The soprano Louise Alder has been described as 'the brightest lyric soprano of the younger generation' (The Arts Desk),'a born actress' (Opera), and as having 'a voice of sparkling beauty' (Gramophone). In this her debut recording for Chandos, she and her pianist, Joseph Middleton, have devised an unusual but rewarding programme that explores the works of six contrasting composers. As she writes in her booklet note: ‘When Joseph suggested making an album of Russian songs, including Russian composers who set poems in other languages, I jumped at the challenge. The more we discussed the repertoire, the more amazed I was to see how well it fitted with my own family history. In 1916 (the same year that Rachmaninoff composed the Opus 38 songs), huge political unrest forced my great-grandparents and family to flee, shutting up the house in Odessa, travelling 1,687 km north by rail to St Petersburg, and then by sleigh into Finland, through Norway, and back to Britain. It is my pleasure to be able to honor my family’s Russian connection with this meandering sleigh ride through Russia, with songs in Russian, French, and German, into Finland, in Swedish, and Norway, in German, back to the UK for a cycle of Britten songs in Russian.’

Dividing his time between the United States and the United Kingdom, the composer Geoffrey Gordon writes music that has been described as ‘darkly seductive’ (New York Times), ‘richly satisfying’ (BBC Music Magazine) and ‘iridescent and fierce’ (The Chicago Tribune). The present album brings together three of his recent works, all composed between 2013 and 2018 for the soloist recording them here, the Danish cellist Toke Møldrup. In several of his works, Gordon takes his inspiration from other art forms – sculptures by Giacometti, a self portrait by Warhol, a children’s picture book by Maurice Sendak. The works gathered here are inspired by or reactions to three literary masterworks. The ‘creative blueprint’ for the opening work, the Cello Concerto, is the novel Doktor Faustus by Thomas Mann. Organized into a Prologue and Seven Episodes, the work traces the progress of Mann’s protagonist Adrian Leverkühn from innocence to madness, with the cello both embodying and (occasionally) commenting on the proceedings. For this recording, Møldrup receives the support of the Copenhagen Phil and conductor Lan Shui. In the score of Fathoms, Gordon’s sonata for cello and piano, each of the five movements is headed with a quotation from Shakespeare’s The Tempest which sets the scene for the musical impression that follows. Here Møldrup is joined by the American pianist Steven Beck. The amply-filled album closes with Ode to a Nightingale, with the words of John Keat’s immortal poem heard from the Mogens Dahl Chamber Choir, and given emphasis by Toke Møldrup’s obbligato cello.

Tears, that visible attribute of sadness, can, paradoxically, be a form of purification, a dam against despair. Sadness caused by an individual or collective experience of evil, transformed into a Christian hope for the fate altering, sometimes evokes creative thought, allows to enclose the experience within a form of artistic message. For Christians, the deepest, traumatic, experience of evil is Christ’s crucifixion. Perceived as a drama of the whole humanity, redeemed for future salvation and victory of good, it has found a special form in works of art created throughout centuries: paintings, musical pieces, poetry. Passion and Stabat Mater are canonical musical forms related to the drama of Golgotha. The latter introduces Christ’s co-suffering Mother into the scope of His drama. Numerous composers wrote music to the 13th-century sequence, the authorship of which is attributed to the Franciscan Jacopone da Todi. They were creating their own visions of a mother’s suffering, in which, over time, people began to perceive the drama of all mothers who weep their children. Przez ?zy (Tearfully) – such is the title of an album including pieces which are important not only due to their artistic merits. The content of each work touches upon matters fundamental for every human being, but also for the fate of a nation plagued by defeats, yet unceasingly rising from each one. That struggle often finds company in art and the beauty it contains, which in turn, to quote Norwid, is the shape of love.

The Norwegian Soloists’ Choir and Grete Pedersen have made acclaimed recordings of music spanning a millennium – from chants by Hildegard of Bingen (1098 – 1179) to the most recent compositions – and in styles ranging from folk songs to Bach motets and Berio’s Coro. On their new album, the focus is on contemporary Norwegian music, with three works which all originate in words and challenge the relation between language and music. For his Lament from 2015, Lars Petter Hagen has chosen to set a short text by E. E. Cummings, written when the poet was 6 years old. The words of the poem are split up and stretched out into pulsating waves of grief, at once mysterious, beautiful and painful. Awarded the Nordic Council Music Prize in 2018, Muohta (Snow) consists of 18 sections, each setting a single word in Sámi, the language of the indigenous people in the north of Norway. The words are all related to snow, and composer Nils Henrik Asheim has found inspiration in how indigenous peoples live with nature, as opposed to seeking to control it.

Philadelphia-based period-instrument ensemble Night Music re-creates an afternoon of music making from October 1801 at the Austrian capital’s Palais Arnstein, with a flamboyant Quintet for flute and strings by Joseph Kraus, a duo by Carl Ditters von Dittersdorf for the unusual combination of viola and double bass, and a chamber arrangement – by the impresario Johann Peter Salomon utilizing the same instrumentation as the Kraus Quintet – of perhaps the most notorious of symphonic surprises. NIGHT MUSIC is a Philadelphia-based chamber ensemble dedicated to exploring and performing music of the Revolutionary era, roughly 1760 to 1825. Their repertory ranges from duos and trios to large-scale chamber works combining strings and winds, such as the imaginative symphony arrangements that were so popular around 1800, to concertos, cantatas, and concert arias. The 2019-2020 season highlights include guest appearances at Kenyon College and the University of Pennsylvania’s “Music at the Pavilion” Series. Recent engagements include the PhilaLandmarks Early Music Concert Series and the Early Music at St. James series in Lancaster.

REVIEW:

The Kraus Flute Quintet makes an excellent opening, likely to make you wonder why we don’t hear more of this Swedish composer’s music. Although the flute is first among equals here, it’s by no means a showy piece for a soloist. Night Music perfectly integrate flute and strings, and the recording is also very well integrated.

Is Salomon’s arrangement of Haydn's ‘Surprise’ Symphony equally worthy of recording? The music makes a good effect, charming music at this scale, receiving a charming performance; as in the Kraus, the flautist and the engineers don’t allow the instrument to dominate. With such small forces, however, the feature which earned the work its nickname, the sudden change from quiet to loud in the andante second movement, designed ‘to make the ladies jump’ – Beecham used to bring it off especially well – doesn’t quite come off, despite a claim to the contrary in the booklet. That said, this is an enjoyable work in its own inevitably diminished right.

I can’t claim great music status for the Dittersdorf Duo, but it, too, receives a performance which brings out its attractions, and the recording captures the unusual sound of the combination very effectively.

– MusicWeb International

For the last seventeen years of his life – from 2003 to 2019 – Mariss Jansons was chief conductor of the Symphonieorchester des Bayerischen Rundfunks and the Bavarian Radio Chorus. Both ensembles and their conductor appreciated each other deeply on an artistic as well as a human level, and this resulted in numerous unforgettable concerts. Jansons’ unrelenting demands on himself and his musicians, his always respectful treatment of his colleagues, and his great devotion to music all played a lead role in their work together. Mariss Jansons occupies a place of honor in the orchestra’s history, and its players will always revere and cherish his memory. With the death of Mariss Jansons one year ago, the music world lost one of its greatest artistic personalities.

Born the son of conductor Arvids Jansons in Riga in 1943, the young Mariss studied at the Leningrad Conservatory before completing his studies with Hans Swarowsky in Vienna and Herbert von Karajan in Salzburg. In 1971 he was a prizewinner at the Karajan Conducting Competition and began his close collaboration with today's St. Petersburg Philharmonic. From 1979 to 2000, Jansons was Music Director of the Oslo Philharmonic; from 1997 to 2004 he conducted the Pittsburgh Symphony Orchestra; and in the 2003/04 season he became Chief Conductor of the Symphonieorchester des Bayerischen Rundfunks and the Bavarian Radio Chorus. The 2004/05 season marked the start of his tenure at the Royal Concertgebouw Orchestra Amsterdam, which ended in 2015. As a guest conductor, he worked with all the leading orchestras of Europe and the USA, and his discography includes many award-winning recordings.

The streets of eighteenth-century Madrid; a contaminated test-bombing site in Australia and a song from El Salvador provide some of the subject matter for this album by the United Strings of Europe (USE). Formed in 2012 by students at London’s Royal Academy of Music, the ensemble brings together outstanding players from across Europe. Artistic director is the Anglo-Lebanese violinist Julian Azkoul, who leads from the violin, curates programmes and arranges music for the ensemble. For In Motion, USE’s début recording, Azkoul has arranged Boccherini’s celebrated and atmospheric evocation of the Nocturnal Music of the Streets of Madrid, in a version that updates the original’s flirt with popular music. Far removed both geographically and in mood is Maralinga, Australian composer Matthew Hindson’s powerful and haunting work featuring guest soloist Amalia Hall. The programme opens and closes with works for string quartet, composed some 180 years apart in Vienna and New Zealand respectively and heard in bespoke arrangements by Azkoul. Reflecting the ensemble’s distinctive voice and multi-national heritage and the wide-ranging interests and stylistic versatility of its members, In Motion is a roller-coaster ride of an album.

Like his friend and contemporary Rachmaninoff, Nikolai Medtner enjoyed a privileged and affluent upbringing, and was also exiled from Russia following the revolution in 1917. Unlike Rachmaninoff, Medtner could point to an ancestry that was part German, and his father’s passion for Germanic culture ensured that Goethe and Beethoven exerted as much influence on the young Medtner as Russian composers and writers, in particular Beethoven’s piano sonatas and string quartets. Medtner moved first to Germany, then France, before settling in London in 1935. The earlier songs in this programme, Opp. 36 and 37, were written against the backdrop of the revolution, shortly before he fled Russia. Opp. 45 and 46 (written to Russian and German texts, respectively) were composed in France. Praised for her ‘formidably striking’ and ‘stunning silvery’ sound, the rising star soprano Sofia Fomina has performed in Toulouse and Baden-Baden, at Bayerische Staatsoper, Seattle Opera, Hungarian State Opera, Paris Opera, and The Royal Opera, Covent Garden. Her Pamina for Glyndebourne Festival Opera in 2019 received rave reviews. Alexander Karpeyev has performed throughout Europe and toured in the USA, Canada, and Russia as a concerto soloist, recitalist, and chamber musician. A prize-winner of several international competitions, he also completed a doctorate on performance practise in the music of Medtner, based on the Edna Iles Medtner Collection at the British Library.

REVIEW:

The Russian soprano’s lovely voice soars above the staff with ease – no wonder as she is a busy operatic coloratura soprano. But unlike many an opera singer, she is perfectly at home in the intimate world of art song, where her attention to the nuances of expressing the text are greatly in evidence. She is just as comfortable in the lyrical songs in 6 Stikhotvoreniy A. Pushkina (6 Poems by A. Pushkin), Op. 36 as in the rapturously dramatic Arion and in the intensity of Telega zhizni (The Wagon of Life.)

Sofia Fomina is perfectly partnered by the protean pianist Alexander Karpeyev, a Medtner specialist who would be the ideal artist to create an album of piano music by the prolific Medtner.

– Rafael's Music Notes (Rafael de Acha)

Songs of Solitude was conceived by the violist Hiyoli Togawa at a time when a virus was forcing people across the world into isolation and she herself needed to find a new rhythm of life as concert after concert was being cancelled. As she relates in the booklet to the disc, playing Bach – music that combines powerful emotions with a crystal-clear structure – became part of her daily routine, along with walks along the empty streets of Berlin. During these, the importance of remaining creative became even clearer to her, along with the idea to offer people the opportunity through music to reflect upon the difficulties of living through a pandemic. Having recently collaborated with the composer Kalevi Aho, she came upon the idea of asking him and a number of other composers to write for her – pieces that would ‘reflect life and work in the time of the coronavirus and that distil isolation in music’. The result is Songs of Solitude – works for solo viola commissioned from 11 different composers and interwoven with sarabandes from Bach’s cello suites. The individual pieces range from the meditative (Toshio Hosokawa reminiscing in his version of the traditional Sakura) to the defiant (Johanna Doderer’s Shadows). Some of them even provided Hiyoli with musical company – Aho’s Am Horizont requires her to play two parts on the viola while singing a third, and the piece by John Powell is written for nine voices, recorded in multitrack. The album was recorded in Berlin during three periods, June to October 2020, as the various pieces arrived and the restrictions in place at the time permitted.

Award-winning Lithuanian, London-based pianist Indre Petrauskaite makes her AVIE label debut with a selection of Mozart’s piano works with a twist: she uniquely brings together the composer’s solo keyboard works written in minor keys. The nine works offered here represent a fraction of the composer’s overall oeuvre, yet they span a gamut of genres – including improvisatory and emotional fantasies, enigmatic miniatures and complex sonatas. Indre showcases these pieces – much loved staples of stage and studio alike – in a novel and stunning album. “Strong and well-played performances.” (MusicWeb International)

REVIEW:

Petrauskaite has an original voice in Mozart, not something that's so easy to accomplish. She is what's called a strong pianist, generally avoiding the delicately lyrical style in Mozart except in small details. Although this certainly isn't a historically oriented performance, Petrauskaite avoids Romantic gestures and extensive use of the pedal except in the fantasies; her playing is clean, tough, and insightful. The album, as a whole, offers an emotional journey that's rare in Mozart recordings, yet in Petrauskaite's hands, it seems to make sense. A superior Mozart recording.

– AllMusicGuide.com (James Manheim)

Lebanese-born, Canadian-Armenian-American soprano Isabel Bayrakdarian is as celebrated for her beauty, dynamic presence, and style as for her strikingly multidimensional voice. With this deeply personal project, she gathers a selection of haunting and poignant lullabies that draw on the memories and experiences of the Armenian people. 29 tracks trace an arc from the Ottoman Empire through the Genocide and beyond, with songs and transcriptions by the country’s beloved folk composer Gomidas Vartabed, Parsegh Ganatchian who joined the diaspora in Lebanon, and Ganatchian’s contemporary Mihran Toumajan. For Isabel, these evocative songs span two centuries and five generations. Sung by her great-grandmother, grandmother and mother, and now to her own children, Isabel’s Armenian Songs have an appeal to children of all ages.

REVIEW:

The arrangements are enlivened by their variety, featuring not only flute and harp but the less familiar and quite haunting duduk. All this said, there are a lot of lullabies on the program, in similar tempos, and one wonders whether an "Armenian Songs for Children and Others" program, with other examples of the abundant folk-influenced material in the Armenian tradition, might have been a bit livelier. Certainly, though, listeners with children are invited to try the album out.

– AllMusicGuide.com (James Manheim)

Swiss violinist Sebastian Bohren, who’s star is rapidly in the ascendant, makes his AVIE label debut with two concertos from Mozart’s “year of the violin” – Nos. 3 and 5 – paired with the composer’s youthful Symphony No. 29. Sebastian’s interpretations bring out the sparkling energy of the concertos, written when Mozart was just 19 years old, yet at the same time a brandish a smoothly burnished sense of style. His partners on the album, famed Hungarian violinist-turned conductor Gábor Takács-Nagy and Sebastian’s compatriots the CHAARTS Chamber Artists – comprised of leading European soloists and chamber musicians – perfectly embody these contrasting characteristics, both in their accompaniments and their reading of the Symphony which was written within a year of the concerti. Sebastian is equally at home as a soloist and chamber musician. He has performed with the Lucerne Symphony, Royal Liverpool Philharmonic and Basel Symphony Orchestras, among others, under such conductors as James Gaffigan, Andrew Litton and Ivor Bolton. His chamber music collaborators have included Dmitry Sitkovetsky, Thomas Demenga and Konstantin Lifschitz. He plays the “Ex-Wanamaker-Hart” violin made by Guadagnini in Parma in 1761.

REVIEW:

The concerto performances reveal classically balanced interpretations, with Sebastian Bohren's slender, delicate violin playing sounding entirely committed to heavenly, springy elegant tone.

– Online Merker (Ingobert Waltenberger)

Vladislav Zolotaryov, Alexandr Nagayev and Albin Repnikov – these are household names for fans of 20th-century Russian music for the accordion. The sonatas featured on this release share an aura of tragedy and a reflection on life in the shadow of death. The sonatas are replete with musical associations directly referring to death, as evidenced by Zolotaryov’s use in his Third Sonata of a quotation from the medieval requiem mass sequence Dies iræ, dies illa. Another example is Repnikov’s use, in the third movement of his composition, of motivic writing from the song Позабыт, позаброшен (Forgotten, abandoned), which tells of a child conscious of his imminent death. Nagayev’s Sonata, Op. 13 was penned a year after Zolotaryov’s tragic demise and is a musical tribute to a friend and fellow composer.

Awarded the title Young Steinway Artist in 2020, the Bulgarian pianist Marina Staneva received the 2019 Sam Hutchings Piano Prize and was a 2018 Britten-Pears Young Artist. She has been praised for her serious talent, outstanding musicianship, extraordinary instinctive artistry, and fine technical command. For this her début recording, she presents works by two contrasting Bulgarian composers.

Pancho Vladigerov was arguably the most influential Bulgarian composer of all time. He was one of the first successfully to combine idioms of Bulgarian folk music and classical music. He was also among the founding members of the Bulgarian Contemporary Music Society (1933), which later became the Union of Bulgarian Composers. The British-Bulgarian composer Dobrinka Tabakova studied composition under Simon Bainbridge, Diana Burrell, Robert Keeley, and Andrew Schultz. Her composition Praise was sung at St Paul's Cathedral to celebrate the Golden Jubilee of Queen Elizabeth II, and she has received commissions from the Royal Philharmonic Society, BBC Radio 3, Cheltenham Music Festival, Britten Sinfonia, Three Choirs Festival, Wigmore Hall, and, in 2014, the PRS Foundation's first UK New Music Biennial.

During his lifetime, Hugo Alfvén became known as one of Sweden’s principal composers of his time, with works that struck a chord with a wide audience. As a result of his popularity, a nationwide collection was held in celebration of his 70th birthday in 1942, with the proceeds used to build Alfvéngården, the composer’s home during his final years. Now, 80 years later, Elin Rombo and Peter Friis Johansson are releasing their tribute to Alfvén’s 150th anniversary, recorded at Alfvéngården using the composer’s own piano. Alfvén is primarily known for his orchestral music – including the ubiquitous Swedish Rhapsody No. 1 – and as a composer of choral music. As befits the setting, the focus of the present disc is on more intimate works, however – namely songs and piano pieces. Some of the pieces are closely related to the venue – Fyra låtar från Leksand (Four Tunes from Leksand) is a piano version of folk tunes collected from a local fiddler and Så tag mit hjerte (‘So take my heart’), Alfvén’s most frequently performed song, was composed there in 1946 as a present to his wife.

REVIEW:

Soprano Elin Rombo has a lithe voice that suits the songs exquisitely, dulcet in ‘The Evening’ and dramatic in the following Seven Poems by Ernest Thiel. She’s not afraid to modulate her tone down to a nearly Gollum-like whisper to wring all possible expression out of a phrase. Four Tunes from Leksand are folk settings for piano that don’t mind taking advantage of the instrument’s capabilities while steering clear of both over-decorating and obtuse reharmonizations.

Rombo rejoins for Two Lyrical Moods and their warm-blooded charm; the recital ends with ‘Sa tag mit Hjerte’ (So Take My Heart), Alfven’s best-known song. Johansson brings plenty of personality to the piano parts. He plays Alfven’s own Steinway A-188 from around 1908; its sound is a little lighter and tangier than a modern grand. Texts in Swedish and English.

-- American Record Guide

A New Yorker Notable Recording of 2022!

Twice Grammy-nominated tenor Nicholas Phan is “one of the world’s most remarkable singers” (Boston Globe). Nico Muhly is one of today’s most sought-after composers. Nick and Nico’s collaboration began with a commission when Nick curated a series for the Philadelphia Chamber Music Society in 2020. The resulting song cycle, Stranger, finds common ground in the musicians’ reflections on identity and immigration, themes that resonate as much today as they have through the centuries. This world-premiere recording of Stranger compliments Nico’s Lorne Ys My Liking, a setting of the 19th Chester Mystery Play, and Impossible Things, a triptych of poems by the Greek poet C.P. Cavafy. Nick has recorded with a roll call of collaborators: the adventurous string quartet Brooklyn Rider, shimmering countertenor Reginald Mobley, bold pianist Lisa Kaplan, and transformative Brooklyn-based collective The Knights led by brothers Colin and Eric Jacobsen.

REVIEWS

The heart immediately opens at the sound of Phan’s voice … Stranger is a must. I, for one, will be listening to it over and over.

--San Francisco Classical Voice

...an album that guarantees a gripping listening experience and, first and foremost, once again shows Nicholas Phan to be an outstanding singer with clear diction and impeccable vocal delivery who excels in the song repertoire. ★★★★★

--Pizzicato

Composer Nico Muhly has been on concert bills all over the U.S. and beyond in the early 2020s, and one reason is that he has a knack for creating music for the right performer at the right time. Tenor Nicholas Phan is a rising star who here contributes an essay about his difficulties, when performing at the Singer of the World competition in Wales, in coming up with a song that reflected his "American" identity, inasmuch as he is Chinese Indonesian on one side, and Greek American on the other. He would have found the perfect solution in Muhly's seven-section Stranger, for voice and string quartet. Muhly, himself the product of a highly multi-ethnic background, sets writing about the experience of immigration from various sources, including an interview with a Sicilian woman who arrived at Ellis Island in 1911 and a letter from a Chinese American about discrimination. All are in different registers, and Muhly's sensitive handling of text adds variety even as his musical language remains consistent. Phan's commitment to these pieces is palpable, but he shifts gears effectively in the other works on the program, Lorne Ys My Likinge, a setting of the Chester Mystery Play inspired by Britten's Abraham and Isaac, and Impossible Things, which sets translated texts by poet C.P. Cavafy. Phan's duet work with countertenor Reginald Mobley in Lorne Ys My Likinge is absolutely delicious, and the accompaniment by the string quartet Brooklyn Rider and the New York chamber orchestra The Knights, is intimate and close. This marks a major step forward for Phan, and anyone who hasn't been following Muhly's music, which combines rigor with tremendous audience appeal (sample the ravishing "My Love" from Stranger), might do well to start here.

--AllMusic (James Manheim)

Hélène Clément, violist with the Doric String Quartet, is the current holder of the viola previously owned by both Bridge and Britten. Her ambition, quickly formed once she first played this instrument, has been to create a testament to both composers and the instrument that binds them all together. This recording, where Hélène is joined by pianist Alasdair Beatson and Dame Sarah Connolly, is the realization of that ambition. Hélène writes: ‘Frank Bridge owned and played the beautiful viola made by Francesco Giussani, in Italy, in 1843. Benjamin Britten was Frank Bridge’s most beloved pupil, and Bridge gave him the viola as a parting gift when Britten had to embark on a ship’s journey to the United States at the outbreak of the Second World War. The composers were never to see each other again. To record the viola repertoire of both composers, producing the very sound that they would have had in their ears, the sound that inspired their love for the instrument and its special language, became a priority for me.’

REVIEW:

The soul of this beautifully constructed recital is the luminous variety Hélène Clément extracts from the 1843 Giussani viola owned by Frank Bridge and passed on to his favorite pupil, Benjamin Britten. The anguished overlapping of mezzo and viola at the climax of ‘Where is it that our soul doth go?’ is one of many revelations on the disc.

-- BBC Music Magazine

"DEFINITELY year's-best list material." --Iowa Public Radio

The Knights, the bold Brooklyn-based orchestral collective, embody the spirit of exploration with The Kreutzer Project, a program that posits Tolstoy’s response to Beethoven’s “Kreutzer” Sonata: What exactly is it? I don’t understand. What is music? What does it do? And why does it do what it does?

Beethoven and Tolstoy in turn inspired Czech composer Leoš Janácek, whose first string quartet is also called “Kreutzer Sonata”. The Knights’ response to these iconoclastic touchstones is to reimagine the Beethoven as a “Kreutzer Concerto”, arranged by The Knights’ co-founder Colin Jacobsen, who is also the orchestrated version’s violin soloist; and the Janácek as orchestrated by The Knights’ co-founder and conductor Eric Jacobsen. They keep the canon going with Colin’s newly-composed “Kreutzings”, which makes buried allusions to both Beethoven and Janácek; and a commission from Anna Clyne, whose piece “Shorthand” takes its title from a line in Tolstoy’s novella: “music is the shorthand of emotion”.

REVIEW

Arranged by Colin Jacobsen as an orchestral concerto, the “Kreutzer” Sonata explodes into a promethean supernova. The opening bars (also performed by Jacobsen) are played with familiarity and a seemingly deliberate avoidance of showmanship. But then the expected texture of a piano is replaced by woodwinds, offering even more melancholy in the minor key through the hints of oboe and bassoon. The call-and-response echoes aspects of Beethoven’s actual Violin Concerto, and underscores a line in Tolstoy’s own Beethoven-inspired The Kreutzer Sonata: “It seemed to me that he was weary of his solitude.” 

The dramatic potential that can get lost with the wrong pianist (or even simply the wrong listening session) is fully unpacked here, laid out like a sprawling dinner service for 20; crystal stemware gleaming, flatware catching the glint of tapered candles.

The Knights’s “Kreutzer Project” is built on the foundation of Beethoven, bookended by Janáček’s String Quartet No. 1 “Kreutzer Sonata.” This work owes more to Tolstoy’s story, which focuses on a man who kills his unfaithful wife in a Beethoven-fuelled frenzy.

The Knights are no strangers to making orchestrated chamber works come to life in glittering multidimensionality...[but] it could have been overselling to call two works a “project.” Which is why they’ve recorded four, with Colin Jacobsen’s “Kreutzings” and Anna Clyne’s “Shorthand.” Clyne [introduces] the weedy world of Janáček while also riffing on the second movement of Beethoven’s sonata. Her natural predilection for thorny timbres and phantasmal texture work well with the Czech composer’s overgrown paths and houses of the dead, and soloist Karen Ouzounian plays with a voracious, burnished tone, as though the 11-minute work were a full concerto. Perhaps it should be.

--Van Magazine (Olivia Giovetti)

In September 1809, the Vienna Hofburg Theatre commissioned Ludwig van Beethoven to create new incidental music for Johann Wolfgang von Goethe's "Egmont". The tragedy had premiered in Mainz on January 9, 1789. It calls for incidental music, but various attempts – some commissioned by the poet himself – had remained unfinished or were unsatisfactory. The music was required in several sections of the drama, however, and the Vienna production of "Egmont" was to include it. Beethoven set to work. He made good progress, because the subject suited him: the tragedy is set in Brussels, under threat from Spanish troops, and deals with resistance against oppression and foreign rule. The Viennese theatre premiere of "Egmont" on May 24, 1810 still had to make do without music, however – the score was only finally completed by the third performance. Beethoven's incidental music was premiered on June 15, 1810.

The music itself makes it clear that this commission was close to Beethoven's heart - it far exceeds the level of incidental music common at that time. That applies not only to the compositional demands but also to the relationship of the music to the drama. Eschewing mere illustration, Beethoven provided an interpretation and therefore an additional level of meaning. The well-known Egmont Overture, the most dramatically dense part of the incidental music, anticipates the action and introduces the characters. A clear reference to the drama is made in the ending, which corresponds exactly to the symphony of victory called for by Goethe at the end of the tragedy. The finale - a clear reference to the drama - corresponds exactly to the “symphony of victory” called for by Goethe at the end of the tragedy.