Recording information: Air Studios, London (06/30/2008); Air Studios, London (07/01/2008).

This album presents works for string orchestra by Lithuanian composer Algirdas Martinaitis (b. 1950) from his early breakthrough work Birds of Eden (1981) to a recent Valse triste (2020), giving a very broad vision of this composer. This program is performed by Lithuanian musicians of the St. Christopher Chamber Orchestra conducted by Modestas Barkauskas and featuring violinist Rūta Lipinaitytė and soprano Asta Krikšciunaite. For keen fans of music within the Baltic states, Algirdas Martinaitis is quite known for his works dancing between a serene beauty and sincerity before collapsing into an almost sarcastic nihilism, a style which he describes as “new animality”.

Within this style, much like Henryk Górecki’s ‘circus pieces’, sarcasm, irony, and subversion of expectations become central to the music making. His early chamber works, including Birds of Eden, demonstrated his unique voice and saw him grouped with the neo-romantic movement within Lithuania. However, never wanting to be predictable or stuck in an idiom, he later shifted to a newer style. The Three M‘art Comedy Seasons for solo violin and strings makes numerous musical references, not least to the famous Four Seasons of Vivaldi. Artizarra for string orchestra and harpsichord has an energized and bouncy nature which is comparable to J. S. Bach’s concerti for multiple harpsichords or the latter movement of Górecki’s concerto for the instrument. The album also two recent songs to lyrics by Oscar (Vladislas de Lubicz) Milosz (1877–1939), the famous Lithuanian French-language poet.

Talivaldis Keninš (1919–2008) is a name that is not known to most classical listeners despite of his long international career as a composer. This album presents three orchestral works by one of Latvia’s greatest 20th century composers performed by the Latvian National Symphony Orchestra under the baton of Andris Poga and Guntis Kuzma.

Although born in Latvia, Keninš lived most of his life as an exile. He was educated in Paris, where he studied under Tony Aubin and Olivier Messiaen, and won several awards. Keninš emigrated to Canada in 1951and became a respected pedagogue and a very influential figure in Canada’s music life.

Alongside his pedagogic work he wrote a sizeable catalogue of works, including several symphonies and concertos. According to Keninš, chamber music was the highest form of art. His Concerto di camera No. 1 (1981) reveals his love for chamber music. The work contains hints of Bartók. The composer himself mentioned Mozart’s concertos as his model when writing the work. Concerto for Piano, Strings and Percussion (1990) was completed shortly after the composer’s first visit to Latvia since the 1940s. Latvia was struggling to regain its independence and the work has a particularly tense and tragic atmosphere. When the work was premiered in Canada, the composer drew attention to the events unfolding in his home country when describing the work. Keninš wrote his First Symphony in 1959. This expressive work represents well the element of Latvian folk music in the composer’s work fusing it together with contemporary elements. Upon its premiere, the work received several performances in Canada, including CBC radio broadcasts.

REVIEW:

Korngold’s lushly scored Symphony in F?, completed in 1952, has been well, if belatedly, served on disc. The first recording appeared only in 1972, with Rudolf Kempe conducting the Munich Philharmonic. Since then there have been seven additional recordings that I know of. The Philadelphia performance led by Franz Welser-Möst is absolutely stunning in both its orchestral virtuosity and its magnificent sound. I have read glowing reports about, though not heard, the recently released Albrecht/Strasbourg Philharmonic performance, and there are also releases from big names like André Previn, Edward Downes, and James DePreist. Can the Helsinki Philharmonic compete with these? Definitely.

The Philharmonic acquits itself splendidly, particularly its horn section, which delivers astounding displays of unison virtuosity in the first movement. The second movement is a virtuoso romp for the full orchestra. Storgårds keeps the pace lively and the playing crystal-clear despite the complex and often dense orchestration in this movement. There is not even a suggestion of labor involved. The Adagio, the symphony’s emotional core, is a darkly hued quarter-hour of inexorable symphonic growth, which Storgårds brings to a towering climax that will lift you out of your seat. The finale is the weakest of the symphony’s four movements, yet nevertheless blazes with thrills from the Helsinki musicians. Ondine’s recorded sound adds another layer of visceral excitement, sound remarkable for both its textural clarity and its depth—a winning combination. In short, this performance ranks with the best of them.

As a bonus, the disc also contains the world premiere recording of Korngold’s Dance in the Old Style for small orchestra, composed in or about 1919 but never published and possibly never performed until 2007, when Storgårds conducted it at the Jyväskylä Festival in Finland. Brendan Carroll barely mentions it in a footnote in his 1997 biography The Last Prodigy . Richard Whitehouse’s otherwise comprehensive and detailed program notes to this release do not explain how or where it suddenly turned up. The seven-minute piece is pleasant enough but hardly top-drawer Korngold. Nevertheless, it will certainly be of interest to all fans of this composer.

-- Fanfare: Robert Markow

Ondine celebrates Beethoven’s 250th anniversary of birth by re-issuing Olli Mustonen’s Beethoven cycle with the Tapiola Sinfonietta. The three volumes were originally released in three separate volumes from 2007-2009. Mustonen, described by The Sunday Times as “living dream of pianism”, is known for delivering fresh and visionary approach to standard works – this is evident in these masterful recordings of Beethoven’s concertos. Mustonen is a particularly fitting exponent for Beethoven’s music as the composer himself was also both visionary and revolutionary in his approach to tradition. The recording of Piano Concerto No. 1 includes Mustonen’s own cadenzas. Beethoven’s own Piano Concerto arrangement of his Violin Concerto is also featured – one of Mustonen’s signature pieces.

REVIEW:

Mustonen plays the five concertos of a piece, not starting out with Mozartean elegance in the first two and building up to mature Beethoven somewhere in Concerto No. 3. He attacks every bar vigorously and with decisive intent. In my experience, no one since Mikhail Pletnev’s highly original and at times eccentric cycle on DG has sounded so personal in music that too often trips off the fingers with glib sameness.

My overall defense of a cycle that will strike other listeners as totally arbitrary comes down to Mustonen being a composer, not a touring pianist playing subscription concerts. These are a composer’s responses to Beethoven, and Mustonen has the fingers to express them with confident assurance and at times with dazzling flourishes. In my corner this release is one of the most refreshing of the Beethoven year.

– Fanfare

Latvian composer Pēteris Vasks (b. 1946) is one of the most prominent names among living composers today. This album by the Latvian National Symphony Orchestra conducted by Andris Poga includes the first recording of Vasks’ atmospheric and pastoral Oboe Concerto written for the centenary celebrations of Latvia’s independence in 2018 and performed by one of today’s leading oboists, Albrecht Mayer. The new concerto is coupled with two early orchestral works from the 1980s, Vestijums and Lauda – both musical manifestations from the final years of the Soviet Union when occupied Latvia started its peaceful fight to regain the country’s independence.

REVIEW:

Although he was a septuagenarian when he composed this Oboe Concerto in 2018, on a commission from oboist Albrecht Mayer, the music of composer Pēteris Vasks has continued to evolve. The inclusion here of two of Vasks’ 1980s orchestral works is to the point, for they are clearly works of the same composer as the Oboe Concerto, showing a characteristic departure from Baltic minimalism in a Romantic direction. Yet Vasks’ weaving of Romantic and minimalist has deepened over the years. One feels that the performances here by are unusually committed; the effect is hypnotic. The detailed notes, providing a good deal of context relevant to the development of Vasks’ increasingly influential music, form another attraction.

-- AllMusic.com (James Manheim)

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

The music of Grazyna Bacewicz (1909–1969) has been enjoying a revival during the past two decades. Bacewicz was an outstanding figure in 20th-century music, a major Polish composer and a versatile musician. This album by the award-winning pianist Peter Jablonski, pianist Elisabeth Brauß, the Finnish Radio Symphony Orchestra and conductor Nicholas Collon includes some rarely recorded gems: the composer’s Piano Concerto together with the late Concerto for Two Pianos and Orchestra in its first digital recording. Also included is the composer’s homage to Bartók, Music for Strings, Trumpets and Percussion, as well as the composer’s early exuberant Overture, written during the German occupation of Poland.

REVIEW:

Yes, this work is a symphony, at least as much as is Berlioz’s Harold in Italy, Tchaikovsky’s Manfred, Rimsky-Korsakov’s Antar, or Liszt’s Faust. Sibelius himself referred to it as such, and in fact claimed that he really had written nine symphonies (including Kullervo), despite the fact that this one got broken up into its constituent parts early on in its history. There have been some excellent modern performances of the complete work, including those by Salonen, Järvi (twice), Saraste, and best of all, this one (Vänskä’s turned out to be one of his big disappointments).

This performance has several things going for it. First of all, Segerstam is himself a violinist and he pays special attention to Sibelius’ string writing, always crucial. Those acres of tremolo have to sound purposeful, and the sheer texture and timbre of the string playing here leaves just about every other version in the dust. Second, Segerstam has the gift of touching in subtle details of color and rhythm without breaking the back of a phrase. You can hear this immediately at the start of Lemminkäinen and the Maidens of Saari, where he catches the cross-rhythm in Sibelius’ writing as in no other performance (sound sample below). Third, Segerstam places Lemminkäinen in Tuonela second in playing order, which was Sibelius’ original idea and which works better, in my opinion, than reserving second position for The Swan of Tuonela.

None of this would matter were the interpretations not outstanding expressively, but they certainly are. Lemminkäinen and the Maidens of Saari is the most passionate performance on disc; Lemminkäinen in Tuonela the grimmest. The Swan has atmosphere to burn, with a superb English horn solo; and the finale, Lemminkäinen’s Return, is tremendously exciting but weighty enough to serve as a true symphonic finale. The whole production is magnificently recorded, and topped off by a considerable bonus in the form of a slow, brooding, incredibly intense rendering of Tapiola. A great disc.

-- David Hurwitz, ClassicsToday.com

This awaited release is the first disc in a series of Olli Mustonen and the Finnish Radio Symphony Orchestra conducted by Hannu Lintu performing the Piano Concertos by Sergei Prokofiev. Without a doubt some of the most substantial twentieth century masterworks, Prokofiev’s piano concertos prove the composer’s brilliant piano skills. The composer premiered his First Piano Concerto in 1914. The Third Piano Concerto is the most popular of Prokofiev’s concertos. The piece took several years to complete, and premiered in Chicago in 1921. Prokofiev’s Fourth Piano Concerto (for the left hand) is the most rarely heard of the three concertos featured on this recording. He wrote the piece in 1931 for pianist Paul Wittgenstein, but the work wasn’t performed until 1956. Olli Mustonen is sought after by orchestras all over the world, and he has performed and recorded with such groups as the Berlin Philharmonic, the New York Philharmonic, and The Royal Concertgebouw. His recent collaborations with the Finnish Radio Symphony have garnered excellent reviews.

REVIEW:

How many times have I regretted a shortage of fantasy, flair, and fairy-tale imagination in recordings of the Prokofiev piano concertos? Well, here is a disc that takes all those qualities to the top, gleefully goes over it, and ends up halfway down the other side. The super-light, transparent textures Hannu Lintu conjures from the orchestra are an excellent foil for the soloist. If there is room in your collection for several sets of the Prokofiev concertos, this one at least comes with a provocative distinctiveness.

– Gramophone