Born in 1970, Lotta Wennäkoski’s rich and colorful works often incorporate unconventional playing techniques and noise. In recent years her expressive range has become gradually broader, deeper and more powerful. Soie, a Finnish Radio Symphony commission, is a concertante work for flute and orchestra in three movements. The soloist, Kersten McCall, is the Royal Concertgebouw’s principal flutist. A Tapiola Sinfonietta commission, Hava had its premiere at the orchestra’s 20th anniversary concert. Amor Omnia, a 90 min. silent film score, is Wennäkoski’s most extensive work to date.

J.S. Bach clearly thought of the solo Cello Suites as real cycles (no key repetition), while their textures are not as strongly polyphonic as those of his works for the solo violin. It is sometimes thought, therefore, that they were written somewhat earlier, but that is only an assumption. Their invention, technical prowess and form guarantee Bach's output for solo cello it's permanent place in the repertoire, as well as representing a great challenge to every cellist. A member of the Martinu Quartet, Jitka Vlas�nkov� ranks among the finest of contemporary Czech cello soloists.

This fourth volume in Marin Alsop’s acclaimed Prokofiev symphonic cycle features two of his most viscerally exciting works. Using material salvaged from his opera The Fiery Angel, the Third Symphony was hailed by Serge Koussevitzky at its 1929 première as ‘the best symphony since Tchaikovsky’s Sixth’. Originally commissioned as a ballet by Sergey Dyagilev but rejected as un-danceable, the Scythian Suite has become a popular orchestral showpiece, while Prokofiev retained a lifelong fondness for his dark-hued early symphonic sketch Autumn.

Review:

Even die-hard fans will admit that Prokofiev's seven symphonies aren't always magnificent and Marin Alsop's elegant lucidity provides only a partial solution to the problem. She gets unfailingly good string playing, often more sensitively nuanced than that of her rivals, but her Sao Paulo team does tend to 'normalize' the invention, smoothing away rough edges in a manner that not everyone will find idiomatic. Still, Alsop's reading works on its own terms, and if she makes the music sound as much like Roussel as Stravinsky one can perhaps discern why Serge Diaghilev chose to reject the Scythian Suite as insufficiently Russian.

– Gramophone

This third double CD set completes Gilbert Rowland's survey of these Handel's groundbreaking solo keyboard music, works that began to free the form from the formal constraints of Allemande, Courante, Sarabande, Gigue. Forty-plus years of recitals, appearances at major festivals in several countries, together with regular broadcasts, have helped to establish Gilbert Rowland's reputation as one of Britain's leading harpsichordists. The standard of playing is very high indeed... a most enjoyable recording. (The Consort on Vol.1)

These keyboard pieces are just so agreeably written, the notes falling so easily under the fingers, the lines flowing so naturally, the melodies and harmonies so, well, Handelian, who wouldn’t love to play them–or hear them? And because of this it doesn’t seem to matter which competent pianist (and the piano is really the way to go here) does the honors–however, Philip Edward Fisher is an especially accomplished interpreter and more than able advocate for pieces that inexplicably don’t get the respect they deserve.

For some reason it’s been five years since the release of Fisher’s Volume 1 traversal of the first four of the eight suites known as “the eight great”, which colleague Jed Distler described as “an absorbing listen” and “provocative” and “inspired”. The same descriptors hold true here, driven by Fisher’s straightforward, discreetly ornamented, and clearly articulated interpretations of some of Handel’s most ingratiating and memorable keyboard inventions–including the famous E major suite No. 5 that concludes with a remarkable variations movement known today (but never titled by Handel) as “The Harmonious Blacksmith” (do yourself a favor and listen to the Swingle Singers’ faithful and very exciting version).

My long-time favorite recording of Handel keyboard suites–a selection that includes several of the “eight great” pieces–features Keith Jarrett (ECM) in somewhat more sharply articulated interpretations in a dryer, more close-up acoustic. I’m still a fan of those–Jarrett is a cool, capable master of the clear, simple, unadorned expression that defines one approach to these pieces, but Fisher employs just that slight bit of lyricism–more legato in this movement, a tiny bit of rubato there, a dynamic swell or fade in this or that phrase–that transforms these works from clever inventions to more deeply involving, affective performance pieces.

Fisher gives us big drama in movements such as the Prélude and Largo of the F-sharp minor Suite, makes it impossible not to join the dance in the concluding Gigue of the F minor, and makes us want to linger even longer over the gentle, mellifluous, caressing melodies and ingratiating harmonies of the Allemandes from the E major and F minor Suites. It all adds up to an hour of easy, happy listening–whether your interest is foreground or background. And the sound, from Symphony Hall in Birmingham, UK, gives Fisher’s Steinway plenty of space while allowing the listener to hear every detail. Strongly recommended.

-- David Vernier, ClassicsToday.com

Vytautas Bacevicius Remained Virtually Unknown As a Composer During His Lifetime, in Contrast to the Fortunes of His Sister Graz?Yna Bacewicz, Who Retained Her Polish Nationality. Rendered Stateless By the Outbreak of WWII While on Tour As a Concert Pianist in Argentina, He Eventually Settled in New York Until His Death in 1970, Giving Acclaimed Piano Recitals, Teaching, and Writing Astoundingly Original Orchestral Scores. He Never Lost His Deep Allegiance to and Nostalgia for Lithuania. This Recording Gives An Eloquent Introduction to His Pianistic Virtuosity and Mystical, Scriabinesque Orchestral Vision.

The Central Band of the RAF and conductor Wing Cmdr. Duncan Stubbs here offer up some of the greatest British pieces in the repertoire.The first military band broadcast on BBC Radio, and still the most frequently featured on the airwaves, it is at the forefront of military band and contemporary wind ensemble recording.“The music represents some of the most iconic wind band repertoire, Holst’s Suites in particular having close links to our military heritage.Including Langford’s Rhapsody also continues our record of ‘firsts’ achieved by a British military band.” (WC Duncan Stubbs)

Philip Glass has made an immense and stylistically wide-ranging contribution to piano repertoire. The Orphée Suite, a transcription of excerpts from the first opera in Glass’ Cocteau Trilogy, is one of his most distinctive piano pieces, blending virtuosity and melodic richness. In contrast, the hypnotic How Now is structurally influenced by Indian ragas and gamelan music, whilst Dreaming Awake contains one of the most powerful climaxes in all Glass’ works. Performed by Nicolas Horvath, a Scriabin Competition first prizewinner, this is the first release in the complete Glass solo piano edition which will include many premières.

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Reviews:

This disc is important because it demonstrates that Glass’s music works quite nicely alongside other composers of the past and alongside quite traditional approaches to performance generally.

– American Record Guide

Somehow, the objectivity of the sound of a piano suits the music of Philip Glass perfectly. Certainly that’s how it seems in Nicolas Horvath’s expert performances.

– International Piano

This CD includes the world premiere recording of Marco Enrico Bossi complete works for piano four hands. As shown and evident in the Suite de Valses op. 93 and the transcription of the magnificent Suite for Large Orchestra op. 126, while maintaining an original mark, Bossi’s compositions for four hands seem to be inspired by Brahms and by the Hamburg chamber music transplanted in Vienna. Pianists Paolo Borganti and Giulio Giurato have used original editions and manuscripts, revising and correcting them even by comparisons of the transcriptions to the orchestral scores.

20th-century composer Ernest Bloch forged a unique path, firmly establishing his Jewish identity through his music and thereby creating many works of great spiritual expression. Born in Geneva in 1880, he studied in Belgium and Germany before moving to America. Although he returned to Europe, he eventually became a US citizen, abandoning Switzerland forever due to the encroaching threat of Nazism. It was in the States that his music was truly appreciated for the first time; in New York, he conducted renowned orchestral concerts of his own works and became known as the “Jewish Composer”, winning the Coolidge Prize for his Viola Suite. It was around this time that he began to compose for the violin.

Spanning the 1920s, most of the works on this release came to fruition soon after the composer began to compose for the violin on a solo level. Bloch was a composer who harnessed many of the musical tendencies of the time to create highly original works, never tying himself to a particular style, and the authenticity and invention for which he is remembered permeates the entire compilation – starting with Violin Sonata No.1 (1920), a work deeply rooted in tonality and requiring great technical skill. Suite No.1, written nearly 40 years later, brings the neo-Classical aspect of Bloch’s music to the fore through its use of partita form. The Jewish influence is of course also strong: the famous and exotic Baal Shem which narrates three aspects of Chassidic life is included, together with Abodah – or ‘God’s Worship’ – dedicated to the world-famous violinist Yehudi Menuhin, who described the composer as “one of the Seven Wonders […] cast by the gods in a superhuman mould.”

Ernest Bloch (1880-1959) was trained as a violinist, taking lessons from the great Eugene Ysaye in Brussels. Under the threat of the Nazi regime he took refuge to the USA, where he stayed the rest of his life. Here he became famous , one of the first “classical” composers to integrate Jewish elements in his music. His works on religious themes express the sorrows and joys of the Jewish people over the centuries.

This release presents the works for violin and piano, the substantial and romantic 1rst violin sonata, the neo-classical Suite and the famous Baal Shem (scenes from Chassidic Life) and the “Abodah” (God’s Worship), dedicated to Yehudi Menuhin.

This is Volume 1 of Tempesta di Mare’s two-disc project of late seventeenth century French instrumental music. Suites of music were often compiled from stage works that were performed at the time and presented in the form of instrumental excerpts and dances. These suites contain some of the most tuneful, appealing and striking music of the period with works by Lully, Marais and Rebel.

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The group seem genuinely at home in the 18-th century music ... The tempos are well chosen – dignified in the overtures and marches, lilting and swaggering in the airs and dances – and command of dynamics and ornamentation are superb throughout.

– Gramophone [April 2015]

REVIEW:

Nielsen was a high energy composer, perfectly suited to a “muscle” orchestra like the New York Philharmonic. Listening to these two performance we are reminded how the world of classical recordings has been taken over by orchestras of the second rank–professionally adequate, ambitious, able to fund their own recording programs and often to get released on major labels, but singularly lacking in the sort of corporate virtuosity and ensemble balances at all dynamic levels so tellingly in evidence here. If you like your Nielsen big, bold, and gutsy, then this is the cycle you need to own.

This doesn’t mean that Gilbert and his players are in any way crude. The opening of the Fifth Symphony emerges with gossamer delicacy, and the solo wind playing is as sensitive as one could wish. But the hostile snare drum entrance carries real menace, while the movement’s adagio second half, beautifully spun out by the strings, features the best percussion cadenza since Horenstein, leading to an absolutely apocalyptic climax. Similarly, Gilbert brings thrilling energy to the start of the second movement. The ensuing quick fugue isn’t as swift as some, but the orchestra’s weight of tone, its attention to detail, makes the music unusually vicious, while the race to the closing bars has seldom sounded more exhilarating.

The Sixth Symphony can come off as sort of a bitter, denatured coda to the previous five. Again, without minimizing the work’s etherial moments and often stark instrumental textures, Gilbert and the orchestral put the meat back on the music’s bony skeleton. The climax of the first movement is really terrifying, the Humoresque vividly grotesque. In the Adagio “Proposta seria,” the strings dig into their parts with painful intensity, leaving a finale in which Gilbert ensures that each variation has its own vivid character. The wacky waltz, even in it’s ghostly early stages, seethes with a latent energy that makes sense of the violent eruptions from the brass and bass drum that rip it apart shortly afterwards.

One textural note: these performances seem not to be using the latest Critical Edition of the symphonies–you can tell from the fact that the loud timpani triplets are still present towards the end of the finale’s opening section, to cite one example. This is not a wrong decision; the Critical Edition took an excessively dogmatic view in its efforts to present Nielsen’s first thoughts, eliminating revisions based on the practical realities of performance, even if these were accepted–whether tacitly or explicitly–by the composer. Nielsen was never faced with a situation like Bruckner’s, in which a crew of well-meaning but misguided supporters altered and manifestly falsified the basic text. Additions and modification to his scores were limited mostly to small but sometimes telling details, such as the additional timpani part just mentioned.

The excellent live sonics add to the tactile immediacy of the performances. If the foregoing sounds as though this team saved their best for last, well, I would say that they did. One quibble though: the booklet notes, by Jens Cornelius, are surprisingly poor. He seems to think that the snare drummer in the Fifth Symphony is a timpanist, and his language is both pretentious and stilted. Normally I wouldn’t care or mention it, save for the fact that it seems so odd and uncharacteristic. Never mind, it’s the music that matters, and about that there can be no question whatsoever. This is fantastic.

– David Hurwitz, ClassicsToday.com

Recorded in January 2014 in the grand acoustical environment of St. Joseph Cathedral in Sioux Falls, South Dakota, by Grammy Award-winning producer Blanton Alspaugh of Soundmirror, this recording once again testifies the stature of South Dakota Chorale as a first-rate ensemble that delivers no less than sublime choral performances.

Sacred Songs of Life and Love features some of the most beautiful works in contemporary Scandinavian and Baltic choral music, including Arvo Pärt’s Sieben Magnificat Antiphonen, selections from Kunt Nystedt’s Prayers of Kierkegaard, Sven-David Sandström’s Four Songs of Love and Algirdas Martinaitis’ Alleluia.

Review:

The South Dakota Chorale are more than well suited to this full-bodied repertoire. They address the common lyricism of the music through a warmth of sound and sonority that is not only notably varied in tone and color but which is all but perfect in blend, ensemble and intonation.

– Gramophone

Classical Music

An alternation that recalls a noble ancestry, which is, not by chance, Triestine, Marco Podda combines 12 numbers, some instrumental, other vocal, creating what we could define as a lyric suite: The Chords of the Air. As he affirms, “these pieces, composed between 2007 and 2012, represent “something that links the past to the present […] as a souvenir photo”. Stylistically, this ‘anti-historical music’ doesn’t owe anything to any ideology of music historicism, nor to neo-avant-garde or mere ambition of restoration. There is only emotion, memory and a desire to communicate.