This new album by the Helsinki Baroque Orchestra and Aapo Häkkinen together with the Audi Jugendchorakademie and bassoonist Jani Sunnarborg featuring late works by composer Bernhard Henrik Crusell (1775–1838) makes an important addition to the recordings of Nordic Classical period works and of early Finnish music. Highlight of the album is the world première recording of Crusell’s Viking-themed ‘The Last Warrior’ (Den sista kämpen) from 1834, the composer’s last large-scale composition.

Ondine proudly presents a release featuring violist David Aaron Carpenter, “the hottest violist of the 21st century” according to Norman Lebrecht, and “stunningly talented” by The New Yorker, and member of the Berlin Philharmonic Orchestra. Dreamtime features the titular solo viola work by Robert Mann (1920). Frank Bridge (1879–1941) is one of the most outstanding composers for viola. The longest work on the disc is Brahms’s Clarinet Quintet Op. 114 in the version for viola and string quartet.

This fruitful collaboration by three eminent chamber musicians, Christian Tetzlaff, Tanja Tetzlaff and Lars Vogt, brings together two Piano Trios by the Czech master, Antonín Dvořák (1841–1904). During the last eight years, artists forming this unique trio have recorded eight albums of chamber music for Ondine with great acclaim, including some of the Romantic standard works. These two chamber music masterpieces by Antonín Dvořák express great emotional depth and dark passion.

The two piano trios by Dvořák featured in this album have remarkable similarities as well as differences. Piano Trio No. 3, nearly symphonic in its character, hints to the world of Johannes Brahms, while the Piano Trio No. 4 includes folkloric elements. The third piano trio might not only be considered as an homage to Brahms; it was written by the composer in 1883 shortly after the death of his mother which might well explain the sorrowful musical expression in the slow movement of the work. The ‘Dumky’ trio has a very unusual structure in its six movements. This intense and intimate work was written just prior to the composer’s departure to New York in 1891 and serves as a great climax for Dvořák’s series of piano trios.

REVIEW:

The Dumky really takes the plaudits here. Without question, it is the best I’ve heard, and the third movement is simply astonishing in its melancholic beauty.

These are two giants of the piano trio repertoire that is dear to my heart, and while this new recording enters a very crowded field, the presence of the three performers who are considerable soloists in their own right, means that the release demands attention.

Let’s get one thing out in the open straight away: these are the most dramatic and intense performances of these works I’ve heard. If your preference is for elegance such as those of the Beaux Arts and Florestan Trios, you may not be too keen on these big-boned and raw performances. Pianist Lars Vogt really hammers the keyboard at times, but don’t let that give you the impression that there is a lack of subtlety: the slow movements are meltingly beautiful. The booklet notes, which are in the form of a conversation between the three performers, emphasise the Bohemian folk music that inspired so much of Dvořák’s pre-American music. The raw intensity of the performances can be seen as a way of expressing these folk roots.

This is the only version of the Brahmsian F minor trio that I have in my collection to go beyond 40 minutes. I have no doubts that there are others, but it is to the credit of the performers that at no time is there a sense of dragging. Everything feels just about right. However, it is the Dumky that really takes the plaudits here. Without question, it is the best I’ve heard, and the third movement is simply astonishing in its melancholic beauty. If you love these works, and if you are reading this, you almost certainly do, you owe it to yourself to hear the Tetzlaffs and Vogt.

If I have a reservation about this otherwise marvellous recording, it is that the tone of the violin on occasions, generally at moments of fortissimo and above, becomes quite shrill. This is a something of a personal peeve, and I suspect most listeners will not be bothered by the sound. Perhaps the miking is a little close, though there is no extraneous noise.

Perhaps the intensity of the performances means that this is not a recording for every day, just Sunday best, but it is certainly special.

-- MusicWeb International (David Barker)

This album brings together some of the loudest, most exciting music ever written - neither music, nor your hearing, will ever be the same! The music has been arranged for continuous listening. With that in mind, three quiet "valleys" have been programmed to provide contrast with the very loud music that follows them. You may find that the contrast actually adds to the excitement. The 140-piece Helsinki Philharmonic Orchestra under Leif Segerstram includes, among others, a 22-person percussion section, four sets of rocks hit with hammers, two heavy metal chains, anvils, steel plates, sirens, and several dozen cannon shots. The final track, Hekla, is probably the loudest single piece of music ever written. It describes, in very graphic terms, the eruption of Hekla, Iceland's largest active volcano.

Heino Eller (1887-1970) can be considered as one of the founders of Estonian professional music culture. Eller’s legacy is twofold – in his prolific instrumental compositions he forged an elaborate style that successfully combined both modern and national elements, and as a prominent professor of composition during half a century he influenced generations of Estonian composers. This new recording by the Estonian National Symphony Orchestra conducted by Olari Elts and featuring violinist Baiba Skride includes some of the highlights from the composer’s catalogue of orchestral works and is a fitting tribute to the centenary of Estonia’s independence. Heino Eller’s Violin Concerto in B minor was the first in its genre in Estonian music. First written in the 1930s the one-movement work was scheduled to be performed in Tallinn on June 1940. For reasons unknown, the work was withdrawn until March 1965 when Neeme Järvi conducted the premiere. Another work for violin and orchestra, Fantasy, was first written in 1916 and orchestrated in 1964. Fantasy is one of the earliest compositions that bears the hallmarks Eller´s individual style, and its sensitive lyricism and charming simplicity give the work an enduring appeal. The Symphonic Legend is Eller’s largest score prior to the First Symphony (1936). It was premiered on June 1923 in Tartu, and Eller revised the score for performance in 1938. A work with a wealth of musical material and masterly orchestration, Symphonic Legend was next performed only in 2014 by Olari Elts with the Estonian NSO, and the current recording is the first. Heino Eller wrote three Symphonies between the 1930s and 1960s. Unlike his other two Symphonies, the 2nd Symphony has only one movement. The severe and at times tragic nature of the music was incompatible with the demands of the official Soviet cultural ideology.

Henryk Mikolaj Górecki (1933–2010) achieved an international success in the mid-1990s, with his Symphony No. 3, “Symphony of Sorrowful Songs”. Since then, Górecki’s name has been associated almost exclusively with this piece. However, his music is much more than this one brilliant work. Górecki never looked at musical fashions, but consistently created his own sound universe. In the 1980s Górecki, feeling misunderstood, stepped back from the official concert life in Poland. He reached out to simple folk and church melodies, making their choral arrangements. He treated them with a great devotion and humility. In 1985, the composer drew on traditional church songs collected in the 19th-century Spiewnik koscielny (Church Songbook) by Jan Siedlecki. He first selected five songs from it, which made up the cycle of five Marian Songs, Op. 54, for mixed choir a cappella. A year later, Górecki decided to compile other church songs of various character and associated with different liturgical seasons. This led to a collection of twenty Church Songs for a cappella choir today known as his Op. 84. Apart from two, the songs were not published during composer’s lifetime. This album by the Polish Chamber Choir led by Jan Lukaszewski offers this choral gem for the first time sang in Latin.

REVIEW:

Mostly dating from 1986 but published in 2013, three years after the composer’s death, these 20 pieces range from between one and almost 13 minutes in duration. Recorded in Latin for the first time, they have a consoling lilt and occasionally (as in ‘Sicut parvi amplectamur’) dance along gently; ‘Beati qui eligunt Joseph’ is a rare example of a more striking harmonic treatment. Under its conductor of 40 years’ standing, Jan Łukaszewski, the Gdańsk-based Polish Chamber Choir produces beautifully smooth and glowing tone. The overall effect is sweet, like eating too much sernik (Polish cheesecake) and washing it down with communion wine.

-- BBC Music Magazine

With this new album the award-winning Latvian Radio Choir conducted by Sigvards Kļava is turning its attention to the music of Alexander Grechaninov (1864–1956), one of the masters of Russian liturgic music. Grechaninov’s All-Night Vigil is a fitting continuation to the choir’s albums of sacred music by Sergey Rachmaninov and Pyotr Tchaikovsky. Together with the two latter names, Grechaninov’s All-Night Vigil, completed in 1912, belongs to the central repertoire of Russian liturgic music. Unlike the Vigils by Rachmaninov and Tchaikovsky, Grechaninov’s work was written primarily for concert use. Grechaninov’s All-Night Vigilis a bright, optimistic work full of light. Grechaninov used old traditional Slavic chants as the basis of this work and selected the uplifting, solemnly glorious chants to emphasize the character of joy, exultation and jubilance.

The Latvian Radio Choir (LRC) ranks among the top professional chamber choirs in Europe and its refined taste for musical material, fineness of expression and vocal of unbelievably immense compass have charted it as a noted brand on the world map. The repertoire of LRC ranges from the Renaissance music to the most sophisticated scores by modern composers; and it could be described as a sound laboratory –the singers explore their skills by turning to the mysteries of traditional singing, as well as to the art of quartertone and overtone singing and other sound production techniques.

REVIEW:

While there is no mistaking the urgency of the composer’s calls for mercy in his ‘Great Doxology’, or the joy unleashed in the final hymn to the “Victorious Leader”, the overall tone of the work is gentle, soothing, and altogether loving. As the composer told us, his aim was “to create a harmonic dress for our simple church songs”. For Slavic fire and brimstone, then, you’ll have to look elsewhere.

The Latvian Radio is one of the world’s finest choirs and sounds it here. Informative notes, texts, and an English translation round out an offering that any choral aficionado would be proud to claim.

-- American Record Guide

This new album by the Finnish Radio Symphony Orchestra focuses on works by Perttu Haapanen (b. 1972), one of the most important and interesting Finnish composers of his generation. It includes a recently-written Flute Concerto with Yuki Koyama as soloist and conducted by Dima Slobodeniouk, and two other works conducted by Hannu Lintu: a song-cycle written for soprano Helena Juntunen and an orchestral work, Compulsion Island, written for the Finnish Radio Symphony Orchestra. Compulsion Island was written to a commission from the Finnish Radio Symphony Orchestra and makes full use of the resources of a full-sized symphony orchestra. Haapanen creates a multi-layered and richly sonorous texture where extended instrument techniques play a significant and carefully considered role. Quiet, stagnant and expectant yet tense moments alternate with charged and punchy rhythmical passages that increase in force until the final culmination, followed by a subsiding, dreamlike and unreal epilogue. The Flute Concerto lasts about 25 minutes and is in a single movement divided into two halves featuring different materials, according to the composer. At the surface level, it comes across as a flexible and elastic structure consisting of several short sections in rapid succession, with contrasting moods either alternating or superimposed. The palette of sonorities is rich, augmented by extended instrument techniques and a number of rare sound sources such as a typewriter producing crisp rhythms and the absurd sounds of wheezing toys. Ladies’ Room for soprano and chamber orchestra was written to a commission from the Musica nova Helsinki festival. Originally written and premiered in 2007 by Helena Juntunen, it was revised by Haapanen in the following year. The texts come from a wide variety of sources: poems by conductor and mezzosoprano Jutta Seppinen, the Bible, Google, the archives of Scotland Yard and Paul Celan. Between them are four nonsense text settings that pay homage to Adolf Wolfli, an early 20th-century Swiss artist. The soprano part is highly demanding due to its wide range of vocal techniques which make Ladies’ Room a vocal virtuoso work where the virtuoso component is an integral part of the content.

Ondine proudly presents two world premiere recordings: the guitar concertos by Kimmo Hakola and Toshio Hosokawa, featuring the dedicatee, guitarist Timo Korhonen, and the Oulu Symphony Orchestra under the baton of Santtu-Matias Rouvali. Having performed worldwide Timo Korhonen is one of the most acclaimed artists on his instrument.

The celebrated Norwegian cellist Truls Mørk is known as a tireless champion of the best contemporary music. On this release, he portrays the Icelandic composer Haflioi Hallgrímsson—himself a professional cellist—with his two works for cello and orchestra, and is joined by the forces of the remarkable Scottish Chamber Orchestra under the direction of John Storgårds. This CD includes the first commercial recording of the Cello Concerto, which Hallgrímsson dedicated to Mørk in 2003. He has championed the work in a number of performances across Europe to great acclaim. The Times calls it, “a remarkable new addition to the cello repertoire… one of his [Hallgrímsson’s] finest work to date.”