FARWELL Dawn, op. 12. Tone Pictures after Pastels in Prose, op. 7. Polytonal Studies, op. 100: Series II. Mesa and Plain, op. 20/2: Pawnee Horses • Lisa Cheryl Thomas (pn) • TOCCATA 0222 (65:03)


I reviewed Volume One of this Farwell series in Fanfare 36:5, where I gave background details for this composer and concluded with the statement that the second volume was awaited with enthusiasm. Here it is, full of delights. Lisa Cheryl Thomas provides excellent and detailed booklet notes. Farwell’s op. 12 Dawn (1902) reflects the importance held by Native Indians for the rising of the sun. Here Farwell quotes two melodies from the Nebraska Omaha tribe. It is played with great affection and confidence by Lisa Cheryl Thomas. The recording captures her lovely round sound well; it also supports the levels of detail she finds, and her clear mastery of voice-leading.


The nine movements of Tone Pictures after Pastels in Prose (1895) are inspired by prose poems of Theodore de Barville, Baudelaire, Charles Bernard, and Judith Gautier. Quotations are included in the helpful booklet, along with descriptions of the music. The decidedly Chopinesque third piece (“The Stranger,” after Baudelaire) is most effective, with a left-hand singing melody that seems evocative of the cello (the booklet rightly links it to Chopin’s Étude op. 25/7). Thomas brings the sort of adult knowing to childhood wonder that makes one posit she would be an excellent Kinderszenen interpreter to this music, particularly perhaps “Indifference to the Lures of Spring” (after Gautier). There is indeed a marked spirit of reflection through most of these pieces, a mood that Thomas captures to perfection. Her right hand cantabile is particularly attractive.


The arrival of the Polytonal Studies, composed between 1940 and 1952, brings a marked change in style. It also continues on from Volume One, which presented the first 11: here is Nos. 12 through 26. The more progressive harmonic language seems to draw depth from Farwell’s pen. There is a delicious Stravinskian tinge to the B-Minor/G-Minor (No. 14), a sort of two-part of invention, a trait that recurs in the D-Minor/E-Minor (No. 16), although here the music seems to strain to return to a purer Bachian mode of expression. The C-Minor/E?-Minor (No. 15) has a reflective quality that almost at times tends towards the blues. The more extended studies last around five minutes, and in the case of No. 18 (F-Minor/F?-Minor), this results in a miniature tone poem. The grand No. 19 (G-Minor/B-Minor) comes as a surprise. The opening implies a full scale transcription of a Bach organ prelude and fugue (although true fugue-like writing only arrives in No. 21, the B?-Minor/G-Minor): Thomas in her notes posits links in No. 19 to Rachmaninoff and Prokofiev (and indeed a Russian tinge creeps in as the music progresses).


Native American rhythms (and harmonies) permeate the final offering, “Pawnee Horses” (1905). It seems as if though piece acts as summary of the heart of Farwell’s music, and makes the perfect close to the disc.


FANFARE: Colin Clarke

The piano music of the Estonian composer Heino Eller (1887-1970), a total of 206 works, is the largest part of this composer's output. It is also the largest body of works in Estonian classical music. But most of these pieces are unknown, even though the best of them are original contributions to the piano repertoire of the twentieth century, with Eller's sensitive lyricism underpinned by gentle humor and an occasional epic tone. Volume Six in this series of nine recordings brings over half a century of music, from 1910 to 1965. It includes the melodious Sonatina in G minor, the spirited 'Piano Music in Folk Tone' and the exquisite 'La fille du nord.' Sten Lassmann is one of the leading Estonian pianists of his generation. He appears frequently as a soloist and chamber musician, performing in some of the most prestigious venues, such as the Glenn Gould Studio in Toronto, Purcell Room in London, the Large and Small Halls of the Tchaikovsky Conservatoire in Moscow, the Giuseppe Verdi Conservatoire Concert Hall in Milan and the Forbidden City Concert Hall in Beijing. He has been playing and recording Heino Eller's piano works since 2008 and in 2018 recorded the final, ninth volume. Born in 1982 in Tallinn into a family of musicians, he studied at the Tallinn Central School of Music, the Estonian Academy of Music and Theatre, the Conservatoire National Superieur de Musique et de Danse de Paris and the Royal Acadey of Music in London.

The track from this album was nominated for the 2008 Grammy Award for "Best Chamber Music Performance."

Czech-born composer Antoine Reicha (1770-1836) was an extremely influential influence on composers of the late 19th century. His own compositions, however, fell into obscurity in the shadows of his contemporaries Haydn and Beethoven. This release, compiling Reicha’s complete piano works, displays his usage of both Baroque compositional practices and of compositional practices that would look forward into the twentieth century. An international authority on the piano works of Reicha, Henrik Lowenmark is a Stockholm-based musician who is active as a solo artist, accompanist, and chamber musician.

This album is the fourth release in a series of orchestral recordings by Hungarian composer Ferenc Farkas (1905-2000). The album focuses on his compositions for strings and flute. These works have all the transparent scoring, driving rhythms, and hearkening to Baroque-style dance forms that make Neo-Classical music so appealing. Flutist Andras Adorjan is featured on this album, alongside Viktoria Herencsar on cimbalom. Janos Rolla also leads the Franz Liszt Chamber Orchestra on this recording.

These three quintets by the London-born Stephen Dodgson continue the exploration of his chamber music on Toccata Classics. Dodgson's musical language inherited something of Shostakovich's irony. Janacek's spiky energy and Britten's polished clarity, occasionally reaching further into the past in passages of Purcellian dignity. All these characteristics animated with a gentle, harmonic warmth of Dodgson's own. The result, in a typically English paradox, manages to be both elusive and direct. The Tippett Quartet has performed at the BBC Proms, and numerous other festivals. Emma Abbate has performed in duo recitals for international festivals and concert societies all throughout the world. Susan Monks is Principal Cello of the BBC Symphony Orchestra.

The music of William Wordsworth (1908-88) - a great-great-grandson of the poet's brother Christopher - lies downstream from that of Vaughan Williams and Sibelius; like that of his contemporary Edmund Rubbra, Wordsworth's music unfolds spontaneously, as a natural process. This second volume brings two concertos, both major works - though long forgotten, and strongly contrasted in their approach: the gritty and muscular Piano Concerto is cast in a single, tightly argued span, whereas the lyrical Violin Concerto is expansive and unhurried - and deeply touching. They are complemented by the Three Pastoral Sketches, which grow gently from understated autumnal hues to a dignified and moving climax. All three scores show an extraordinary command of orchestral color.

A contemporary and friend of Rachmaninov, Medtner and other major composer-pianists, Konstantin Romanovich Eiges (1875-1950), was a member of a gifted eastern Ukrainian Jewish family. His music bears the impress of his teacher Taneyev and of Scriabin and has points in common with his aforementioned friends, but deserves to be remembered in it's own right. This first-ever CD dedicated to this unjustly forgotten musical figure features Jonathan Powell, who knows Russian piano music of this period like few other musicians and has a reputation for tackling music of enormous difficulty.

The music of the Bulgarian composer-conductor Emil Tabakov (b. 1947) explores the darker side of the human spirit in epic scores as austere as they are powerful. His mighty Fifth Symphony, a work almost an hour in length, is obsessive and violent, with the two outer movements, wild kaleidoscopes of whirling colors and driving energy, framing a tragic slow movement and a sardonic march. The much earlier Double-Bass Concerto, which sits downstream from Shostakovich, shows the same grim sense of humor in the teeth of the dancing indifference of fate. A critic once wrote of Tabakov's music: "In his concert music as well as in his symphonies, Emil Tabakov insists on selection and dynamics, on the large-scale development of a small in volume, but focused, thematic material. Tabakov's music is the music of movement, it rarely carries us into spaces of contemplation or frozen calm; it's movement forward in time is determined by the composer's magnificent technique with which he works the material, turning it into music and theses and antitheses, of culminations and lows."

Of the three pianist-composers represented here as composers only Levitzki and Friedman have an extensive recorded legacy as executants. By comparison Gabrilowitsch, who also conducted the Detroit Symphony, seems to have been neglected when it came to the recording studio. Levitzki commanded his own series on Naxos (Volume 1 ~ Volume 2 ~ Volume 3) while the same label also celebrated Friedman with similar splendor (Volume 1 ~ Volume 2 ~ Volume 3 ~ Volume 4).

Trust Toccata Classics to approach these three names from one of the golden ages of pianism from an unaccustomed angle. All three wrote piano music under the nurturing that being a great world-touring pianist brings. Levitzki's haughty Valse de concert - one of many waltzes from his pen - has plenty of sentimental fancy in play. There's a touching Valse in A Major, a slow motion swirling Arabesque Valsante and a nice Valse Tzigane. The dance theme continues with a Meissen china Gavotte, a trilling and tear-unfocused Enchanted Nymph and a Dance of the Doll that bears the stamp of ragtime.

There's not a lot of Gabrilowitsch but it is classy. The Romance is touching and perfumed with a romance that sweeps along in Chopin-like grandeur. A deliberate pulse is often favored and this seems to imply cool calculation rather than anything impulsive. The Gavotte, rather like the one by Levitzki, has a predictably antique surface. The Feuillet is successful - a vehicle for the finer emotions; nothing cheap and nothing melodramatic.

I was less impressed with the Friedman arrangements. The four offered up seem prettified and of them only the Couperin, with its grace-note delights and ice-palace fantasy, holds the attention. The disc concludes with no fewer than eleven original works by Friedman. The four Preludes are impressive: No. 1: subtle with delicately chiming dissonances and a sleepy sign-off; No. 2: alive with swirling activity; No. 3: bell-tower Rachmaninov echoes but too short-breathed and No. 4: a quick pulsed and capricious brevity. The selection of Études include a trillingly liquid charmer (No.1 ), an exercise in rapid tremolo (No. 2), a luxuriously emotional essay presented in velvet (No. 4), a sentimental Allegro, con abandono (No. 9), a Godowsky-style study in decorative intricacy, a stormy tempest of the heart, very much in the Rachmaninovian manner (No. 11); likewise the final one (No. 16).

This very well-packed CD is further evidence that Toccata continues to enrich the classical listening experience with unexpected perspectives. Where Toccata lead others may follow. Not everything from these three contemporaries has striking musical substance but there is much to impress and where it does not impress it certainly delights.

– MusicWeb International (Rob Barnett)

Now almost entirely forgotten, Adolf Jensen (1837-79), one of the major figures of German Romanticism, composed a large corpus of songs and piano music in a language fusing the heritage of Schumann, Chopin and Liszt into an individual style distinguished by it's melodic and lyrical appeal. This first in an important, new series of recordings of Jensen's music features Erling R. Eriksen, Prof. Of piano in the Dept. Of Music and Dance at the Univ. Of Stavanger (Norway). The extensive booklet notes are by one of the experts on 19th c. piano music, Rohan Stewart-McDonald.

Richard Stöhr (1874–1967) was yet another Austrian composer driven by the Nazis into American exile. His output– ripe for rediscovery – includes 7 symphonies, 15 violin sonatas among much other chamber music, songs, choral and piano pieces. His two cello and piano works, recorded here in the first of a series of Stöhr CDs, reveal a lyrical and expressive composer downstream from Brahms and Schumann. The disc continues the Toccata’s rediscovery of composers who suffered under the Third Reich.

Classical Music

This unusual album shows the contemporary trombone in a rich variety of guises – dramatic, lyrical, flirtatious, solemn, capricious and many more – in four recent concertante pieces for trombone and symphonic wind band, demonstrating the striking versatility of the instrument. It’s an international undertaking, too: the soloist is English, the band and conductor American, and the composers American, Danish, Dutch and English, all four writing in a language that is direct and immediate. Brett Baker is viewed internationally as a leading brass performer and educator. One of the most often recorded brass soloists, he is passionate about encouraging composers to write pioneering new repertoire. Brett is Programme Leader for Musical Arts at the University of Salford. He continues to be an ambassador for Michael Rath Brass Instruments and is Principal Trombone of the Black Dyke Band. He is Festival Director of both the Singapore and Thailand Low Brass Festivals and is a Past President of the British Trombone Society.

KOSENKO 11 Etudes in the Form of Old Dances, op. 19 • Natalya Shkoda (pn) • TOCCATA 36 (69:01)


Viktor Stempanovich Kosenko (1896–1938) trained at the St. Petersburg Conservatory, where he studied composition and theory with Mikhail Sokolov, a Rimsky-Korsakov pupil, and piano with Irina Miklashevskaya. His early years were hard, much as they certainly were for most other artists of his generation in a young Soviet Union. It wasn’t until 1929 that his employment prospects began to improve with a teaching position at Kiev’s Lysenko Institute of Music and Drama. In 1934, he accepted a post at the Kiev Conservatory, and in 1938, he received the Order of the Red Banner. With many concerts, a great deal of teaching, and a small number of published works to his credit, Kosenko died in his early forties of kidney cancer.


As for the Eleven Etudes , they fit into a genre of “olden style” pieces that reflected late 19th/early 20th-century nostalgia for a sentimentalized or nationalized 17th- or 18th-century past. A variety of composers tried their hand at this, including Grieg, Parry, Elgar, Giordano, Massenet, Reger, and Saint-Saëns, among others. Their works were never intended to be mistaken for period music, but were amiable stylizations that embedded thematic, harmonic, or contrapuntal devices in a generalized Romantic language, then poured the results into small-scaled Baroque or Classical dance forms.


Kosenko’s collection of gavottes, minuets, courantes, rigaudons, etc, fits perfectly into this group. It’s conventionally Romantic, with nothing evident of the olden style save in titles and a very occasional turn of phrase. Brahms, instead, is the main influence on Kosenko. Rhetorical devices and harmonic progressions occasionally point directly to specific pieces by the older master (the Sarabande in A Minor glances at Brahms’s Piano Concerto in D Minor), but the overall sense is of a composer finding his own creativity in the language of another, rather than simply as a Brahmsian manqué. The quality of the works varies, but at their best, they demonstrate some imagination, an idiomatic use of the instrument, and a good deal of charm.


Yet even if the music had no significant quality of its own, it would still be interesting because it had been composed at the end of the 1920s in the Soviet Union. This was a period unfriendly to traditional nationalists like Glière, much less composers who “whored after foreign gods.” (Fears of ideological contamination from abroad have a lengthy history in Russia, and the government there has always played this card successfully—much as governments have done elsewhere, but seldom with such ceaseless success.) Although the radicals of the Russian Association of Proletarian Musicians who briefly controlled the Soviet musical apparatus in the late 1920s were never as doctrinally unified as some musicologists believe, their repeated friendliness to Kosenko is surprising. Beginning in 1927, they invited the composer to give a concert of his music in Kharkov each year, for three consecutive years. Kosenko was also allowed to publish some of his music at that time, and his teaching position at the Lysenko Institute has already been mentioned. None of this would have been possible without RAPM intervention; yet these were the same people who urged the desertion of traditional classical structures for “revolutionary” ones, and the abandonment of the classical repertoire as bourgeois and formalistic. Perhaps RAPM’s Ukrainian branch was more ideologically flexible than its Russian one? The whole matter remains curious, and in need of greater elucidation through modern scholarship.


Natalya Shkoda’s thesis project for her Ph.D. earlier this year in piano performance at Arizona State University was a combination of this CD and a research paper on Kosenko’s op. 19. I hope the research paper went well, because the CD is an attractive testament to her current level of skill. She displays a solid technique and a convincing ability to modulate between the intimacy of such works as the Gavotte in B Minor (a lovely little thing, Brahms in an autumnal mood) and the ambitious, flashy Passacaglia. Her rhythmic sense is elastic, and her affection and knowledge of this music is obvious at every turn.


Sound quality is good and close, with fine presence along the full range of the instrument. Shkoda herself supplies the better than average notes. As this is marked volume 1, I assume more is on the way, and I sincerely look forward to hearing it, too.


FANFARE: Barry Brenesal

As composer, pianist and educationalist, the Prussian Philipp Scharwenka (1847–1917) was one of most highly respected musicians of his day, although his star faded soon after his death. His music – more conservative and classical in orientation than that of his pianist-composer brother, Xaver – sits somewhere between Chopin and Brahms, with echoes of Schubert and Schumann. This first installment of a survey of his piano music is intended to put these immediately attractive works before the public once again – for the first time in over a century. They are played here by the Portuguese pianist-composer Luís Pipa, professor of piano and chamber music at the University of Minho, near Porto, following up on his well-received Toccata Classics album of music by his compatriot José Vianna da Motta.

Almost every pianist, it seems, wants to record Ravel, but virtually all of them have overlooked a treasure trove of music for solo piano: the composer's short score for Daphnis et Chloé. Some parts of it are unplayable by a single pair of hands, but with judicious arrangement this working draft can be mined for diamonds. Only a handful of musicians have made their own suites for solo piano; here the Lithuanian pianist Indre Petrauskaite, carefully observing Ravel's original textures, has produced something new: a 40-minute concert suite of unsuspected Ravel for solo piano that also respects the dramatic outline of the original ballet. The other, more familiar works here extend the ideas of antiquity and transcription. Indre Petrauskaite recently performed this programme at City University of London for the completion of her DMA degree.

Beat Furrer is no stranger to the attention he receives for his subtle exploration of the possibilities of the human voice. Furrer's six Enigmas, a cycle of a cappella settings of Leonardo da Vinci, demonstrates a striking emotional range, from rich, almost romantic tonal warmth to dramatic avant-garde expressionism. All eight works on this new release accentuate Furrer's fondness for exploring sonority, timbre and texture.

WEINBERG Rhapsody on Moldavian Themes (arr. Weinberg). Violin Sonatas Nos. 2 and 5. Sonata No. 2 for Solo Violin • Yuri Kalnits (vn); Michael Csányi-Wills (pn) • TOCCATA 0026 (70:58)

Mieczys?aw Weinberg’s output continues to emerge on CD. One of the more interesting features of the Rhapsody on Moldavian Themes is that the music has a certain Hassidic quality, meaning the use of minor keys and descending melodic passages with flatted 7ths and 6ths. Of course, much Eastern European ethnic music falls into this category, including Rumanian and Polish music, but these themes (the notes explain) were consciously chosen because Weinberg’s mother came from Kishinyov (now Chisnâu), where “Bessarabian musical folklore was strongly influenced by the huge Jewish population.” The exuberant and exciting way Weinberg manages his musical materials makes the piece more than just a trifle. The composer made this violin-piano arrangement from his original orchestral version (of which there is a fine recording by Vladimir Lande and the St. Petersburg Symphony Orchestra on Naxos 8.572779) with fingerings for the solo part provided in the published score by David Oistrakh.

The Sonata No. 2 for Violin and Piano, composed in 1944, was not premiered until 18 years later, by Oistrakh and pianist Frieda Bauer. Its opening theme sounds very much like the Rhapsody, but its development is much more along the lines of Shostakovich’s music. Happily, Weinberg avoids—consciously or unconsciously—the crudeness of much of Shostakovich’s music and the streaks of self-pity. It is serious music, yet imbued by palpable energy in the first movement and wonderful lyricism in the second. The catchy but offbeat rhythm of the last movement rides the Sonata off into an almost ferocious Finale.

This is the first recording of Weinberg’s Second Sonata for Solo Violin. Composed in 1967, annotator David Fanning explains that its overall tone is “less confrontational in character and more of a suite in overall conception.” Indeed, the music is very quirky, its seven movements given titles descriptive of musical terms ( Monody, Rests, Intervals, etc.), and so diverse that one can very well imagine the individual movements being played alone in concerts. It is, however, well written and employs a great amount of contrast within each movement, short though they are (the timings range from 1:27 to 3:38, with most of them averaging around two minutes). In places, almost aggressively abrasive dissonances give way to fascinating in brief development sections.

Weinberg’s Fifth Violin Sonata dates from 1953, shortly after he was released following a harrowing 11 weeks at the Lubyanka prison on the charge of “Jewish bourgeois nationalism.” Like in his Second Sonata, and more so in the Rhapsody, Weinberg here “absorbs folk-like intonations” into his style, but the synthesis is now more complete, showing his marked maturity as a composer. There is a wonderfully plaintive quality in the first movement, for instance, where Weinberg simplifies his style harmonically and produces a simply gorgeous spun-out melodic structure. And here, particularly, Kalnits displays an almost otherworldly sense of pathos and lyricism, which then turns into lyricism combined with forward momentum in the rapid second movement. The third movement ( Allegro moderato ) is wistful and almost nostalgic in character despite its energetic tempo, as is the Finale (note, particularly, the diminuendo on the last high note). What excellent music this is!

Kalnits is a good violinist with strong emotion and wonderful empathy for this material, though his tone tends towards wiriness and a bit of whining in the upper range. Csányi-Wills is a fine, sensitive accompanist. Together they make a strong case for most of this music becoming part of the standard repertoire.

FANFARE: Lynn René Bayley

WEINBERG Solo Violin Sonata No. 1. Violin Sonatas: No. 1; No. 4. Sonatina • Yuri Kalnits (vn); Michael Csányi-Wills (pn) • TOCCATA 0007 (78:08)

Violinist Yuri Kalnits and Michael Csányi-Wills recorded their program of violin music by the Russian composer Mieczys?aw Weinberg in two sessions: August 26–30, 2008, at Champs Hill, Coldwaltham (Sonata No. 1, Sonata No. 4, and the Sonatina), and July 13–18, 2009, at Moviefonics Studio in West London (the solo sonata). This constitutes the first volume in what will apparently be a complete set of the composer’s violin sonatas. Toccata bills the recordings of the First Sonata and the solo sonata as recording premieres.

The program opens with the three-movement First Sonata, which, according to David Fanning’s notes, Weinberg composed in 1943 after settling in Moscow. The sonata’s opening passages combine firmly tonal lyricism with sardonic punctuation, and although the harmonies eventually cloud over and grow less securely centered, they remain within a tonal orbit; and although its lyricism gives way to both slashing and motoric passages, in the manner of Dmitri Shostakovich, who inspired Weinberg, its melodic patterns hardly seem to cultivate unbroken ground. Kalnits sounds ardent—almost romantic—in his tone production (though he strops a keen edge on the angular passages), not only in the opening Allegro but especially at the outset of the Adagietto second movement. The engineers have captured his tonal glow, especially in the lower registers (they seem to have placed Csányi-Wills’s piano a slight distance behind Kalnits’s violin). The duo move alertly back and forth between the finale’s alternate cheerfulness and vigor and bring the sonata to an imposing conclusion.

The five-movement Solo Violin Sonata, 24-odd minutes in duration (in this performance), from 1964, inhabits an entirely different universe, less centered tonally, more dissonant, and less flowing both rhythmically and melodically. Thrusting in its first movement in a manner similar to that of Béla Bartók’s Solo Violin Sonata, it takes no prisoners—and neither does Kalnits, who enters into its more dour spirit, cavorting among its thorns. In the second movement, which begins after what sounds like an inconclusive final passage in the first, he shrieks his way through the predominantly double-stopped textures and effectively contrasts the aggressive pizzicatos with the more playful and lyrical sections to which they give way. Kalnits forcefully hammers the dissonant double-stops and chords of the ensuing Lento until quieter passages bring the movement to a close. The Presto, which begins almost immediately, recalls the finale of Bartók’s Solo Violin Sonata thematically, but without its ethnic outbursts. In fact, the entire sonata sounds like an internationalized version of Bartók’s, carrying its harmonic implications even further and stretching the violinist’s technique even less mercifully. Kalnits possesses ample resources to follow wherever Weinberg leads.

The Fourth Violin Sonata, from 1947, returns listeners to fringes of the First Sonata’s tonal world, although this sonata sounds much darker in the duo’s searing reading of its first movement. They dispel this atmosphere in an irresistible burst of energy in the second movement’s first section, and follow its biting premise through the cadenza that leads to the solemn conclusion. The duo’s expressive intensity makes this sonata a spellbinding emotional journey of discovery for listeners, as it must have been for the performers. Violinist Stefan Kirpal and pianist Andreas Kirpal also took this journey, on cpo 777 456 (David Fanning wrote the booklet notes for both releases), exploring the first movement’s more reflective side—as, for example, in the dark, complex opening contrapuntal piano solo—but no more ardent in the eloquent violin solo, and just about as incisive and visceral in the Allegro sections of the second movement. The Kirpal duo takes 19:58 for the journey, while Kalnits and Csányi-Wills completes it in 13:44. But how much of the atmosphere Andreas Kirpal creates in the opening piano solo would you trade for any added excitement in what follows?

The Sonatina, which Fanning assigns to 1949 and describes as an attempt to respond to the Soviet criticism that engulfed Soviet composers at the time, sounds more straightforward in its first movement, in which Kalnits alternately soars and engages in muted, plaintive conversation with Csányi-Wills, especially at the end. Violinist and pianist continue to explore this haunted ambiance through the second movement’s opening section, while he and Csányi-Wills wax extroverted in the middle section, which begins almost with the abrupt discontinuity of a separate movement. In their reading of the finale they mix ferocity with vigorous burlesque.

The release should provide a most auspicious introduction to Weinberg’s violin music, offering a chameleon-like variety that extends from the feral onslaught of the Solo Sonata to the profundities of the Fourth Sonata and to the outright melodiousness of the First. Strongly recommended for repertoire, performances, and recorded sound.

FANFARE: Robert Maxham

The tale of Hans Winterberg (1901–91) is a strange one. A survivor of the Terezín concentration camp, where he had been interned as a Czech Jew, he settled in Munich after the War as a German citizen, and his music enjoyed a number of broadcasts – but with his death his estate disappeared into a legal limbo, emerging only in 2015. This first album of his piano music reveals an unusual and individual voice, an idiosyncratic blend of Janácek, Ravel, Schoenberg and other mid-twentieth-century masters, animated by a hard-edged, freewheeling energy and grim humour reminiscent of his close contemporary, Nikos Skalkottas. Brigitte Helbig, who grew up in Munich and also studied there, is one of Germany’s livelier young pianists, with a respectable track record in the performance of new music.

This is the third release in a series of toccata classics critically well-received recordings of orchestral music by the Hungarian composer Ferenc Farkas (1905-2000). this volume features works for oboe and strings, the solo instrument played by legendary Hungarian oboist Lajos Lencses, who has made more than fifty recordings. the recording highlights the characteristics that make his music so appealing: Catchy tunes, transparent scoring, buoyant rhythms and a fondness for baroque forms and folk-dances. Two chamber pieces featuring the oboe and Cor Anglais offer textural contrast.

It’s encouraging to see more and more of Joseph-Guy Ropartz’s music being recorded, as a casual glance at Amazon reveals. Timpani have led the way in promoting this unsung and largely forgotten composer; a couple of years ago I reviewed a delightful CD of instrumental music. I’m particularly fond of the five symphonies, a good starting point, and the six string quartets are similarly worth exploring. It’s promising that Toccata, a label to be lauded for its ventures off the beaten track, has now taken up the cause with this new release of the composer’s piano music; ‘first recordings’, as it states on 'the tin'.

Ropartz lived a long life into his nineties. He was born in Guingamp, Côtes-d'Armor, Brittany, into a wealthy family. He started off on the path of law but in 1885 entered the Paris Conservatory, where he studied harmony with Theodore Dubois and composition with Jules Massenet. It was around this time that he struck up a friendship with the Romanian composer Georges Enescu. In 1887 he entered the organ class of César Franck. In 1894 he moved to Nancy in the east of France, where he became director of the Conservatory, a post he held for the next twenty-five years. This was followed by a ten year stint (1919-29) in a similar position in Strasbourg. Retiring in 1929, he went on composing until 1953, when he was struck down with blindness. He died two years later.

Opening the disc is the suite Dans l’ombre de la montagne, the most substantial work here. The sombre narrative extends across all seven movements, with recurring motives throughout, providing an idée fixe. Ropartz takes his lead from Vincent d’Indy’s Poème des Montagnes, Op.15 and Promenades, Op. 7 by Albéric Magnard, both of which have been recorded by McCallum. She suggests that Ropartz makes direct reference to the d’Indy work in his title. The music throughout is generally of a bleak, thoughtful and reflective persuasion, with some respite being provided by the more animated and cheery fifth movement, marked ‘Ronde’. Stephanie McCallum’s performance of intensity and rhetorical eloquence has exceptional appeal.

Originally conceived as an orchestral work for the Paris Opera Ballet in 1929, Un Prélude Dominical et six pièces à danser pour chaque jour de la semaine is cast in a more joyous and optimistic vein than the previous work. The ballet characterizes each day of the week with its associated activities. The score showcases Ropartz’s more impressionistic style, and the music is awash in colour which McCallum imaginatively conveys in this piano arrangement which the composer made in 1930. I particularly like the reflective contrasts in Jeudi, the fifth movement. The jaunty swagger of Samedi brings this alluring suite to a close.

The Choral varié of 1904 clearly shows a Franckian influence, almost taking its lead from Franck’s organ chorales. Indeed, the piece was arranged for organ by Ropartz’s student and later colleague at Nancy, Louis Thirion. It consists of four variations on a chorale, each separated by a fermato, whose duration is stipulated by the composer. Having listened to the work several times, I can imagine its character more successfully expressed on the organ. The final two pieces La chanson de Marguerite: Caprice Valse and First-Love: Bluette of 1886, predate the composer’s contact with Franck. These seductively lyrical pieces have an endearing intimacy. McCallum's performances encapsulate the affability, genteel charm and captivating essence of these beguiling miniatures.

These are winning performances, warmly recorded, and make a strong case for both the attractiveness and quality of this composer’s music. Stephanie McCallum’s enthusiastic advocacy adds to the success of the mix. Peter McCallum’s detailed annotations, in English only, provide fascinating and informative background. Will there be any more of Ropartz’s piano music to come? Let's keep our fingers crossed.

– MusicWeb International (Stephen Greenbank)

The Toccata Classics 2014 release of Mieczys?aw Weinberg’s Symphony No. 21, Op. 152 Kaddish and Polish Tunes, Op. 47, No. 2 was remarkable and created considerable interest. Now Toccata present a second Weinberg volume comprising two world première recordings. Once again Toccata use the admirable Siberian Symphony Orchestra under Dmitry Vasilyev.

Thanks to a burgeoning interest in Weinberg there is now an increasing number of recordings of this Polish-born Soviet composer. The Bregenz Festival in 2011 headlined a Weinberg Retrospective and gave the stage première of Weinberg’s Holocaust opera The Passenger directed by David Pountney the festival’s music director (review ~ review). As the Bregenz festival’s featured composer a number of other Weinberg scores were performed including his Gogol opera The Portrait directed by John Fulljames. David Fanning’s recent book Mieczyslaw Weinberg: In Search of Freedom has undoubtedly increased awareness and further widened the knowledge of this talented and fascinating composer. It would only take a renowned conductor - maybe one born in Russia - such as Kirill Petrenko, Vasily Petrenko or Kirill Karabits to make recordings of Weinberg’s symphonic works to command international attention.

From 1958 The White Chrysanthemum ballet in three acts after A. Rumnev and J. Romanovich has a scenario based on a girl who is blinded at Hiroshima but later has her sight restored by Soviet doctors. The ballet was never staged probably due to difficult political relations with Japan around that time. No score has been found and it is even possible that Weinberg left the ballet unorchestrated. It was Weinberg himself who extracted the Six Ballet Scenes and orchestrated them as the Choreographic Symphony and dated the manuscript July 1973. This is a memorable score, full of delicious contrasts, often percussion laden in a similar way to late Shostakovich. In the energetic and restless opening Allegro the forceful percussion seem to be jousting with the strings and the following Adagio is infused with an exotic middle-eastern flavor. Appealing is the playful and dance-like Allegretto and the dark mystery of the Adagio-Moderato is heavy with foreboding. Especially engaging, the penultimate movement an Adagio contains some gloriously melodic writing that could have easily come from the pen of Rachmaninov. Ending the work the Presto just bristles with raw energy. Towards the beginning of the movement the music contains a definite klezmer feel but overall has all the vivacious force of Prokofiev.

Illness delayed Weinberg’s writing of his Symphony No. 22 and it was left unfinished at his death in 1996. Dedicated to Olya his wife the unfinished manuscript was completed in piano version only. Weinberg’s widow suggested to Kirill Umansky that he might orchestrate the score. Immersing himself in Weinberg’s symphonic music Umansky completed the orchestration and the first performance was given by the Belgorod State Philharmonic Orchestra in 2003. The symphony steeped in melancholy is notable for its bleak rather severe character and sense of foreboding. I found little in the way of contrast throughout the three movements and although it’s not a work I especially enjoyed its intensity and severe emotions are certainly hard to ignore. At just under 25 minutes the opening movement is over double the length of the next longest. Titled Fantasia the writing contains a feeling of intense sadness and a searching quality combined with a near constant icy chill. Relatively short at just over 5 minutes the second movement an Intermezzo contains that now familiar bleakness although it’s not quite as harsh. Titled Reminiscences the Finale eschews originality returning to the austere character of the opening movement.

Under the assured baton of Dmitry Vasilyev the Siberian Symphony Orchestra excel with compelling playing of unyielding vitality in the Six Ballet Scenes and vigor matched with sheer concentration in the Symphony. Recorded at Philharmonic Concert Hall, Omsk in Siberia the sound quality is full and clear. The release also has the benefit of a helpful essay in the booklet from leading Weinberg authority David Fanning.

For those unaccustomed to Weinberg this admirably played release is not the place to start however the Six Ballet Scenes was a satisfying surprise and is worth obtaining for that alone.

– MusicWeb International (Michael Cookson)

Born in Havana in 1954, the Miami-based Orlando Jacinto Garcia studied with Morton Feldman and has inherited some of Feldman's concerns. His music likewise evolves gradually over slow-moving spans of time- here and there with an echo of West Coast minimalism. Like the still surface of the sea, the works on this album (three of them concertante pieces for virtuoso soloists) mirror the unhurried movement of natural phenomena. They often feature textures of considerable delicacy- and occasionally hint at larger forces behind the apparent stasis. This album presents some of his most recent choral compositions, in recordings conducted by the composer. Violinist Jennifer Choi is a frequent collaborator with composers, and has premiered solo and chamber works written for her by several well-known contemporary composers. Pianist Cristina Valdes is known for presenting innovative concerts with repertoire ranging from Bach to Xenakis. Fernando Dominguez, clarinet, is the leading exponent of the contemporary repertoire for clarinet in Mexico.