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Bach: 6 Sonatas BWV 1030-1035 / Petri, Perl, Esfahani
In honor of OUR Recordings' 40th Release, Michala Petri could scarcely choose a more exciting program than a return visit to Bach’s Flute Sonatas; Michala’s famous 1992 recording with Keith Jarrett has long since attained legendary status. Just as her collaboration with Jarrett unveiled a 'new-born' approach to Bach, this new recording is likewise revelatory and… transcendent.
Joining Michala on this journey is an early music dream team: harpsichordist Mahan Esfahani, rightly regarded as one of the fiercest of the younger generation of clavecinistes, playing his new Jukka Ollikka harpsichord, and Hille Perl, one of the world’s leading and most beloved viola da gambists rounding out the continuo unit. As we’ve come to expect from OUR Recordings, the sonics and packaging are as extraordinary as the performances thanks to the Wizard of Sound, Preben Iwan and booklet notes by Mahan Esfahani. This new recording of the Bach “Flute” Sonatas is destined to become a reference edition of this famous works.
American Recorder Concertos
PETRI, Michala: 50th Birthday Concert with Kremerata Baltica
L'amour et la Foi - Vocal Music by Olivier Messiaen / Creed

“You’re traveling through another dimension, a dimension not only of sight and sound, but of mind–a journey into a wondrous land bounded only by imagination…” Although that was an introduction to the strange new world of the classic 1960s television series The Twilight Zone, it came to mind as an equally apt intro to the music of Olivier Messiaen. Although his world isn’t exactly the Twilight Zone’s unfathomable, unpredictable “middle ground between science and superstition”, in his choral music the composer definitely did create his own special, unique, alternately mystifying and frightening, ultimately exhilarating “zone” of sound, a realm of ensemble vocalism that challenges all who will hear.
The Three Liturgies–for female voices, piano, ondes Martenot, celeste, vibraphone, percussion, and string orchestra–is as radical in every aspect as anything today’s composers offer, but at its core there is a passionate heart and a musical purpose beyond merely making noise. You keep listening, not because you’re charmed and comforted–but rather because your senses are so deeply stirred, the familiar conventions of choral sound and rhythmic form and expression so profoundly and movingly redefined.
Long before composers such as Arvo Pärt or György Ligeti became known for works whose rhythmic and harmonic effects sparked descriptions such as “soundscape” and “suspension of time”, there was Messiaen’s motet O sacrum convivium! (1937), which not only embodies those concepts but remains an unforgettably moving, perfect realization of this oft-set sacred text.
Once again we approach the very edge of the boundaries of musical time and space–not to mention the edge of what’s humanly possible, vocally speaking–with the Cinq Rechants (Five Refrains), written for 12 solo voices. The subject is a part of “the myth of Tristan and Isolde”; the music deals in extremes, in all aspects, from dynamics and rhythmic forms to virtuosic vocal technique. You don’t forget this music once you’ve heard it. And fortunately Marcus Creed and his Danish singers and players–along with pianist Marianna Shirinyan and ondes Martenot soloist Thomas Bloch (in the Three Liturgies)–are more than just able advocates for Messiaen’s music: they are musicians of exceptional ability and admirable commitment, who leave no doubt that we are hearing performances that will stand alongside or above any in the catalog.
Whether turned up or at a lower level, the sound is full and vibrant and well-balanced in both the combined choir/instrumental and a cappella pieces. While this program and repertoire may not be for everyone, if you’re a serious choral music fan and you don’t already have these works in your collection, you need to hear this, and this recording most invitingly opens the door.
-- David Vernier, ClassicsToday.com
Chinese Recorder Concertos / Michala Petri, Lan Shui
CHINESE RECORDER CONCERTOS • Michala Petri (rcr); Lan Shui, cond; Copenhagen P • OUR 6.220603 (SACD: 71:29)
TANG JIANPING Fei Ge. BRIGHT SHENG Flute Moon. MA SHUI-LONG Bamboo Flute Concerto. CHEN YI The Ancient Chinese Beauty
Once a busy recording artist for Philips and RCA Red Seal, Danish virtuoso Michala Petri (with guitarist and lutenist Lars Hannibal) launched her own label in 2006. This is OUR Recordings’s 13th release, and the third in its Dialogue—East Meets West series. This collection of Chinese recorder concertos is, to enlist a perhaps overused word, delightful, and deserves to be brought to the attention of a broad audience.
If you don’t believe me, try the opening work by Tang Jianping, who was born in 1955. The title’s English translation is Flying Song, a reference to a style of folk singing indigenous to a region of southwest China. As a courtship song intended to be projected over long distances, it must be both penetrating and appealing—think of the songs from the Auvergne region set by Joseph Canteloube. With its rich scoring and tunefulness, Fei Ge also seems to be motivated by the same forces that led George Enescu to compose his two Romanian Rhapsodies. The languages are very different, of course, but the impact is quite similar. This will go to the top of my list of musical pick-me-ups. Tang Jianping composed this work for bamboo flute and a ensemble of various Asian instruments; the arrangement for Western instruments performed here is the composer’s own.
Bright Sheng and Chen Yi are more familiar to Western listeners. The first movement of the former’s Flute Moon (“Chi Lin’s Dance”) is an athletic and often thunderous toccata in which the dancing of the mythical Chinese unicorn or “dragon horse” is evoked. The combination of the piping recorder with the heavy stamping of the orchestra creates an effect that is both bizarre and beguiling. The atmospheric second movement (also titled “Flute Moon”) is based on a classical melody dating from the Song Dynasty. After a tensely quiet opening, the movement erupts with dramatic gestures and a strong melodic profile, and then returns to the opening mood. Chen Yi currently teaches at the University of Missouri-Kansas City. The Ancient Chinese Beauty was composed specifically for Michala Petri, who premiered it in Beijing in 2008. Its language is more difficult, and what grabs the ear most, at least initially, is the composer’s employment and combining of instrumental timbres in much the same way that an abstract painter uses a variety of paints and brushes. The three movements are “The Clay Figurines,” “The Ancient Totems,” and “The Dancing Ink.” Less than 15 minutes long, The Ancient Chinese Beauty is just the right length for its materials. The tenor recorder is used in the middle movement, and the alto recorder in the first and third. The third movement is an exciting moto perpetuo characterized by the composer’s insistent use of repeated notes.
The Bamboo Flute Concerto by Ma Shui-Long (b.1939) blends traditional Western gestures—particularly those associated with the genre of the romantic concerto—with melodies in a traditional Chinese style. As the title suggests, Ma composed it for the bang di , but of course here it is performed on a recorder—a sopranino, unless I am mistaken. It is not a very adventurous concerto, but it is appealing, and it is an appropriate foil for the works by Bright Sheng and Chen Yi that frame it.
Michala Petri recently turned 50 and shows no signs of relinquishing her enthusiastic yet serene mastery over her instruments of choice. She plays all of these works, not just The Ancient Chinese Beauty , as if they were composed just for her. If anyone still doubts the recorder’s place as an instrument worthy of the same attention as its cousin the flute, Petri’s playing here should put that to rest. The Copenhagen Philharmonic accompanies her idiomatically, and with sensitivity to this music’s many shapes and colors. Kudos to Lan Shui, its chief conductor since 2007, for making this happen. Finally, the booklet notes (in English and Chinese) thoughtfully guide one through the program, and the SACD technology makes a spectacular noise, from the recorder’s most piercing upper registers to the granitic power of the orchestra’s lowest notes.
This is Want List material.
FANFARE: Raymond Tuttle
The Secret Mass / Creed, Danish National Vocal Ensemble

It’s easy to hear the opening of Frank Martin’s Mass and think–Vaughan Williams, as in his own setting for a cappella double choir, composed in the early 1920s, just a year or two before Martin’s work. Not to say there’s any direct connection, but that beginning Kyrie chant-like theme and the gradual addition of voices strikes a more than casual note (or notes) of similarity. It’s interesting, that’s all, but as in the Vaughan Williams, it definitively marks the stylistic sensibility of the whole work. And it’s a beautiful and eminently moving work, not heard often enough (nor is the Vaughan Williams, for that matter). The disc’s title refers to the fact that Martin kept his Mass from performance–or even from view–for more than 40 years after its composition in 1922.
But of course, Martin is not Vaughan Williams, and very quickly we realize that the similar musical setup is taking us into an entirely different world–harmonically for sure, but also in its more immediate, dramatic expression of the text, all the while remaining firmly in a tonal context–albeit a more adventurous one. The comparison is useful, as it so strikingly shows how two contemporaries differently–completely differently–treated the same material, with the same performing forces (also observable in the two composer’s settings of the Shakespeare/Ariel song, “Full fathom five”).
You might think it was just a clever gimmick to juxtapose Martin and Martinu–close contemporaries (Martin was 10 years older) with closely similar last names, who just happen to have composed sets of a cappella choral songs–but actually their music is quite compatible and the programming proves to be not a gimmick at all, but a happy association. It’s interesting to compare how these two composers, subject to the influences of their similar time yet quite different circumstances, approached the setting of secular choral works–texts from Shakespeare’s The Tempest, in the case of Martin, and Czech folksong in the case of Martinu. The former texts are fairly familiar, but the Czech songs are, at least in English translation, almost strange in their depiction of Mary, her (instantly, fully functional) child, her dreams (an apple tree sprouting from her heart), her encounters with angels, and her fierce protection from highwaymen of a painting by St. Luke. But the music in both cases is superb–often challenging, but always easy on the ears and compelling, invigorating, inspiriting.
You’ll be sure to go back just to listen again to Martin’s depictions of the bonging bells (Full fathom five) and burling bees (Where the bee sucks…), not to mention return visits to Martinu’s Our Lady’s Breakfast (you have to hear it). You also have to hear Martinu’s Romance from the Dandelions–another one of those very particular old-world, romantic, folktale-like stories of hopeless love and sacrifice, of a young woman and her long-lost soldier/lover–a hard-to-classify setting of a Czech poem for a cappella choir and solo soprano–unusual and oddly affecting.
The singing is exceptional–this choir, as we’ve heard on earlier recordings, is one of the world’s finest, and here the singers are constantly challenged with prickly technical details and are offered many chances–perfectly realized–to deliver those ringing, resonant harmonic gestures that all choral singers live for. Their Czech pronunciation/enunciation is, how shall we say it, rather “soft”–the delicious richness of those special consonants tends to be rounded off–and unfortunately the translations, attempting to be poetic rather than literal, are often just corny. The English and Czech are printed on completely separate pages in the booklet (which otherwise contains very informative and well-written notes), which is useless if you’re trying to follow along. But, as you’ve gathered from the rest of this review–it ultimately doesn’t matter. This is a lovely recording of worthy music–great music, in the case of the Mass–in performances that are as good as you will hear anywhere.
– ClassicsToday (David Vernier)
Corelli: La Follia / Petri, Esfahani

It's rare to experience the level of artistic rapport heard on this recording from [Petri and Esfahani]… In Petri's capable hands, the recorder becomes a medium through which she conveys a more vocal interpretation of thematic material than ever a violin could… Esfahani crafts the most imaginative and engaging accompaniments and repartee I have ever heard.
– Gramophone Magazine
Petri and Esfahani's is an invigorating ensemble effort, with each sparking off the other.
– BBC Music Magazine
Arcangelo Corelli was "world famous" even in the world of his day. Copies of Corelli's works appeared in St. Petersburg as well as in Constantinople, Stockholm and even in America, where Thomas Jefferson spoke of being charmed completely by Corelli's music.
Despite its popularity only a handful of his original manuscripts exist today and the Violin Sonatas Op. 5 have a place of honor. The pieces on this album were drawn from the second half of Op. 5 and in the original edition of 1700, published as "Parte seconda: Preludii, Allemande, Correnti, Sarabande, Gavotte, e Follia." Baroque sonatas having been inspired by dances, and playable on violin and harpsichord or ona variety of instruments, in this case, recorder and harpsichord.
The easy-held nature of the sonatas allows great freedom for ornamentation and improvisation, which Michala Petri and Mahan Esfahani savor with pleasure.
Virtuoso Baroque / Petri, Hannibal
BAROQUE VIRTUOSO • Michala Petri (rcr); Lars Hannibal (lt) (period instruments) • OUR RECORDINGS 6220604 (SACD: 67:48)
VITALI Chaconne. TELEMANN Sonata in d, TWV 41:d4. BACH Sonata in F, BWV 1033. VIVALDI/CHÉDEVILLE Sonata in G, RV 59. CORELLI La Folia, op. 5/12. TARTINI Sonata, “Devil’s Trill.” HANDEL Sonata in B?, HWV 377
This disc presents some of the most beautiful and most intricate music of the Baroque era. Tomaso Vitali may or may not have composed the Chaconne in G Minor that was credited to him in the 19th century by violinist Ferdinand David. Nonetheless, the work has been very popular with violinists. Jascha Heifetz played it in his first New York recital, for example. Here, Petri and Hannibal play it with great care and considerable bravura. Although it was written to be played by amateurs, the artists on this CD play an intricate decorated version that no amateur is likely ever to attempt. Needless to say, it charms the ear.
The Flute Sonata in C Major was originally thought to have been written by Johann Sebastian Bach. It may, however, have been composed by one of his sons in collaboration with the father. In any case, the scintillating four-movement work has been transposed to the key of F so it can be played on the recorder and it is rendered with glorious virtuosity by Petri with Hannibal providing the well-balanced continuo.
Antonio Vivaldi, the red-headed priest of Venice, was a very popular composer. For that reason he had many imitators. One of them was the French composer Nicolas Chédeville, who passed off some of his own music as having been written by the Venetian. The Chédeville/Vivaldi Sonata in G opens with a simple Largo that caresses the ear. It is followed with a truly Baroque Allegro in which Petri and Hannibal play with abandon. The Pastorale is an invitation to enjoy nature, possibly on a pleasant spring day. Then it is followed by a catchy Allegro finale that seems to invite the listener to a musical party. Petri and Hannibal serve it up with gusto.
Perhaps the best-known works on this disc are the Corelli La Folia and the Tartini “Devil’s Trill” Sonata. Both are played with intelligence and precision, but that is true of all the works on this disc. The Corelli gives us a memorable tune with which to stay grounded for a few moments. Tartini made up a great public relations story of having heard the devil play the trill he put in the sonata. Petri plays all the lustrous silvery decorations that illuminate the background provided by Hannibal’s lute. The disc finale is Handel’s B?-Major Sonata, with its memorable songlike base.
It’s a beautiful program and every bit of it is magnificently rendered. The balance between the instruments is excellent and the sound gives the feeling of a fine, small concert hall.
FANFARE: Maria Nockin
Brazilian Landscapes (Hybr)
Mozart, W.A.: Flute Quartets Nos. 1-4
Questions of Eternity
Mols
Carl Nielsen: The Ultimate Solo Piano Collection
Between Fire and Silence
The Forgotten Legacy
Borup-Jorgensen: Organ Music / Christensen
The smallest fluctuations and nuances in Axel Borup-Jørgensen’s music can have the impact of an earthquake. It is a music born out of stillness. It is a quiet modernism, where the silences speak just as insistently as the few, but decisive, outbursts.The present recording provides an overview of Borup-Jørgensen’s small but highly distinctive oeuvre for organ. Borup- Jørgensen’s unique – and surprisingly numerous works for the “King of Instruments” set him apart from many of his contemporaries. In addition to writing highly individual solo works, six of the pieces recorded here call for additional musicians from Strophen (1962), an expressionistic setting of a text by Rainer Maria Rilke for voice and organ, to Portal for percussion and organ Opus 181 (2009), a work composed for concert in honor of his 85th birthday. Joining organist Jens E. Christensen on this sonic journey is percussionist Mathias Reumert, mezzo-soprano Pia Rose Hansen, harpsichordist Mahan Esfahani, bass-baritone Jakob Bloch Jespersen, and Lars Sømod, second organist on organo per due Opus 133.1 (1989). Christensen plays the historic organ at Vor Frelsers Church, Copenhagen, a glorious Baroque instrument built by the Botzen Brothers 1698-1700. Even silent, the instrument is an imposing structure, with over 4000 pipes, housed in an ornately decorated case sculpted by Christian Nerger, featuring a bust of King Christian V at the center.
Larsen: Ta' Mig Med / Sivebæk [Vinyl]
A journey into the heart of the Danish soul. Kim Larsen (1945-2018)-the much-loved Danish rock musician and multifaceted artist-captures in music and words the Danish soul. With his 500 recorded songs and 40 albums he is known by all Danes of all ages. Guitarist, and head of guitar department at The Royal Academy of Music in Copenhagen, Jesper Sivebæk, had 2 heroes in his youth: Andrés Segovia and Kim Larsen and they have followed him ever since. For more than 10 years Jesper Sivebæk has worked on the pieces on this album. With his great experience he uses the possibilities of the guitar to the utmost, and follows the classical tradition of making instrumental versions of folk songs as in Miguel Llobets arrangements of Catalan folksongs, Benjamin Brittens English and Chinese folksongs arrangements, and Bela Bartoks Hungarian folk songs. Sivebæk is true both to the beauty and the simplicity of Kim Larsens songs, and to his instrument the classical Spanish guitar. In these arrangements classical guitar players around the globe now have 12 new pieces to discover and put on their concert programs.
Borup-Jørgensen: Piano Music
German & French Recorder Concertos
UK DK / Petri, Esfahani
The warm heart of this superbly played programme is the Sonata (1980) by Holmboe, who, like Arnold and Jacob, wrote several works for Petri. Like all late Holmboe, light and peace are the pervading features of the three movement. A wonderful advert for this instrumental pairing and for virtuosity in general. Superbly engineered sound.
– Guy Richards, Gramophone [5/2015]
Hard on the heels of the marvelous Arcangelo Corelli sonata CD from this duo, featured in Fanfare 38:4, is this delightful fraternal twin of a release…. [I]t goes without saying that anything this superstar pairing puts its hands to will be extraordinary…. Recommended? Without a doubt! It is a wonderful program, imaginatively presented.
– Ronald E. Grames, Fanfare [3/2015]
Movements - Amargós, Börtz, Stucky / Michala Petri, Et Al
This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Territorial Songs - Recorder Music by Sunleif Rasmussen
Since his emergence on the musical scene in 2002 when his Symphony No. 1, “Oceanic Days” was the winner of The Nordic Council Music Prize, Faroese composer Sunleif Rasmussen has continued to make a name for himself and his island home on the world music scene. Among his many striking compositions is a growing corpus of works featuring the recorder. Beginning with his expansive concerto for recorders and large orchestra, Territorial Songs (2008-09), Rasmussen sought to expand the instrument’s persona and possibilities, freeing it from its historic associations with the music of the Renaissance and Baroque, pushing it into new territories. In this mission, the composer has been exceptionally fortunate to have as muse and musical partner one of the greatest recorder players ever, Michala Petri. The current project represents an overview of works composed from 2009 to 2020. All are scores featuring the recorder: as concerto soloist with a symphony orchestra, (Territorial Songs), a string ensemble (Winter Echoes), an obbligato in a complex choral setting (“I” ), chamber music (Flow), and unaccompanied (Sorrow and Joy Fantasy), each work a milestone in Rasmussen’s musical development . As always, Michala Petri brings each score to life with consummate artistry and is perfectly matched by each of the ensembles performing with her.
[BLUE] / Lars Hannibal
Ghita Laeser
Praulinš: The Nightingale & Music By Bortz, Bruun, Rasmussen / Petri, Layton, Danish National Vocal Ensemble
THE NIGHTINGALE • Michaela Petri (rcr); Stephen Layton, cond; Danish Nat’l Vocal Ens • OUR RECORDINGS 6.220605 (59:22)
PRAULINS The Nightingale. BÖRTZ Nemesis Divina. RASMUSSEN I. BRUUN 2 Scenes with Skylark
Would that all “concept albums,” particularly those of new music, came out as well as this. Recorder player Michaela Petri, a veteran of at least two decades’ worth of performances around the globe, was absolutely thrilled with the 2007 world premiere of Daniel Börtz’s Nemesis Divina in Stockholm, so much so that she began to think of doing an album of modern music including the recorder with a vocal choir. A year later, composer Ugis Praulins was asked to write a similar piece, and he chose Hans Christian Andersen’s famous tale, The Nightingale . When they told conductor Stephen Layton of their plans, he surprisingly suggested not his own group, Polyphony, but the newly established Danish National Vocal Ensemble. Serendipitously, the ensemble’s director, Ivar Munk, told them that he had been thinking of working with Petri for some time, and so gave his full support to the project.
This disc is the result, and I don’t think it is going too far to say that more than half of the record’s success is due to Layton’s greatness as a choral director. Those who have read my few reviews of his group know that I am a huge fan of Polyphony and, by inference, of Layton. He really knows how to get the best out of a choir, not only the usual things like good blend and phrasing but also the unusual things like rhythmic acuity, flawless diction, and a deep knowledge of how to get the most and best out of all of his singers.
Praulins, a Latvian composer, is one of those whose developing years were spent listening to as much rock as classical music, particularly King Crimson and Gentle Giant. He also formed his own rock band, Vec?s M?jas. According to the notes, the surge of Latvian cultural nationalism that arose from the collapse of the Soviet Union in 1991 led him to delve into the music and traditions of pre-Christian Latvia, which deeply influence his work. While rejecting formalism, Praulins nevertheless seeks to join folk songs, Renaissance polyphony, and “a confident theatricality to create music that entertains and uplifts.” The Nightingale is both an unusual piece and an appealing one, using the chorus in a highly virtuosic manner, ranging from the bass low D to soprano D above high C. Of course, Petri’s recorder is the nightingale, and her “voice” is heard signaling the most important events and changes in the story.
Börtz is known for his film scores for Ingmar Bergman, and like the filmmaker he uses an intuitive and modern approach to matters of structure and form. As a result of working with Bergman, Börtz has also absorbed what the notes call “the metaphysical darkness” of Bergman, which he then processes through his music. His earlier works were strongly influenced by the Polish avant-garde, composers like Penderecki, but beginning in the 1980s he changed to a more melodic and linear style. This led to his operas Bacchanterna and Marie Antoinette, and oratorio And His Name Was Orestes. Nemesis Divina is based on two texts by 18th-century botanist-physician Carl Linnaeus, Respiratio Diaetetica (The Dietitics of Respiration) and Nemesis Divina, a lengthy treatise on theodicy, written to help his son. The composer describes the setting of Linneaus’s words as largely episodic, with the recorder working as an auditory form of “theatrical lighting.” To this end, Petri moves step-by-step from the dark sound of the tenor recorder to the piercing sound of the sopranino. I find Börtz’s choral writing absolutely fascinating, breaking the sound into little shards of color by using neutral syllables. The rather enigmatic nature of Linnaeus’s text, questioning the existence of God because it cannot be seen or touched yet can be intuited like the ego itself, lends itself perfectly to Börtz’s musical panorama. The choir continues to divide itself until it is in eight parts, singing the words in a rhythmically complicated, hocket-like style. The music becomes chromatic, spiked with tritones, gradually emerging as a sequence of three chords. (The notes say this, but so do my ears.)
Sunleif Rasmussen’s I is the musical setting of Danish modernist poet Inger Christensen’s self-reflective response to Wallace Stevens’s Thirteen Ways of Looking at a Blackbird. Rasmussen uses Christensen’s verse as a reflection on the human condition, intimacy, freedom, and creativity. The music starts with Petri playing mournfully on a bass recorder before the chorus enters, singing “A man and a woman are one” (and here, as unfortunately elsewhere, the Danish choristers’ inability to properly enunciate English comes to grief). I won’t quote more of the poem in detail here, but suffice it to say that Rasmussen’s music matches it in mood and structure. All through the piece, Rasmussen puts the sopranos opposite the rest of the choir, sometimes in call-and-response patterns but more often in imitative passages while the recorder never really stops, but continues to play an unfolding and developing melody. As in Börtz’s work, Petri keeps moving up through different ranges of the recorder, eventually sounding a shrill note in the section “Grasping the bird’s speech / Calling am I woman.” I find the composer’s masterly use of glisses through the chromatic scale particularly arresting in that they often obscure the actual pulse of the music.
The album concludes with Danish composer Peter Bruun’s Two Scenes with Skylark, based on the poetry of Gerard Manley Hopkins. The first, “The Sea and the Skylark,” opens with overlapping melodies that create a rich yet turgid texture reminiscent of the ocean. Petri gives us the rhapsodic song of the skylark through rippling arpeggios that provide gentle dissonance with the chorus. As Hopkins’s poetry turns to humanity’s inability to truly appreciate nature’s beauty, Bruun make the music even more dissonant. In the second part, “The Caged Skylark,” stuttering rhythms and fragmented textures depict the plight of the caged bird, which is compared to the plight of the soul.
Much of this music, but especially the Börtz piece and parts of The Nightingale, puts me in mind of P?teris Vasks’s Plainscapes, broadcast on St. Paul Sunday in 2005 by the Seattle Chamber Players with a wordless choir, but has still never been commercially recorded (according to ArkivMusic, anyway). I was mesmerized by Plainscapes, and I am similarly mesmerized by much of the music on this CD as well. Highly recommended.
FANFARE: Lynn René Bayley
