Luigi Picchi learned the rudiments of music from his father Faustino; a self-taught organist; and later studied with the Pavia-based teachers Giovanni Baroni and Franco Vittadini in preparation for admission to the Giuseppe Verdi Conservatory in Milan in 1909. The first phase of his musical activity saw him engaged in the concert and operatic life of the province as well as composing: instrumental and vocal works; a Requiem Mass (1922) and musical accompaniments for the Passione di Cristo (1925) to a text by Don Ennio Bernasconi. In Como; Picchi’s true vocation; for sacred music; was able to be realized: as a boy he had had the opportunity to play for liturgical services on the Sairano organ and; as a young student at the Conservatory; he had continued this activity in villages in the surroundings of Milan. He also composed pieces for organ which were featured in L’Organista italiano (1922–26) and I Maestri dell’Organo (1931); journals issued by the Carrara music publishing house of Bergamo; whose founder Vittorio Carrara was astute enough to sense and appreciate Picchi’s talents: his artistic substance as well as the playability of his music and its suitability for the liturgy. In 1932 Carrara entrusted him with the editorship of a new journal; L’Organista liturgico; which he held until 1943. Alongside his music for organ Picchi also composed vocal works for use by the cathedral choir as well as amateur choral groups and public assemblies; including various motets as well as masses (Cristo risusciti; 1932; Italica; 1940; Christus vincit; 1941) and also educational music (theatrical sketches; school songs) and theoretical works (Scuola moderna di Teoria e Solfeggio; 1941–44). His wish to set the text of the mass in an appropriate manner together with his faithfulness to Cecilian ideals led Picchi to the innovations of his Missa Misericors Deus (1949); published by Ricordi together with the masses in honour of San Nicolao della Flüe (1947) and San Pio X (1954) and his collections of Christmas Carols (1947) and Easter Songs (1950–54). In 1954 Picchi established a new journal on organ music; Laus Decora; operating from Como; it was issued over the course of a decade with associated publications from the Schola music publishing house and introduced readers to a wide range of vocal compositions by Picchi; including various songs and motets; the masses Rex pacificus (1945); In onore di Maria Vergine Assunta (1950) and Auxilium Christianorum (1960) as well as various school songs and educational works (Nuovo Corso di Solfeggio; 1954; Metodo teorico-pratico per lo studio dell’Armonio e del Pianoforte; 1956). The resumption of his collaboration with the Carrara publishing house coincided with the implementation of the liturgical reforms as stipulated by the Second Vatican Council; of which Picchi had already been a precursor in his interpretative consistency as well as his involvement of the assembly of the faithful; namely in his songs for Il popolo alla messa; 1953; written in collaboration with Don Luigi Agustoni and Don Silvano Albisetti. His greatest success in this field was the Messa Vaticano II (1965) followed by the Messa dei Defunti (1966) and the Messa Apostolica (1968). Picchi’s organ output included compositions written for later editions of Laus Decora (1966–67) as well as for the journal I Fiori dell’Organo (1968–70).

Johannes Brahms (1833-97) was uncompromisingly self-critical about his musical achievements and was only too aware of the long shadow of Ludwig van Beethoven over his creative output. He had composed his Scherzo in C minor in 1853 for a violin sonata collaboration with Robert Schumann and Albert Dietrich, but he had discarded four sonatas for piano and violin before he was sufficiently happy to allow a work in that genre, his Sonata No.1 in G major Op.78 (1878-9), to be published. About seven years elapsed before Brahms returned to the violin sonata genre. He composed his Sonata No.2 in A major Op.100 in 1886 during the first of three summer sojourns in the village of Hofstetten in the Swiss mountains where the Aare flows into Lake Thun. In a remarkable burst of holiday energy, he also wrote his Second Cello Sonata Op.99 and Third Piano Trio Op.101 there, as well as some of his Third Violin Sonata Op.108. Two of Brahms's songs to poems by Klaus Groth, the highly wrought 'Komm bald' (Op.97 no.5; 1885) and 'Wie Melodien zieht es mir leise durch den Sinn' (Op.105 no.1; 1886) are featured in motivic guise in the two principal themes of the first movement of this sonata. Brahms' Sonata No.3 in D minor Op.108 was composed between 1886 and 1888 and dedicated to the conductor and pianist Hans von B�low, who was a champion of Brahms' oeuvre. It differs from it's predecessors in that it is longer, more dramatic and much broader in design; indeed, it is almost symphonic in scale and is particularly remarkable for it's wide range of intense emotional feeling.

Navona Records presents PAINTED MUSIC from Quatra Duo. This album of works for flute and guitar by four heralded contemporary composers unlocks the imaginative, expressive power of these beloved instruments. The first piece, commissioned as a Christmas gift by Quatra Duo’s Jeff LaQuatra for his then soon-to-be wife and duo partner Michelle Stanley, is James McGuire’s Suite for Flute and Guitar. The six-movement piece reveals the composer's affinity for jazz, popular music, and even impressionism; all the while it demonstrates the performers’ virtuosic range on their instruments. Painted Music from composer Bryan Johanson is a sonata, once again broken into six movements. Each of these is inspired by a different painting from early 20th-century, Swiss born artist Paul Klee. Fish Tale is a surreal and eclectic piece that imagines the journey of a fish from the ocean, to the fish bowl, and far beyond; the music recounts these piscine adventures through a dazzling array of musical styles and colors, from African thumb piano, samba, folk music, and more. From the Dreaming is the work of Australian visual artist, classical guitarist, and composer, Phillip Houghton. The music, inspired by Houghton’s visit to the Australian outback, reflects the grandeur and raw power of the country’s climate and ecosystems. Searing heat, ancient riverbeds, scurrying geckos and violent storms are all reflected in the dynamic twists and turns of the flute and guitar. PAINTED MUSIC, as its name suggests, utilizes these two instruments to imprint a gallery of images onto the canvas of the mind. Far from being limited by the duo format, here Quatra Duo seems to relish the challenge. The listener is left with a new sense of what can be accomplished with merely two instruments—in the hands of the right musicians, that is.

Ragnar Bohlin founded Cappella SF, a professional chamber choir, in 2014. Since then, this select Bay Area ensemble has presented four acclaimed concerts and recorded music for two CDs – including this, their first commercial disc. Spanning more than a millennium, this holiday program has something for everyone: traditional seasonal standards, original compositions and arrangements from English and American composers, as well as leading choral masters from Bohlin’s native Sweden, including a piece composed for Cappella SF by Fredrik Sixten that’s heard here in its world premiere recording.

Includes work(s) by Marc-Antoine Charpentier. Ensemble: Aradia Baroque Ensemble.

Music plays an integral role in Jewish worship. The songs on this album are selected from the traditional liturgy of the important Jewish holidays, Rosh Hashana and Yom Kippur. Baritone Stephen Kalm gives nuanced renditions, with collaborative artist Douglas Cleveland playing piano. Flute, violin, cello, vocal soloists, and the University of Montana Chamber Chorale join throughout this exceptional release.

One of the least explored areas of Beethoven’s compositions is the miscellaneous sequence of canons, early exercises in counterpoint, mature jokes and jeux d’esprit that he wrote over many years. He composed a two-part canon for the composer Hummel in 1816 and in 1823 one for four voices (written in a tavern) for Count Lichnowsky. He also wrote birthday and Christmas greetings for colleagues and friends, and songs that punned on recipients’ names or poked fun at them. Viennese chamber choir Cantus Novus Wiendraws on an extensive repertoire of Baroque, Classical, and contemporary music, including a cappella choral music, oratorios by Handel and Haydn, and requiems by Mozart, Brahms, Verdi, and Fauré. Contemporary music is one of the choir’s focal points, including regular world premieres of commissioned pieces. The choir has been conducted by Thomas Holmes since 2001. Ensemble Tamanial is a vocal quartet based in Vienna, Austria. The ensemble was established to provide a place in which to grow and learn as musicians through undertaking soloist responsibility across a wide variety of musical styles, including Renaissance, Classical, Romantic and also in contemporary works. For these Beethoven recordings the ensemble have been working closely with Thomas Holmes as their musical director and wish to express their deep gratitude.

Charpentier, M.-A.: Noels and Christmas Motets, Vol. 2

PRAETORIUS Nun komm der Heiden Heiland. In dulci jubilo. Vom Himmel hoch. Puer natus in Bethlehem. Conditor alme siderum. Gelobet seist du, Jesu Christ. Resonet in laudibus. A solis ortus cardine • Manfred Cordes, dir; Bremer Barock Consort • cpo 777 327 (67:33 Text and Translation)


Straightforward, “musicologically correct” recordings of Michael Praetorius’s music are more present in the imagination than they are thick on the ground. While several of his simpler arrangements of chorale tunes can be found scattered among a myriad of seasonal albums, the more complicated concerted works, which, while based often on the same familiar tunes, stake a greater claim for his brilliance as a composer, are much harder to find. So this present, absorbing account of eight of his concerted motets is especially welcome. Performed as well as they are here, one quickly forgets that it is quite “out of season” to be reviewing them in early spring.


Most of his motets—or at least most of the ones that people bother to record—are built on famous hymn and chorale tunes penned much earlier, ranging from the ubiquitous In dulci jubilo to the most famous Lutheran melodies from the previous century, including Vom Himmel hoch and Nun komm der Heiden Heiland. Puer Natus in Bethlehem and Gelobet seist du Jesu Christ derive from less familiar source material, but are no less compelling. In some cases, Praetorius built his compositions on versions of the texts that interleaved the Latin original.


However, the surprisingly sparse discography of the nearly 1,000 hymns and concerted motets by this earlier (1571–1621) contemporary of the great Heinrich Schütz makes it difficult to assess his full range. The most direct competition for the present disc would seem to come from a now 10-year old Sony anthology on two CDs of concerted motets with Musica Fiata conducted by Roland Wilson (Sony 62929). But Praetorius composed multiple responses to the most familiar hymns, and none of the five similarly titled items is actually duplicated between the releases. Moreover, the two recordings present Praetorius on two different scales: the earlier disc opts for grander polychoral versions, fleshed out with a full 17th-century orchestra of strings, trumpets, cornettos, and sackbuts. Cpo’s Bremen release scales the works to medium grouping of four recorders, four violas da gamba, harp, and an organ positive, accompanying a seven-voice choir. Even these pointed differences, though, do not prevent comparisons, because the different repertoire items present shared challenges of ornamentation, textural clarity, and rhythm. Now over 10 years old, the Roland Wilson release was undercut by a muddier soundscape, with recessed strings and a longer echo in cavernous surroundings. The occasionally resplendent solo singing was inconsistent, falling short of the madrigalesque incisiveness of Manfred Cordes’s assembled singers for cpo. Even on its lighter, 17th-century scale, the brass tended there to overwhelm the male voices. And, while Wilson often succeeded in conveying the monumentality of some of this music—though surely not as powerfully as Paul McCreesh in his fabled “Praetorius Christmas Mass” recording (Archiv 439250)—it often lacked engagement and rhythmic excitement, qualities Cordes supplies in abundance.


Immediately one is struck here, by not only the strength and thoughtfulness of the solo vocal work, but also by Cordes’s sonic imagination, particularly the different colors massaged from his foregrounded gambas and harp. The recorders are also more adept and well tuned than Wilson’s. This pays dividends in the more complicated numbers like the thrillingly canonic In dulci jubilo setting and in the Vom Himmel hoch and Puer natus in Bethlehem , both of which are straightforward multi-verse settings of the complete hymns.


The recording opens with a fascinating, nine-minute “variation concerto” on the hymn tune Nun komm der Heiden Heiland , but listeners may be drawn more immediately to the hypnotically over-layered canons of Resonent in laudibus/Joseph lieber, Joseph mein or the aforementioned In dulci Jubilo . The recording is caught in the natural but not overly reverberant acoustic of the Stiftskirche in Bassum, a small town about 25 kilometers south of Bremen. Of much more than seasonal interest, this disc draws a glowing recommendation.


FANFARE: Christopher Williams

Yuletide is the mid-winter period from Hannuka, through Christmas, to the celebration of Twelfth Night. From the late 1950s through the 1970s it was seemingly obligatory for all artists from Jazz to Punk to make a Christmas album. With Yuletide Treats, Duo Pleyel joins that spirit and tradition, with some of the greatest classical hits for your festive delight. Comprising keyboardists Alexandra Nepomnyashchaya and Richard Egarr, Duo Pleyel begins with three beautiful, transcendental and intimate movements from Franz Liszt's 'Christmas Tree Suite'. Then follows 'For unto us a child is born' and 'Hallelujah' from Handel's Messiah. No New Year's celebration is complete without the Strauss family's 'Blue Danube' and 'Radetzky March'. Finally, they present Tchaikovsky's 'Nutcracker Suite'. All performed on a Chris Maene Straight Strung Concert Grand, this album is to be listened to at high volume with a large glass of something delicious.

World Premiere Recordings of Christmas Cantatas from the Archive of Assisi Monastery.