly outstanding moments—the second, ‘Sprinkle me with hyssop’, is particularly memorable in its alternation of male and female and choral groups—and in fact strikes me as one of the most likely works on this disc to enter the repertoire of Western choral ensembles. ‘Taynaya vechera’ might also do so, but here I come to my most serious reservation regarding this disc, which has nothing to do with the wonderful performances but everything to do with the disastrous translations in the booklet.

Do acquire this disc, listen to the frequently wonderful music and the consistently astounding performances but recycle the booklet.

– Gramophone

A MusicWeb International Recording of the Month!

Steadfast Ondine have here gathered four world premiere recordings of works by Finnish contemporary composer Rautavaara. In the 1970s and early 1980s I associated him with the thornier groves of avant-garde dissonance as evidenced by the Third Symphony. In fact, time and again, I have been reminded that Rautavaara reaches out to many listeners beyond any narrow elite. His early Cantus Arcticus (1972) is miraculously accessible. A concert late last year also underscored the same message. The BBC Philharmonic under Carlos Miguel Prieto in MediaCity Salford played his Symphony No. 7 Angel of Light. This is a surgingly and phantasmally lyrical three-quarter hour work belonging among the last century's melodic treasures, close to Silvestrov's Symphony No. 5, the symphonies of Alla Pavlova and Ned Rorem's Lions.

Rubáiyát (2015) is a song-cycle using verse from Edward Fitzgerald's translation/realization of the Rubáiyát of Omar Khayyam (1048–1131). We are fortunate to hear Gerald Finley singing it in its orchestral version. His voice is clear yet lush of tone. He sings across an incessantly inventive and beckoning orchestral arioso. His enunciation is sharply focused and while his 'line' is usually independent of the accompaniment he puts across the poetry's carpe diem philosophy with eloquence. Rautavaara does not shy from word and line repetition and grasps the opportunities provided by the most famous (least neglected) verses. The work begins with an abrupt plunge ‘in media res' and, as if further to emphasise the message, ends abruptly, without grace line or flourish, on the words 'O make haste'.

Verses have been popular with composers. Apart from Bantock's three-hour setting there are the song-cycle by Liza Lehmann, Arthur Foote's Character Pieces after Omar Khayyám, Robert Blum's Symphony No. 1 Omar Khayyám for orchestra and baritone, Lex van Delden's Omar Khayyám cantata, works by Charles Cadman, Henry Houseley, and in the 1970s, Alan Hovhaness's Rubaiyat for narrator, accordion and orchestra. There are also smaller-scale contributions from Hindemith and Penderecki.

Into the Heart of Light (Canto V - 2012) is the latest installment in the composer's series of works for string orchestra. The first of the Cantos dates from the 1960s. This glowingly confident example of lofty melodic writing for massed strings reaches across to the angelic ecstasy of the Seventh Symphony.

Balada (2014) sets texts by Lorca. It's a substantial piece for tenor, mixed choir and orchestra. On this occasion Mika Pohjonen is the soloist. The work was premiered in Madrid in May 2015. Its burning fervour injects a flaming drama which is put across with muscular commitment by both choir and orchestra. The music moves in approximately the same universe as the more demonstrative moments in John Tavener's big choral-orchestral works as well as recalling Szymanowski's Third Symphony Song of the Night and Barber's Prayers of Kierkegaard. As usual my intention here is to give some flavour of what you will hear, not to imply any lack of originality.

The Four Songs from the opera Rasputin are arrangements by the composer for mixed choir and orchestra. No doubt we will hear the whole opera before too long; the sooner the better. It's certainly a fruitful subject and story. The massed choral effect is redolent from time to time of Sibelius's Kullervo. The orchestral tissue gleams, shines and glitters around the plangent and awed singing. There's a touch of Mussorgsky's voice of the people here.

The notes by Kimmo Korhonen and a typically fine recording, lacking nothing in impact and subtlety, serve to complement some glorious music-making. This will make converts and have them exploring Ondine's already bejewelled Rautavaara pages.

– MusicWeb International (Rob Barnett)

February 2012

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It's a good thing people buy the disc before they read the notes. What sane person buys a CD, even one of contemporary music, in order to digest an essay called "Universality, Time and Phenomenology in the Oeuvre of Erkki-Sven Tüür"? Really, life is too short for such garbage, and if Tüür himself believes in this stuff then perhaps most normal listeners should look elsewhere. Happily, we can ignore the pompous twaddle and focus on the music itself, which is quite attractive.

To be sure, the vocal works try very, very hard to be "deep". Awakening mixes liturgical texts with words by various Estonian poets, but happily (for non-Estonian-speaking listeners anyway) we can ignore the words and just concentrate on the emotional ambience of the music itself. Like much contemporary music today, dissonant textures alternate with more consonant harmonies. The general pacing is slow, and Tüür makes an obvious effort to be "transcendental"--but there's little sense of strain and the work's 36 minutes pass without trying the listener's patience. It's quite beautiful.

Tüür's sensitivity to texture is everywhere in evidence in the a cappella setting The Wanderer's Evening Song. Modern choral writing often requires a virtuoso response, and this work is no exception, but the effort proves to be worth it. The text, drawn from poems by Ernst Enno (d. 1934), is yet another super profound concatenation of transcendental imagery, and I have no patience for it. But then, I feel the same way about Wagner's librettos--you may feel differently, and the setting is stunning. Insula deserta, for string orchestra, is a simple work in alternating sections rich in textural contrast. The performances are all splendid, and so is the sound. I do think that Tüür needs to lighten up a bit, but there's no question that he's a composer of real quality, phenomenology be damned.

– David Hurwitz, ClassicsToday.com

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Starting out in the world of progressive rock music and becoming a professional composer in the mid-1980s, Erkki-Sven Tüür’s music has been becoming ever more widely recognised, and ever more refined and luminous. This recording stands as a triumphant representative of this progression.

The most recent piece, Awakening, for mixed choir and chamber orchestra, was written as part of Tallinn’s multitudinous activity as European Capital of Culture 2011. The texts are a mixture of Estonian poetry and Latin liturgical words related to Easter. This is a highly approachable score, full of colourful harmonies and transparent textures, as well as having mysterious depths to go along with the more overtly joyful gestures. Some moments are comparable to the kinds of open musical expression of Americans such as John Adams and Steve Reich, and with the strong Estonian choral tradition pushing the piece onwards like wind in the sails of a galleon. This makes for compulsive listening from beginning to end. Tüür himself views awakening as a life-long process. “While composing this piece I lingered deep on the level of instincts and senses... From a musical perspective, this composition can also be viewed as an awakening to the light.” You can’t have an awakening to light without first experiencing the dark, and there are some central minutes of nocturnal chills before we make the final journey. There is no really well defined moment of awakening as such, as Tüür’s impressionistic writing keeps us guessing if we’re looking for a point of climax. The final coda in the last few minutes has some of the most sublime choral writing you could ever wish to hear. By avoiding corny stereotypes and going back in onto the resources of his own past work, Tüür has created a work which is tremendous in its effect.

The Wanderer’s Evening Song for mixed choir was written for the 20 ^th anniversary of the Estonian Philharmonic Choir and its founder, Toñu Kaljuste. This is a narrative of the wanderer who, to quote Gerhard Lock’s booklet notes, “is bewitched by the sombre silence of the northern woods [and is] longing for home.” This piece is also concerned with a fascination with light and an approach towards blissful ecstasy, using a mixed combination of the romantic poetry of Ernst Enno to create a remarkable journey. Close harmonies, dramatic dissonance and beautifully ethereal atmosphere make this another very special work.

Going backwards in time the final work is the oldest: Insula deserta, which is the string orchestra piece which marked Tüür’s international breakthrough. This has appeared on CD before, including as part of the Virgin Classics ‘Searching for Roots’ series, in this case with the Royal Stockholm Philharmonic Orchestra conducted by Paavo Järvi (Virgin Classics 7243 5 61993-2, 2002). There is little to choose between this version and Daniel Reuss’s as both are excellent, though the Sinfonietta Riga has a closer, more detailed and intimate feel. Exploring “the relationship between fragility and power” is a driving force in the piece, which unites and fragments the orchestra in a variety of ways, punching dramatically or giving voice to the different sections and individual voices within fields of sound.

This release represents a genuine cross-section of Erkki-Sven Tüür’s work, but is by no means a catch-all compilation. If you are new to his expressive and compelling work then I would hope it might be a springboard for discovering more of his pieces, such as the Architectonics series, and an extensive catalogue to be found on the ECM label.

-- Dominy Clements, MusicWeb International

This album by the Helsinki Baroque Orchestra playing on period instruments under the direction of Aapo Hakkinen includes Ludwig van Beethoven’s (1770-1827) complete incidental music to Goethe’s Egmont.

What distinguishes Beethoven’s Egmont are great dramatic emotion of style, tightly unified musical ideas, and an absolute determination to create a sense of the triumph of freedom as the Utopian dream of the whole of mankind. The overture, the only one of the ten numbers to be heard regularly today in the concert-hall, draws all these intentions together in concentrated form. Its meaning is revealed only in context, together with the interludes and the final musical episodes.

Lars Vogt continues his series of concerto recordings with the Royal Northern Sinfonia with this new recording of Johannes Brahms’ (1833–1897) First Piano Concerto together with Four Ballades (Op. 10) for solo piano. As in previous albums, Lars Vogt conducts from the keyboard.

The evolution of Brahms’ 1st Piano Concerto took several steps. Originally conceived to become a Sonata for Two Pianos through orchestration it was developed into a four-movement Symphony until reaching into its final form of a Piano Concerto in three movements. During the process, which lasted from 1854 to 1856, some movements were also discarded and replaced by new material. This music is packed with much drama. No wonder since these years were particularly tumultuous in Brahms’ personal life: it was during this period when his great mentor Robert Schumann was sent into an asylum and ultimately died. It was also time when Brahms formed a close, lifelong friendship to Clara Schumann. Some of these feelings might well be echoed in the peaceful 2nd movement, Adagio.

Brahms’ Four Ballades, Op. 10 are works written in 1854 by a young composer barely in his 20s, yet these pieces are technically mature and profound in such a manner that they could even be compared to his final piano opuses.

Lars Vogt was appointed the first ever “Pianist in Residence” by the Berlin Philharmonic in 2003/04 and enjoys a high profile as a soloist and chamber musician. His debut solo recording on Ondine with Bach’s Goldberg Variations (ODE 1273-2) was released in August 2015 and has been a major critical success. Lars Vogt started his tenure as Music Director of the Royal Northern Sinfonia in September 2015. Lars Vogt was nominated for Gramophone’s Artist of the Year award in 2017. His recordings of Beethoven’s Piano Concertos Nos. 2 & 4 (ODE 1311-2) together with the Royal Northern Sinfonia and an album of Dvorak’s Piano Trios (ODE 1316-2) received Gramophone’s Editor’s Choice in May 2018 and in December 2018. His most recent album on Ondine featuring four Mozart’s Piano Sonatas (ODE 1318-2) was also chosen Gramophone’s Editor’s Choice in July 2019.

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REVIEW:

The music-making is nothing short of sensational. This is a bold Brahms D minor with immense character, audacious and courageous. It is also perhaps the most sensitive and subtle reading of the score in recent memory. A wealth of seldom-heard orchestral detail emerges, with exquisite wind-playing especially prominent. Nothing is extraneous; every gesture seems bent towards maximum expressivity.

– Gramophone

The carefully chosen Latin fragments from ancient Pompeii graffiti inscriptions form a fresco of the society of 2000 years ago and of today; since ancient times, graffiti has been used as a tool for free expression of social or political criticism. GRAFFITI also contains references to Igor Stravinsky's Oedipus Rex, as well as to the music of Bartók and Puccini. However, GRAFFITI carries the individual sound of Magnus Lindberg, who has always been recognized as a great master of the orchestral sound, and who now has proves to be a master of choral music.

In this new concerto album one of the greatest violinists of our time, Christian Tetzlaff, performs two standard violin concertos in fresh new interpretations together with the Deutsches Symphonie-Orchester Berlin directed by the orchestra’s exciting new music director, Robin Ticciati.

Christian Tetzlaff is considered one of the world’s leading international violinists and maintains a most extensive performing schedule. Musical America named him ‘Instrumentalist of the Year’ in 2005. His recording of the Bartók Violin Concertos (ODE 1317-2) received both Gramophone and ICMA Awards, and the recording was also a finalist for the BBC Music Award in 2019. His recording of the Violin Concertos by Mendelssohn and Schumann, released on Ondine in 2011 (ODE 1195-2), and Bach Sonatas and Partitas released in 2017 (ODE 1299-2D) received the ‘Preis der deutschen Schallplattenkritik’. In addition, in 2015 ICMA awarded Christian Tetzlaff as the ‘Artist of the Year’, and he also received ECHO ‘Instrumentalist of the Year’ award in 2017.

REVIEWS:

Tetzlaff may at times excitedly rush his fences, but in collaboration with Robin Ticciati and his alert Deutsches Symphonie-Orchester Berlin, he transforms aspects of what so many have treated as a sort of Holy Grail into a beer tankard. If Beethoven’s Concerto emerges as uncompromisingly provocative, Tetzlaff’s Sibelius also errs on the side of danger…In many respects, a real knock-out.

– Gramophone (Editor's Choice)

What I especially admire about these entrancing performances by Tetzlaff is the freshness and vitality he brings so effectively to these masterworks. One senses that he is entirely inside the music emotionally. Throughout both works the sound of Tetzlaff’s violin, a modern instrument made by German luthier Stefan-Peter Greiner, is glorious. Under Robin Ticciati the Deutsches Symphonie-Orchester Berlin excel with firm and resolute playing in performances which are entirely empathetic to the soloist from start to finish.

– MusicWeb International

Bach: Sonatas for Solo Violin

Weill, K.: Kleine Dreigroschenmusik / Concerto for Violin an

Prokofiev, S.: Symphony No. 2 / Summer Night / Autumnal Sket

KARITA MATTILA - KAIPAINEN, ME

PROKOFIEV: PIANO SONATA 5 & 6

REVIEW:

Sergiu Comissiona has long been admired for his all-round musical sympathies. Sadly, he has not been a regular visitor to Britain in recent years, preferring to devote himself to those orchestras where he holds a position, most notably the Helsinki Philharmonic Orchestra. He has long been an initiator of stimulating musical projects; while Music Director of the Houston Symphony Orchestra, he commissioned fanfares from 30 of America's leading composers. In 1990, to mark the 125th anniversary of Sibelius's birth, he persuaded the Helsinki Philharmonic to commission eight composers from all round the world to write a short piece each as a tribute to Finland's national composer.

Not surprisingly, some of the pieces are more successful than others. However, the project complete, all the pieces have been released on disc by Comissiona and his committed orchestra. They start with a lively—and presumably authentic—account of the master's En saga. This music must surely be coursing through the veins of all Finnish musicians. A delightful and undemanding piece by Thea Musgrave leads the tributes with deliberate echoes of Sibelius's music. This is followed by Ciacona by Einar Englund: a traditionally-based piece by a composer who knew and was encouraged and supported by Sibelius. Then comes an atmospheric piece by the Japanese composer, Joji Yuasa, and an exhilarating work by the young Finnish composer, Erkki-Sven Tuur. The American composer, Tobias Picker, describes his brief tribute as a conversation between Sibelius, Schoenberg and Stravinsky. Wilfred Josephs's piece is rather static while Marius Constant has composed a beautiful score with a real feel for colour and texture. The collection ends with a big piece, despite its brevity, from Poul Ruders again containing allusions to the music of Sibelius.

Although this is a commemorative disc which will be a must for the admirers and devotees of Sibelius's music, it will also be of interest to those with a taste for the less demanding byways of new music.

-- Gramophone [4/1992]

CORELLI, VIVALDI, ETC: MUSIC F

ENGLUND, HEININEN: VIOLIN SONA

Selections recorded in April and May 1991.

SIBELIUS: COMPLETE WORKS FOR V